1,720,975 research outputs found
Dynamic all the way down
No full textIn this paper we provide an analysis of dynamic dispositionalism. It is usually claimed that dispositions are dynamic properties. However, there is no exhaustive analysis of dynamism in the dispositional literature. We will argue that the dynamic character of dispositions can be analyzed in terms of three features: (i) temporal extension, (ii) necessary change and (iii) future orientedness. Roughly, we will defend the idea that dynamism entails a continuous view of time, to be analyzed in mathematical terms, where intervals are its constitutive elements, whose duration lasts as much as a certain change takes to occur (in support of i). Such changes are the necessary components for the flowing of time because we think there cannot be time without change, (thus supporting ii) and that the forward-looking feature of properties is what determines the direction of time (as per iii). The paper is structured in 5 sections. In the first section, we set the problem: we outline and criticize some dispositional theories that defend an unsatisfying notion of dynamism. In the second, third and fourth sections we defend each desideratum for a disposition to be dynamic. Finally, we draw some conclusions and consider potential future research
Property Identity and Reductive Explanation
No full textBeckermann A. Property Identity and Reductive Explanation. In: Gozzano S, Hill C, eds. New Perspectives on Type-Identity. Cambridge: Cambridge University Press; 2012: 66-87
Peter and Paul: a ghost story?
No full textFor Bergson, Special Relativity affirms the unity of real Time more rigorously
than either Newtonian mechanics or common sense. Yet, time and unity describe
different realities in the metaphysics of Einstein’s theory and the metaphysics of
Bergson’s creative duration. The time Einstein adopts as the fourth dimension of
space is only a ‘mobile image of eternity’, and the unity it preaches is an abstract
unity, synonymous with mathematical invariance. This is why, according to Berg son, Einstein’s Relativity is not completely relative. It admits a unique real Time
in the sense that it admits only one: that of the physicist engaged in measuring
the world. The so-called twins’ paradox is exemplary in this respect
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
- …
