Logical and epistemic foundationalism about grounding: the triviality of facts and principles

In this paper, I seek to undermine G.A. Cohen’s polemical use of a metaethical claim he makes in his article, ‘Facts and Principles’, by arguing that that use requires an unsustainable equivocation between epistemic and logical grounding. I begin by distinguishing three theses that Cohen has offered during the course of his critique of Rawls and contractualism more generally, the foundationalism about grounding thesis, the justice as non-regulative thesis, and the justice as all-encompassing thesis, and briefly argue that they are analytically independent of each other. I then offer an outline of the foundationalism about grounding thesis, characterising it, as Cohen does, as a demand of logic. That thesis claims that whenever a normative principle is dependent on a fact, it is so dependent in virtue of some other principle. I then argue that although this is true as a matter of logic, it, as Cohen admits, cannot be true of actual justifications, since logic cannot tell us anything about the truth as opposed to the validity of arguments. Facts about a justification cannot then be decisive for whether or not a given argument violates the foundationalism about grounding thesis. As long as, independently of actual justifications, theorists can point to plausible logically grounding principles, as I argue contractualists can, Cohen’s thesis lacks critical bite.

Bi-Lipschitz A-triviality of map germs and Newton filtrations

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Bi-Lipschitz G-triviality and Newton polyhedra, G = R, C, K, R-V, C-V, K-V

In this work we provide estimates for the bi-Lipschitz G-triviality, G = C or K, for a family of map germs satisfying a Lojasiewicz condition. We work with two cases: the class of weighted homogeneous map germs and the class of non-degenerate map germs with respect to some Newton polyhedron. We also consider the bi-Lipschitz triviality for families of map germs defined on an analytic variety V. We give estimates for the bi-Lipschitz G(V)-triviality where G = R,C or K in the weighted homogeneous case. Here we assume that the map germ and the analytic variety are both weighted homogeneous with respect to the same weights. The method applied in this paper is based in the construction of controlled vector fields in the presence of a suitable Lojasiewicz condition. In the last section of this work we compare our results with other results related to this work showing tables with all estimates that we know, including ours.

Pre-weighted homogeneous map germs finite determinacy and topological triviality

In this paper we introduce the notion of G-pre-weighted homogeneous map germ, (G is one of Mather's groups A or K.) and show that any G-pre-weighted homogeneous map germ is G-finitely determined. We also give an explicit order, based on the Newton polyhedron of a pre-weighted homogeneous germ of function, such that the topological structure is preserved after perturbations by terms of higher order.

Experimental signatures of fermiophobic Higgs bosons

The most general Two Higgs Doublet Model potential without explicit CP violation depends on 10 real independent parameters. Excluding spontaneous CP violation results in two 7 parameter models. Although both models give rise to 5 scalar particles and 2 mixing angles, the resulting phenomenology of the scalar sectors is different. If flavour changing neutral currents at tree level are to be avoided, one has, in both cases, four alternative ways of introducing the fermion couplings. In one of these models the mixing angle of the CP even sector can be chosen in such a way that the fermion couplings to the lightest scalar Higgs boson vanishes. At the same time it is possible to suppress the fermion couplings to the charged and pseudo-scalar Higgs bosons by appropriately choosing the mixing angle of the CP odd sector. We investigate the phenomenology of both models in the fermiophobic limit and present the different branching ratios for the decays of the scalar particles. We use the present experimental results from the LEP collider to constrain the models.

Au théâtre on meurt pour rien : essai ; suivi de Le plancher sous la moquette : théâtre.

L’essai Au théâtre on meurt pour rien. Raconter la mort sans coupable, entre Maeterlinck et Chaurette, compare divers usages dramatiques du récit de mort sous l’éclairage de la généalogie nietzschéenne de l’inscription mémorielle. Pour illustrer l’hypothèse d’une fonction classique du témoin de la mort − donner sens au trépas en le situant dans une quête scénique de justice −, l’essai fait appel à des personnages-types chez Eschyle, Shakespeare et Racine. En contraste, des œuvres du dramaturge moderne Maeterlinck (Intérieur) et du dramaturge contemporain Normand Chaurette (Fragments d’une lettre d’adieu lus par des géologues, Stabat Mater II) sont interprétées comme logeant toute leur durée scénique dans un temps de la mort qui dépasserait la recherche d’un coupable absolu ; une étude approfondie les distingue toutefois par la valeur accordée à l’insolite et à la banalité, ainsi qu’à la singularité des personnages. Le plancher sous la moquette est une pièce de théâtre en trois scènes et trois registres de langue, pour deux comédiennes. Trois couples de sœurs se succèdent dans le salon d’un appartement, jadis une agence de détective qui a marqué leur imaginaire d’enfant. Thématiquement, la pièce déplace le lien propre aux films noirs entre l’enquête et la ville, en y juxtaposant le brouillage temporel qu’implique l’apparition de fantômes. Chacune des trois scènes déréalise les deux autres en redistribuant les mêmes données selon une tonalité autre, mais étrangement similaire, afin d’amener le spectateur à douter du hors-scène : le passé, l’appartement, Montréal. Son réflexe cartésien de traquer la vérité doit le mener à découvrir que les scènes ne vont pas de l’ombre à la lumière, mais qu’elles montrent plutôt que dans l’une et l’autre, la mort n’échappe pas aux trivialités de la mémoire.

Perspex machine VIII: axioms of transreal arithmetic

Transreal arithmetic is a total arithmetic that contains real arithmetic, but which has no arithmetical exceptions. It allows the specification of the Universal Perspex Machine which unifies geometry with the Turing Machine. Here we axiomatise the algebraic structure of transreal arithmetic so that it provides a total arithmetic on any appropriate set of numbers. This opens up the possibility of specifying a version of floating-point arithmetic that does not have any arithmetical exceptions and in which every number is a first-class citizen. We find that literal numbers in the axioms are distinct. In other words, the axiomatisation does not require special axioms to force non-triviality. It follows that transreal arithmetic must be defined on a set of numbers that contains{-8,-1,0,1,8,&pphi;} as a proper subset. We note that the axioms have been shown to be consistent by machine proof.

Television and the popular: viewing from the British perspective

The academic discipline of television studies has been constituted by the claim that television is worth studying because it is popular. Yet this claim has also entailed a need to defend the subject against the triviality that is associated with the television medium because of its very popularity. This article analyses the many attempts in the later twentieth and twenty-first centuries to constitute critical discourses about television as a popular medium. It focuses on how the theoretical currents of Television Studies emerged and changed in the UK, where a disciplinary identity for the subject was founded by borrowing from related disciplines, yet argued for the specificity of the medium as an object of criticism. Eschewing technological determinism, moral pathologization and sterile debates about television's supposed effects, UK writers such as Raymond Williams addressed television as an aspect of culture. Television theory in Britain has been part of, and also separate from, the disciplinary fields of media theory, literary theory and film theory. It has focused its attention on institutions, audio-visual texts, genres, authors and viewers according to the ways that research problems and theoretical inadequacies have emerged over time. But a consistent feature has been the problem of moving from a descriptive discourse to an analytical and evaluative one, and from studies of specific texts, moments and locations of television to larger theories. By discussing some historically significant critical work about television, the article considers how academic work has constructed relationships between the different kinds of objects of study. The article argues that a fundamental tension between descriptive and politically activist discourses has confused academic writing about ›the popular‹. Television study in Britain arose not to supply graduate professionals to the television industry, nor to perfect the instrumental techniques of allied sectors such as advertising and marketing, but to analyse and critique the medium's aesthetic forms and to evaluate its role in culture. Since television cannot be made by ›the people‹, the empowerment that discourses of television theory and analysis aimed for was focused on disseminating the tools for critique. Recent developments in factual entertainment television (in Britain and elsewhere) have greatly increased the visibility of ›the people‹ in programmes, notably in docusoaps, game shows and other participative formats. This has led to renewed debates about whether such ›popular‹ programmes appropriately represent ›the people‹ and how factual entertainment that is often despised relates to genres hitherto considered to be of high quality, such as scripted drama and socially-engaged documentary television. A further aspect of this problem of evaluation is how television globalisation has been addressed, and the example that the issue has crystallised around most is the reality TV contest Big Brother. Television theory has been largely based on studying the texts, institutions and audiences of television in the Anglophone world, and thus in specific geographical contexts. The transnational contexts of popular television have been addressed as spaces of contestation, for example between Americanisation and national or regional identities. Commentators have been ambivalent about whether the discipline's role is to celebrate or critique television, and whether to do so within a national, regional or global context. In the discourses of the television industry, ›popular television‹ is a quantitative and comparative measure, and because of the overlap between the programming with the largest audiences and the scheduling of established programme types at the times of day when the largest audiences are available, it has a strong relationship with genre. The measurement of audiences and the design of schedules are carried out in predominantly national contexts, but the article refers to programmes like Big Brother that have been broadcast transnationally, and programmes that have been extensively exported, to consider in what ways they too might be called popular. Strands of work in television studies have at different times attempted to diagnose what is at stake in the most popular programme types, such as reality TV, situation comedy and drama series. This has centred on questions of how aesthetic quality might be discriminated in television programmes, and how quality relates to popularity. The interaction of the designations ›popular‹ and ›quality‹ is exemplified in the ways that critical discourse has addressed US drama series that have been widely exported around the world, and the article shows how the two critical terms are both distinct and interrelated. In this context and in the article as a whole, the aim is not to arrive at a definitive meaning for ›the popular‹ inasmuch as it designates programmes or indeed the medium of television itself. Instead the aim is to show how, in historically and geographically contingent ways, these terms and ideas have been dynamically adopted and contested in order to address a multiple and changing object of analysis.

C(0) and bi-Lipschitz K-equivalence of mappings

In this paper we investigate the classification of mappings up to K-equivalence. We give several results of this type. We study semialgebraic deformations up to semialgebraic C(0) K-equivalence and bi-Lipschitz K-equivalence. We give an algebraic criterion for bi-Lipschitz K-triviality in terms of semi-integral closure (Theorem 3.5). We also give a new proof of a result of Nishimura: we show that two germs of smooth mappings f, g : R(n) -> R(n), finitely determined with respect to K-equivalence are C(0)-K-equivalent if and only if they have the same degree in absolute value.

Hierarchical spherical model from a geometric point of view

A continuous version of the hierarchical spherical model at dimension d=4 is investigated. Two limit distributions of the block spin variable X(gamma), normalized with exponents gamma = d + 2 and gamma=d at and above the critical temperature, are established. These results are proven by solving certain evolution equations corresponding to the renormalization group (RG) transformation of the O(N) hierarchical spin model of block size L(d) in the limit L down arrow 1 and N ->infinity. Starting far away from the stationary Gaussian fixed point the trajectories of these dynamical system pass through two different regimes with distinguishable crossover behavior. An interpretation of this trajectories is given by the geometric theory of functions which describe precisely the motion of the Lee-Yang zeroes. The large-N limit of RG transformation with L(d) fixed equal to 2, at the criticality, has recently been investigated in both weak and strong (coupling) regimes by Watanabe (J. Stat. Phys. 115:1669-1713, 2004) . Although our analysis deals only with N = infinity case, it complements various aspects of that work.

Dual descriptions of spin-two massive particles in D=2+1 via master actions

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Why Pair Production Cures Covariance in the Light-Front?

We show that the light-front vacuum is not trivial, and the Fock space for positive energy quanta solutions is not complete. As an example of this non triviality we have calculated the electromagnetic current for scalar bosons in the background field method were the covariance is restored through considering the complete Fock space of solutions.In this work we construct the electromagnetic current operator for a system composed of two free bosons. The technique employed to deduce these operators is through the definition of global propagators in the light front when a background electromagnetic field acts on one of the particles.

Regularity at infinity of real mappings and a Morse-Sard theorem

We prove a new Morse-Sard-type theorem for the asymptotic critical values of semi-algebraic mappings and a new fibration theorem at infinity for C-2 mappings. We show the equivalence of three different types of regularity conditions which have been used in the literature in order to control the asymptotic behaviour of mappings. The central role of our picture is played by the p-regularity and its bridge toward the rho-regularity which implies topological triviality at infinity.

Acerca de Roderer de Guillermo Martínez : el mysterium iniquitatis en el fin de siglo literario

Este estudio sobre Acerca de Roderer (1992) de Guillermo Martínez (Argentina, 1962) intenta señalar los principios constructivos de esta temprana producción novelística, a la luz de una posible poética espigada de sus ensayos, para dar cuenta de su estilo narrativo. Se destaca la relevancia del tema del misterio de iniquidad concretado como soberbia intelectual, en un espacio-tiempo de producción signado por la trivialidad. Esta nouvelle es una construcción alegórica que sustenta un mundo ficcional de líneas simples y armónicas, en las que la razón poética, desde una nueva sensibilidad, aporta nuevo significado al misterio a través de "revisitaciones" a los grandes textos literarios.

Armando Tejada Gómez: sentido americanista y social de la poesía

La poesía de Armando Tejada Gómez (1929-1992) se destaca con perfiles nítidos en el desarrollo de las letras mendocínas correspondiente a la segunda mitad del siglo XX y constituye una faceta más de un interesante movimiento cultural no exclusivamente literario, que se conoce como la Generación del '50. En el presente artículos se analizan las fuerzas que juegan en el campo intelectual de mediados del siglo XX: el viraje a lo popular con la incorporación del coloquialismo y la asunción de los ritmos de la canción popular, la temática ciudadana, la preocupación social y el sentido americanista. Esta nueva estética, que ha recibido las denominaciones de realismo romántico (Freidemberg), de poesía existencial (César Fernández Moreno), de neohumanismo (José Isaacson), presenta además como rasgo saliente una gran libertad interior y exterior. Todas estas características se ponen de manifiesto en la poesía de Tejada Gómez. A ello hay que sumar también la libertad en el manejo de las convenciones literarias, la borradura de límites entre los géneros, por ejemplo, lírico y dramático, o la incorporación de las denominadas "formas populares" al registro de la lírica mal llamada "culta". En cuanto a la libertad métrica de la que también hace gala, viene a ser apenas una consecuencia técnica de aquella libertad de fondo ya aludida, que asume como objeto poético aun la trivialidad de lo cotidiano.