Artemis Den

Romans 7: 14 if. has traditionally been one of the most frequently discussed passages in the whole of the Pauline Corpus. Nevertheless, this pericope has attracted attention more because it is consistently regarded as a crucial part of Paul's theology, than because of its intrinsic exegetical problems. The main issue is whether the ‘split personality’ and the weakness of will should be regarded as essential to the life of the believing Christian; or, rather, as characteristic for those who are not ‘in Christ’ and therefore beyond the power of his Spirit. For the systematic theologian, the question of whether the first person singular in these verses should be understood in an autobiographical sense is a subordinate one. However this particular question is answered, we are still confronted by the main issue

We apply an online optimization process based on machine learning to the production of Bose-Einstein condensates. BEC is typically created with an exponential evaporation ramp that is optimal for ergodic dynamics with two-body s-wave interactions and no other loss rates, but likely sub-optimal for real experiments. Through repeated machine-controlled scientific experimentation and observations our ’learner’ discovers an optimal evaporation ramp for BEC production. In contrast to previous work, our learner uses a Gaussian process to develop a statistical model of the relationship between the parameters it controls and the quality of the BEC produced. We demonstrate that the Gaussian process machine learner is able to discover a ramp that produces high quality BECs in 10 times fewer iterations than a previously used online optimization technique. Furthermore, we show the internal model developed can be used to determine which parameters are essential in BEC creation and which are unimportant, providing insight into the optimization process of the system.

The article deals with the classical idea that God's will is the foundation of moral obligation. The particular theory should be understood as a theory of a certain moral practice. Therefore, its 'Sitz im Leben' is first invoked by means of an episode of Walter Scott's The Heart of Midlothian. Then a strong version of the theory is stated and defended against a couple of current and classical objections. A successful defense would give rational support to the theory, but it would not qualify the theory as the best in the field. That depends on the quality of its rivals. One of those, Christine Korsgaard's recent impressive Kantian reflective endorsement view is discussed. The conclusion is that it does not provide stronger grounds for the reality and inescapability of moral obligations than the divine command theory

Thanks to the kind cooperation of Mrs. Elise Harding-Davis, director of the North American Black Historical Museum and Cultural Centre, we are able to reproduce the score of this famous melody which features so prominently in Sartre's Nausea. This museum is located in Amherstburg, Ontario, some thirty kilometers southwest of the Ambassador Bridge which links Detroit, Michigan with Windsor, Ontario. Shelton Brooks, who composed the melody in 1910, was a descendent of black slaves who made their way to freedom by way of "the underground railway" and settled in Southwestern Ontario. He was born in Amherstburg; toured widely in Canada, the United States and Europe and he finally settled in Fontana, California where he died in 1975 at age 86. In the conclusion of Nausea Roquentin identifies him incorrectly as a New York Jew and refers to the singer as black. In fact the composer was an Afro-Canadian while the singer was New Yorker Sophie Tucker, who was Jewish.

What is the relevance of an analytical philosophy of history to the practice of history? There are four fundamental criticisms of the existing analytical philosophy: analytical philosophers have concentrated on old, dualistic traditions of history; they have not provided sufficient empirical validation for their explanatory theories; they have paid little attention to the preliminary operations necessary to the writing of historical explanation; and they have ignored important stages of growth within the study of history. These are criticisms of the existing apragmatic philosophies of history, which lack a necessary empirical basis and become static, tied to one research tradition within historical scholarship. A pragmatic philosophy of history would focus on the growth of historical scholarship. The "History of Society," a name for the global approach to history, operates under the rules of comparative history. In the framework of a typology of the comparative method, types of difference and contrast refer back to the dominating types of macrocausality, generality, and inclusion. The logic of historical explanations is greatly determined by the choice of a particular type of comparative history. A pragmatic analysis demonstrates that a plurality of shades of meaning are possible in historical explanation, and that the traditional apragmatic dualist theory of a tension between the global and particular provides insufficient description

According to the traditional conception of morality one's feeling of guilt is appropriate if and only if one has culpably done wrong. The feeling must involve this propositional content. In recent literature, however, two opposite developments can be discerned. First there is a tendency to expand the range of things one can appropriately feel guilty about. So, for example, it is argued that there is nothing wrong in feeling guilt about actions done involuntarily, or done by others, or about thoughts which just happen to the subject of the feeling . This position is criticized on the ground that guilt is a painful emotion and should therefore be suffered only if it is deserved. On the other hand, there are also arguments in the literature to the effect that agent regret should be substituted for guilt , and that the range of appropriate guilt feelings should be limited . The main objection to Williams's proposal is that it would mean an impoverishment of the moral world: guilt feeling implies, as agent regret does not, the recognition that one could and should have acted otherwise. As to Gibbard's position, it is demonstrated that it is based on a disputable metaethics. In addition to that, it is argued that Gibbard's view of guilt feeling as an adaptive syndrome is untenable

Thanks to the kind cooperation of Mrs. Elise Harding-Davis, director of the North American Black Historical Museum and Cultural Centre, we are able to reproduce the score of this famous melody which features so prominently in Sartre's Nausea. This museum is located in Amherstburg, Ontario, some thirty kilometers southwest of the Ambassador Bridge which links Detroit, Michigan with Windsor, Ontario. Shelton Brooks, who composed the melody in 1910, was a descendent of black slaves who made their way to freedom by way of "the underground railway" and settled in Southwestern Ontario. He was born in Amherstburg; toured widely in Canada, the United States and Europe and he finally settled in Fontana, California where he died in 1975 at age 86. In the conclusion of Nausea Roquentin identifies him incorrectly as a New York Jew and refers to the singer as black. In fact the composer was an Afro-Canadian while the singer was New Yorker Sophie Tucker, who was Jewish.