Two Theories of Just War

As it is traditionally conceived, Just War Theory is not well suited for dealing with nation vs non-nation wars. It thus makes sense to create a second Just War Theory to deal with these wars. This article explores the differences and similarities between the two theories.

Military Ethics of Fighting Terror: Principles

The purpose of the present document is to briefly present principles that constitute a new doctrine within the sphere of Military Ethics: The Just War Doctrine of Fighting Terror.The doctrine has been developed by a team we have headed at the Israel Defense Force (IDF) College of National Defense. However, the work has been done on the general levels of moral, ethical and legal considerations that should guide a democratic state when it faces terrorist activities committed against its citizens. Accordingly, the proposed principles are meant to be justified and practically applicable under any parallel circumstances. Moreover, those principles are intended to be universal in the sense that the justification of none of them rests on any particular stance with respect to the desired solution of the conflict under consideration.

Previewing the neighborhood: the role of orthographic neighbors as parafoveal previews in reading

In 2 experiments, a boundary technique was used with parafoveal previews that were identical to a target (e.g., sleet), a word orthographic neighbor (sweet), or an orthographically matched nonword (speet). In Experiment 1, low-frequency words in orthographic pairs were targets, and high-frequency words were previews. In Experiment 2, the roles were reversed. In Experiment 1, neighbor words provided as much preview benefit as identical words and greater benefit than nonwords, whereas in Experiment 2, neighbor words provided no greater preview benefit than nonwords. These results indicate that the frequency of a preview influences the extraction of letter information without setting up appreciable competition between previews and targets. This is consistent with a model of word recognition in which early stages largely depend on excitation of letter information, and competition between lexical candidates becomes important only in later stages.     

The effect of word frequency, word predictability, and font difficulty on the eye movements of young and older readers

Young adult and older readers' eye movements were recorded as they read sentences containing target words that varied in frequency or predictability. In addition, half of the sentences were printed in a font that was easy to read (Times New Roman) and the other half were printed in a font that was more difficult to read (Old English). Word frequency, word predictability, and font difficulty effects were apparent in the eye movement data of both groups of readers. In the fixation time data, the pattern of results was the same, but the older readers had larger frequency and predictability effects than the younger readers. The older readers skipped words more often than the younger readers (as indicated by their skipping rate on selected target words), but they made more regressions back to the target words and more regressions overall. The E-Z Reader model was used as a platform to evaluate the results, and simulations using the model suggest that lexical processing is slowed in older readers and that, possibly as a result of this, they adopt a more risky reading strategy.     

Distinctions Between Hostile and Nonhostile Forms of Perceived Criticism From Others

Criticism and hostility from others are related to fluctuations in symptom severity across many disorders, including depression and anxiety. Objective coding systems typically allow for distinctions between criticism and hostility, but the primary self-report measure of perceptions of criticism (the Perceived Criticism Measure) contains no such distinction. This report presents results from two samples regarding the assessment of specific perceptions of hostile and nonhostile criticism. In addition to these specific perceptions, we assessed relationship satisfaction, perceptions of overall criticism, and symptoms of depression and anxiety. Perceptions of hostile criticism were similar to ratings of overall criticism, as indicated by a positive correlation between these two and similar correlations with related variables. In contrast, perceptions of nonhostile criticism demonstrated more complex patterns of associations, showing a positive correlation with relationship satisfaction, a negative correlation with perceptions of hostile criticism, and a positive association with general perceptions of criticism only in the context of low depressive symptoms (as depressive symptoms increased, this association became significantly weaker). These results suggest that respondents do distinguish between perceptions of hostile and nonhostile criticism, and these perceptions are not simply different points on the same continuum. Moreover, they suggest that individuals with higher levels of depression may be less likely to incorporate nonhostile criticism into their overall perceptions of criticism from others.     

Evaluating Arguments Based on Toulmin’s Scheme

Toulmin’s scheme for the layout of arguments (1958, The Uses of Argument, Cambridge University Press, Cambridge) represents an influential tool for the analysis of arguments. The scheme enriches the traditional premises-conclusion model of arguments by distinguishing additional elements, like warrant, backing and rebuttal. The present paper contains a formal elaboration of Toulmin’s scheme, and extends it with a treatment of the formal evaluation of Toulmin-style arguments, which Toulmin did not discuss at all. Arguments are evaluated in terms of a so-called dialectical interpretation of their assumptions. In such an interpretation, an argument’s assumptions can be evaluated as defeated, e.g., when there is a defeating reason against the assumption. The present work builds on recent research on defeasible argumentation (cf. e.g. the work of Pollock, Reiter, Loui, Vreeswijk, Prakken, Hage and Dung). More specifically, the author’s work on the dialectical logic DEFLOG and the argumentation tool ARGUMED serve as starting points.     

REJOINDER: Picasso's Guernica Creativity as a Darwinian Process: Definitions,Clarifications, Misconceptions,and Applications

The author responds to four commentaries on Simonton (this issue). The response deals with two sets of issues. First are criticisms of the Darwinian theory of creativity, especially as applied to Picasso's sketches for the Guernica. These criticisms range from the presumed role of associative processes to the essential nature of any Darwinian model. The second set of issues pertains to diverse methodological objections with respect to measurement and data analysis. The author responds to each and every point. The author concludes not only that Picasso's creative process is best described as Darwinian, but also that the Darwinian theory of creativity has been notably strengthened by the current exchange.     

Taking the U.S. Patent Office Criteria Seriously: A Quantitative Three-Criterion Creativity Definition and Its Implications

Although creativity has recently attracted considerable theoretical and empirical research, researchers have yet to reach a consensus on how best to define the phenomenon. To help establish a consensus, a definition is proposed that is based on the three criteria used by the United States Patent Office to evaluate applications for patent protection. The modified version uses the criteria of novelty, utility, and surprise. Moreover, creativity assessments based on these three criteria are quantitative and multiplicative rather than qualitative or additive. This three-criterion definition then leads to four implications regarding (a) the limitations to domain-specific expertise, (b) the varieties of comparable creativities, (c) the contrast between subjective and objective evaluations, and (d) the place of blind variation and selective retention in the creative process. These implications prove that adding the third criterion has critical consequences for understanding the phenomenon. Creativity is not only treated with superior sophistication, but also paradoxes that appear using the most common two-criterion definition readily disappear when the third criterion is included in the analysis. Hence, the conceptual differences between two- and three-criterion definitions are not trivial.