SS: Remember!

Screenshot_2018-11-08 armistice day canada - Google Search

Crowds gather for Armistice Day on Granville Street north of Georgia Street on Nov. 11, 1919.

Armistice Day, now known as Remembrance Day, was first marked in Canada on Nov. 11, 1919. That date marked the one-year anniversary of the signing of the armistice that ended the First World War.

Today marks the 100-year anniversary of the end of the war.

Screenshot_2018-11-08 armistice day canada - Google Search(1)

Nanaimo ceremony in the hall of the Royal Canadian Legion Branch 256 Nanaimo, 1630 E. Wellington St., from 7 to 8 a.m. Followed by breakfast, 9 a.m., or a beef on a bun and salad lunch, noon;

Screenshot_2018-11-09 The Royal Canadian Legion 2018 Digital Poppy Badge


An article from The Guardian.




Screenshot_2018-11-02 Growing Up Surrounded by Books Has a Lasting Positive Effect on the Brain, Says a New Scientific Study

We need to make books cool again. If you go home with somebody and they don’t have books, don’t fuck them. Don’t let them explore you until they’ve explored the secret universes of books. Don’t let them connect with you until they’ve walked between the lines on the pages.
Books are cool, if you have to withhold yourself from someone for a bit in order for them to realize this then do so.

Go here.



Disputatio‘s latest special issue, Causality and Modelling in the Sciences, edited by María Jiménez-Buedo and Federica Russo, is freely available at
Thank you for your interest in our journal.

Causality and Modelling in the Sciences
Edited by María Jiménez-Buedo and Federica Russo

María Jiménez-Buedo and Federica Russo | DOI: 10.1515/disp-2017-0013

Models in Systems Medicine
Jon Williamson | DOI: 10.1515/disp-2017-0014

Are Model Organisms Theoretical Models?
Veli-Pekka Parkkinen | DOI: 10.1515/disp-2017-0015

Causal Concepts Guiding Model Specification in Systems Biology
Dana Matthiessen | DOI: 10.1515/disp-2017-0016

Turing Patterns and Biological Explanation
Maria Serban | DOI: 10.1515/disp-2017-0017

Defining Metabolic Syndrome: Which Kind of Causality, if any, is Required?
Margherita Benzi | DOI: 10.1515/disp-2017-0018

Toward a Causal Interpretation of the Common Factor Model
Riet Van Bork, Lisa D. Wijsen and Mijke Rhemtulla | DOI: 10.1515/disp-2017-0019

What is the Problem with Model-based Explanation in Economics?
Caterina Marchionni | DOI: 10.1515/disp-2017-0020

When are Purely Predictive Models Best?
Robert Northcott | DOI: 10.1515/disp-2017-0021

Causality and the Modeling of the Measurement Process in Quantum Theory
Christian de Ronde | DOI: 10.1515/disp-2017-0022


Disputatio‘s archive (December 1996 – May 2017) is freely available at


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Disputatio – International Journal of Philosophy
Philosophy Centre, University of Lisbon
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1600-214 Lisbon


Lit Crit Sh*t

“Talking does not make the world or even pictures, but talking and pictures participate in making each other and the world as we know them.” Nelson Goodman in Languages of Art: An Approach to a Theory of Symbols has pointed correctly in this statement to the inevitable association between works of art and the language used to talk about those works. In the last century, it was believed that the exclusion of subject matter (landscapes, people, family scenes) from painting would disentangle the image on the canvas (or the words of a poem) from literary associations and clear the way for a direct response of the eye to optical data. The hope was to reduce art to speechlessness. An “Art of the Real” exhibition recently at the Museum of Modern Art described its selection as chunks of raw reality totally liberated from language. “Modern art,” writes one recent critic “has eliminated the verbal correlative from the canvas.” Perhaps. But if a work of today no longer has a verbal correlative, it is because its particular character has been dissolved in a sea of words. At no time in history have more words been written in defence of art, in explanation of what it “really is,” in defence of its “uniqueness,” in the production of manifestoes of explanation and genesis. To describe a striped canvas and a striped tablecloth in the same terms is to commit an artistic faux pas of great proportion much like the child who, because he didn’t understand the rules of the game, remarked that the emperor was naked. The language of art criticism today is a subtle and abstract means to create the idea of art works in conceptual framework of theories instead of in the perceptual framework of the senses. Recently two young artists in Latin America contrived a Happening that was reported in detail in the press but never took place, so their “work of art” consisted of their own news releases and the resulting interviews, accounts,, and comments. Here the “work of art” was only what was said about it. There was no “picture” only “talking”. Continue reading