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In this final section, I reflect on some of the questions that are raised by the presence of two minds in the human brain, and attempt some answers. I begin with the issue of why the research into split-brain patients has been largely ignored by both philosophers and psychologists. Following this, I respond to the inevitable question of why I claim that we have two minds, rather than accepting the more widely held view that we have two systems within one mind. I review some of the claims made by proponents of the dual system theory, and show how they can be reconciled with the presence of a mind in each hemisphere.
I continue with the question of what constitutes a person, and the diametrically opposed views of two of the very few philosophers who have paid serious attention to split-brain research. I conclude that what we need is a new definition of person that allows for the presence of two minds.
The past five years have seen the appearance of three books that discuss Sperry's findings and the dichotomy that they reveal. Although very different, the three books share a common interpretation of Sperry's results. I review the claims made by the three authors and their relationship to the claim of two minds.See All Chapters
|Meg Harris Williams||Karnac Books||ePub|
I am going to speak about creativity not in a descriptive or behavioural sense, as when we say: “this person is very creative”; but, in a more precise and definite mode, I am going to talk of creativity as a phenomenon of the personality, of the family, and of the culture. I will speak of Bion as a genius who in a certain sense produced everything that he did produce as though in a dream. I will describe him as someone who struggled, who made some errors, who corrected himself and often did not know where he had arrived. A creative genius is someone who permits his own internal objects to give him new ideas— even if he does not understand them or cannot use them: his function is to receive them, and he possesses the art of transmitting them. There is a distinction between invention and discovery. Invention is a function of the self—discovery, a function of the creative self.
I will start with Bion’s theory of thinking and his particular formulation of the grid. The grid was a means chosen by Bion to describe the processes by which thoughts evolve and the method of thinking. Bion made a very precise distinction between mental processes of an adaptive, contractual, or quantitative type, which, he said, made part of the exoskeleton of the personality, and the processes founded on emotional experience—creativity, symbolic representation, and dream thought. This emotional and symbolic aspect of the formation of the personality was considered fundamental by Bion for its development. He thought that the formation of symbols to represent emotional states was something initiated between the tiny baby and the mother. He believed that the maternal reverie, the dream thoughts that the mother transmitted to her little baby, was something the baby can internalize in such a way as to form the endoskeleton of the personality that would then permit him to think in his turn. The structure of the personality, according to Bion—and in agreement with Money Kyrle’s view—was something that built up step by step while undergoing cognitive development. Every point in development involves the acquisition of new ideas or concepts placed on top of already existing ones. The impact of the new idea on these pre-existing concepts involves an experience of catastrophic change.See All Chapters
|David Pogue||O'Reilly Media||ePub|
The very moment Apple announced in 2006 that all new Mac models would come with Intel chips inside, the geeks and the bloggers started going nuts. Lets see, they thought. Macs and PCs now use exactly the same memory, hard drives, monitors, mice, keyboards, networking protocols, and processors. By our calculations, it ought to be possible make a Mac run Windows!
Now, some in the Cult of Macintosh were baffled by the very idea. Who on earth, they asked, wants to pollute the magnificence of the Mac with a headache like Windows?
Lots of people, as it turns out. Think of all the potential switchers who are tempted by the Macs sleek looks, yet worry about leaving Windows behind entirely. Or the people who love Apples iLife programs, but have jobs that rely on Microsoft Access, Outlook, or some other piece of Windows corporateware. Even true-blue Mac fans occasionally look longingly at some of the Windows-only games, Web sites, or movie download services they thought theyd never be able to use.See All Chapters
|Bartosh, Michael||O'Reilly Media|
Although much more affordable per density, the Xserve RAID, like a SCSI drive, is faster, safer storage, and should be deployed in conjunction with applications that place a premium on performance and data integrity. This is particularly relevant in a multiple-server environment.
Be smart about your data. If performance is important, and if your data is very static and very well backed up—or if it’s just not important in the long term—RAID 0
(hardware or software) is a real option. In most circumstances, this will not be the case. Perhaps your system files, which are easily replaced, do not need to be protected by redundancy—but in cases where data is sensitive or where a lot of downtime is unacceptable, important data (such as user home directories or web server files) should be stored on an array that offers some kind of redundancy. When feasible, consider evaluating Apple’s hardware RAID card. What’s important here is to understand the capabilities of the storage platform and how those capabilities coincide with your data needs. Whatever your choice, more explicit configuration direction is available in Chapter 2. The information here is simply meant to aid you in the planning process.See All Chapters
|Jean Ngoya Kidula||Indiana University Press||ePub|
Music and religion are both incarnational processes and archival resources. As processes, they narrate themselves in lived experiences as dynamic forms; as resources, they inscribe, crystallize, and document social identity. Starting in the nineteenth century, music practices in Africa have been transformed by contact with modern Christianity. These practices are as diverse as the religious, ethnic, and national groups found in Africa. The individuality of the musics might be concealed under a historical association arising from an overarching ‘Christian’ umbrella. However, the varieties of Christianity and African ethnic groups underscore distinctive musical identities. These musics have struggled for recognition in music studies given that European church music is, and was, recognized as a category of European art and folk music, whereas African church musics neither fit indigenous molds nor gained acceptance in the canon of European church, popular, or art musics. Nonetheless, the musics are vibrant religious, artistic, and popular expressions on the continent and in other spaces.See All Chapters
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