Brian Ball – författare

This book presents 12 original essays on historical and contemporary philosophical discussions of judgment. The central issues explored in this volume can be separated into two groups namely, those concerning the act and object of judgment. What kind of act is judgment? How is it related to a range of other mental acts, states, and dispositions? Where and how does assertive force enter in? Is there a distinct category of negative judgments, or are these simply judgments whose objects are negative? Concerning the object of judgment: How many objects are there of a given judgment? One, as on the dual relation theory of Frege and Moore? Or many as in Russell’s later multiple relation theory? If there is a single object, is it a proposition? And if so, is it a force-neutral, abstract entity that might equally figure as the object of a range of intentional attitudes? Or is it somehow constitutively tied to the act itself? These and related questions are approached from a variety of historical and contemporary perspectives. This book sheds new light on current controversies by drawing on the details of the distinct intellectual contexts in which previous philosophers’ positions about the nature of judgment were formulated. In turn, new directions in present-day research promise to raise novel interpretive prospects and challenges in the history of philosophy.

This book presents 12 original essays on historical and contemporary philosophical discussions of judgment. The central issues explored in this volume can be separated into two groups namely, those concerning the act and object of judgment. What kind of act is judgment? How is it related to a range of other mental acts, states, and dispositions? Where and how does assertive force enter in? Is there a distinct category of negative judgments, or are these simply judgments whose objects are negative? Concerning the object of judgment: How many objects are there of a given judgment? One, as on the dual relation theory of Frege and Moore? Or many as in Russell’s later multiple relation theory? If there is a single object, is it a proposition? And if so, is it a force-neutral, abstract entity that might equally figure as the object of a range of intentional attitudes? Or is it somehow constitutively tied to the act itself? These and related questions are approached from a variety of historical and contemporary perspectives. This book sheds new light on current controversies by drawing on the details of the distinct intellectual contexts in which previous philosophers’ positions about the nature of judgment were formulated. In turn, new directions in present-day research promise to raise novel interpretive prospects and challenges in the history of philosophy.

The Solar System was imprisoned. Locked in a vast, invisible screen. Set there by something - or someone - but no one knew why...And man, banned from the stars, turned inward to himself, to a world of carefully controlled thoughts and ideas, a world where it was forbidden to dream...

Time drifted onto the ruin of the Galactic Federation. The centuries rolled over the wars of the first part of the new millennium, laying their patina of forgetfulness over the adventures of the survivors of the expedition to the Forever Planet. Only in the memory banks of lost and ruined computers was there a record of the withering piece of time, hung in its weird universe, poised in a matrix of forever, which had waited eons to release its makers from their imprisonment on a planet which was their plaything, workshop, laboratory and engine. No one returned to the planet of the Timepivot. Not of his own volition.

What happened to the colossal dimensional engine of the Forever Planet? What happened to the mysterious Pivot of Time?TIMEPIECE told of the eerie extra-Universals who manufactured that vast and strange engine: TIMEPIT moves on to a day when the Pivot of Time has been locked away, to keep its terrifying powers from the curious an the bold. For centuries its safety is assured...like a precious fetish it is stored away, to be visited as it it were some magic touchstone.And then a wasp stung Kelp on the nose! Kelp, curious, bold, resourceful, had been prisoner in the warm ooze of the coma-cells since the time of his arrest. His crime? He tried to investigate the secrets of the Pivot of Time. A wasp-sting brought him from a ten-year sleep into a sharp awareness of a mission unaccomplished. He leapt into action! Kelp''s insatiable curiosity and boundless resources enabled him to smash the fearful guardians of the Timepivot but the consequences of Kelp''s tampering with the Timepivot were indeed vast and terrible.

He had forgotten his real name, so they called him "Spingarn" after the last role he had played. He was the man the directors of the Frames regarded as their major headache - for he was guilty of two unforgivable arrogances. He had programmed himself into every one of the vast world-staged dramas he had directed - and he had reactivated the forbidden Frames of the pre-human planet of Talisker.In those days of an overcrowded colonized cosmos, a thousand years from now, the Frames were the major means of diversion. Historical re-creations and fictional dramas played out with planets as stages and while populations as actors - the Frame directors and their robot assistants had become the masters of all life.They could not destroy Spingarn, THE PROBABILITY MAN, but they could sentence him to undo the damage he had done. So he was sent to the mad Frames of Talisker to unravel the secret of their origin a billion years before the universe

The Frames were only a realization of the ultimate form of escape. Books, films, sensors, complete total experience - and finally the Frames. The saviors of civilization had shown the way: move the tribes of Americans to Europe, the tribes of the Germans to Spain, the tribes of the English to Switzerland and permutate the combinations endlessly. Use trains, then aircraft, then spaceships.The Frames of the Thirtieth Century were a logical extension of the Mechanical Age''s exploitation of the means of mass travel. Now, whole populations moved to new areas of experience. New worlds - new re-created worlds - were manufactured for them. And it had all begun on Talisker. But whatever had left the monstrous scenery on Talisker''s desert had not begun anywhere in our universe.

Robotic minds made interstellar travel possible, but human minds still controlled the destination and purpose of such flight. Conflict develops only when a programmed brain cannot evaluate beyond what is visible and substantial, whereas the human mind is capable of infinite imagination - including that which is unreal.Such was the problem at the singularity in space in which the ALTAIR STAR and a hundred other vessels had come to grief. At that spot, natural laws seem subverted - and some other universe''s rules impinged.For Buchanan, the station meant a chance to observe and maybe rescue his lost vessel. For the robotic navigators of oncoming spaceships, the meaning was different. And at Singularity Station the only inevitable was conflict.

Amongst their office colleagues, only Diana believes that Marguerite is not as she seems. And when Diana''s fiance Phil Walsh is seduced by Marguerite and turned against her, she knows she is in mortal danger.

But after Mrs. Peters'' death, Diana gains an unexpected ally -- Jarvis Peters, the old woman''s son, who is determined to avenge his mother’s murder. For only together can they fight the forces of evil!