Walling and Hicks make a direct assault on the "Everest" of scientific mysteries. The authors trace the first glimmerings of consciousness in evolution and during emergence from anesthesia. There are no formulae or equations; all the difficult concepts have been presented as allegories and pictures. Unlike many philosophical books about consciousness, they have evidence to back up their ideas. This book is also an attempt to bridge the chasm between science and religion which the authors believe to be largely (...) unnecessary. (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

Compulsion and Surprise Two phenomena conspire to convince people that the physical world exists independently of them. One is its recalcitrance, or insusceptibility to control. It resists and constrains our actions. Much as we might wish to do so, we cannot lift heavy boulders, walk through walls, jump rivers, breathe under water, or fly (unaided) over mountains. The other feature, which is connected to the first, is the world’s propensity to surprise us. The sights and sound, pressures and pains of (...) the world force themselves upon us in perception whether we want them to or not, and are often unexpected and surprising. An unusual bird appears in the garden, a stranger calls at the door and reveals he is a long-lost cousin, the post brings an invitation out of the blue, the car won’t start (surprises may be unpleasant as well as pleasant). These two phenomena, recalcitrance and surprise, form a large part of the platonist’s case for the existence of an independent mathematical reality. The recalcitrance of mathematical reality indeed appears to be stronger than that of the physical: the necessity with which mathematical results follow from assumptions is stricter than the physical necessity by which a wall resists attempts to walk through it. This has rarely been put more eloquently than by Jan Łukasiewicz. Speaking in particular of mathematical logic, he wrote.. (shrink)

Absolute identity seems at first sight to be presupposed in the branch of formal logic called identity theory. Classical identity theory may be obtained by adjoining a single schema to ordinary quantification theory.

This introduction to the philosophy of social science provides an original conception of the task and nature of social inquiry. Peter Manicas discusses the role of causality seen in the physical sciences and offers a reassessment of the problem of explanation from a realist perspective. He argues that the fundamental goal of theory in both the natural and social sciences is not, contrary to widespread opinion, prediction and control, or the explanation of events. Instead, theory aims to provide an (...) understanding of the processes which, together, produce the contingent outcomes of experience. Offering a host of concrete illustrations and examples of critical ideas and issues, this accessible book will be of interest to students of the philosophy of social science, and social scientists from a range of disciplines. (shrink)

When I offered this title, I was engaging myself to investigate an apparent difference between two kinds of intentionality, in the hope that I should be able to find some firm logical criterion to distinguish them. I was less successful in this than I had hoped. I think I have gained a certain amount of insight into the logic and semantics of one kind of intentional context, largely due to the work I was doing while visiting the University of Pennsylvania (...) on Frege and on Michael Dummett’s monumental commentary on Frege. But as regards the other variety of intentionality I am still very much in the dark; so I am giving you thus far merely a progress report on that. (shrink)

The probability of lineal extinction is sensitive to all the moments of the reproductive success probability distribution. In particular, high variance in reproductive success is associated with high probability of lineal extinction. Where male variance in reproductive success exceeds female variance, strictly patrilineal lines of descent will become extinct more rapidly than strictly matrilineal lines of descent. Patrilineal genealogies will be expected to be shallower and broader than matrilineal genealogies under such conditions. Potential implications of this genealogical asymmetry for human (...) descent systems include the greater information content of patrilineal kinship reckoning compared with any other unilineal system and the greater effectiveness of patrilineal kinship as a vehicle for corporate action. (shrink)

Introduction -- Pragmatism and science -- Pragmatic philosophy of science and the charge of scientism -- John Dewey and American psychology -- John Dewey and American social science -- Culture and nature -- Not another epistemology -- Naturalism and subjectivism -- Naturalizing epistemology : recent developments in psychology and the sociology of knowledge -- Democracy -- American democracy : a new spirit in the world -- John Dewey : anarchism and the political state -- Philosophy and politics : a historical (...) approach to Marx and Dewey -- John Dewey and the problem of justice -- Liberalism's discontent : America in search for past that never was -- Why not Dewey? -- The evasion of philosophy -- Democratic hope -- Analytic pragmatism -- Post-modern pragmatism. (shrink)

What transformation would happen if we could combine the best of liberal politics with psychology? _Awakening our Faith in the Future_ investigates the avenues for creating a new branch of psychology, a transformative political psychology. In the past, political psychology has focused directly on analysis and knowledge acquisition, rather than on interventions that transform self and culture. A transformative political psychology combines the best of traditional social science with the transformative intent of clinical psychology in order to create a new (...) political culture. Peter T. Dunlap suggests that while liberals focus intently outside of themselves on changing the world, those with psychological interests focus much more internally on changing themselves. In this book, he argues that by combining political liberalism and psychology, and encouraging psychologists to develop cultural learning practices based on ideas of self- knowledge, there is opportunity to transform our political culture. Divided into five parts, this book explores: stories of political destiny questions of development opportunities for political development a speculative theory of cultural evolution practices of a political psychologist. This scholarly text uses personal experiences and the stories of progressive political leaders as pathways for addressing political problems, making it ideal reading for professionals and students in the fields of both politics and psychology as well as for activists interested in the future of liberalism. (shrink)

Because biologists are concerned with life in all its forms, and physicians deal with life and death on a daily basis, it is crucial that they explicitly understand what life is. Nevertheless, a clear idea of what life means remains elusive, and there is no universally accepted definition. Therefore, we offer our own: Life is a self-contained, self-regulating, self-organizing, self-reproducing, interconnected, open thermodynamic network of component parts which performs work, existing in a complex regime which combines stability and adaptability in (...) the phase transition between order and chaos, as a plant, animal, fungus, or microbe. This definition describes life as we know it here on earth and .. (shrink)

The nervous system and the endocrine system interact to integrate behavior and physiolo­gy. Hormones play an important role in this interaction, particularly steroid hormones. Other molecules, notably oxytocin, can serve both as hormones in the soma and neuro­modulators in the central nervous system. Understanding the influence of the endocrine system on human behavior, both individual and social, has been a primary focus of behav­ioral endocrinology for many decades, though technical and methodological challenges have been formidable. The recent enthusiasm for enzyme-linked (...) immunoassay kits for measuring steroid hormones in saliva has been found to be largely unsound, for example. Despite these difficulties, advances in many areas have been made and new areas, such as the endocrinology of paternal behavior and the role of oxytocin in social interactions, have emerged. Reproductive ecology provides a theoretical framework for integrating the di­verse content of human behavioral ecology. (shrink)

"Divination and Human Nature" casts a new perspective on the rich tradition of ancient divination--the reading of divine signs in oracles, omens, and dreams. Popular attitudes during classical antiquity saw these readings as signs from the gods while modern scholars have treated such beliefs as primitive superstitions. In this book, Peter Struck reveals instead that such phenomena provoked an entirely different accounting from the ancient philosophers. These philosophers produced subtle studies into what was an odd but observable fact--that humans (...) could sometimes have uncanny insights--and their work signifies an early chapter in the cognitive history of intuition. Examining the writings of Plato, Aristotle, the Stoics, and the Neoplatonists, Struck demonstrates that they all observed how, setting aside the charlatans and swindlers, some people had premonitions defying the typical bounds of rationality. Given the wide differences among these ancient thinkers, Struck notes that they converged on seeing this surplus insight as an artifact of human nature, projections produced under specific conditions by our physiology. For the philosophers, such unexplained insights invited a speculative search for an alternative and more naturalistic system of cognition. Recovering a lost piece of an ancient tradition, "Divination and Human Nature" illustrates how philosophers of the classical era interpreted the phenomena of divination as a practice closer to intuition and instinct than magic. (shrink)

The so-called evolutionary social scienccs are based on the belief that Darwinism can explain the living world and that it therefore should be able to explain other complex systems such as minds and societies. In fact, Darwinism cannot explain biological evolution. It does make an important contribution, but this is towards understanding adaptation, which is a major problem in biology but not in the social sciences. Darwinism has much less to offer to the social sciences than to biology and the (...) shortcomings it brings with it are much greater. (shrink)

The work of Brentano's English contemporary J. E. McTaggart is in several ways profitable for Brentano scholars to study: I here cosider his views on the nature and classification of mental states. In McTaggart's account the characteristic of being a 'cognition', one that some but not all 'cogitations' have, corresponds to Brentano's notion of Anerkennen; quite unlike Brentano, he holds that contrariety obtains only between the contents of judgments, not between contrary acts of affirming and denying; like Brentano however he (...) recognizes contrariety in the realm of emotion and feeling, e.g. between love and hate, pleasure and pain. He regards feelings and emotions as mere colourings of cogitations, and thinks that their relation to an object (intentionality, as Brentano would say) comes about merely from their cogitative aspect. This view is attractively simple; but by considering McTaggart's own view of emotions' being in respect of characteristics of their objects, we can find serious ground to reject it. (shrink)

This book compares Butler's and Wang's moral vision and conception of conscience. It seeks to advance our ongoing inquiry into the complex encounter between Christianity and Confucianism. The study shows that in both thinkers' treatises are profound consonances that could serve as framework for a constructive interaction between these two civilizations.

This volume showcases six of Deutsch's more notable and influential papers, and include complementary chapters written by other significant contributors working ...

While markets are all around us, not all markets are the same. Markets come in a variety of colors based on the legality of activities in the specific market. As such, there is no market economy per se, but instead various shades of markets. The different shades of markets that are evidenced in practice directly depend on the institutional environment that makes certain activities legal or illegal. Shifts in the institutional environment are a result of entrepreneurial activity over the rules (...) of the game. The rules of the game and resulting shade of the market in turn impact entrepreneurs acting within those rules and hence economic development or the lack thereof.L’économie de marché est en réalité une économie des marchés. La variété des marchés s’explique par la légalité des activités sur chacun d’entre eux. Ainsi il n’existe pas une économie de marché en soi, mais plutôt plusieurs formes de marché. Ces formes manifestes de marché sont fonction de l’environnement institutionnel qui rend certaines activités légales ou illégales. Les changements de l’environnement institutionnel sont le résultat de l’activité entrepreneuriale en dehors des règles du jeu. Les règles du jeu ainsi que la forme du marché qui leur est associée influencent à leur tour les actions entrepreneuriales et donc le développement économique. (shrink)

This paper is an "ordinary language" analysis of the philosophical discussion of visual perception in the context of Twentieth Century British "sense datum" theorists, primarily G.E. Moore. -/- The title of the paper is derived from A.J. Ayer's "argument from illusion", which also forms part of the context of this paper. Both Moore and Ayer believed in sense datum theory, but Moore provides an interesting illustration that is intended to clarify (and also prove) sense datum theory in his paper, "A (...) Defence of Common Sense". Moore invites us to inspect his hand. I try to follow suit, but succeed only in falling out with the viewpoints of both Moore and Ayer. (shrink)

The doctrine which needs clarification may be put several ways: "Modern" science, unlike Aristotelian science, does not appeal to "occult powers"; or, the doctrine of final causes is occult and unscientific; or, while modern science, in establishing laws, "explains," Aristotelian science does not. More narrowly, two separate though related claims are being made: Aristotelian science is occult. This charge is leveled at final causes and Aristotelian "powers." Aristotelian science does not explain. This charge is typified by Moliere's famous jibe at (...) "dormitive power." In order to clear away the truths from the half-truths, I will defend the following points. (shrink)

This chapter contains sections titled: Introduction Two Dogmas of Empiricism Pragmatism and Naturalism Indeterminacy of Translation Canonical Notation Naturalistic Epistemology The Objectivity of Science.

In this paper I explore the shared interest of John Dewey and Carl Jung in the developmental continuity between biological, psychological, and cultural phenomena. Like other first generation psychological theorists, Dewey and Jung thought that psychology could be used to deepen our understanding of this continuity and thus gain a degree of control over human development. While their pursuit of this goal received little institutional support, there is a growing body of theory and practice derived from the new field of (...) ‘affect science’ as well as clinical and political psychologies, and other recent research into the function of human emotions, that are bringing greater institutional weight to the interest in anticipating and activating our psychocultural development. The epistemological and theoretical work of these seminal thinkers provides the foundation for this new praxis leading to: 1) a theory of ‘political development’ based in transformations of the psychocultural function of ‘reasoning’, ‘sensory’, and ‘affect’ freedom, as sources of culturally valid knowledge, which connects our biological heritage with increasingly advanced forms of individual and organizational identities; and 2) a range of psycho-educational practices that activate the political development of individuals and organizations by transforming the prejudicial dimensions of their current political identities. (shrink)

ABSTRACTInfants readily re-enact others’ intended actions during the second year of life. However, the role of emotion in appreciating others’ intentions and how this understanding develops in infa...