When we think of Sartre's proposal for a theory of alterity in Being and Nothingness, our attention often turns to his famous and original analysis of “the look of the other”. The moment when Sartre presents this analysis in his work is characterised by the author's effort to escape from the problem of solipsism, and the development of a “phenomenology of the look” is presented as a decisive response to the problem. However, Sartre's critics have shown how problematic (...) this response is, insofar as it favours the “being-seeing” - a dimension acquired through a metamorphosis that the look of the other is capable of provoking in the subject - as what would guarantee an effective relationship of otherness. In this work, I try to return to these criticisms in order to highlight their limits, and then change the focus, bringing to the fore the "backstage" of the look that directs us towards a way out of solipsism. (shrink)

In a short piece written most likely in the 1690s and given the title by Loemker of “On Wisdom,” Leibniz says the following: “...we see that happiness, pleasure, love, perfection, being, power, freedom, harmony, order, and beauty are all tied to each other, a truth which is rightly perceived by few.”1 Why is this? That is, why or how are these concepts tied to each other? And, why have so few understood this relation? Historians of philosophy are familiar with (...) the fact that both Spinoza and Leibniz place strong emphasis on the notion of power in giving their accounts of the human passions. But, while many scholars have explicated the relation between power and the passions (especially in Spinoza’s philosophy), there has been considerably less attention given to the nature of perfection and its relation to both power and the passions.2 Consider the following passages from Spinoza and Leibniz in which these two thinkers seem to bring together the issue of perfection and passion. In Ethics IIIp11s, Spinoza says the following: We see, then, that the Mind can undergo great changes, and pass now to a greater, now to a lesser perfection. These passions, indeed, explain to us the affects of Joy and Sadness. By Joy, therefore, I shall understand in what follows that passion by which the Mind passes to a greater perfection. And by Sadness, that passion by which it passes to a lesser perfection. The affect of Joy which is related to the Mind and Body at once I call Pleasure or Cheerfulness, and that of Sadness, Pain or Melancholy.3 And, in the Monadology §49, Leibniz says this: “The creature is said to act externally insofar as it is perfect, and to be acted upon [patir] by another, insofar as it is imperfect.”4 In other words, for Spinoza, the primitive passions of joy and sadness are cases in which a being’s perfection is increasing or decreasing, while, for Leibniz, any passion, it would.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Kant’s Transcendental Proof of RealismBrandon C. LookKenneth R. Westphal. Kant’s Transcendental Proof of Realism. New York: Cambridge University Press, 2004. Pp. x + 299. Cloth, $80.00.Westphal's book is a rich and exciting contribution to the field of Kant studies. Its claims run counter to much contemporary discussion of Kant's theoretical philosophy and indeed challenge some of Kant's fundamental doctrines, but the arguments are very compelling and therefore likely (...) to force us to rethink both the Critique of Pure Reason [CPR] and Kant's relevance to contemporary epistemology.The central point of this work is that, if we follow Kant's injunction to engage in reflection on our cognitive capacities, then we will be led not to Kantian transcendental idealism but to an unqualified realism about objects and events in space and time. The book's first three chapters are devoted to analyzing Kant's methodology and the much-overlooked idea of transcendental affinity. Westphal focuses on the Kantian duty of engaging in "transcendental reflection," which is "the action through which I make the comparison of representations in general with the cognitive power in which they are situated, and through which I distinguish whether they are to be compared with one another as belonging to pure understanding or to sensible intuition" (CPR, A 261/B 317). And he adds to this the more general methodological obligation of "epistemic reflection," or the duty to determine precisely our cognitive capacities and incapacities. If, then, we reflect on our representations, their origins in sensibility and the understanding, and on our powers to know things of ourselves and the world in general, then certain puzzles arise—puzzles that were confronted by Kant (and Hume and Hegel) but that have not received the attention they have deserved. Chief among these puzzles is our ability to identify single objects and events and track them in space through time. But, as Westphal is keen to point out, identifying any particular over time requires that we be able to re-identify that particular. Now, while this puzzle is addressed by Kant in the Transcendental Deduction and Analogies of Experience, it is important to see that there is a material condition necessary for the possibility of self-conscious experience of the world that is not fleshed out in great detail by Kant and seems to be completely overlooked in the literature on Kant, namely, "the presupposition of diversity in nature" and the homogeneity of its objects among themselves (CPR, A 657/B 685). In other words, the fact that we are able to associate our various sensations with each other at all (and thereby identify and re-identify objects) is due to their "transcendental affinity." And it is Westphal's contention that "on Kant's own principles, the transcendental affinity of the manifold of sensory intuition can only be reconstructed, but not constructed, by intellectual syntheses of the understanding" (91). Therefore, pace Kant, who held that only his transcendental idealism could explain the possibility of experience, Westphal argues that transcendental idealism runs afoul of many of Kant's own arguments and observations in the Transcendental Aesthetic and Transcendental Analytic and, more important, that transcendental affinity provides grounds for "realism sans phrase" (the author's phrase) about objects and events in space and time, and for the view that our mental states are determined by external objects. As Westphal puts it in his conclusion: "Kant's analysis of transcendental affinity is in fact a transcendental argument for mental content externalism" (266). [End Page 665]The second part of Westphal's argument revolves around a detailed examination of Kant's theses about transeunt causality and the nature of matter as expressed not only in the Critique of Pure Reason, but also in the Metaphysical Foundations of Natural Science and the Opus postumum. Roughly the problem is this: in order to have an adequately grounded metaphysics of nature, Kant needs not only the results of the Analogies of Experience, the transcendental causal thesis that every event has a cause, but also the metaphysical causal thesis that every physical event has an external physical cause. But, according to Westphal, in the Metaphysical Foundations... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Kant’s Transcendental Proof of RealismBrandon C. LookKenneth R. Westphal. Kant’s Transcendental Proof of Realism. New York: Cambridge University Press, 2004. Pp. x + 299. Cloth, $80.00.Westphal's book is a rich and exciting contribution to the field of Kant studies. Its claims run counter to much contemporary discussion of Kant's theoretical philosophy and indeed challenge some of Kant's fundamental doctrines, but the arguments are very compelling and therefore likely (...) to force us to rethink both the Critique of Pure Reason [CPR] and Kant's relevance to contemporary epistemology.The central point of this work is that, if we follow Kant's injunction to engage in reflection on our cognitive capacities, then we will be led not to Kantian transcendental idealism but to an unqualified realism about objects and events in space and time. The book's first three chapters are devoted to analyzing Kant's methodology and the much-overlooked idea of transcendental affinity. Westphal focuses on the Kantian duty of engaging in "transcendental reflection," which is "the action through which I make the comparison of representations in general with the cognitive power in which they are situated, and through which I distinguish whether they are to be compared with one another as belonging to pure understanding or to sensible intuition" (CPR, A 261/B 317). And he adds to this the more general methodological obligation of "epistemic reflection," or the duty to determine precisely our cognitive capacities and incapacities. If, then, we reflect on our representations, their origins in sensibility and the understanding, and on our powers to know things of ourselves and the world in general, then certain puzzles arise—puzzles that were confronted by Kant (and Hume and Hegel) but that have not received the attention they have deserved. Chief among these puzzles is our ability to identify single objects and events and track them in space through time. But, as Westphal is keen to point out, identifying any particular over time requires that we be able to re-identify that particular. Now, while this puzzle is addressed by Kant in the Transcendental Deduction and Analogies of Experience, it is important to see that there is a material condition necessary for the possibility of self-conscious experience of the world that is not fleshed out in great detail by Kant and seems to be completely overlooked in the literature on Kant, namely, "the presupposition of diversity in nature" and the homogeneity of its objects among themselves (CPR, A 657/B 685). In other words, the fact that we are able to associate our various sensations with each other at all (and thereby identify and re-identify objects) is due to their "transcendental affinity." And it is Westphal's contention that "on Kant's own principles, the transcendental affinity of the manifold of sensory intuition can only be reconstructed, but not constructed, by intellectual syntheses of the understanding" (91). Therefore, pace Kant, who held that only his transcendental idealism could explain the possibility of experience, Westphal argues that transcendental idealism runs afoul of many of Kant's own arguments and observations in the Transcendental Aesthetic and Transcendental Analytic and, more important, that transcendental affinity provides grounds for "realism sans phrase" (the author's phrase) about objects and events in space and time, and for the view that our mental states are determined by external objects. As Westphal puts it in his conclusion: "Kant's analysis of transcendental affinity is in fact a transcendental argument for mental content externalism" (266). [End Page 665]The second part of Westphal's argument revolves around a detailed examination of Kant's theses about transeunt causality and the nature of matter as expressed not only in the Critique of Pure Reason, but also in the Metaphysical Foundations of Natural Science and the Opus postumum. Roughly the problem is this: in order to have an adequately grounded metaphysics of nature, Kant needs not only the results of the Analogies of Experience, the transcendental causal thesis that every event has a cause, but also the metaphysical causal thesis that every physical event has an external physical cause. But, according to Westphal, in the Metaphysical Foundations... (shrink)

At the center of his ontological treatise, Being and Nothingness, in a section titled "The Look," Sartre creates a small narrative moment of dubious virtue in which he is able to resolve one of the truly vexing problems of phenomenology up to his time. It is the problem of the Other. How is it that one can apprehend the Other as subject? Previously, philosophy had sought to understand the other through reflection or attribution (and Sartre deals in particular with (...) the Hegelian and Heideggerian accounts). But to regard the other as a reflection of oneself ends in an obvious solipsism: all others would be only reflections of oneself. To define the other as a subject simply because one saw a person standing there reduces subjectivity irretrievably to object status. And to attribute subjectivity to the other as an extension of experience with oneself as a subject renders one a source of mere doctrine through which to see others. Yet to proclaim the other to be unknowable as a subject leaves no basis upon which to speak about personal and social relations. I will argue that because Sartre's account of the look, his vision of the interpersonal as a subject-object relation, is couched within the realm of the visible, it takes the form of conflict. It will be my contention that being-for-others takes on a different character when articulated in terms of the spoken or "audible." And this difference will have certain socio-political ramifications. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

Aims: The Research Diagnostic Criteria for Temporomandi¬bular Disorders (RDC/TMD) Axis I diagnostic algorithms were demonstrated to be reliable but below target sensitivity and specificity. Empirical data supported Axis I algorithm revisions that were valid. Axis II instruments were shown to be both reliable and valid. An international consensus workshop was convened to obtain recommendations and finalization of new Axis I diagnostic algorithms and new Axis II instruments. Methods: A comprehensive search of published TMD diagnostic literature was followed by review and (...) consensus via a formal structured process by a panel of experts for revision of the RDC/TMD. Results: The recommended Diagnostic Criteria for TMD (DC/TMD) Axis I protocol includes both a valid screener for pain diagnoses and valid criteria for the most common pain-related TMDs and for one intra-articular disorder. The Axis II protocol retains selected RDC/TMD screening instruments augmented with new instruments to better assess the interactions between pain and psychosocial functioning. A comprehensive classification system is also presented. Conclusion: The recommended evidence-based DC/TMD protocol is appropriate for use in both the clinical and research settings. Simple Axis I and II screening tests augmented by validated Axis I and Axis II instruments allow for identification of simple to complex TMD patients. (shrink)

Purpose – This study aims to investigate the perceptions, acceptance, usage and access to social media by students and academics in higher education in informatics programs in Malaysia. A conceptual model based on Connectivism and communities of practice learning theory was developed and were used as a basis of mapping the research questions to the design frameworks and the research outcomes. A significant outcome of this study will be the development of a design framework for implementing social media as supporting (...) tools for student engagement and teaching and learning of informatics programs in higher education institutions in Malaysia. Design/methodology/approach – A mixed-method research methodology with a significant survey research component was employed for this research. This methodology focused on collecting and analyzing quantitative and qualitative data to better understand the research problems. For this study, a mixed-method sequential transformative research strategy based on a QUAN-Qual model was used in the data collection process. Mixed-method research methodology is considered to be most appropriate for this study, as it allows the researcher to gather multiple forms of data from diverse audiences such as educators, administrators and students. Findings – The findings show the close matched of the ownership, amount of hours spent online, types of social media technologies used and pattern of usage between informatics and non-informatics students. It also shows that many students and instructors have started to explore and accept the use of SMTs as a tool for engaging with their institution and their peers as well as for teaching and learning purposes. Innovative institutions need to understand the critical success factors and the barriers that restrict the implementation of SMTs within the HEI to take advantage of the opportunities offered by SMTs in higher education. Research limitations/implications – The surveys and interview participant, in part, are self-selecting, so the data collected cannot be claimed to be representative of the population. However, because of the relatively large number of participants, it can be considered that the findings are indicative. Other limitation includes the depth of data that can be collected using this methodology. Practical implications – There is wide range of social media usage in educational settings now being reported, but many issues are still unexamined. Limited studies have been focusing on the educators’ readiness, acceptance or refusal in integrating social media into their courses, the perceived effectiveness of the tools and student outcomes for their learning. The central outcome of this research will be the development of a design framework that will be used as a guide for Malaysian HEIs and informatics academics to engage students using SMTs in creating effective learning communities for informatics programs. Social implications – The framework will have implication for the social interaction and engagement of students with their institution. Originality/value – Very little work has been reported on student and academic engagement, their perspectives and perceived effectiveness of social media usage in higher education, especially in the Malaysia context. Most of the research focused only on the quantitative research with students from universities in the USA and Australia, with an emphasis mainly on student’s perception and acceptance. There are calls for more research to examine how social media is perceived and accepted by students and academics for teaching and learning, especially in Malaysia. (shrink)

One of the more interesting topics debated by Leibniz and Locke and one that has received comparatively little critical commentary is the nature of essences and the classification of the natural world.1 This topic, moreover, is of tremendous importance, occupying a position at the intersection of the metaphysics of individual beings, modality, epistemology, and philosophy of language. And, while it goes back to Plato, who wondered if we could cut nature at its joints, as Nicholas Jolley has pointed out, the (...) debate between Leibniz and Locke has very clear similarities to the topic that has dominated the philosophy of language from the 1970s on: namely, the challenge mounted by Kripke, Kaplan, Putnam, and others against Russellian and Fregean descriptivist accounts of meaning. Yet, this topic is also, as Jolley writes, one of the “most elusive” in the debate between Leibniz and Locke.2 The purpose of this paper is to examine in detail Leibniz’s critique of Locke’s distinction between real and nominal essences. In doing so, I hope to show certain virtues in Leibniz’s account of metaphysics and philosophy of language that usually escape notice. While I wish to provide a general account of Leibniz’s disagreement with Locke, I also plan to focus on the nature of species and natural kinds. In my opinion, those who have treated this topic have not paid sufficient attention to Leibniz’s claims that “Essence is fundamentally nothing but the possibility of the thing under consideration” and “essences are everlasting because they only concern. (shrink)

According to the perceptual model, our knowledge of others' minds is a form of perceptual knowledge. We know, for example, that Jones is angry because we can literally see that he is. In this essay, I argue that mental states do not have the kind of distinctive looks that could sufficiently justify perceptual knowledge of others’ mentality. I present a puzzle that can arise with respect to mental states that I claim does not arise for non-mental properties like being (...) an apple and argue that this is explained by the fact that the looks of non-mental properties adhere to a certain explanatory principle that does not hold for mental states. This shows, I argue, that, even if we think mental states do have looks, these cannot offer sufficient grounds for perceptual knowledge of others' minds. In the final section of the essay, I suggest an alternative way of thinking about our knowledge of others' minds and about the sorts of looks or appearances that might be associated with mental states. (shrink)

That Leibniz finds the philosophy of Spinoza horrifyingly wrong is obvious to anyone who reads Leibniz’s work; that Leibniz finds Spinozism so seductive that his own system is in danger of collapsing into it is less obvious but, I believe, equally true. The difference here is not so much between an exoteric and an esoteric philosophy suggested by Russell2 but between a thorough-going rationalism on the part of Spinoza and Leibniz’s “mitigated rationalism” – mitigated by the exigencies of his orthodox (...) Christianity. In other words, it is Leibniz’s traditional view of the nature of God and his creatures that leads him to abhor Spinoza’s vision, while his own commitment to a number of principles and ideas pushes him to rationalism. And if Kant is right that the mind naturally desires a system, then Leibniz ought to see the Spinozistic consequences of many of his philosophical principles. Of course, there is nothing new in saying that the God of Spinoza and the God of Leibniz are fundamentally different, but I believe that if we focus on Leibniz’s critique of Spinoza’s account of the nature of God and a constellation of related concepts, we can come to a deeper understanding of the thought of both philosophers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.3 (2001) 440-442 [Access article in PDF] Reinhard Lauth. Descartes ' Konzeption des Systems der Philosophie. Stuttgart (Bad Cannstatt): Frommann-Holzboog, 1998. Pp. x + 227 pp. Cloth, DM 64.00. Reinhard Lauth's Descartes ' Konzeption des Systems der Philosophie is an interesting addition to the literature on Descartes. Written by a renowned scholar of German Idealism, it does not represent an attempt to respond (...) to scholars of Descartes, to take part in the debate regarding aspects of Descartes's philosophy, nor to explain the role of Descartes's thought in the tumultuous seventeenth century, but rather to explain to scholars of German Idealism why Descartes should be considered the first and one of the greatest transcendental philosophers. It is no accident that in the index we find close to 50 references each to Kant and Fichte, while Descartes's important "rationalist" comrades, Spinoza and Leibniz, receive half as much attention; nor is it an accident that the first and last philosopher mentioned in the book is Fichte.Lauth's book is in the tradition of Gueroult's monumental Descartes selon l ' ordre des raisons (Paris, 1968, 2nd edition) and, as the title indicates, the subject of the book is Descartes's philosophy as a system, not as a collection of independent theses about various philosophical problems. However, unlike Gueroult, who concentrated on an [End Page 440] analysis of the Meditations, Lauth draws extensively on the Rules for the Direction of the Mind, Discourse on Method, Meditations, and Descartes's correspondence. That Descartes viewed philosophy as ideally constituting a system of human knowledge should not come as news to anyone who recalls Descartes's claim in the Preface to the Principles of Philosophy that all of philosophy is like a tree whose roots are metaphysics, trunk physics, and branches medicine, mechanics, and morals, or his claim in the Preface to the Meditations that there is a clear order of argumentation or reasons and that his goal is to lay bare the foundations of philosophy. How exactly Descartes's philosophy is to constitute a system is the trickier question that is Lauth's concern.According to Lauth, the order of reasons that one finds expressed in Descartes's first philosophy is not simply a series of biographical events, filling a psychological need in Descartes (cf. Alquié, La Découverte métaphysique de l ' homme chez Descartes [Paris, 1966]), but rather the "systematic path of the cogito itself" (X). And Lauth attempts to show that there is something inexorable in the way that conclusions about the world from the point of view of the thinking subject are made and follow from one another. This takes him along the well-known path of the Meditations: from the existence of the self, to the nature of the self, to the existence and nature of God, to the external world, and finally to the relation of mind and body. And here two interesting observations on Lauth's part should be singled out. First, Lauth does an admirable job in intimating the tension regarding the places of the thinking subject and God as the supreme principles in Descartes's system. On the one hand, it would seem that the thinking subject should be the highest principle in Descartes's philosophy insofar as its existence is the first thing known; but, according to Lauth, it cannot be the highest principle because it does not contain the principle of its own existence (76). On the other hand, if we claim that God is the highest principle then we must recognize that a system following from this principle must fail insofar as genuine knowledge of God surpasses the bounds of our finite, human knowledge (99-100). Second, in claiming that Descartes was a "transcendental philosopher," Lauth reminds us of the extent to which Descartes is concerned with the bounds of human knowledge as determinable from the thinking subject itself.While this work contains many useful insights—especially for those scholars of German Idealism who are looking for new ways of reflecting on their subject—it has... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Individuation und Einzelnsein: Nietzsche, Leibniz, AristotelesBrandon C. LookPaola-Ludovika Coriando. Individuation und Einzelnsein: Nietzsche, Leibniz, Aristoteles. Frankfurt: Klostermann, 2003. Pp. ix. + 318. €28,00.What is a singular thing? Is there a first or last principle that allows us to call something an individual or one? What is the relation between the particular and the universal? Does the being of a particular mean the separation from the universal, or, (...) on the contrary, is the universal a post facto aggregation of individual subjects? What constitutes the individuality of man? This book, based on a lecture course given at the University of Freiburg, addresses these difficult questions and their answers by Nietzsche, Leibniz, and Aristotle.The author claims to limit the discussion to these philosophers because their philosophies represent distinct stations in the development of the question of individuation and the nature of individuality and, at the same time, because their different positions are both explicitly and implicitly related to each other (15). Coriando begins her discussion with Nietzsche, a philosopher one might not have linked at all to the "problem of individuation" per se, and moves backward in time to Leibniz and finally to Aristotle. The point of this order of presentation, the reader is told, is to trace back the essentials of the question of individuation to its origin: Aristotle (16). This strategy is largely successful.Nietzsche's primary concern, of course, is with the nature of the individual, or more particularly, the individual Mensch, and how he is distinguished from or distinguishes himself from the rest of the world. The answer, for Nietzsche, is to be found in his concept of the "will to power," which provides what Coriando calls his "ontological principle of individuation": the inherent drive for perspectival self-affirmation and self-increase (131). There is also, however, an "ethical principle of individuation": the attitude of a person vis-à-vis the eternal recurrence of the same. In accepting and letting go of the entirety of the world and its eternal recurrence, one "becomes who one is," and one can know one's individuality.Whereas Nietzsche tries to approach the problem of individuation independently of the entire western tradition of metaphysics, Leibniz is squarely within this tradition. Indeed, [End Page 121] in his first philosophical work, the Metaphysical Disputation on the Principle of Individuation, the sixteen-year-old Leibniz throws himself into a scholastic fray, carving out a strongly nominalist position. Leibniz's belief that only genuine individuals exist would, of course, stay with him throughout his career; the problem will be, as Coriando nicely shows, to give a precise account of the nature of individual substance. Coriando focuses on two works in her discussion, On the Correction of Metaphysics and the Concept of Substance and, to a much greater extent, the Monadology. The view that she extracts from these works should not be surprising. The principle of individuation, for Leibniz, rests in the active force of a monad and in the particular representation of the rest of the world from the monad's own point of view. Put this way, there is an interesting commonality with Nietzsche at work here.A similar commonality is shown with the thought of Aristotle. Here the principal concern is to explicate Aristotle's conception of ousia in De anima and MetaphysicsZ, H, and Q. Naturally, this leads into an account of how matter can be living and a further explication of Aristotle's energeia and entelecheia. In the end, it becomes clear that the set of concepts—energeia, conatus, will to power—are all, if not equivalent, at least performing largely the same role in guaranteeing the being of individuals. What has become "lost" in Aristotle's philosophy, however, is a notion like the perspectivalism present in Leibniz and Nietzsche, something that Coriando does not discuss at any length.This book offers a broad perspective on the question of individuation, and the choice of Nietzsche, Leibniz, and Aristotle allows Coriando to highlight interesting answers to this metaphysical problem. I do have two small quibbles. First, the problem of individuation, or the desire for a principium individuationis is so much a problem associated with medieval philosophy that... (shrink)

In his Between Two Worlds: A Reading of Descartes’s Meditations, John Carriero presents a sustained and sensitive interpretation of this seminal work of modern philosophy. The two worlds of the title are the worlds of Scholastic philosophy on the one side, and of the mechanical philosophy on the other, and it is Carriero’s argument that the Meditations are most helpfully understood against the background of Thomistic Scholasticism. In particular, Carriero shows that there is a deep difference between St. Thomas and (...) Descartes, first, concerning philosophical theology and the nature and possibility of our cognition of the divine essence, and second, concerning the nature of human cognition. What Carriero is ultimately trying to argue against is a picture of Descartes according to which he is fundamentally engaged in an anti-skeptical project and at the same time responsible for a crass and superficial form of dualism.While the book is organized simply, with one chapter devoted to each of the Descartes’s six Meditations, it is philosophically very rich and will reward careful study. Indeed, it is rare for a book to be devoted to such a close reading of a single text at this high level. Certainly, there are many “Introductions” for undergraduates, but few works written for advanced graduate students and professional philosophers cover a text so closely and so subtly. Carriero’s book demonstrates the virtues of this kind of text-immanent. (shrink)

There are tensions within formal education between imparting knowledge and the development of skills for handling that knowledge. In the primary school sector, the latter can also be squeezed out of the curriculum by a focus on basic skills such as literacy and numeracy. What happens when an explicit attempt is made to develop young children's reasoning—both in terms of their apparent cognitive abilities and their basic skills? This paper reports an independent evaluation of an in-class intervention called ‘Philosophy for (...) Children’, after just over one year of schooling. The intervention aims to help children become more willing and able to question, reason, construct arguments and collaborate with others. A group of 48 volunteer schools were randomised to receive P4C or act as a control for one year. This paper reports the CAT results for all pupils in years 4 and 5 initially, and the Key Stage 2 attainment in English and Maths for those starting in year 5. There was no school dropout. Individual attrition from a total of 3,159 pupils was around 11 percent—roughly equal between groups. There were small positive ‘effect’ sizes in favour of the P4C group in progress in reading and maths, and even smaller perhaps negligible improvements in CAT scores and writing. The results for the most disadvantaged pupils were larger for attainment, but not for CATs. Observations and interviews suggest that the intervention was generally enjoyable and thought to be beneficial for pupil confidence. Our conclusion is that, for those wishing to improve attainment outcomes in the short term, an emphasis on developing reasoning is promising, especially for the poorest students, but perhaps not the most effective way forward. However, for those who value reasoning for its own sake, this evaluation demonstrates that using curriculum time in this way does not damage attainment, and so suggests that something like P4C is an appropriate educational approach. (shrink)

There are tensions within formal education between imparting knowledge and the development of skills for handling that knowledge. In the primary school sector, the latter can also be squeezed out of the curriculum by a focus on basic skills such as literacy and numeracy. What happens when an explicit attempt is made to develop young children's reasoning—both in terms of their apparent cognitive abilities and their basic skills? This paper reports an independent evaluation of an in-class intervention called ‘Philosophy for (...) Children’, after just over one year of schooling. The intervention aims to help children become more willing and able to question, reason, construct arguments and collaborate with others. A group of 48 volunteer schools were randomised to receive P4C or act as a control for one year. This paper reports the CAT results for all pupils in years 4 and 5 initially, and the Key Stage 2 attainment in English and Maths for those starting in year 5. There was no school dropout. Individual attrition from a total of 3,159 pupils was around 11 percent—roughly equal between groups. There were small positive ‘effect’ sizes in favour of the P4C group in progress in reading and maths, and even smaller perhaps negligible improvements in CAT scores and writing. The results for the most disadvantaged pupils were larger for attainment, but not for CATs. Observations and interviews suggest that the intervention was generally enjoyable and thought to be beneficial for pupil confidence. Our conclusion is that, for those wishing to improve attainment outcomes in the short term, an emphasis on developing reasoning is promising, especially for the poorest students, but perhaps not the most effective way forward. However, for those who value reasoning for its own sake, this evaluation demonstrates that using curriculum time in this way does not damage attainment, and so suggests that something like P4C is an appropriate educational approach. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 40.3 (2002) 399-400 [Access article in PDF] Book Review Radical Enlightenment: Philosophy and the Making of Modernity, 1650-1750 Jonathan I. Israel. Radical Enlightenment: Philosophy and the Making of Modernity, 1650-1750. Oxford: Oxford University Press, 2001. Pp. xx + 810. Cloth, $45.00. Jonathan Israel's goal in this excellent book is to show that we cannot fully understand the high Enlightenment—the age of the philosophes (...) and the French Revolution—without looking at the work and influence of that "most unusual and loneliest thinker" (to borrow a phrase from a later admirer): Spinoza. Israel gives us a detailed and nuanced account of the history of ideas in early modern Europe, focusing especially on the generations before Voltaire and Rousseau. Not only does Israel describe the general struggle between Enlightenment ideas and the status quo ante, he also discusses in depth the tensions between "mainstream" Enlightenment and its "radical" wing. More precisely and importantly, Israel argues that the high Enlightenment ought to be seen as the outcome of "a four-way conflict between Newtonians, neo-Cartesians, Leibnitio-Wolffians, and radicals" (715), a conflict that took place across Europe and whose dust had essentially settled by 1740. Thus, Israel is arguing against the view that the French philosophes were the dominant force in the intellectual world that led to the Revolution, against the view that Newton and Locke played a dominant role throughout Europe, and against the view that there were several distinct enlightenments with different national characters.What is meant by the term "radical Enlightenment"? According to Israel, radical Enlightenment comprises several views and tendencies in the realms of science, theology, and politics: in scientific matters, it embraces naturalism, mechanism, and materialism; in theological matters, it denies a moral order to the universe, a providential god, the Judeo-Christian(-Islamic) account of creation, miracles, and reward and punishment in an afterlife, and is critical of the idea of the divine inspiration of religious texts; in political matters, it unequivocally supports republicanism, even democracy; and, in all matters, it argues for the necessity of toleration and the "freedom to philosophize." For those who know Spinoza's philosophy, this ought to sound familiar.Israel's book is divided into five parts. In the first, he sketches the general intellectual milieu of early seventeenth-century Western Europe. The second part describes Spinoza and his circle and the philosophy of the Ethics and Tractatus Theologico-Politicus. In Parts III and IV, Israel discusses the immediate reactions to Spinozism, the varieties of radical Enlightenment made possible by Spinoza, and the "intellectual counter-offensive" to naturalism, materialism, atheism, and republicanism. Part V concerns the "clandestine progress" of Spinozism and radical ideas in different countries after the banning and censorship of so many radical works, and, in a brief epilogue, Israel argues that it is Rousseau who effectively reconciled mainstream Enlightenment thought with its radical relative. This is a lot of territory to cover, and Israel covers it admirably, offering illuminating discussions of other key figures of the time: Leibniz, Malebranche, Bossuet, Locke, Bayle, Wolff, Vico, Diderot, and La Mettrie. Another strength of Israel's book is, however, the extent to which he portrays thinkers (some radicals, some reactionaries) and works that are less familiar to most working in the field today. We learn not only about such figures as Bredenburg, Fontenelle, Le Clerc, Leenhof, and Boulainvilliers, but also, in a charming but unfortunately short chapter, about Spinozistic novels from the eighteenth century.As someone trained in a philosophy department to work on the history of philosophy, I felt uneasy in one respect with this book. While Israel emphasizes the battles between philosophies and ideas, he does not concern himself so much with the process of doing philosophy. That is, if there is a failing in this book, it is that we are presented with descriptions of philosophical views without always being given an adequate account of why such views were held by individual thinkers or how the theses of the radical Enlightenment, say, are related to each... (shrink)

In Being and Nothingness Jean-Paul Sartre contends that the self's fundamental relation with the other is one of inescapable conflict. I argue that the research of the last few decades on the ability of infants - even newborns - to imitate the facial expressions and gestures of adults provides counter-evidence to Sartre's claim. Sartre is not wrong that the look of the other may be a source of self-alienation, but that is not how it functions in the first instance. (...) An earlier and more primary form of looking with and at the other is a source of self-discovery. In early imitation, the infant and adult each see the other not as objects of experience but as subjects of action. Such looking is necessary for the infant to realize its own potential as a self-conscious, goal-directed subject of perception and action. (shrink)

Roger Ariew begins this book with the following sensible claim: “A philosophical system cannot be studied adequately apart from the intellectual context in which it is situated”. His book, naturally enough, attempts to demonstrate the way in which Descartes responded to and affected the philosophical world of late Scholasticism. The ten chapters themselves are all previously, or soon to be, published essays, unified by the view that our knowledge of late Scholasticism is deeply imperfect and that our resulting picture of (...) Descartes is also imperfect. Each chapter provides an example of how, with a proper understanding of Scholastic philosophy, we arrive at a slightly different and more refined picture of Descartes. Indeed, Ariew’s work is the product of an admirably broad and detailed knowledge of the works of the major thinkers of the sixteenth and seventeenth centuries; Toletus, Suarez, Eustachius, Basso, Clavius, Dupleix, Mersenne, Arnauld, and many others are the actors in this drama of the rise of Cartesianism. (shrink)

The COVID-19 pandemic has drastically altered the education sector. Rather than the impact of COVID-19, many higher education institutions are on the verge of insolvency due to a lack of digital transformation readiness and poor business models. The bleak financial future many HEIs will face while others may be forced to close their doors completely will erode HEIs’ ability to fulfil their societal responsibilities. However, HEIs that have survived and maintained their operations anticipate the transition to online learning or the (...) effects of any economic crisis, including university closures in the short, medium, or long term. The entire educational ecosystem was forced to transform its operations quickly and entirely to an online teaching-learning scenario in just a few weeks. Notably, HEIs that have long offered online courses worldwide can easily transition to digital teaching and learning when necessary. The second roundtable session’s result of the International Higher Education Conference, organized by INTI International University on March 31 2022, was used to organize a Delphi method to identify further factors that positively impact HEIs by COVID-19. The importance of these factors was then determined using Kendall’s coefficient of concordance. Recommendations on how HEIs should move towards institutional sustainability during the endemic phase are presented accordingly. (shrink)

Empathy is a familiar form of emotionally charged imaginative perspective taking. In this dissertation I offer an account of empathy’s moral importance that emphasizes the special value of its unique epistemic functions. Specifically, I defend what I call the humane understanding thesis: empathy is the source of a distinct epistemic good, humane understanding, which consists in the appreciation of the intelligibility of others’ emotional perceptions, and humane understanding is necessary for fully virtuous relations with other people. Adam Smith held that (...) empathy is the unique means by which we judge the propriety of other’s emotions. I draw out the kernel of truth in this surprising claim. Emotions inevitably present the world in a certain evaluative light. When I see my situation as calling out for my anger, or fear, or adoration, my emotion appears to me to be properly responsive to my situation. I can judge my emotion to be inappropriate, all things considered. However, I cannot both be angry at your betrayal and be totally mystified by my own anger, or resent you but see no absolutely nothing in your conduct that appears to call out for my resentment. This insight applies to empathy. When we empathize, we feel genuine emotions. And when we feel these emotions, we cannot fail to appreciate the intelligibility of the other’s original emotion first-hand. This appreciation constitutes humane understanding of the other’s emotion. I further clarify the nature of this epistemic achievement by distinguishing it from two other nearby forms of understanding, one that is achieved through narrative rather than perspective taking, and one that is achieved through unemotional perspective taking. Empathy has recently come in for some heavy criticism. It has been described as not only morally unnecessary, but positively morally corrosive. Recognizing that empathy is the unique means by which we secure humane understanding of others’ emotional perceptions enables us to appreciate aspects of empathy’s moral significance that its most prominent detractors have neglected. Humane understanding is a powerful way of being close to another person, and closeness is something that social beings like ourselves crave, not for any further or deeper purpose, but just because it is valuable to us in and of itself. People have a powerful need to be empathized with because empathy relieves a painful form of loneliness. Empathy can be a way of caring, rather than just a means of getting us to care. In further defense of empathy’s moral significance, I also argue that empathy has a meaningful role to play in the development of both our reflective beliefs about moral properties and our emotional sensitivity to those same properties. Empathy can allow us to discover new moral distinctions through imaginative emotional experience, and it can also help us to shape and sharpen our moral emotional perception. Finally, I round out my review of empathy’s moral significance with an argument that empathy with others makes it very difficult to intend to treat them in certain immoral ways. We cannot both empathize with someone and see them as unfeeling, as unthinking, or as lacking a normative perspective on the world. Consequently, empathizing with someone is at least not compatible with treating them as a mere object. I offer my Smithian picture of empathy’s moral and epistemic functions as an alternative to the popular Humean view that empathy moves us from our default position of solipsism and egoism to knowledge of and care for other’ inner lives. That view’s ambition is tantalizing, but it distorts both the nature of empathy and the nature of our other-oriented concern and understanding. Hume’s account of empathy’s significance, and the more recent accounts that take after it, end up making it look as though empathy simply contributes to the expansion of egoism, and/or as though empathy depends for its motivational efficacy on a kind of epistemic mistake. (shrink)

Drawing from the fields of psychology and neuroscience and from the worlds of theater, philosophy, history and education, one of the nation's leading writers and commentators helps us become more understanding and considerate toward others, and to find the joy that comes from being seen.

What does the unofficial artist see from the public seats of a courtroom? I have drawn occasionally in the UK Supreme Court, with the court’s permission. I have also drawn proceedings in other courts, such as nude appearances of the Naked Rambler, but these sketches have to be from memory: despite calls for greater transparency, it is still illegal to draw in any UK court below the UK Supreme Court. Official court artists seek to draw a newsworthy moment to please (...) their paymasters—news outlets, or lawyers who like a flattering image. I can please myself and pick out private human moments or elements of coded theatre. I write as a non-lawyer, representing the view of the lay person. What are the public, lawyers, parties and judges doing? How do performance nerves affect people? What can a drawing say? I take a practical rather than a theoretical look: I literally get my hands dirty. (shrink)

The newborn opens its eyes when it comes into the world. We close the eyes of the dead because they are no longer part of the world of the living. It is through looking that we enter the world, that we take possession of it, and that we leave it. We open or close our eyes to the living beings and things that surround us. Of prime importance among these living beings are other humans, who may resemble or be different (...) from us, but whose eyes also look. From this perspective, to live is to look at other people and at ourselves. Artists, particularly those who work with light and looking, such as painters, photographers, or film-makers, show us that art is above all seeing life: we look at the other who has been painted, photographed, or filmed. At the same time a photograph or painting of this other tells us who we are and what type of relationship we have with the world. For looking is never neutral. Every look, from wherever it comes, is imbued with culture. In art, looking is part of writing. But, when we look at others, how do we see them? Do we see them? The blind may have poor sight, yet, because they have bodies, sensibilities, minds, and other faculties that enable them to enter into relations with others, they have a way of looking. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public (...) domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

I ask whether it is necessary that principles of number be mentally represented and point to the role of language in determining cultural variation. Some cultures possess extensive counting systems that are finite. I suggest that learning number principles is similar to learning conservation and, as such, might be derived from learning about the empirical properties of objects and other individuals in combinations.

Marcel Proust offered the twentieth century a new psychology of memory and seeing. His novel In Search of Lost Time was written in the modern age of photography and art history. In Looking Back One Learns to See: Marcel Proust and Photography is an intellectual adventure that brings to light Proust’s visual imagination, his visual metaphors, and his photographic resources and imaginings. The book features over 90 illustrations. Mary Bergstein highlights various kinds of photography: daguerreotypes, stereoscopic cards, cartes-de-visite, postcards, book (...) illustrations, and other photographic mediums. Portraiture, medical photography, spirit photography, architectural photography, Orientalism, ethnographic photography, and fin-de-siècle studies of Botticelli, Leonardo, and Vermeer, are considered in terms of Proust’s life and work. The net is cast wide, and each image under discussion has been researched with subtle attention to art, literature, and cultural history. This scholarly study in literature and visual culture will be a delight, too, for general readers who love photography or Proust. Mary Bergstein is professor of History of Art and Visual Culture at the Rhode Island School of Design. She won the 2012 “Courage to Dream” book prize from the American Psychoanalytic Association for, Mirrors of Memory: Freud, Photography, and the History of Art (Cornell 2010). She has published numerous books and articles on art and visual culture from Italian Renaissance sculpture to contemporary photography. (shrink)

Although the relationship between stereotypes and acculturation preferences has been previously studied from the majority perspective among adults, the perspective of adolescents and minority groups is understudied. This research analyzed the contribution of four stereotype dimensions to the acculturation preferences of Spanish adolescents and adolescents of Moroccan-origin, the moderating role of stereotypes in intergroup acculturation discrepancies, and the interaction of stereotypes with acculturation perceptions on acculturation preferences. A sample of 488 Spanish adolescents and 360 adolescents of Moroccan-origin living in Spain, (...) from 12 to 19 years old, reported how moral, immoral, social, and competent they perceive each other to be. Spanish adolescents reported their perception about how Moroccan youth were acculturating in terms of maintaining their original culture and adopting the host culture, and their acculturation preferences in the same dimensions. Adolescents of Moroccan-origin reported to what extent they were maintaining their original culture and adopting the host culture, their acculturation preferences, and their ethnic and national identity. Results showed that adolescents of Moroccan-origin reported more positive perceptions of Spanish youth than conversely. The perceived immorality of the outgroup was important for understanding the preferences for adopting the host culture of both groups, but in the opposite direction. The four stereotype dimensions modulated the majority-minority discrepancies in preferences for cultural adoption. An analysis of the interaction between stereotypes and perceived adoption on acculturation preferences showed that when Spanish adolescents perceived that Moroccan youth were not adopting the Spanish culture, perceived morality and sociability played a role in their preferences for adoption. The less moral and sociable Moroccans were perceived, the more preference for cultural adoption. These findings support the importance of considering stereotypes in acculturation studies of majority and minority groups, as well as the relevance of including these perceptions in interventions aimed at improving intercultural relations. (shrink)

One might think that the best metaphysical theory of the world includes the existence of other minds and of the physical world, while denying that we can know or be certain that this theory is true. This chapter considers Solipsism as a theory about reality. It examines the Veil of Perception, and then considers a series of direct arguments against the Solipsistic Veil, Phenomenalism, and Solipsism itself. The chapter looks at two obviously inadequate arguments for the Veil, namely, (...) Berkeley's inconceivability argument and the argument from causal mediation. Then, the chapter looks at two much more interesting and important arguments, namely, the argument from hallucination and illusion and the argument from color and other secondary qualities. Besides the Veil of Perception, arguments for Idealism and Solipsism depend on an appeal to Ockham's Razor. These arguments can be taken either as providing additional support for Perceptual Realism or as a defense of Inferred Anti‐Idealism. (shrink)

In the Preface of the Tractatus Wittgenstein presents his proposal of “drawing limits” separating sense from nonsense as a way to get rid of philosophical problems caused by “misunderstandings of the logic of our language.” Such limits, we will later discover, will be drawn by means of a method which allows one to determine whether a given projection of a strings of signs was made in accordance with the rules of logical syntax, or else violated them, thus generating metaphysical propositions. (...) Notwithstanding its centrality for the Tractatus, the idea of drawing such limits seems to be in tension with Wittgenstein’s actual procedure in most of the book, which from its very first numbered proposition introduces “metaphysical” theses again and again in order to achieve the results programmatically indicated in the Preface—hence the need for the self-undoing message of 6.54, urging the reader to recognize those propositions “as nonsensical, when he has used them—as steps—to climb up beyond them.” That tension creates some of the most challenging questions in the debate about how to read the Tractatus—questions such as: how are we supposed to use Wittgenstein’s propositions as “steps in a ladder”? What exactly does “throwing the ladder away” amount to? And what does it mean to “see the world aright” after “overcoming” those propositions? This paper attempts to answer those questions by means of a close reading of an exemplary set of propositions dealing with solipsism and the limits of language. Although limited in scope, the hope is that such reading might stand as a test case for parallel readings of other parts of the book. (shrink)

This study examines whether human gaze lacking the confounding factor of eye whites can be processed unconsciously and explores the critical aspects for such process. Utilizing the continuous flash suppression paradigm, a schematic face—with direct or averted gaze, and with neutral, fearful or happy expressions—was presented to one eye while dynamic masks rendered it invisible to the other eye. Schematic faces were used to avoid unwanted influence from salient eye whites. Participants’ detection time of anything other than the masks was (...) used as an index of unconscious processing time. Faster detection was found for faces with direct gaze than those with averted gaze. However, there was no difference between detection times for different facial expressions and upright-face, inverted-face, and eyes-only conditions . These results confirm that, with schematic faces, gaze can be processed unconsciously regardless of facial expression, and eyes alone are sufficient for such process. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 8.1 (2003) 74-92 [Access article in PDF] John Dewey's Aesthetic Ecology of Public Intelligence and the Grounding of Civic Environmentalism Herbert Reid and Betsy Taylor "[The problem is] that of recovering the continuity of esthetic experience with normal processes of living." John Dewey, Art as Experience "This is not a protest. Repeat. This is not a protest. This is some kind of artistic expression. Over." (...) --A call that went out on Metro Toronto police radios on May 16, 1998, the date of the first Global Street Party. Quoted from Naomi Klein, No LogoThis paper argues for the importance of John Dewey's aesthetic philosophy to recent efforts to cultivate civic environmentalism while critiquing narrowly conservationist environmentalisms. We call for a strong version of civic environmentalism oriented towards holistic integration of ecological [End Page 74] concerns into all aspects of social, political, economic, and cultural life. Such a civic environmentalism argues that it is not enough to strive to preserve enclaved 'wilderness' or 'biodiversity' (as important as that is). It argues also for fundamental changes in the political and economic status quo, because ecological havoc is understood to be integrally linked with the structural forces that are increasing inequality and weakening democratic publics. Strengthening of the civic commons is integral to protection of the environmental commons. If the environmental commons are the substantive goods in common which are the sustaining grounds of life, the civic commons are the institutions, collective memories, social networks, and skills that enable and inspire individuals to engage with each other in stewarding the common good. Such collective labor for the larger good requires some form of collective imagination which enables awareness of self and other (human or non-human) as inherently valuable. But beyond this, it requires perceptual and social infrastructures that nurture the ability to see self and other as emergent from and dependent on the supra-individual matrix that supports both life and individual. Central to such civic labor, is a non-dualistic understanding of individual/matrix. Such a non-dualistic understanding of self/other-in-matrix is central to political and ecological imaginations that are decentered from ethnic, species, class, gender, or other forms of domination and solipsism.John Dewey's work as a whole is a powerful call for such a non-dualistic understanding of individual-in-matrix, and few have better understood its connections to democracy. But, it is in his philosophy of art that Dewey describes most specifically the central importance of the aesthetic dimension of public culture to overcoming crippling dualisms of Western modernity that vitiate participatory engagement- individual/world, nature/culture, ends/means, leisure/work, art/science, aesthetic/ordinary. His writings on art have not been much utilized in the philosophical work for civic environmentalism. This paper argues for their relevance to its key goal of overcoming the segmentation of life ushered in by modernity and buttressed by these dualisms.We first give an overview of recent theories of civic environmentalism and the crises it engages of inequality, injustice, technocracy, corporatization, and the pervasive assault on place and thinning of public participation. Second, we look at the implications of Dewey'saesthetic ecology for an "environmentalism of daily life" that challenges the false dualisms of neo-liberalism and of technocratic professionalism that undermine place-based [End Page 75] forms of life and knowledge. Third, we draw on Dewey's aesthetic philosophy to suggest ways to rebuild democratic public space at the nexus of body, place, and commons. Finally, we briefly outline key philosophical questions that have emerged in our ethnographic and political study of Appalachian grassroots activisms, and that embody this sort of placed, democratic mobilization to protect the civic and environmental commons. American Environmentalism: Crisis and Challenge Toward the end of the last decade, veteran New York Times journalist and now independent writer Philip Shabecoff set out to engage "a broad spectrum of thoughtful and informed people within and without the environmental movement." His Earth Rising: American Environmentalism in the 21st Century offers a very... (shrink)

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In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 8.1 (2003) 74-92 [Access article in PDF] John Dewey's Aesthetic Ecology of Public Intelligence and the Grounding of Civic Environmentalism Herbert Reid and Betsy Taylor "[The problem is] that of recovering the continuity of esthetic experience with normal processes of living." John Dewey, Art as Experience "This is not a protest. Repeat. This is not a protest. This is some kind of artistic expression. Over." (...) --A call that went out on Metro Toronto police radios on May 16, 1998, the date of the first Global Street Party. Quoted from Naomi Klein, No LogoThis paper argues for the importance of John Dewey's aesthetic philosophy to recent efforts to cultivate civic environmentalism while critiquing narrowly conservationist environmentalisms. We call for a strong version of civic environmentalism oriented towards holistic integration of ecological [End Page 74] concerns into all aspects of social, political, economic, and cultural life. Such a civic environmentalism argues that it is not enough to strive to preserve enclaved 'wilderness' or 'biodiversity' (as important as that is). It argues also for fundamental changes in the political and economic status quo, because ecological havoc is understood to be integrally linked with the structural forces that are increasing inequality and weakening democratic publics. Strengthening of the civic commons is integral to protection of the environmental commons. If the environmental commons are the substantive goods in common which are the sustaining grounds of life, the civic commons are the institutions, collective memories, social networks, and skills that enable and inspire individuals to engage with each other in stewarding the common good. Such collective labor for the larger good requires some form of collective imagination which enables awareness of self and other (human or non-human) as inherently valuable. But beyond this, it requires perceptual and social infrastructures that nurture the ability to see self and other as emergent from and dependent on the supra-individual matrix that supports both life and individual. Central to such civic labor, is a non-dualistic understanding of individual/matrix. Such a non-dualistic understanding of self/other-in-matrix is central to political and ecological imaginations that are decentered from ethnic, species, class, gender, or other forms of domination and solipsism.John Dewey's work as a whole is a powerful call for such a non-dualistic understanding of individual-in-matrix, and few have better understood its connections to democracy. But, it is in his philosophy of art that Dewey describes most specifically the central importance of the aesthetic dimension of public culture to overcoming crippling dualisms of Western modernity that vitiate participatory engagement- individual/world, nature/culture, ends/means, leisure/work, art/science, aesthetic/ordinary. His writings on art have not been much utilized in the philosophical work for civic environmentalism. This paper argues for their relevance to its key goal of overcoming the segmentation of life ushered in by modernity and buttressed by these dualisms.We first give an overview of recent theories of civic environmentalism and the crises it engages of inequality, injustice, technocracy, corporatization, and the pervasive assault on place and thinning of public participation. Second, we look at the implications of Dewey'saesthetic ecology for an "environmentalism of daily life" that challenges the false dualisms of neo-liberalism and of technocratic professionalism that undermine place-based [End Page 75] forms of life and knowledge. Third, we draw on Dewey's aesthetic philosophy to suggest ways to rebuild democratic public space at the nexus of body, place, and commons. Finally, we briefly outline key philosophical questions that have emerged in our ethnographic and political study of Appalachian grassroots activisms, and that embody this sort of placed, democratic mobilization to protect the civic and environmental commons. American Environmentalism: Crisis and Challenge Toward the end of the last decade, veteran New York Times journalist and now independent writer Philip Shabecoff set out to engage "a broad spectrum of thoughtful and informed people within and without the environmental movement." His Earth Rising: American Environmentalism in the 21st Century offers a very... (shrink)

This article aims to understand the primordial experience of the existence of the Other, presented by Jean-Paul Sartre in the third part of Being and Nothingness. In order for our intention to be effectively understood, we have organized this reading into three duly articulated moments. In the first moment, it is essential to clarify how the French philosopher delimited the problem of solipsism as an obstacle constituted by realist and idealist philosophies that generally deny the conditions of possibility (...) for the existence of the other, as well as the critical description that questions the permanence of solipsistic theories in contemporary times, bequeathed by Husserl, Hegel and Heidegger. From this critique, we will lead our reading to the second moment, which consists of establishing an understanding of the existence of the Other, showing how it appears and affects the subject’s daily life, above all because the Other requires the presence of a body and a consciousness that is distinct from the subject’s. In the last moment, we will emphasize the interesting approach to the gaze and shame, this original feeling that strips the consciousness of any certainty that it is isolated in the world. Thus, the experience of shame comes to be understood as the unveiling of the subject’s consciousness, which perceives itself as “invaded” by the gaze of the Other, thus making the Other’s existence in the concrete relationship effective. (shrink)

This is a reply to Cees Maris. He wrote two articles in Dutch purporting to be a dialogue with Mogobe Ramose. The two articles have subsequently been compressed into one and published in the South African Journal of Philosophy. Mogobe’s reply is directed at all three articles, meaning the two published in Dutch together with the one published in English. The core of the argument is the meaning of ubu-ntu against ubuntu. The former is a philosophical concept and the latter (...) is the everyday language usage presupposing but not explicitly manifesting awareness of its reliance upon ubu-ntu. In elaborating upon his criticism of some of the writings of Mogobe on “ubuntu”, Maris appeals to other writers to support his position. Mogobe dismisses all this on the ground that neither Maris nor his supporters actually address and challenge the philosophical exposition of ubu-ntu in the various writings of Mogobe. Maris and his supporters have at best looked at Ramose but have not seen him. The result is that there never was “a dialogue” with Ramose, except the imaginary one by Maris. (shrink)

This study began with a fascination for the enigma of American artist Andy Warhol (1928-1987). I began to collect his words. I had been intrigued by German philosopher, literary critic, and essayist Walter Benjamin’s (1892-1940) philosophical snapshots and with the notion of an aura that could be pealed from objects by photography. And I was taken by French philosopher, professor of law, and theologian Jacques Ellul’s (1912-1994) claim that religion, philosophy, and aesthetics were mere ornaments that had gone the way (...) of the ruffled sunshade on McCormick’s first reaper. Benjamin’s epistemological understanding of aura, the capacity of the object to look back and to direct the viewer in search for origins, fleshed out Ellul’s claim. The symbol had lost its symbolic dimension in the technical process where words became images and images became concepts; clichés were the nature of this productivity, which became more than tired expressions. The cliché is the machine in its new suit. This insight informed my reading of Warhol and Benjamin with Ellul. And, of course, my reading of Ellul has influenced my reading of Warhol and Benjamin. (shrink)

Jean-Paul Sartre's account of the Look in Being and Nothingness is not straightforward and many conflicting interpretations have arisen due to apparent contradictions in Sartre's own writing. The Look, for Sartre, demonstrates how the self gains thematic awareness of the body, forming a public and self-conscious sense of how the body appears to others and, furthermore, illustrates affective and social aspects of embodied being. In this article, I will critically explore Sartre's oft-cited voyeur vignette in order to provide (...) a coherent account of the Look and to illustrate the significance of intersubjectivity and self-consciousness in Sartre's work. Through considering Sartre's voyeur vignette and other examples of reflective self-consciousness, this article will examine epistemological, self-evaluative and ontological concerns in the constitution of reflective self-consciousness. It will be contended that Sartre's accounts of the Look and reflective self-consciousness within social relations can provide insight into the intersubjective nature of the shaping of the body and the significance of self-presentation within the social realm. (shrink)

This chapter contains sections titled: Reading Art Other Pictures The Commonplace Transfiguration Reading Prints Ekphrasis Moving Past The Vulgar Re‐evaluating Values Paragone Exemplary Marsyas Image–Word–Sound Saints and Painters Refiguring Error.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Seeing and Being Seen in the Later Medieval World: Optics, Theology, and Religious LifeA. Mark SmithDallas G. Denery, II. Seeing and Being Seen in the Later Medieval World: Optics, Theology, and Religious Life. Cambridge Studies in Medieval Life and Thought (Fourth Series), 63. Cambridge-New York: Cambridge University Press, 2005. Pp. x + 202. Cloth, $75.00.Among the metaphors we live by (to borrow from Lakoff and Johnson), (...) visual metaphors figure prominently in our common discourse about cognition. We are well aware, of course, that in claiming to "see" meanings or "view" ideas in certain lights, we are speaking figuratively. Yet the analogy between thinking and seeing is more than a linguistic artifact. Until the seventeenth century, Western thinkers took it seriously, none more seriously perhaps than the thirteenth-century scholastic community. The upshot was an epistemology based on two cardinal assumptions: first, that the physical world manifests itself to us through species passing from external objects into the soul, and second, that visual perception is providentially designed to yield a faithful conceptual picture of physical reality and its ordering structure.This latter assumption found strong support in Perspectivist optics, which took mature form in the 1260s as an amalgam of Alhacenian visual analysis and species-theory. Hence, by the later thirteenth century it was widely believed not only that vision is essentially cognitive but also that cognition is essentially visual. During the first half of the fourteenth century, this idea was subjected to trenchant criticism and thereby rejected out of hand by several thinkers, among whom Nicolaus of Autrecourt is a particular subject of emphasis in this study.It has become something of a truism lately that theories are neither accepted nor rejected on logical grounds alone. This one, Denery claims, is no exception since there were compelling theological grounds for its adoption. Foremost among these was a new emphasis on self-presentation in the thirteenth century. That emphasis manifested itself at two levels. On the one hand, the clerical orders were encouraged to give the right appearance and to suit the appearance to specific settings. This was especially important among the new preaching orders, whose members had to put on so many public faces that they came to adopt what Denery calls "heuristics of adaptation." On the other hand, new modes of confession and penance required deep introspection on the penitent's part, so that he might "see" himself for the complex of sinful motives and actions he is, as well as experience the contrition-yielding horror such a sight arouses. In both cases, the appearances should reveal the underlying reality: the preacher's spiritual commitment reflected in his mien, the penitent's contrition in the recognition of his vitiated nature.But how can we be sure that what we see in these instances is true? This question is particularly vexing in the case of religious introspection, for, as St. Paul reminds us, our moral vision is distorted by the mirror that darkens it. Enter the analogy between physical vision and cognition. Visual illusions, such as those arising from reflection, were of paramount concern to Perspectivist theorists, who devoted considerable effort to rationalizing them according to unmet normative conditions, such as adequate illumination, appropriate distance, or a healthy eye. Reflected vision is subject to transgressions of these conditions, but adding insult to their injury is that, when seen in mirrors, objects invariably appear displaced and often look distorted in size, shape, and orientation. Fortunately, reason enables us to rectify such illusions according to specific rules that govern visual perception in general and reflection in particular.If the analogy between physical and moral vision holds true, then reason ought to be the corrective in both cases. At first blush, this seems to be Peter of Limoges's position in the Tractatus moralis de oculo (c. 1280), but, as Denery insists, Peter's real point is that our inner, moral vision is so clouded we can rarely tell either how or even that it is distorted. The hoped-for normative circumstances and principles enabling us to rectify it are far too vague and protean to yield certainty from introspection. Given the tight conceptual linkage between... (shrink)

The current context of a turn to the visual and the transpersonal–psychological potential of the book of Job forms the background of this study, which aimed at focusing a psychological lens on the topic of eyes in the book of Job. This approach has the potential of seeing beyond both the literal and the figurative sense of eyes in the book of Job, gaining a vision of a transcendental reality, either in or after this life. In this way, the bodily (...) suffering experienced by the protagonist could be illuminated as a model for every recipient. By relating the eye to other body parts mentioned in the book, a texture of meanings has been woven with a complicated and intriguing subtext for the narrative of the eye in the life of Job. This wealth of value attached to the eye in the book subverts the traditionally negative attitude to the visual in monotheistic religions and resuscitates the eye to the status of even a transcendental level. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 23 (2003) 165-167 [Access article in PDF] Christianity in the Crucible of East-West Dialogue: A Critical Lookat Catholic Participation; And God, Zen, and the Intuition Of Being. By James Arraj. Chiloquin, Ore: Inner Growth Books, 2001. 335 pp. This book combines an original book-length essay, Critical Look at the Catholic Participation in the East-West Dialogue, and a new edition of the 1988 work God, Zen, and (...) the Intuition of Being. In the first part of the volume, Arraj discusses the approaches of a large variety of individuals and institutions who have been involved in the Christian dialogue with Buddhism (Habito, Enomiya-Lasalle, Jaeger, MacInnes, Hawk, Kennedy, Corless, etc.) and in the dialogue with Hinduism (Abhishiktananda, Grant, de Mello, Griffiths, Teasdale, etc.). The main perspective from which he discusses each of these authors is that of their conception of the relationship between Christian contemplation and enlightenment or realization. Arraj finds most of the existing approaches to the East-West dialogue wanting insofar as they all consider the Christian experience of contemplation from the perspective of the Hindu or Buddhist view of nonduality. As he puts it: "But what does this kind of nondualist imperialism do to Christianity? It eliminates its distinctive nature. Let me be clear about this. Used in this way, Zen awakening, which could be a wonderful gift for Christians, becomes destructive of Christianity" (31). Arraj sees this as but one expression of what he calls reactionary theology or "theology without a net," which has been developing since the Second Vatican Council. As opposed to this form of dialogue, which compromises the essence of Christian faith, Arraj discusses the approaches of Jacques Dupuis and the document Dominus Iesus, which he understands as two different versions of a proper Catholic position. After discussing a number of unsatisfactory approaches to the question of religious pluralism, he introduces the distinction between an existentialist approach, which focuses on the universality of the salvific will of God, and an essentialist approach, which emphasizes the uniqueness of Jesus as the mediator of salvation. This distinction between existence and essence forms one of the dominant themes of the book.Arraj offers an overview and critique of most of the existing approaches to the East-West dialogue, and then moves on to offering alternative proposals for the dialogue. While many are in the process of "overcoming" the metaphysical tradition of Christianity, Arraj sees precisely in this tradition a promising starting point for the dialogue with Zen Buddhism. After analyzing the particularly Thomistic manner of distinguishing essence and existence and some study of references to the experiences of loss of self in the ultimate realization, Arraj comes to the conclusion that what Thomistic metaphysics thinks of as "intuition of being" and what Asian traditions describe as the experience of Enlightenment "are both deeply metaphysical experiences of the same reality, but by different paths, and so they express themselves in different ways" (206). This, then, provides the necessary basis for the two traditions [End Page 165] to retain their respective identities while nonetheless learning from the other. In God, Zen, and the Intuition of Being Arraj offers some thoughts on how this might proceed. The clearest of these thoughts appear to lie on the side of what a discussion with Zen might do for Christianity. This is a matter, first of all, of rekindling an interest in Thomistic metaphysics through an introduction of categories and spiritual techniques that are part of the Zen tradition. At minimum, this would open a way beyond, or perhaps behind, the scholasticism of the manuals that have covered the true profundity of Christian Thomistic metaphysics. Whatever the philosophical stakes of this recovery, Arraj is especially interested in its spiritual promise, in the possibility of inviting certain aspects of Zen meditation—the use of koans, increased attention to nature—to help Christianity in developing a new form of acquired contemplation. Arraj has somewhat less to say about what or how much this sort of dialogue might offer Zen... (shrink)

What I refer to is how our thought in inventing, designing, modifying, and using machines carries over into acts we do not consciously associate with them—like writing or reading poetry. An airplane in flight may be “pure poetry,” or a Ferrari “a poem in steel”; it intrigues me to consider that beneath such object comparisons an object-of-thought connection may be made. Or in other words, there may be really something to a hackneyed compliment like “poem in steel.” My preference for (...) thought form over object form makes me less interested in machines that we can see than in those that we can’t, and it makes me direct my inquiry along two lines, concerning two questions about invisibility. The first involves the history of technology: How is it that machines “disappear”—become less visible, impinge less and less upon popular consciousness? The effect cannot be imputed entirely to familiarity. The second involves the history of literature: If machines have disappeared, are there “disappeared”—or “invisible”—machines in literature? It is reasonably clear that we go to considerable lengths to hide the machines that surround us and that we choose, or our artists choose, insofar as such choice can be located, to restrict the appearance of machines in art.3 Commonly their restricted appearance in art is understood as a kind of resistance to some form of machine takeover, while their concealment has only uncommonly received analysis and is not generally discussed in context with the matter of artistic representation. But we do accept, at least in theory, the idea that style of living and style in literature are connected. If the machine penetrates our style of living, then—and this is the end of my inquiry—these invisibilities are of interest to literary criticism, for they have something to do with the way literature is written, with whether or not, that is, writers choose to describe machines, use them as characters, or give them any role at all to play in surface structure. Since the artist often works to reveal what his society works to conceal and since the postmodern period has so far been one of crisis in the relations between society and technology, we may expect to find in postmodern fiction, or in writing to come, some greater revelation or simple exposure of the workings, than we could have seen before. 3. I use “restrict” in a statistical sense, for since the beginning of the Industrial Revolution there have been artists to celebrate the machine; today’s hyperrealist movement offers contemporary examples. These artists—Tom Blackwell, Ron Kleemann, Ralph Goings, and others—work a transformation like that of Andy Warhol with the pop object. They present not so much a celebration as an effort to turn looking into seeing, here directed at automobiles in particular, so much a part of everyday life as to have become indistinguishable from one another and as a species from the other parts of the semiurban landscape—the mailbox, the front lawn, the visiting relatives staring into the camera. Strother B. Purdy is the author of The Hole in the Fabric: Science, Contemporary Literature, and Henry James. His previous contributions to Critical Inquiry are “Stalingrad and My Lai: A Literary-Political Speculation” and “Reply to Lawrence W. Hyman. (shrink)

Sartre's analysis of intersubjective relations through his concept of the look seems unable to give an account of intersubjectivity. By distinguishing the look as an ontological conflict from our relation with others in experience, we will see that actually intersubjectivity is not incompatible with this theory. Furthermore, we will see that the ontological conflict with the Other always erupts in experience in the form of an emotion, and thus always involves magic, and we will look into what the presence of (...) the Other adds to such emotion. Emotions I have in front of the Other are directed toward my being-for-others, which escapes me by definition. This has a peculiar consequence when the imaginary is involved, which could help explain complexes such as narcissism and paranoia. (shrink)

Back and forth swings the pendulum. It is remarkable that Baars can claim that “many scientists now feel that radical behaviorists tossed out the baby with the bathwater” while not being able to see that his own efforts threaten to be an instance of the complementary overshooting–what we might call covering a nice clean baby with dualistic dirt . Yes indeed, radical behaviorism of Skinner’s variety fell from grace some years ago, with the so-called cognitive revolution, to be replaced (...) by a sort of cognitivistic behaviorism that has plenty of room for inner processes, for talking to yourself, for mental imagery, for hunches, feelings, pains, dreams, beliefs and hopes and expectations, but only so long as these are understood to be physical (“informational” or “computational”) processes that could be accomplished by the machinery of the brain. It is an interesting speculative question whether William James would have been a wholehearted cognitivist, or whether he would have insisted that what he meant by the stream of consciousness had to be sharply distinguished from the streams of mere information-manipulation discernible in the activities of cortical subsystems, etc., etc. Making a home for consciousness in the brain, for a distinction between unconscious information-transformations and conscious ones, for instance, is now the work of many hands in many fields (See, e.g., Dennett, 2001, and the other essays in the special issue of Cognition devoted to the cognitive neuroscience of consciousness). The main methodological principle of this research is one shared with the radical behaviorists: only intersubjectively accessible data are to be admitted in this natural science of consciousness. If that allegiance, by itself , counts as ‘behaviorism,” then we should all be behaviorists, and indeed the very researchers Baars cites (Singer, Ericsson and Simon, Hilgard, Crick, and Edelman) scrupulously and unapologetically are behaviorists in this minimal sense. They interview their subjects, under controlled conditions, and take their reports seriously–but not as infallible guides to their subjects’ subjectivity.. (shrink)

Pets are truly great companions. Some individuals feel that owning a pet can help them prepare for a growing family by giving them a taste of what it would be like to have children. This study also looks into the psychological well-being and life experiences of LGBT fur parents. Employing the Interpretative Phenomenological Analysis, the findings of this study were: (1) With the presence of fur babies, participants had the ease to overcome stressful events, especially the ones that affect (...) their mental health. With these, they have the desire to take care of their fur babies under all circumstances because they see their fur babies as family members. Fur babies are excellent sources of motivation, confidence, and happiness for fur parents. They are treated as family members because they contribute to the mental and emotional aspects of fur parents. Moreover, the majority of respondents valued their pets far more than their actual family members, however, some didn't spend as much time with their relatives and friends. This study comes to the conclusion that a stronger bond with one's dog was also linked to higher anxiety about being unloved and rejected by family members and people surrounding us, which was linked to a heavier impact on one's psychological well-being. In reality, fur parents, especially LGBT parents, offer their fur babies a lot of love and attention compared to other things. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Bearing the Other and Bearing Sexuality: Women and Gender in Levinas’s “And God Created Woman”Deborah Achtenberg (bio)Much ink has been spilled on the question of the role of women for Levinas’s ethics in accounts containing a gamut of claims, from Stella Sandford’s that woman is aligned with sexual difference in such a way that Levinas’s attempts to install her within the human fail,1 to Diane Perpich’s that one reason (...) Otherwise than Being is preferable to Totality and Infinity is that the ethics in the former does not rest on a failed narrative of family life and woman’s role in it as ethics does in the latter,2 to Claire Katz’s that there is a rich, positive ethical component to women’s role for Levinas since he uses maternity as an example of being-for-the-other.3This essay complements those accounts by giving a detailed analysis of the discussion of women in Levinas’s talmudic commentary, “And God Created Woman.”4 Specifically, I ask whether Levinas is right, in his commentary, that, according to Talmud Berakhot 61a, women are not ultimately inferior to men because both men and women are human and their humanity precedes the division of humanity into male [End Page 137] and female. I pursue the question by reading the talmudic passage the way Levinas, in his commentary, tells us that we should read Talmud, namely, by situating texts quoted in it in their broader textual context in Torah rather than treating them as proof texts.When I put quotations cited in Berakhot 61a in their textual context, I find that the male figures treated in the texts from Torah are dismayingly dismissive of women in distress, suggesting that women are treated as inferior, but then learn their mistake and treat the women as equal or even superior, suggesting that Talmud does see them as having a humanity that precedes sexual difference. Nonetheless, I go on to argue, though the talmudic passage does not see women as ultimately inferior to men, it nonetheless treats them as inferior on the day-to-day level and such treatment belies the attempt to treat them as human.I go on to ask about Levinas’s stance toward this problem in the talmudic text, Does he accept the treatment of women as inferior? I argue, to the contrary, that Levinas sees the problem and attempts to overcome it by criticizing two ways the talmudic passage treats women as inferior on the day-to-day level: he rejects the passages’ prohibitions on certain types of male contact with women—such as looking at them!—and he reinterprets its association of women with makeup and deception. His stance is more complicated, though, because he goes on to find a kernel of truth to preserve in each of the problematic talmudic positions: in the first, the fundamental ethical ambiguity of sexuality, since sexuality points toward the other as other but also toward one’s own satisfaction; in the second, what we might anachronistically call women’s ways of knowing that, for Levinas, have a certain ethical superiority over the ways men know. The two resolutions have their own problems, I maintain, since if Levinas is to avoid gender norming and gender hierarchy, he needs to make it clear that both the problematic ethical ambiguity of sexuality and also the ways of knowing he thinks are ethically superior are not essentially associated more with women than with men. [End Page 138]1Reading Levinas’s way, I search out the context of quotations, taking them not as proof texts, but as invitations to interpret. In “And God Created Woman,” he says, “each time a biblical verse is brought in as proof it is not likely that the sages of the Talmud are looking in these texts, squeezed every which way in spite of grammar, for a direct proof of the thesis they are upholding. It is always an invitation to search out the context of the quotation” (NT 166/DSS 130–31). As a feminist, when I search out the context of the quotations Levinas refers to in his reading of Berakhot 61a, I... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reflecting Back, Looking Forward:Ethics and the Environment at 25Lori Gruen (bio)Twenty-five years ago, when Ethics and the Environment launched, I remember having engaging conversations with the late founding editor, Victoria Davion, about just how important feminist thinking was to ethical explorations of our vexed relationships with the more than human world. She promised to promote feminist philosophical scholarship in this journal and she kept that promise. Although I'm quite (...) skeptical of "metrics" I did a search on the term "feminism" in the three prominent journals that publish on ethics and the environment and was not surprised to find that this journal contains 147 results where there are 51 in Environmental Values and just 33 in Environmental Ethics, a journal that has been publishing longer than Ethics and the Environment.Before the journal launched, Vicky, Chris Cuomo, and I spoke regularly about the value that feminist philosophical insights brought to environmental ethics. While we disagreed on a variety of issues (should the climate be central? Should we center our relationships with other animals?) and names (should we think of ourselves as "ecofeminists" or "ecological feminists"?) and had lively debates with other ecofeminists, including Carol Adams, Greta Gaard, Marti Kheel, Deborah Slicer, Val Plumwood, and Karen Warren, among others, we all shared a commitment to feminist methodology as well as recognizing the crucial need to incorporate ecofeminism into environmental ethics and praxis.Part of the reason it is important to incorporate ecofeminist insights into environmentalism is that ecofeminism builds on work in feminist philosophy that uncovers various biases that distort our knowledge and our relationships. For example, feminist epistemologies help us to see how testimony from those outside the center are undervalued or ignored. This has become painfully clear in environmental justice struggles; communities of [End Page 3] color are disproportionately impacted by exposure to toxins and are then burdened with finding "experts" who can "objectively" assess their claims. Ecofeminists have helped identify the inequity of looking to so-called objective expertise when communities are suffering. This sort of epistemic injustice is getting worse in the face of extreme weather events, in at least two ways. Many people who are impacted by hurricanes, floods, and earthquakes, are often not well positioned to navigate institutions that may be able to help, if those institutions even exist. And as sea ice melts and oceans rise, indigenous people's multi-generational wisdom is often overlooked, while their communities are simultaneously imperiled.Another reason that feminist and ecofeminist analyses are crucial for environmental philosophy is that ecofeminists can correct certain problematic frameworks that often hinder our abilities to reshape our relationships with the more than human world. Ecofeminists have long been critical of the abstract individualism that has permeated environmental ethics, including animal ethics (Adams and Gruen, 2014). This focus on abstract individualism leads to faulty analyses of our place in the natural world, as many holistic environmental philosophers have argued. Ecofeminists have also provided important challenges to holism in environmental philosophy, as the categorical "wholes" tend to occlude important differences within and between them. (Kheel, 2007). Ecofeminists have sought to contextualize ecological sensibilities to illuminate how systems of power differentially structure our relationships with each other and our environments.Vicky's commitment to incorporating feminist and ecofeminist perspectives as a central part of this journal's vision has also provided newer scholars with a venue for further development of ecofeminist thinking, as can be seen in A.E. Kings' "Intersectionality and the Changing Face of Ecofeminism" (2017) and Chaone Mallory's "What's in a Name? In Defense of Ecofeminism (Not Ecological Feminisms, Feminist Ecology, or Gender and the Environment)" (2018) published in the special tribute issue to Vicky. New thinking is always important, but in the face of global climate collapse, it is more important than ever.This journal has also been one of the go-to venues for animal ethics. In the early days of environmental ethics, there was a complex debate about what role, if any, animal ethics should play in environmental ethics. Over 35 years ago, two of the early pioneers, J. Baird Callicott (1980) and the late Marti Kheel (1985), argued in the pages of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Layers of Seeing and Seeing through Layers: The Work of Art in the Age of Digital ImageryLouisa Wood Ruby (bio)Even the most perfect reproduction of a work of art is lacking in one element: its presence in time and space, its unique existence at the place where it happens to be. This unique existence of the work of art determined the history to which it was subject throughout the (...) time of its existence. This includes the changes which it may have suffered in physical condition over the years as well as the various changes in its ownership.—Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction, 1936In consulting on or creating a Web site designed to use works of art for teaching purposes, it is extremely important to be aware of the differences between seeing an artwork “in the flesh” and in reproduction. Museum educators are highly aware of this disparity and are therefore eager to have students visit museums to experience authentic works of art instead of seeing them only in books, slides, or on Web sites. Already in 1936, Walter Benjamin called attention to the drawbacks of reproductions; his words resonate all the more in our age of digital image overload. Easy access to images is, of course, desirable, and the advanced technologies we now have can even aid our understanding of a work of art. Nonetheless, the physical experience of standing in front of a work of art can never be replicated by seeing it on a flat screen or a piece of paper. In this article I will examine the advantages, disadvantages, differences, and similarities between looking at a Web-based image of a Rembrandt painting, a photograph of a Rembrandt painting, and actually standing in front of one of his original works. I will also discuss the more advanced technologies for examining paintings and how they can help us “see” further into a work of art and increase our understanding of it. [End Page 51]When standing in front of a painting, you are seeing a three-dimensional object with a history of its own. Its nicks, the dings in its frame, its true colors and texture, its exact size, the quality of the brushstrokes, and the amount of paint are all visible to the careful observer, who stands in a long line of viewers over the centuries who have appreciated the artist’s achievement. When approached from different angles, a painting in real space can even seem to vary in the mood it conveys or the impression it gives. A striking demonstration of this phenomenon occurred during a recent visit to the Metropolitan Museum of Art, when Rika Burnham, a museum educator, divided our Rembrandt Project group in half and asked us to look at Rembrandt’s 1660 Self-Portrait from different angles and describe the sitter’s mood. When we compared notes, our impressions of the painting were so different that an outside listener would have thought we were looking at two completely different paintings. We then switched angles, and our respective impressions changed dramatically. Effects of light (shadows, highlights, color) and interpretations of elements in the painting, such as the hand or the hat, had been affected by the angle from which we had approached the work, and these minor adjustments had significantly altered the way we “read” the painting.This kind of experience is of course not possible when looking at a photograph of a work of art. A photograph can be very useful and can usually tell you much about a painting, but, unfortunately, the photograph itself is an object that was taken at a specific time and place, under specific circumstances that might or might not be ideal for capturing the essence of what it is trying to reproduce. Because the angle from which a photograph is taken remains static, it only allows us to experience the painting from one direction, under the given set of lighting conditions. Other problems abound. Two color reproductions of a given painting will more than likely offer wildly different color tonalities because photographs and reproductions in many publications imperfectly correct for color. Lighting of the painting may... (shrink)

This paper is concerned with the issue of authenticity in Wittgenstein’s philosophy of psychology. In the manuscripts published as Letzte Schriften über die Philosophie der Psychologie – Das Innere und das Äußere, the German term Echtheit is mostly translated as ‘genuineness’. In these manuscripts, Wittgenstein frequently uses the term as referring to a feature of the expression of feeling and emotion: -/- […] I want to say that there is an original genuine expression of pain; that the expression of pain (...) therefore is not equally connected to the pain and to the pretence. (LW II, p. 55) -/- “This weeping gives the impression of being genuine” – so there is such a thing as genuine weeping. […]. (LW II, p. 87) -/- […] Genuineness and falseness are not the only essential characteristics of an expression of feeling. […]. (LW II, p. 90) -/- Wittgenstein contrasts the genuineness of the expressions with the possibility that the expressions are feigned. It seems to me that Wittgenstein is trying to discredit a specific version of the sceptical claim that we do not know other minds. I will refer to it as the sceptical innuendo. The sceptical innuendo says that every expression of feeling and emotion may be pretended. Wittgenstein’s approach to the issue reflects his later interest in the philosophy of psychology and, in particular, the problem of the ascription of psychological states (P-ascriptions) on the basis of someone else’s expression of feeling or emotion. Thus, the attempt to reject the sceptical innuendo is done mainly by means of conceptual and psychological arguments. Let’s look at this short dialogue between the sceptic and Wittgenstein. The former asks „How do you know that someone else is in a certain psychological state?“ Wittgenstein’s first reply is „I know that he is glad because I see him“. But the sceptic cannot be very happy with this reply. The sceptic’s next question is: „How do you know that he is really glad and he is not pretending?“ Wittgenstein’s response is not a direct refutation but is composed of a number of related reasons. These may be summed up in three arguments: -/- (i) A psychological argument from the very nature of the expressions. The expressions are meant to be natural symptoms of someone else’s psychological state (P-state). -/- (ii) A conceptual argument about the nature of pretence. It claims that pretence is a psychological property which is rightly ascribed when an observer has evidence for it. -/- (iii) A psychological argument from genuineness. It claims that we are committed to accept people’s expressions of feeling and emotion as genuine. (shrink)