This paper analyzes Leibniz's notorious 'vinculum substantiale', or 'substantial bond', as it appears in his correspondence with the Jesuit philosopher and theologian, Bartholomew Des Bosses. It is shown that, while Leibniz employs the vinculum to address a problem relating to the unity of corporeal substance, it ultimately violates other key principles in his philosophy.

Philosophers are often thought to be aloof, unworldly, and perhaps even boring people, who, at least from the time of Aristophanes’ characterization of Socrates, have been frequently represented as having their heads or their whole beings in the clouds. Add to these qualities, the dryness that appears in many of Immanuel Kant’s works and the primness and propriety associated with Prussia, and one gets a picture of Immanuel Kant that is not very appealing and certainly not one that would make (...) one wish to read a detailed story of his life. However, in this wonderful book Manfred Kuehn does what many might have considered impossible: he makes the life of Kant fascinating. Indeed, he attains the ideal that he sets out for any biography of a philosopher: to “be both philosophically and historically interesting” and to “integrate the story of the philosopher’s life with a philosophically interesting perspective on his work”. (shrink)

Gaze following occurs automatically in social interactions, but the degree to which gaze is followed depends on whether an agent is perceived to have a mind, making its behavior socially more relevant for the interaction. Mind perception also modulates the attitudes we have towards others, and deter-mines the degree of empathy, prosociality and morality invested in social interactions. Seeing mind in others is not exclusive to human agents, but mind can also be ascribed to nonhuman agents like robots, as long (...) as their appearance and/or behavior allows them to be perceived as intentional beings. Previous studies have shown that human appearance and reliable behavior induce mind perception to robot agents, and positively affect attitudes and performance in human-robot interaction. What has not been investigated so far is whether different triggers of mind perception have an independent or interactive effect on attitudes and performance in human-robot interaction. We examine this question by manipulating agent appearance (human vs. robot) and behavior (reliable vs. random) within the same paradigm and examine how congruent (human/reliable vs. robot/random) versus incongruent (human/random vs. robot/reliable) combinations of these triggers affect performance (i.e., gaze fol-lowing) and attitudes (i.e., agent ratings) in human-robot interaction. The results show that both ap-pearance and behavior affect human-robot interaction but that the two triggers seem to operate in iso-lation, with appearance more strongly impacting attitudes, and behavior more strongly affecting per-formance. The implications of these findings for human-robot interaction are discussed. (shrink)

Cet article est une étude sur l’apparition et la fortune critique du terme installation dans le vocabulaire de l’art contemporain. À travers la brève histoire de la diffusion de ce mot en art seront analysés les circonstances contextuelles, les modalités de fonctionnement et l’imaginaire de la forme « installation ». Devenue populaire grâce à trois artistes commissaires d’un lieu d’exposition à Londres, le « Museum of Installation » dans les années 1990, la forme « installation » renvoie à des dispositifs (...) antérieurs, amorcés dès les avant-gardes. L’analyse historique permet d’en appréhender les différents paliers : les prémisses, puis les « environnements » issus de l’assemblage et popularisés par Allan Kaprow, et l’« in situ », ces deux dernières formes et leur terminologie dominant jusqu’à la fin des années 1970. Après la transition constituée par les années 1980, le texte se conclut par l’analyse d’un moment inaugural ouvrant l’histoire des installations en France, les « Ateliers du Paradise » de 1991. À travers cette œuvre sont questionnées les différentes valeurs critiques comme les ambiguïtés de ce mode aujourd’hui si répandu internationalement qu’il semble à beaucoup synonyme d’art contemporain. This article studies the emergence and critical reception of the term installation in today’s artistic vocabulary. Through the brief history of the diffusion of the word will be analyzed its contextual circumstances, the functioning procedures and the imaginary conveyed through the different forms of installation. Mediated by three artists who, in the 1990s, curated a place in London they called the “Museum of Installation”, installation as an art form much predates the 1990, and can be found in avant-garde art. The historical analysis allows one to discern different stages: the premises of installation, “environments” issued from assemblage and popularized by Allan Kaprow, “site-specific” installations,—these last two forms and words being prevalent up to the end of the 1970s. After presenting the transitional period of the 1980s, the text concludes with the analysis of an inaugural event opening the history of installations in France, the “Paradise’s Studios”, in 1991. Through this analysis are questioned the critical values as well as the ambiguities of installation, as this very form is so internationally spread today that it seems to mean contemporary art itself. (shrink)

This essay examines mimetic pictures and the forms of subjectivity encoded in them. Mimetic pictures are representations which are unique in looking like the objects or events they depict. However, the objects or events typically have properties which are incompatible with those of the picture considered as a material artifact. Thus, if a mimetic picture looks like what it depicts, it does not look like what, considered as an artifact, it is. Since seeing a mimetic picture as a picture (...) is seeing what it looks like, it seems to follow that seeing a mimetic picture entails not seeing its material properties. But this is a paradox: it suggests that looking at mimetic pictures means not seeing what is being looked at. My aim is to resolve this paradox. ;This goal is pursued by exploring the forms of subjectivity historically attributed to the spectator of mimetic pictures. Three theorists are examined: Leon Battista Alberti, John Locke, and E. H. Gombrich. While their positions are tied to the forms of pictorial practice central to their respective historical contexts, they share a common attitude toward the paradox of pictoriality: they explain mimetic appearance as an illusion produced in the seeing subject by the picture. This commonality suggests a consistent attitude toward pictorial appearance from the Renaissance to the present; I analyze this attitude, arguing that the concept of illusion, rather than helping us grasp the forms of subjectivity encoded in pictures, obscures it. ;The essay concludes by proposing that cultures of mimesis produce a complex visual activity of recognition and disavowal which I call "fascination". I defend the thesis that mimetic pictures do not induce illusions but are displays in which the social dynamic of illusion is witnessed. This thesis is combined with Lacan's theory of the gaze to redefine mimetic pictures as theatrical entities exhibiting the social interaction of desire and visual appearance. As theatrical, pictures elicit a mode of reflective subjectivity rather than deceiving a pre-reflective spectator. This thesis resolves the paradox of mimetic pictures by analyzing their apparent possession of incompatible properties as a sign that pictures are artifacts in which the social and relational nature of appearance itself can be seen. (shrink)

Before reading Emmanuel Alloa’s Looking Through Images (originally published in 2011 as Das durchscheinende Bild and now translated by Nils F. Schott), I glanced through the bibliography to form a...

This study was designed to compare the natural free form communication that takes place when a person interacts with robotic entities versus live animals. One hundred and eleven participants interacted with one of four entities: an AIBO robotic dog, Legobot, Dog or Cat. It was found that participants tended to rate the Dog as more capable than the other entities, and often spoke to it more than the robotic entities. However, participants were not positively biased toward live entities, as the (...) Cat often was thought of and spoken to similarly to the AIBO robot. Results are consistent with a model in which both appearance and interactivity lead to the development of beliefs about a live or robotic entity in an interaction. Keywords: Human-robot interaction; human-animal interaction; AIBO; free form communication; attributions; human-entity interaction. (shrink)

This study was designed to compare the natural free form communication that takes place when a person interacts with robotic entities versus live animals. One hundred and eleven participants interacted with one of four entities: an AIBO robotic dog, Legobot, Dog or Cat. It was found that participants tended to rate the Dog as more capable than the other entities, and often spoke to it more than the robotic entities. However, participants were not positively biased toward live entities, as the (...) Cat often was thought of and spoken to similarly to the AIBO robot. Results are consistent with a model in which both appearance and interactivity lead to the development of beliefs about a live or robotic entity in an interaction. Keywords: Human-robot interaction; human-animal interaction; AIBO; free form communication; attributions; human-entity interaction. (shrink)

Imagine I hold up a Granny Smith apple for all to see. You would thereby gain justified beliefs that it was green, that it was apple, and that it is a Granny Smith apple. Under classical foundationalism, such simple visual beliefs are mediately justified on the basis of reasons concerning your experience. Under dogmatism, some or all of these beliefs are justified immediately by your experience and not by reasons you possess. This paper argues for what I call the (...) class='Hi'>looks view of the justification of simple visual beliefs. According to the looks view, such beliefs are mediately justified on the basis of reasons concerning how the relevant things look. Unlike under classical foundationalism, under the looks view as I develop it, these reasons are public. They are public with respect to both their content and possession: with respect to content, they are not about ourselves and our experiences, and with respect to their possession, many people can have the very same looks-related reasons. (shrink)

In Looking Away, Rei Terada revisits debates about appearance and reality in order to make a startling claim: that the purpose of such debates is to police feelings of dissatisfaction with the given world. Terada proposes that the connection between dissatisfaction and ephemeral phenomenality reveals a hitherto-unknown alternative to aesthetics that expresses our right to desire something other than experience "as is", even those parts of it that really cannot be otherwise.

There seems to be a large gulf between percepts and concepts. In particular, con- cepts seem to be capable of representing things that percepts cannot. We can conceive of things that would be impossible to perceive. (The converse may also seem true, but I will leave that to one side.) In one respect, this is trivially right. We can conceive of things that we cannot encounter, such as unicorns. We cannot literally perceive unicorns, even if we occasionally ‘‘see’’ them in (...) our dreams and hallucinations. To avoid triviality, I want to focus on things that we can actually encounter. We perceive poodles, perfumes, pinpricks, and pounding drums. These are concrete things; they are closely wedded to appearances. But we also encounter things that are abstract. We encounter uncles and instances of injustice. These things have no characteristic looks. Percepts, it is said, cannot represent abstract things. Call this claim the Imperceptability Thesis. I think the Imperceptibility Thesis is false. Perception is not restricted to the concrete. We can perceive abstract entities. (shrink)

The article provides the state of the art on the debate about whether the logical form of ‘look’ statements commits us to any particular theory of perceptual experience. The debate began with Frank Jackson’s (1977) argument that ‘look’ statements commit us to a sense-datum theory of perception. Thinkers from different camps have since then offered various rejoinders to Jackson’s argument. Others have provided novel arguments from considerations of the semantics of ‘look’ to particular theories of perception. The article closes with (...) an argument of this sort for a representational theory of perceptual experience. (shrink)

Do spatial features appear the same whether they are perceived through vision or touch? This question is at stake in the puzzle that William Molyneux posed to John Locke, concerning whether a man born blind whose sight was restored would be able immediately to identify the shapes of the things he saw. A recent study purports to answer the question negatively, but I argue here that the subjects of the study likely could not see well enough for the result to (...) have been meaningful. I then propose a way to improve the study, by including cues from object motion. (shrink)

Surprise—operationalized as looking time—has a long history in developmental research, providing a window into the perception and cognition of infants. Recently, however, a number of developmental researchers have considered infants’ and children's surprise in its own right. This article reviews empirical evidence and computational models of complex statistical inferences underlying surprise, and discusses how these findings relate to the role that surprise appears to play as a catalyst for learning.

Fallibilists about looks deny that the relation of looking the same as is non-transitive. Regarding familiar examples of coloured patches suggesting that such a relation is non-transitive, they argue that, in fact, indiscriminable adjacent patches may well look different, despite their perceptual indiscriminability: it’s just that we cannot notice the relevant differences in the chromatic appearances of such patches. In this paper, I present an argument that fallibilism about looks requires commitment to an empirically false consequence. To succeed (...) in deflecting putative cases of non-transitivity, fallibilists would have to claim that there can’t be any perceptual limitations of any kind on human chromatic discrimination. But there are good reasons to think such limitations exist. (shrink)

Philosophers have long distinguished between appearance and reality, and the opposition between a supposedly deceptive surface and a more profound truth is deeply rooted in Western culture. At a time of obsession with self-representation, when politics is enmeshed with spectacle and social and economic forces are intensely aestheticized, philosophy remains moored in traditional dichotomies: being versus appearing, interiority versus exteriority, authenticity versus alienation. Might there be more to appearance than meets the eye? In this strikingly original book, Barbara Carnevali offers (...) a philosophical examination of the roles that appearances play in social life. While Western metaphysics and morals have predominantly disdained appearances and expelled them from their domain, Carnevali invites us to look at society, ancient to contemporary, as an aesthetic phenomenon. The ways in which we appear in public and the impressions we make in terms of images, sounds, smells, and sensations are discerned by other people's senses and assessed according to their taste; this helps shape our ways of being and the world around us. Carnevali shows that an understanding of appearances is necessary to grasp the dynamics of interaction, recognition, and power in which we live-and to avoid being dominated by them. Anchored in philosophy and traversing sociology, art history, literature, and popular culture, Social Appearances develops new theoretical and conceptual tools for today's most urgent critical tasks. (shrink)

Faultless disagreement and faultless retraction have been taken to motivate relativism for predicates of personal taste, like ‘tasty’. Less attention has been devoted to the question of what aspect of their meaning underlies this relativist behavior. This paper illustrates these same phenomena with a new category of expressions: appearance predicates, like ‘tastes vegan’ and ‘looks blue’. Appearance predicates and predicates of personal taste both fall into the broader category of experiential predicates. Approaching predicates of personal taste from this angle (...) suggests that their relativist behavior is due to their experience-sensitivity, rather than their evaluative meaning. Furthermore, appearance predicates hold interest beyond what they can teach us about predicates of personal taste. Examination of a variety of uses of appearance predicates reveals that they give rise to relativist behavior for a variety of reasons—including some that apply also to other types of expressions, such as epistemic modals and comparative terms. This paper thus serves both to probe the source of relativist behavior in discourse about personal taste, as well as to map out this kind of behavior in the rich and under-explored discourse about appearances. (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)

Although they may differ on the reason why, many philosophers hold that it is a priori that an object is red if and only if it is such as to look red to normal observers in normal conditions.

It is a familiar story that, where Kant humbly draws a line beyond which cognition can’t reach, Husserl presses forward to show how we can cognize beyond that limit. Kant supposes that cognition is bound to sensibility and that what we experience in sensibility is mere appearance that does not inform us about the intrinsic nature of things in themselves. By contrast, for Husserl, it makes no sense to say we experience anything other than things in themselves when we enjoy (...) sensory perception. Kant’s conception, then, by doing just that, is nonsensical. I argue that Husserl’s account does not deliver on its promise. Things as they are in themselves are just as cognitively out of reach on Husserl’s understanding of them as they are on Kant’s. Further, the charge of nonsense Husserl raises against Kant’s conception of things in themselves applies—indeed, with greater force—to his own. (shrink)

Statements such as “X is beautiful but I don’t like how it looks” or “I like how X looks but it is not beautiful” sound contradictory. How contradictory they sound might however depend on the object X and on the aesthetic adjective being used (“beautiful”, “elegant”, “dynamic”, etc.). In our study, the first sentence was estimated to be more contradictory than the latter: If we describe something as beautiful, we often intend to evaluate its appearance, whereas it is (...) less counterintuitive to appreciate an appearance without finding it beautiful. Furthermore, statements including “beautiful” appeared more contradictory than those including “elegant” and “dynamic”, pointing to its greater evaluative component. When related to artworks, sentences could appear less contradictory due to readers’ consideration of the divergence between conventional beauty and art-related sensory pleasures that can even include negative valence. Such ambivalence might be more frequent in art-objects than in other artefacts. Indeed, in our study, sentences referring to artworks were estimated to be less contradictory compared to sentences referring to other artefacts. Meanwhile, an additional small group of graphic design students showed a less clear difference between art-related and non-art-related sentences. We discuss the potential influence of art experience and interest as well as theoretical and methodological challenges like the conceptualization of beauty. (shrink)

There is converging evidence that high doses of hallucinogenic drugs can produce significant alterations of self-experience, described as the dissolution of the sense of self and the loss of boundaries between self and world. This article discusses the relevance of this phenomenon, known as “drug-induced ego dissolution (DIED)”, for cognitive neuroscience, psychology and philosophy of mind. Data from self-report questionnaires suggest that three neuropharmacological classes of drugs can induce ego dissolution: classical psychedelics, dissociative anesthetics and agonists of the kappa opioid (...) receptor (KOR). While these substances act on different neurotransmitter receptors, they all produce strong subjective effects that can be compared to the symptoms of acute psychosis, including ego dissolution. It has been suggested that neuroimaging of DIED can indirectly shed light on the neural correlates of the self. While this line of inquiry is promising, its results must be interpreted with caution. First, neural correlates of ego dissolution might reveal the necessary neurophysiological conditions for the maintenance of the sense of self, but it is more doubtful that this method can reveal its minimally sufficient conditions. Second, it is necessary to define the relevant notion of self at play in the phenomenon of DIED. This article suggests that DIED consists in the disruption of subpersonal processes underlying the “minimal” or “embodied” self, i.e., the basic experience of being a self rooted in multimodal integration of self-related stimuli. This hypothesis is consistent with Bayesian models of phenomenal selfhood, according to which the subjective structure of conscious experience ultimately results from the optimization of predictions in perception and action. Finally, it is argued that DIED is also of particular interest for philosophy of mind. On the one hand, it challenges theories according to which consciousness always involves self-awareness. On the other hand, it suggests that ordinary conscious experience might involve a minimal kind of self-awareness rooted in multisensory processing, which is what appears to fade away during DIED. (shrink)

Images have always stirred ambivalent reactions. Yet whether eliciting fascinated gazes or iconoclastic repulsion from their beholders, they have hardly ever been seen as true sources of knowledge. They were long viewed as mere appearances, placeholders for the things themselves or deceptive illusions. Today, the traditional critique of the spectacle has given way to an unconditional embrace of the visual. However, we still lack a persuasive theoretical account of how images work. -/- Emmanuel Alloa retraces the history of Western attitudes (...) toward the visual to propose a major rethinking of images as irreplaceable agents of our everyday engagement with the world. He examines how ideas of images and their powers have been constructed in Western humanities, art theory, and philosophy, developing a novel genealogy of both visual studies and the concept of the medium. Alloa reconstructs the earliest Western media theory—Aristotle’s concept of the diaphanous milieu of vision—and the significance of its subsequent erasure in the history of science. Ultimately, he argues for a historically informed phenomenology of images and visual media that explains why images are not simply referential depictions, windows onto the world. Instead, images constantly reactivate the power of appearing. As media of visualization, they allow things to appear that could not be visible except in and through these very material devices. (shrink)

In Beyond Moral Judgment, Alice Crary defends a version of moral objectivism which turns on the idea that participation in moral life involves acquired affective proclivities: subjective capacities which nevertheless allow us to be receptive to objective features of the world. In this article, I draw out key aspects and implications of her account with reference to Joshua Oppenheimer's 2014 film The Look of Silence, a companion piece to 2012's The Act of Killing. The film depicts a series of confrontations (...) between optometrist Adi Rukun and warlords and gangsters involved in massacres perpetrated during Indonesia's anti-communist purges. Many of the interviews were carried out under the pretext of conducting eye tests, and the optometric equipment Rukun affixes to the faces of the perpetrators – who often appear quite cavalier about or even proud of their deeds – functions as a stark metaphor for their failures to see the meaning and consequences of their actions. As I work to show, there is something disq... (shrink)

The essay focuses on human self-understanding as it arises from out of the experience of nature—the experience of a relatedness to nature that is at once a belonging in nature. At stake, then, is not a conceptual approach to the question of nature but rather the emergence of the human within the embrace of what presents itself as a mystery irreducible to the human, inhuman in the sense of other-than-human. The experience of nature “hiding itself” gave rise to the longing (...) for mastery as well as to a celebration of the mystery in its wonder and beauty. The juxtaposition of Giordano Bruno's cosmological vision and Renaissance painting illuminates this latter perspective, disclosing mystery not so much as that which would lie beyond appearances, but as that which inhabits appearances and in them becomes manifest as such. (shrink)

The German painter Caspar David Friedrich’s The Monk by the Sea, a picture that has played an important role in accounts of the prehistory of twentieth-century abstract art, is significant among other reasons because it bravely refused painting’s narrative vocation and in so doing radicalized the optics characteristic of the contemporary aesthetics of the sublime. Friedrich’s contemporary, the novelist and dramatist Heinrich von Kleist, intuited precisely this in his scintillating comments on the painting at the time it appeared. Invoking the (...) shocking idea that looking at The Monk by the Sea is like seeing through eyes whose lids have been cut off, he recognized that Friedrich had transformed the canvas into the locus not so much of narration and signification as of sensation. This article leans on the terms devised by Gilles Deleuze to explain the paintings of Francis Bacon in order to explore the seminal shift in the relationship between spectator and composition that Friedrich’s canvas dramatizes with such compelling power. (shrink)

With the considerable attention given to UNESCO's Universal Declaration on the Human Genome and Human Rights, the time has come to take another look at the concept of dignity, on which this document is morally founded. The term “dignity” now appears in many national constitutions and international bioethical statements. It has also become popular among Continental European ethicists, many of whom wish to challenge the particularly American and overtly individualistic principles of “autonomy,” “justice,” “beneficence,” and “nonmaleficence.” a.

We can know some things about each others' mental lives. The view that some of this knowledge is genuinely perceptual is getting traction. But the idea that we can see any of each others' mental states themselves - the Simple Perceptual Hypothesis - remains unpopular. Very often the view that we can perceptually know, for example, that James is angry, is thought to depend either on our awareness of James' expression or on the way James appears - versions of what (...) I call the Expressive Hypothesis. The Expressive Hypothesis is intuitive. But in this chapter I argue that it does not allow us to do away with the thought that we sometimes perceive people's mental states. I take my arguments to provide some tentative support for the Simple Perceptual Hypothesis. (shrink)

My great-grandfather died before I was born. He never saw me. But I see him occasionally—when I look at photographs of him. They are not great photographs, by any means, but like most photographs they are transparent. We see things through them.Edwin Martin objects. His response consists largely of citing examples of things which, he thinks, are obviously not transparent, and declaring that he finds no relevant difference between them and photographs: once we slide down the slippery slope as far (...) as photographs there will be not stopping short of absurdity. The examples fail in their purpose, but they will help to clarify the reasons for the transparency of photographs. Several of them can be disposed of by noting that they jeopardize the transparency of photographs only if they jeopardize the very possibility of perception. The others appear to reflect a misconception of the issue before us and the nature of my claim.To perceive something is, in part, to have perceptual experiences caused by the object in question. This is scarcely controversial. It is also uncontroversial that additional restrictions are needed—not all causes of one’s visual experiences are objects of sight—although exactly what the required restrictions are is a notoriously tricky question. One important restriction is that the causation must be appropriately independent of human action , in a sense which I explained . This, I argued, is what distinguishes photographs from “handmade” pictures, which are not transparent. Seismographs and footprints are caused just as “mechanically” as ordinary photographs are. So are photographs that are so badly exposed or focused that they fail to present images of the objects before the camera. So, also, are the visual experiences of those who look at seismograms, footprints, and such badly focused or exposed photographs. Yet we obviously do not see the causes of these things through them, Martin claims. How is it, then, that we see through ordinary photographs? Kendall L. Walton is professor of philosophy at the University of Michigan and author of a book on representation in the arts . His previous contribution to Critical Inquiry, “Transparent Pictures: On the Nature of Photographic Realism,” appeared in the December 1984 issue. (shrink)

Colour constancy refers to the ability to extract information about surface colours independently of illumination conditions. A ripe strawberry, for example, appears the same red when viewed under a blue sky or a reddish sunset. Since Land's pioneering work, discussion has centred on the issue whether colour constancy is achieved primarily in the retina or visual cortex. Recently, the debate has shifted to a consideration of the constraints imposed by various psychophysical tasks and instructions. Humans can judge illuminant colour, reflected-light (...) colour, surface colour, and the relationship between surface colours within a scene. Such observations suggest that colour constancy may not be a unitary phenomenon, and that its different aspects may be mediated at different levels in the visual system. Several questions therefore arise: are the tasks of surface estimation and illuminant estimation complementary, insofar as good performance in one implies poor performance in the other? How does retinal adaptation alter performance? Is colour vision tuned to the statistical composition of natural surfaces and illuminants? What role does colour-opponent processing in retina and cortex play in colour constancy? These and related questions are explored here in order to better understand what we mean when we ask: "Why do strawberries look red?". (shrink)

“Looking for Asian America shows real people engaged in the full range of human activity. This is no small accomplishment for the photographer or his subjects. For Asian Americans it is extraordinary to be merely ordinary. To others, even if not to themselves, Asian Americans appear to be contradictions of identity—a Chinese-Yankee is a knockoff.” —Frank H. Wu, from the Foreword In search of contemporary Asian America, celebrated photographer Wing Young Huie—the only member of his family not born in China—traveled (...) with his wife Tara through nearly forty states to explore and document the funny, touching, and sometimes strange intersection of Asian American and American cultures. Looking for Asian America illustrates their rich and surprising journey across the United States. Through Huie’s eyes, keenly aware of his own Midwestern roots and perspective, we witness such images as a Vietnamese Elvis, Miss Congeniality on her cell phone in San Francisco’s Chinatown, a Hmong street sign in rural North Carolina, a meditating Falun Gong protestor in Washington, D.C., a bubble tea Valley Girl, and a Chinese theme park in Orlando. Huie’s camera captures ABCs, FOAs, and a self-described “redneck” Chinese restaurant owner near the Okefenokee Swamp. Taken together the photographs reveal a complex portrait of the U.S. cultural landscape, and their dignified elegance invites a closer, deeper look. Accompanied by the personal reflections of both Wing and Tara Huie, the nearly one hundred spectacular photos tell a story that both mirrors and contradicts stereotypes of Asian Americans, ultimately questioning what it means to be ethnic and American in the twenty-first century. Wing Young Huie has received widespread acclaim for his works, including Lake Street USA, documenting the cultural landscape of his native Minnesota. He is a recipient of a Bush Artist Fellowship and two-time recipient of the McKnight Photography Fellowship. He lives in Minneapolis. Frank H. Wu is dean of Wayne State University Law School and the author of Yellow: Race in America Beyond Black and White. Anita Gonzalez teaches in the Master of Liberal Studies Program at the University of Minnesota. (shrink)

_Nauman Faizi’s _God, Science, and the Self (2021)_ is a powerful and philosophically robust exploration of Muhammad Iqbal’s masterpiece _Reconstruction of Religious Thought in Islam_. In this book, Faizi’s reading of Iqbal takes an analytic approach. He argues that Iqbal uses two distinct epistemic tendencies, which he terms “Representational” and “Pragmatic.” In tracing these tendencies, Faizi posits that Iqbal’s pragmatic tendency serves as a correction for his representational tendency, that the presence of both tendencies causes confusions in Iqbal’s work, and (...) that these are understandable and expected markers of Iqbal writing within epistemological conflict. Faizi’s analytical approach helps explicate Iqbal’s arguments but appears to be in tension with _Reconstruction’s_ non-analytical methodology. _. (shrink)

Assertions about appearances license inferences about the speaker's perceptual experience. For instance, if I assert, 'Tom looks like he's cooking', you will infer both that I am visually acquainted with Tom (what I call the "individual acquaintance inference"), and that I am visually acquainted with evidence that Tom is cooking (what I call the "evidential acquaintance inference"). By contrast, if I assert, 'It looks like Tom is cooking', only the latter inference is licensed. I develop an account of (...) the acquaintance inferences of appearance assertions building on two main previous lines of research: first, the copy raising literature, which has aimed to account for individual acquaintance inferences through the "perceptual source" semantic role; second, the subjectivity literature, which has focused on the status of acquaintance inferences with predicates of personal taste, but hasn't given much attention to the added complexities introduced by appearance language. I begin by developing what I take to be the most empirically-sound version of a perceptual source analysis. I then show how its insights can be maintained, while however taking anything about perception out of the truth conditions of appearance sentences. This, together with the assumption that appearance assertions express experiential attitudes, allows us to capture the acquaintance inferences of bare appearance assertions without making incorrect predictions about the behavior of appearance verbs in embedded environments. (shrink)

Reflection principles are of central interest in the development of axiomatic theories. Whereas they are independent statements they appear to have a specific epistemological status. Our trust in those principles is as warranted as our trust in the axioms of the system itself. This paper is an attempt in clarifying this special epistemic status. We provide a motivation for the adoption of uniform reflection principles by their analogy to a form of the constructive \(\omega \) -rule. Additionally, we analyse the (...) role of informal arithmetic and the conception of natural numbers as an inductive structure, also with regard to extra conceptual resources such as a primitive truth predicate. (shrink)

What should our buildings look like? Or is their usability more important than their appearance? Paul Guyer argues that the fundamental goals of architecture first identified by the Roman architect Marcus Pollio Vitruvius - good construction, functionality, and aesthetic appeal - have remained valid despite constant changes in human activities, building materials and technologies, as well as in artistic styles and cultures. Guyer discusses philosophers and architects throughout history, including Alberti, Kant, Ruskin, Wright, and Loos, and surveys the ways in (...) which their ideas are brought to life in buildings across the world. He also considers the works and words of contemporary architects including Annabelle Selldorf, Herzog and de Meuron, and Steven Holl, and shows that - despite changing times and fashions - good architecture continues to be something worth striving for. This new series offers short and personal perspectives by expert thinkers on topics that we all encounter in our everyday lives. (shrink)

The label Body Integrity Dysphoria (BID) refers to a heterogeneous class of conditions whose sufferers desire a particular type of physical impairment. Variants of the desire for disability share the experiential “friction” elicited by the mismatch between the physical body and the subjective body. Perceived from childhood, body integrity dysphoria intensifies progressively throughout life, often leading sufferers to simulate disability and attempt to engage in self-injury. The contemporary scientific community agrees on the assumption that BID is a complex phenomenon that (...) involves biological, social, and psychological dimensions. The present work aims to provide a preliminary qualitative overview of the desire for permanent visual impairment through novel descriptions from a recent narrative interview we conducted. The desire for blindness appears to be extremely rare. To date, there have been very few studies investigating this phenomenon. Despite these limitations, this paper aims to describe the subjective aspect of visual dysphoria, considering its similarities and differences with other variants grouped under the label of BID. (shrink)

Research in psychology and behavioral economics shows that individuals’ choices often depend on “irrelevant” contextual factors. This presents problems for normative economics, which has traditionally used preference-satisfaction as its criterion. A common response is to claim that individuals have context-independent latent preferences which are “distorted” by psychological factors, and that latent preferences should be respected. This response implicitly uses a model of human action in which each human being has an “inner rational agent.” I argue that this model is psychologically (...) ungrounded. Although references to latent preferences appear in psychologically based explanations of context-dependent choice, latent preferences serve no explanatory purpose. (shrink)

My great-grandfather died before I was born. He never saw me. But I see him occasionally—when I look at photographs of him. They are not great photographs, by any means, but like most photographs they are transparent. We see things through them.Edwin Martin objects. His response consists largely of citing examples of things which, he thinks, are obviously not transparent, and declaring that he finds no relevant difference between them and photographs: once we slide down the slippery slope as far (...) as photographs there will be not stopping short of absurdity. The examples fail in their purpose, but they will help to clarify the reasons for the transparency of photographs. Several of them can be disposed of by noting that they jeopardize the transparency of photographs only if they jeopardize the very possibility of perception. The others appear to reflect a misconception of the issue before us and the nature of my claim.To perceive something is, in part, to have perceptual experiences caused by the object in question. This is scarcely controversial. It is also uncontroversial that additional restrictions are needed—not all causes of one’s visual experiences are objects of sight—although exactly what the required restrictions are is a notoriously tricky question. One important restriction is that the causation must be appropriately independent of human action, in a sense which I explained. This, I argued, is what distinguishes photographs from “handmade” pictures, which are not transparent. Seismographs and footprints are caused just as “mechanically” as ordinary photographs are. So are photographs that are so badly exposed or focused that they fail to present images of the objects before the camera. So, also, are the visual experiences of those who look at seismograms, footprints, and such badly focused or exposed photographs. Yet we obviously do not see the causes of these things through them, Martin claims. How is it, then, that we see through ordinary photographs? Kendall L. Walton is professor of philosophy at the University of Michigan and author of a book on representation in the arts. His previous contribution to Critical Inquiry, “Transparent Pictures: On the Nature of Photographic Realism,” appeared in the December 1984 issue. (shrink)

Many viewers presented with a round plate tilted to their line of sight will report that they see a round plate that looks elliptical from their perspective. Alva Noë thinks that we should take reports of this kind as adequate descriptions of the phenomenology of spatial experiences. He argues that his so‐called enactive or sensorimotor account of spatial perceptual content explains why both the plate's circularity and its elliptical appearance are phenomenal aspects of experience. In this paper, I critique (...) the phenomenal adequacy of Noë's sensorimotor account of spatial perceptual content. I begin by showing that some of its central claims are in conflict with the phenomenology of perceptual experience. I then argue that shape appearances have no phenomenal reality, thus undermining this central motivation for his account. (shrink)

Many viewers presented with a round plate tilted to their line of sight will report that they see a round plate that looks elliptical from their perspective. Alva Noë thinks that we should take reports of this kind as adequate descriptions of the phenomenology of spatial experiences. He argues that his so‐called enactive or sensorimotor account of spatial perceptual content explains why both the plate's circularity and its elliptical appearance are phenomenal aspects of experience. In this paper, I critique (...) the phenomenal adequacy of Noë's sensorimotor account of spatial perceptual content. I begin by showing that some of its central claims are in conflict with the phenomenology of perceptual experience. I then argue that shape appearances have no phenomenal reality, thus undermining this central motivation for his account. (shrink)

Popular clothing retailer Abercrombie and Fitch (A&F) is well-known for hiring attractive store sales clerks. While the economic benefits of this hiring practice for the company are undeniable, many commentators contend that it constitutes wrongful discrimination against unattractive job seekers. In this article, I explore the ethics of A&F-style lookism and challenge two common perspectives on this issue. I argue that on one hand, looks-based hiring cannot be defended based on its economic benefits alone, as race-based hiring also can (...) be profitable in some circumstances. At the same time, I reject arguments that looks-based hiring is not “job relevant” given its economic impact in many contexts. Through a com- parison between race- and looks-based hiring, I conclude that at least for businesses that are relevantly similar to A&F—firms for which lookism produces clear economic benefits—looks-based hiring is permissible. (shrink)

Walking through the supermarket, I see the avocados. I know they are avocados. Similarly, if you see a pumpkin on my office desk, you can know it’s a pumpkin from its looks. The phenomenology in such cases is that of “just seeing” that such and such. This phenomenology might suggest that the knowledge gained is immediate. This paper argues, to the contrary, that in these target cases, the knowledge is mediate, depending as it does on one’s knowledge of what (...) the relevant kind of thing looks like. To make the case requires examining the nature of knowing what Fs look like. Is such knowledge to be understood as knowledge of a fact, or rather as a kind of ability? From the conclusion that the knowledge in the target cases is not immediate, the paper concludes that perception does not afford us immediate knowledge concerning objects’ kinds. (shrink)

Intuitively, there is an intimate connection between being coloured and looking coloured. As Strawson memorably remarked, it is natural to assume that ‘colours are visibilia or they are nothing’. But what exactly is the nature of this relationship?A traditionally popular view of the relationship between being coloured and looking coloured starts from the common place that the character of our perceptual experience changes as the conditions in which an object is perceived vary. For instance, our experience changes when we view (...) an object under different illuminants, as when we move from artificial illumination indoors to natural daylight outside. It changes under one and the same illuminant, depending on whether the object is directly or indirectly illuminated. And it varies independently of this, as the background against which the object is perceived varies. Placing a lot of weight on the idea that objects look or appear different as the perceptual conditions vary, proponents of this approach suggest that we can understand what it is for something to be coloured in terms of what it is for something to look coloured in specific perceptual conditions. (shrink)

Historical geographies of black people in Britain are sorely lacking within the geographical discipline. This is, perhaps, partly because finding histories of black people is relatively difficult. Photography has proved to be an interesting and practical way of recovering such histories, but the use of photography as a research tool raises questions about the inscription of race in Victorian and contemporary society. In this paper I draw attention to the methodological questions that have arisen while undertaking research that appears simultaneously (...) to undermine and to reinforce the issues of racialisation it attempts to deconstruct. (shrink)

The Lazy Argument, as it is preserved in historical testimonies, is not logically conclusive. In this form, it appears to have been proposed in favor of part-time fatalism (including past time fatalism). The argument assumes that free will assumption is unacceptable from the standpoint of the logical fatalist but plausible for some of the nonuniversal or part-time fatalists. There are indications that the layout of argument is not genuine, but taken over from a Megarian source and later transformed. The genuine (...) form of the argument seems to be given in different form and far closer to Megarian logical fatalism and its purpose is not to defend laziness. If the historical argument has to lead to a logically satisfactory solution, some additional assumptions and additional tuning is needed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A New Look at the Prime MoverDavid BradshawThe last twenty years have seen a notable shift in scholarly views on the Prime Mover. Once widely dismissed as a relic of Aristotle's early Platonism, the Prime Mover is coming increasingly to be seen as a key—perhaps the key—to Aristotle's mature metaphysics and philosophy of mind. Perhaps the best example of the revisionist view is Jonathan Lear's Aristotle: The Desire to (...) Understand. Lear describes Aristotle's position as a form of "objective idealism." It is idealism because Aristotle believes that the fundamental nature of reality conforms to the mind, rather than vice versa; it is objective because the mind to which reality conforms is not that of any particular thinking being, but the divine mind—that is, in a sense, mind itself. "Objects must conform to knowledge, but that does not in the least reveal them to be constituted by any contribution from us... Since, for Aristotle, there is nothing distinctively human about the mind to which objects are conforming, there is no basis for saying that the essences we contemplate are mere appearances."1 Although it may seem strange to think of Aristotle as an idealist, Lear makes a plausible case for his interpretation based on the relevant texts (primarily De Anima III.4 and Metaphysics XII.6-10), and he successfully integrates it into his treatment of other important themes in Aristotle's philosophy.Attempts such as Lear's to tease out the significance of divine thinking are not the only new development afoot. Whereas Lear seems to accept the traditional view that the Prime Mover is a final but not an efficient cause, others such as Thomas de Koninck and Sarah Broadie have challenged that view.2 They have successfully shown, in my opinion, that Aristotle's position requires [End Page 1] that the Prime Mover be in some fashion an efficient cause. But they have not successfully elucidated the nature of this causality, nor have they explained how it is related to the theme rightly given prominence by Lear, the creative character of divine thought.My purpose here is to bring these two strands together—to use an interpretation of divine thinking much like Lear's to illuminate Aristotle's otherwise vexing and obscure remarks about the Prime Mover's causality. Rather than follow the time-honored route of commenting upon the commentators, I will examine the whole issue afresh, working in roughly the order dictated by Aristotle's text. My hope is to present a comprehensive interpretation of the Prime Mover that is more compelling than any yet offered by either the revisionists or their critics.1. Activity and Actuality in Metaphysics XIIMetaphysics XII.6 begins with a terse argument for the existence of a first unmoved mover. In the course of this argument Aristotle drops some important clues about the nature of the Prime Mover and its relation to the cosmos.The argument runs as follows: (1) Time cannot come into being or pass away, for that would involve the paradox of a moment before time or a moment after time. (2) Given Aristotle's own definition of time as "the number of motion in respect of before and after," or any other definition linking time inseparably to motion, motion also cannot come into being or pass away, and so must be continuous. (3) There must be a mover to cause this continuous motion. (4) The mover cannot merely be something capable of causing the motion, but must actively do so (, 1071b17). (5) Even for the mover to act continually is not sufficient if its substance includes potency or is potency (, 1071b18), for then the mover could possibly not be, and so could not guarantee an eternal motion. (6) Therefore the very substance of the mover must be actuality (, 1071b20). In the next sentence Aristotle goes on to speak as if there might be more than one mover, noting that "these substances must be without matter, for they must be eternal, if anything is eternal" (1071b20-22). After this nothing more is said about the possibility of more than one mover until chapter XII.8.There is an... (shrink)

This paper comments on a paper by Chris Fuchs. Both papers are to appear in "New Directions in the Philosophy of Science", eds. M. C. Galavotti, S. Hartmann, M. Weber, W. Gonzalez, D. Dieks and T. Uebel. This paper presents some mild criticisms of Fuchs's views, some based on the EPR and Wigner's friend scenarios, and some based on the quantum theory of measurement. A few alternative suggestions for implementing a subjectivist interpretation of probability in quantum mechanics conclude the paper.

Hilary Putnam has argued that from a realist perspective, quantum mechanics stands in need of an interpretation. Ironically, this hypothesis may appear vulnerable against arguments drawing on Putnam's own work. Nancy Cartwright has urged that his 1962 essay on the meaning of theoretical terms suggests that quantum mechanics needs no interpretation and thus stands in tension with his claim of three years later. She furthermore contends that this conflict should be resolved in favour of the earlier work, as quantum mechanics, (...) like all successful theories, does not need an interpretation. The first part of this essay deflates both of these objections. The second part addresses and evaluates Putnam's own assessments of the main interpretative options available in 1965 and 2005. Although we may disagree on some aspects, his pessimistic conclusion will come out largely unscathed, and, in fact, enhanced. I will close by briefly stating the historical relevance of this work. (shrink)