While it is well known that Roland Barthes consecrated his last lecture series at the Collège de France to the theme of the preparation of a novel, it is less known that his first writings on literature focused on the same question, but from a less individual point of view. The interrogation that motivates Le Degré zéro de l’écriture (1953) and many of the essays in Essais critiques (1964) is the question of how to write, of what procedures one can (...) follow in preparing a literary work of art. At the two ends of Barthes’s career one finds the same themes of writing as action and of the writer’s possibilities and motivations in writing. The article explores the hypothesis that there is ground for a positive theory of the author in Barthes’s work. It seeks to discover similarities between writings from the early and the late period that concern three themes: (1) writing as action, (2) the deferral of its achievement, and (3) writing as representation. The article ends with a discussion on the relationships between Barthes’s positive theory of the author and related important issues that have been discussed recently in literary criticism. (shrink)

While it is well known that Roland Barthes consecrated his last lecture series at the Collège de France to the theme of the preparation of a novel, it is less known that his first writings on literature focused on the same question, but from a less individual point of view. The interrogation that motivates Le Degré zéro de l’écriture (1953) and many of the essays in Essais critiques (1964) is the question of how to write, of what procedures one can (...) follow in preparing a literary work of art. At the two ends of Barthes’s career one finds the same themes of writing as action and of the writer’s possibilities and motivations in writing. The article explores the hypothesis that there is ground for a positive theory of the author in Barthes’s work. It seeks to discover similarities between writings from the early and the late period that concern three themes: (1) writing as action, (2) the deferral of its achievement, and (3) writing as representation. The article ends with a discussion on the relationships between Barthes’s positive theory of the author and related important issues that have been discussed recently in literary criticism. (shrink)

While it is well known that Roland Barthes consecrated his last lecture series at the Collège de France to the theme of the preparation of a novel, it is less known that his first writings on literature focused on the same question, but from a less individual point of view. The interrogation that motivates Le Degré zéro de l’écriture (1953) and many of the essays in Essais critiques (1964) is the question of how to write, of what procedures one can (...) follow in preparing a literary work of art. At the two ends of Barthes’s career one finds the same themes of writing as action and of the writer’s possibilities and motivations in writing. The article explores the hypothesis that there is ground for a positive theory of the author in Barthes’s work. It seeks to discover similarities between writings from the early and the late period that concern three themes: (1) writing as action, (2) the deferral of its achievement, and (3) writing as representation. The article ends with a discussion on the relationships between Barthes’s positive theory of the author and related important issues that have been discussed recently in literary criticism. (shrink)

While it is well known that Roland Barthes consecrated his last lecture series at the Collège de France to the theme of the preparation of a novel, it is less known that his first writings on literature focused on the same question, but from a less individual point of view. The interrogation that motivates Le Degré zéro de l’écriture (1953) and many of the essays in Essais critiques (1964) is the question of how to write, of what procedures one can (...) follow in preparing a literary work of art. At the two ends of Barthes’s career one finds the same themes of writing as action and of the writer’s possibilities and motivations in writing. The article explores the hypothesis that there is ground for a positive theory of the author in Barthes’s work. It seeks to discover similarities between writings from the early and the late period that concern three themes: (1) writing as action, (2) the deferral of its achievement, and (3) writing as representation. The article ends with a discussion on the relationships between Barthes’s positive theory of the author and related important issues that have been discussed recently in literary criticism. (shrink)

While it is well known that Roland Barthes consecrated his last lecture series at the Collège de France to the theme of the preparation of a novel, it is less known that his first writings on literature focused on the same question, but from a less individual point of view. The interrogation that motivates Le Degré zéro de l’écriture (1953) and many of the essays in Essais critiques (1964) is the question of how to write, of what procedures one can (...) follow in preparing a literary work of art. At the two ends of Barthes’s career one finds the same themes of writing as action and of the writer’s possibilities and motivations in writing. The article explores the hypothesis that there is ground for a positive theory of the author in Barthes’s work. It seeks to discover similarities between writings from the early and the late period that concern three themes: (1) writing as action, (2) the deferral of its achievement, and (3) writing as representation. The article ends with a discussion on the relationships between Barthes’s positive theory of the author and related important issues that have been discussed recently in literary criticism. (shrink)

Des artistes de pays aussi différents que la Finlande, la Hongrie, la Grèce et la Géorgie se sont définis comme ± d'avant-garde » et ont réclamé ainsi leur appartenance à un champ de création transnational. Ce livre veut proposer une image plus juste des rapports et équilibres entre les régions et cultures de l'espace européen à travers l'exemple de l'avant-garde.

Wolfson's systematic presentation of the philosophy of Spinoza has long been a classic. It is with pride that we make it available again in a one-volume edition.

Wolfson's systematic presentation of the philosophy of Spinoza has long been a classic. It is with pride that we make it available again in a one-volume edition.

In this long-awaited volume, on which he worked for twenty years, Mr. Wolfson describes the body of doctrine known as the Kalam.

v. 1. The philosophy of the Kabbalah.--v. 2. The philosophy of Spinoza.

In his monumental Philosophy of the Kalam the late Harry Wolfson--truly the most accomplished historian of philosophy in our century--examined the early medieval system of Islamic philosophy. He studies its repercussions in Jewish thought in this companion book--an indispensable work for all students of Jewish and Islamic traditions. Wolfson believed that ideas are contagious, but that for beliefs to catch on from one tradition to another the recipients must be predisposed, susceptible. Thus he is concerned here not so much with (...) the influence of Islamic ideas as with Jewish elaboration, adaptation, qualification, and criticism of them. To this end he examines passages reflecting Kalam views by a wide variety of Jewish thinkers, including Isaac Israeli, Judah Halevi, Abraham ibn Ezra, and Maimonides. As always in Wolfson's work, two aspects are apparent: the special dimensions of Jewish thought as well as its relation to other traditions. And as always his prose is both graceful and precise. (shrink)

A collection of anecdotes that articulate the inspirations behind the development of the Frank/Suzuki Performance Aesthetics, an actor training system.

Artificial Intelligence is at a turning point, with a substantial increase in projects aiming to implement sophisticated forms of human intelligence in machines. This research attempts to model specific forms of intelligence through brute-force search heuristics and also reproduce features of human perception and cognition, including emotions. Such goals have implications for artificial consciousness, with some arguing that it will be achievable once we overcome short-term engineering challenges. We believe, however, that phenomenal consciousness cannot be implemented in machines. This becomes (...) clear when considering emotions and examining the dissociation between consciousness and attention in humans. While we may be able to program ethical behavior based on rules and machine learning, we will never be able to reproduce emotions or empathy by programming such control systems—these will be merely simulations. Arguments in favor of this claim include considerations about evolution, the neuropsychological aspects of emotions, and the dissociation between attention and consciousness found in humans. Ultimately, we are far from achieving artificial consciousness. (shrink)

This paper aims to clarify the relationship between consciousness and attention through theoretical considerations about evolution. Specifically, we will argue that the empirical findings on attention and the basic considerations concerning the evolution of the different forms of attention demonstrate that consciousness and attention must be dissociated regardless of which definition of these terms one uses. To the best of our knowledge, no extant view on the relationship between consciousness and attention has this advantage. Because of this characteristic, this paper (...) presents a principled and neutral way to settle debates concerning the relationship between consciousness and attention, without falling into disputes about the meaning of these terms. A decisive conclusion of this approach is that extreme views on the relationship between consciousness and attention must be rejected, including identity and full dissociation views. There is an overlap between the two within conscious attention, but developing a full understanding of this mechanism requires further empirical investigations. (shrink)

'Mass terms', words like water, rice and traffic, have proved very difficult to accommodate in any theory of meaning since, unlike count nouns such as house or dog, they cannot be viewed as part of a logical set and differ in their grammatical properties. In this study, motivated by the need to design a computer program for understanding natural language utterances incorporating mass terms, Harry Bunt provides a thorough analysis of the problem and offers an original and detailed solution. An (...) extension of classical set theory, Ensemble Theory, is defined, and this provides the conceptual basis of a framework for the analysis of natural language meaning which Dr Bunt calls Two-level model-theoretic semantics. The validity of the framework is convincingly demonstrated by the formal analysis of a fragment of English including sentences with quantified and modified mass terms. Separate chapters of the book are devoted to an axiomatic definition of Ensemble Theory and a detailed discussion of its status as a mathematical formalism. (shrink)

Written nearly fifty years ago, at a time when the world was still wrestling with the concepts of Marx and Lenin, 'The Illusion of the Epoch' is the perfect resource for understanding the roots of Marxism-Leninism and its implications for philosophy, modern political thought, economics, and history. As Professor Tim Fuller has written, this "is not an intemperate book, but rather an effort at a sustained, scholarly argument against Marxian views." Far from demonising his subject, Acton scrupulously notes where Marx's (...) account of historical and economic events and processes is essentially accurate. However, Acton also points out that Marx is generally right about things that were already widely known and accepted in his own time and indeed had been long understood in the nineteenth century. On the other hand, Acton shows that in many cases Marx either is simply wrong or has stated his views so as to render his theories immune to disproof. Acton also explains why the embodiment of Marxist-Leninist theory in an actual social order would require coercive support if it were not, sooner or later, to collapse of its own contradictions. (shrink)

Multisensory stimulation has been shown to alter the sense of body-ownership. Given that perceived similarity between one’s own body and those of others is crucial for social cognition, we investigated whether multisensory stimulation can lead participants to experience ownership over a hand of different skin colour. Results from two studies using introspective, behavioural and physiological methods show that, following synchronous visuotactile stimulation, participants can experience body-ownership over hands that seem to belong to a different racial group. Interestingly, a baseline measure (...) of implicit racial bias did not predict whether participants would experience the RHI, but the overall strength of experienced body-ownership seemed to predict the participants’ post-illusion implicit racial bias with those who experienced a stronger RHI showing a lower bias. These findings suggest that multisensory experiences can override strict ingroup/outgroup distinctions based on skin colour and point to a key role for sensory processing in social cognition. (shrink)

Solutions to Russell’s paradox of propositions and to Kaplan’s paradox are proposed based on an extension of von Neumann’s method of avoiding paradox. It is shown that Russell’s ‘anti-Cantorian’ mappings can be preserved using this method, but Kaplan’s mapping cannot. In addition, several versions of the Epimenides paradox are discussed in light of von Neumann’s method.

How is violence conventionally portrayed and where does violence lie in representation? How does photography mediate the relationships between different forms and ideas, moments and experiences of violence? These were some of the questions addressed in a conversation between artist Harri Pälviranta and philosopher Stefanie Baumann organized by Alexandra Athanasiadou, founder and director of the online platform Philosophy & Photography Lab (PHLSPH), during the international Photography Festival, Imago Lisboa, in Lisbon during October 2022. The discussion presented here is edited (...) from a transcript by Athanasiadou. It took place at Lusófona University in Lisbon on the occasion of Pälviranta’s exhibition at the Museu Nacional de Arte Contemporânea (MNAC) (6 October 2021–8 January 2023) and focuses on two series of works in the exhibition, News Portraits and Choreography of Violence. (shrink)

Broad, C. D. Leibniz's predicate-in-notion principle and some of its alleged consequences.--Couturat, L. On Leibniz's metaphysics.--Friedrich, C. J. Philosophical reflections of Leibniz on law, politics, and the state.--Curley, E. M. The root of contingency. Furth, M. Monadology.--Hacking, I. Individual substance.--Hintikka, J. Leibniz on plenitude, relations, and the "reign of law."--Ishiguro, H. Leibniz's theory of the ideality of relations.--Kneale, M. Leibniz and Spinoza on activity.--Koyré, A. Leibniz and Newton.--Lovejoy, A. O. Plenitude and sufficient reason in Leibniz and Spinoza.--Mates, B. Leibniz on (...) possible worlds.--Russell, B. Recent work on the philosophy of Leibniz.--Wilson, M. D. On Leibniz's explication of "necessary truth.". (shrink)