Does Leibniz really worst Locke in respect of innate ideas, as is frequently supposed, or does Locke emerge more or less whole from their epistemological dispute? I shall here argue that Leibniz does far less well than we might like to believe and that his substantive proposals, where not entirely innocuous, contain little that would appeal to anyone interested in a modern form of the innateness thesis.

In his 2018 AJP paper, Shlomo Cohen hints that deception could be a distinct subset of manipulation. We pursue this thought further, but by arguing that Cohen’s accounts of deception and manipulation are incorrect. Deception under uncertainty need not involve adding false premises to the victim’s reasoning but it must involve manipulating her response, and cases of manipulation that do not interfere with the victim’s reasoning, but rather utilize it, also exist. Therefore, deception under uncertainty must be constituted by covert (...) manipulation. (shrink)

Concerned with topics at the heart of Kant's aesthetics, this provoking reading of The Critique of Judgement focuses on often misunderstood or neglected themes. Starting from the issues of the truth and justifiability of our critical assertions, Anthony Savile develops Kantian theory broadly across the arts, and shows it working with subtlety and rigour in cases as diverse as music and architecture. New light is thrown on the exemplary necessity of our aesthetic pleasures, on the Antimony of Taste, on (...) the distinction between free and dependent beauty, on the supposed idealism of taste, and on the a priori limits of fine art. Eminently subjective material is here given a place in Kant's overall idealism in a sophisticated discussion that will invite the close attention of Kant scholars and aestheticians alike. (shrink)

Reviews goodman's claims about representation, Expression and identity of works of art. Claims that the underlying nominalist logic effectively prohibits our understanding of these notions (pace goodman) and leaves everything which is of specific artistic and aesthetic interest out of account.

[Richard Glauser] Shaftesbury's theory of aesthetic experience is based on his conception of a natural disposition to apprehend beauty, a real 'form' of things. I examine the implications of the disposition's naturalness. I argue that the disposition is not an extra faculty or a sixth sense, and attempt to situate Shaftesbury's position on this issue between those of Locke and Hutcheson. I argue that the natural disposition is to be perfected in many different ways in order to be exercised in (...) the perception of the different degrees of beauty within Shaftesbury's hierarchy. This leads to the conclusion that the exercise of the disposition depends, from case to case, on many different cognitive and affective conditions, that are realised by the collaborative functionings of our ordinary faculties. Essential to Shaftesbury's conception of aesthetic experience is a disinterested, contemplative love, that causes (or contains) what we may call a 'disinterested pleasure', but also an interested pleasure. I argue that, within any given aesthetic experience, the role of the disinterested pleasure is secondary to that of the disinterested love. However, an important function of the disinterested pleasure is that, in combination with the interested pleasure, it leads one to aspire to pass from the aesthetic experience of lower degrees of beauty to the experience of higher ones in the hierarchy. /// [Anthony Savile] (1) If Shaftesbury is to be seen as the doyen of modern aesthetics, his most valuable legacy to us may not so much be his viewing aesthetic response as a sui generis disinterested delight as his insistence on its turning 'wholly on [experience of] what is exterior and foreign to ourselves'. Not that we cannot experience ourselves, or what is our own, as a source of such admiration. Rather our responses, favourable or no, are improperly grounded in any essentially reflexive, or first-personal, ways of taking what engages us. The suggestion is tested against the case of Narcissus. (2) Glauser interestingly emphasizes Shaftesbury's neo-Platonic conception of a hierarchy of aesthetic experience that culminates in the joyful contemplation of God. That hierarchy must be something that is less unitary and systematic than Shaftesbury himself had supposed, even when his emphasis on the tie between aesthetic pleasure and contemplative experience is allowed to extend beyond perception and to encompass episodes of thought itself. (shrink)

Research has established that the burdens of externalities associated with industrial production are disproportionately borne by socially and politically vulnerable groups, and this is particularly true for farmworkers who are at high risk for environmental exposures and illnesses. The impacts of these risks are often compounded by farmworker communities’ social vulnerability. Yet, less is known about how the intersection of race, class, and gender can position some farmworkers to be at higher risk for particular types of oppressions. We extend the (...) literature by analyzing the case of Black women farmworkers in Apopka, Florida, which was historically home to a large agricultural community. Drawing on the concept of critical environmental justice, we investigate the lived experiences of these women in the context of racialized, gendered, and economic oppressions during their time working on the farms. We use the case of Apopka to ask: how the policies and socio-historical context of the agricultural industry in the American South contributed to injustices experienced by Black women farmworkers in Apopka, Florida; and how race, gender, and class intersected and intersect to create and legitimize environmental injustices in the workplace for these farmworkers. Our data include semi-structured in-depth interviews, newspaper and media coverage, and archival materials. Our analysis advances work on critical environmental justice and intersectionality by mapping the relationship between structural and environmental intersectional oppressions for Black women farmworkers. (shrink)

This fresh orientation to Kant's _Critique of Pure Reason_ presents his central theme, the development of his Transcendental Idealism, as a ground-breaking response to perceived weaknesses in his predecessors' accounts of experiential knowledge. Traces the central theme of the Critique, the development of Kant's Transcendental Idealism. Offers new and original readings of the central arguments in both the Transcendental Aesthetic and the Transcendental Analytic. Appraises the success and failure of Kant's project in the _Critique_.

Psychiatry and Religious Studies have common interests in extreme and extraordinary states when articulated in the languages of religions. For Religious Studies the problems with the category of religious experience are philosophical and profound; whilst the resurgence of interest in religion by psychiatrists (three meta-analyses in the past five years) has not repaired the damaging legacy of reductionist interpretations. In this paper I adopt an interdisciplinary approach to the religious experience discourse. From psychiatry I apply the new idea of Disruption, (...) which makes its first appearance in the US psychiatric textbook DSM-5 (APA, 2013); and the older Biopsychosocial model (Engel, 1977). From Physiology I apply the language of ‘ictal’ (Adachi, 2002, 2010) to privilege a dynamic idea of time. These concepts involve particular epistemological presuppositions and, as this is an interdisciplinary, rather than a multidisciplinary contribution, these will be critically developed. The approach I propose provides a way of holistically addressing the categories of Mysticism, Possession and Altered States of Consciousness, as acute or extreme categories of experience. I propose that the idea of ‘Disruption’ can act as a pre-interpretive placeholder for a real existential experience which might (or might not) result in a non-pathological diagnosis of religious experience. The outcome depends on the socialisation of interpretation. I hope to show that the idea that there might be alternative interpretations removes the need for a sui generis defence of religious experience. By insisting on a biopsychosocial approach within an ictal framework, a way beyond the linguistic impasse of interpretation is proposed; the essentialism, implicit in the mysticism discourse, is questioned; and the non-medicalisation of Possession confirmed. The limitations of this paper point to the opportunity for further conversations between interested parties, including people with experiences of Disruption. (shrink)

vout Jews and Christians nothing less than blasphemy, so ingrained has the custom become of identifying religion with their own form of it. But the student of the history of religion recognizes that many a religion older than Judaism or ...

Leibniz is a major figure in western philosophy and, with Descartes and Spinoza, one of the most influential philosophers of the Rationalist School. The _Monadology_ is his most famous work and one of the most important works of modern philosophy. _Leibniz and the Monadology_ introduces and assesses: *Leibniz's life and the background to the _Monadology_ *the ideas and text of the _Monadology_*Leibniz's continuing importance to philosophy Leibniz and the Monadology is ideal for anyone coming to Leibniz for the first time. (...) It also includes the text of the _Monadology_, specially translated for this _GuideBook_ by Anthony Savile. (shrink)

[Richard Glauser] Shaftesbury's theory of aesthetic experience is based on his conception of a natural disposition to apprehend beauty, a real 'form' of things. I examine the implications of the disposition's naturalness. I argue that the disposition is not an extra faculty or a sixth sense, and attempt to situate Shaftesbury's position on this issue between those of Locke and Hutcheson. I argue that the natural disposition is to be perfected in many different ways in order to be exercised in (...) the perception of the different degrees of beauty within Shaftesbury's hierarchy. This leads to the conclusion that the exercise of the disposition depends, from case to case, on many different cognitive and affective conditions, that are realised by the collaborative functionings of our ordinary faculties. Essential to Shaftesbury's conception of aesthetic experience is a disinterested, contemplative love, that causes what we may call a 'disinterested pleasure', but also an interested pleasure. I argue that, within any given aesthetic experience, the role of the disinterested pleasure is secondary to that of the disinterested love. However, an important function of the disinterested pleasure is that, in combination with the interested pleasure, it leads one to aspire to pass from the aesthetic experience of lower degrees of beauty to the experience of higher ones in the hierarchy. /// [Anthony Savile] If Shaftesbury is to be seen as the doyen of modern aesthetics, his most valuable legacy to us may not so much be his viewing aesthetic response as a sui generis disinterested delight as his insistence on its turning 'wholly on [experience of] what is exterior and foreign to ourselves'. Not that we cannot experience ourselves, or what is our own, as a source of such admiration. Rather our responses, favourable or no, are improperly grounded in any essentially reflexive, or first-personal, ways of taking what engages us. The suggestion is tested against the case of Narcissus. Glauser interestingly emphasizes Shaftesbury's neo-Platonic conception of a hierarchy of aesthetic experience that culminates in the joyful contemplation of God. That hierarchy must be something that is less unitary and systematic than Shaftesbury himself had supposed, even when his emphasis on the tie between aesthetic pleasure and contemplative experience is allowed to extend beyond perception and to encompass episodes of thought itself. (shrink)

How do we explain the coincidence of religion and madness in which prophets, founders of religions and great saints often show symptoms of an excitability that is extreme and even pathological? This book attempts to address this phenomenological problem. Richard Saville-Smith argues that 'acute religious experiences' provides a novel category to the study of the non-rational. This book provides an epidemiological approach to a crisis, which is non-veridical and non-reductionist, recognizing a predisposition due to gene variation as a perennial constant, (...) whilst affirming that culture contextualizes experiences. Informed by contemporary psychiatric theory, which is passed through the lens of mad studies, this book proposes the 'sweet-spot' of 'acute religious experiences' which express the phenomenality of madness – but where mad is good. This interdisciplinary study provides a species-wide account of interest to all disciplines that encounter such anomalies in their subjects, from fine art to psychiatry. (shrink)

Kant’s concern for the universal validity of aesthetic judgment turns on its providing a needed bridge between our understanding of the world as governed by mechanical laws and our ability freely to realize our true humanity. That obliges us to find beauty in nature that is expressive of our ethical and moral values. It shapes the way we should understand aesthetic judgment itself.

Faces are complex stimuli that can be described via intuitive facial features like the eyes, nose, and mouth, “configural” features like the distances between facial landmarks, and features that correspond to computations performed in the early visual system (e.g. oriented edges). With regard to this latter category of descriptors, adult face recognition relies disproportionately on information in specific spatial frequency and orientation bands: Many recognition tasks are performed more accurately when adults have access to mid-range spatial frequencies (8-16 cycles/face) and (...) horizontal orientations (Dakin & Watt, 2009). In the current study, we examined how this information bias develops in middle childhood. We recruited children between the ages of 5-10 years old to participate in a simple categorization task that required them to label images according to whether they depicted a face or a house. Critically, children were presented with face and house images comprised either of primarily horizontal orientation energy, primarily vertical orientation energy, or both horizontal and vertical orientation energy. We predicted that any bias favoring horizontal information over vertical should be more evident in faces than in houses, and also that older children would be more likely to show such a bias than younger children. We designed our categorization task to be sufficiently easy that children would perform at near-ceiling accuracy levels, but with variation in response times that would reflect how they rely on different orientations as a function of age and object category. We found that horizontal bias for face detection (but not house detection) correlated significantly with age, suggesting an emergent category-specific bias for horizontal orientation energy that develops during middle childhood. These results thus suggest that the tuning of high-level recognition to specific low-level visual features takes take place over several years of visual development. (shrink)

One issue for theory is to account convincingly for the value of art and the significance of its specifically aesthetic character. Appeal to imagination, understood along Kantian lines as functioning to construct ‘a second nature from the material supplied by actual nature’, generates suggestive answers to both aspects of the task. The second nature that the artist inventively constructs in fine representation is one in which themes central to the inner life are revealed in ways as unestranging to us as (...) their nature permits; then, in their aesthetic realization we take them into ourselves directly in experience, with concomitant affect. Thereby the values they convey are liable either to become our own or else to modify established ones. Whether they do so stably or not may depend on our having achieved a firmly enough rooted sense of self. Imagination has traditionally been seen as contributing aesthetically to that too in the elaboration of the sublime, as much within the realm of art as in nature itself. Forms of art resisting such modes of reflection will need to look to theory to put something no less vital in their place. (shrink)

In his literary autobiography, Le vent Paraclet , Michel Tournier records how during his time at the Lycée Pasteur in Neuilly he and his fellow classmates found a source of great hilarity in their favourite bêtisier , a volume called Pensées de Pascal , in which one learns that painting is a frivolous exercise that consists in imperfectly reproducing objects that are themselves quite worthless. Fairness to Pascal – far from Tournier's mind in those early days – demands that that (...) offending pensée , which belongs in the sheaf of Vanités , be seen more as a summary of Saint Augustine's views than as a record of Pascal's own, and one that was rooted in a tradition stemming from Plato that deprecated all varieties of mimesis. Setting historical adjustment aside and reining back on the boys' sophisticated amusement, one may well wonder whether the view Pascal records does not contain a grain of truth. Are there not indeed kinds of painting that we prize, yet which are well chosen butts of this criticism? In particular, still life painting concerned to record the trivia of domestic life, pots and pans, fruits and meats, glasses and all sorts of everyday tableware looks to be sharply exposed to Pascalian scorn. If this Platonic or in Augustine's case, neo-Platonic, attack on painting is to be warded off in general then it had best be done here where it appears at its most pressing. And if it cannot be warded off here, then still life painting at least is moribund, probably lifeless, nature morte mort indeed. (shrink)

Recent approaches to scepticism have followed a pattern which Descartes was the first modern to outline with anything approaching clarity. He is not often given credit for the best of his insights here largely because they are obscured by misleading theological assumptions, yet once these assumptions are removed we should be impressed by the subtle ring of the underlying account of rational belief. To demonstrate these claims the first section of this essay discusses the irrelevance of Descartes’ theology to his (...) epistemology — the misère of the title — the second, devoted to the grandeur, expounds his operative theory of reasonable belief, and the remainder applies this theory to Descartes’ original sceptical problem and offers some comment both on its strength and its weakness.Descartes is less careful than he might be in formulating the exact form of the most general sceptical doubt that he aims to rebut. On some occasions he appears to be asking the question and, on others, the question. (shrink)

Nous ecartons ici deux tentatives visant a rendre compte de l’irrationalite de l’action akratique au sein du systeme de Spinoza: celle contenue dans Spinoza meme et une seconde toute recente, due a della Rocca, qui pretend parler au nom de Spinoza. Nous tracons a larges traits une troisieme voie, laquelle n’est pas manifestement en porte-a-faux avec les principes de la psychologie morale de Spinoza. Cette tentative tourne autour d’une conception du conatus integrant un element normatif et subjectif, soit le besoin (...) de former un moi structure de facon stable. Sans ce dernier, le plus grand bien que les humains soient susceptible d’atteindre, l’acquiescientia in se ipso, serait en fait irrealisable. Concevoir ainsi le conatus donne la latitude dont Spinoza a besoin pour representer le desir irresistible que concoit Medee pour Jason comme contre-conatif et celle dont Medee a besoin pour en etre elle-meme pleinement consciente. (shrink)

How are the beautiful and the good related? A popular answer to this ancient question takes it that to call something beautiful is just to bring it under the most general term of favourable aesthetic assessment and that since the good is in general what we reflectively want then, crudely put, the beautiful is the good's aesthetic dimension. Following this train of thought, we avoid the suggestion that there is any intimate connection between the beautiful and some more narrowly conceived (...) moral or ethical good, since that is, again crudely put, restricted to the good's practical dimension, a dimension supposedly alien to aesthetic concerns. (shrink)

An educational provision for young children with autism that offers intensive behavioural intervention based on the principles of Applied Behaviour Analysis (ABA), within an early years mainstream school setting in the UK, is described. The ABA Class at Westwood School is a collaborative project between the School of Psychology, Bangor University, two Local Education Authorities in North East Wales (Flintshire and Wrexham) and the local NHS Trust. Using two case examples, two important features of mainstream education for children with autism (...) are considered: access to the National Curriculum, and inclusion with peers in mainstream settings. Standardised test data on outcomes for these children over the initial 12 months of their educational placements are also provided. (shrink)

This essay examines an aesthetics of disgust through an analysis of the work of Scottish painter Jenny Saville. Saville's paintings suggest that there is something valuable in retaining and interrogating our immediate and seemingly unambivalent reactions of disgust. I contrast Saville's representations of disgust to the repudiation of disgust that characterizes contemporary corporeal politics. Drawing on the theoretical work of Elspeth Probyn and Julia Kristeva, I suggest that an aesthetics of disgust reveals the fundamental ambiguity of embodiment, allowing us to (...) critically attend to the aesthetic and cultural objectification of the female body. (shrink)

Jenny Saville is a leading contemporary painter of female nudes. This paper explores her work in light of theories of gender and embodied agency. Recent work on the phenomenology of embodiment draws a distinction between the body image and the body schema. The body image is your representation of your own body, including your visual image of it and your emotional attitudes towards it. The body schema is comprised of your proprioceptive knowledge, your corporeally encoded memories, and your corporeal proficiency (...) with respect to various environments and activities. Saville is concerned with body image issues, and I discuss how she reconfigures representational practices with respect to feminine body images. However, the most exciting potential for feminist analysis of the state of the female nude derives from the concept of the body schema, for this concept endows the human body with subjectivity and agency. My key question, then, is by what pictorial means and to what extent Saville succeeds in representing agentic womanhood. I argue that interpreting Saville’s paintings from the standpoint of the body schema demonstrates the radicality of her remaking of the female nude and the rapport between her imagery and feminist values. (shrink)