There is a tendency to take mounted dinosaur skeletons at face value, as the raw data on which the science of paleontology is founded. But the truth is that mounted dinosaur skeletons are substantially intention-dependent—they are artifacts. More importantly, I argue, they are also substantially imagination-dependent: their production is substantially causally reliant on preparators’ creative imaginations, and their proper reception is predicated on audiences’ recreative imaginations. My main goal here is to show that dinosaur skeletal mounts are plausible candidates for (...) art-status. But, what is more, I think they are artworks—specifically, sculptures. (shrink)

This paper explores what happens when artists fail to execute their goals. I argue that taxonomies of failure in general, and of failed-art in particular, should focus on the attempts which generate the failed-entity, and that to do this they must be sensitive to an attempt’s orientation. This account of failed-attempts delivers three important new insights into artistic practice: there can be no accidental art, only deliberate and incidental art; art’s intention-dependence entails the possibility of performative failure, but not of (...) failed-art; and art’s intention-dependence is perfectly compatible with the role that luck plays in artistic creation. (shrink)

It is widely agreed that fiction is necessarily incomplete, but some recent work postulates the existence of universal fictions—stories according to which everything is true. Building such a story is supposedly straightforward: authors can either assert that everything is true in their story, define a complement function that does the assertoric work for them, or, most compellingly, write a story combining a contradiction with the principle of explosion. The case for universal fictions thus turns on the intuitive priority we assign (...) to the law of non-contradiction. My goal in this paper is to show that our critical and reflective literary practices set constraints on story-telling which preclude universal fictions. I will raise four stumbling blocks for universal fictionalists: the gap between saying and making true, our actual interpretive reactions to story-level contradictions, the criteria we accept for what counts as a story in our literary practices, and the undesirability of the universal fictionalist’s closure principles. (shrink)

The premise that every work belongs to an art-kind has recently inspired a kind-centred approach to theories of art. Kind-centred analyses posit that we should abandon the project of giving a general theory of art and focus instead on giving theories of the arts. The main difficulty, however, is to explain what makes a given kind an art-kind in the first place. Kind-centred theorists have passed this buck on to appreciative practices, but this move proves unsatisfactory. I argue that the (...) root of this dissatisfaction stems not from the act of kicking the can down the road, but from not kicking it far enough. The missing ingredient, I argue, is a notion of convention which does the work of marking the difference between art and non-art for a given physical medium. (shrink)

It is widely believed, among philosophers of literature, that imagining contradictions is as easy as telling or reading a story with contradictory content. Italo Calvino’s The Nonexistent Knight, for instance, concerns a knight who performs many brave deeds, but who does not exist. Anything at all, they argue, can be true in a story, including contradictions and other impossibilia. While most will readily concede that we cannot objectually imagine contradictions, they nevertheless insist that we can propositionally imagine them, and regularly (...) do, simply by entertaining a text which prompts us to do so. I argue that this narrative does not bear scrutiny for two main reasons. First, because propositional imagining is beside the point, where truth in fiction is concerned; evaluating truth in fiction engages the cognitive architecture in ways that prohibit the mobilization of merely propositional imagination to that end. And second, because it is not obvious, given the strategies usually suggested, that we ever propositionally imagine contradictions in the first place—in fact, it seems we go out of our way to avoid directly imagining them. (shrink)

It is commonly thought that authors can make anything whatsoever true in their fictions by artistic fiat. Harry Deutsch originally called this position the Principle of Poetic License. If true, PPL sets an important constraint on accounts of fictional truth: they must be such as to allow that, for any x, one can write a story in which it is true that x. I argue that PPL is far too strong: it requires us to abandon the law of non-contradiction and (...) entails a radical revision of otherwise ordinary commitments about truth in fiction. (shrink)

Schopenhauer’s invective is legendary among philosophers, and is unmatched in the historical canon. But these complaints are themselves worthy of careful consideration: they are rooted in Schopenhauer’s philosophy of language, which itself reflects the structure of his metaphysics. This short chapter argues that Schopenhauer’s vitriol rewards philosophical attention; not because it expresses his critical take on Fichte, Hegel, Herbart, Schelling, and Schleiermacher, but because it neatly illustrates his philosophy of language. Schopenhauer’s epithets are not merely spiteful slurs; instead, they reflect (...) deep-seated theoretical and methodological commitments to transparency of exposition. (shrink)

Art historians and philosophers often talk about the interpretive significance of titles, but few have bothered with their historical origins. This omission has led to the assumption that an artwork's title is its proper name, since names and titles share the essential function of facilitating reference to their bearers. But a closer look at the development of our titling practices shows a significant point of divergence from standard analyses of proper names: the semantic content of a title is often crucial (...) to the identification, individuation, and interpretation of its associated artwork. This paper represents a first step towards an empirically centred study of our titling practices. I argue that, in order to accept titles as proper names, we must first recognize the social, rather than the referential, function of naming. (shrink)

Julian Dodd has characterized the default position in metaphysics as meta-ontologically realist: the answers to first-order ontological questions are thought to be entirely independent of the things we say and think about the entities at issue. Consequently, folk ontologies are liable to substantial error. But while this epistemic humility is commendable where the ontology of natural kinds is concerned, it seems misplaced with respect to social kinds since their ontology is dependent upon the human social world. Using art and art-kinds (...) as paradigmatic examples of social kinds, I argue that meta-ontological realism sets conditions that are too strict to apply to social kinds. Nevertheless, I argue that we should not be too quick to embrace the conclusion that our folk theories of social kinds cannot err substantially. By modelling the reference of social kind-terms on that of natural kind-terms, it becomes clear that in both cases, our sole epistemic privilege lies in our ability to pinpoint the subject of our inquiries. (shrink)

It is not uncommon for art historians and philosophers of art to deride the kinds of aesthetic experiences tourists seek out by characterizing them as bowing to the will of the herd, succumbing to peer pressure, or simply seeking out what is popular. Two charges, in particular, tend to be levelled against tourists. The first, which I call the motivation problem, contends that tourists are motivated to seek out aesthetic experiences for the wrong kinds of reasons. The second, which I (...) call the appreciation problem, maintains that tourist tastes are aesthetically uninformed and are thus the inauthentic product of aesthetic luck. But there is a better way of thinking about aesthetic tourism, one that can capture both the tourist’s motivations and the role of aesthetic luck. I argue that aesthetic tourists, like many experts, subscribe to the acquaintance principle, and that doing so generates aesthetic obligations to their practical identity. The tourist, in the end, is no more – and no less – a product of aesthetic luck than the expert connoisseur. (shrink)

It is often thought that the boundaries and properties of art-kinds are determined by the things we say and think about them. More recently, this tendency has manifested itself as concept-descriptivism, the view that the reference of art-kind terms is fixed by the ontological properties explicitly or implicitly ascribed to art and art-kinds by competent users of those terms. Competent users are therefore immune from radical error in their ascriptions; the result is that the ontology of art must begin and (...) end with conceptual analysis. Against this tendency towards concept-driven ontology, I offer a trio of objections derived from: the cultural and temporal variability of concepts of art, the systematic tendency, on the part of would-be ontological assessors, to err on the side of familiar categories or, conversely, to exaggerate minor differences between familiar and unfamiliar practices, and the influence artworld precedents exert over expert and folk concepts alike. These considerations, I argue, mandate an epistemic humility that is simply unavailable to the concept-descriptivist. (shrink)

In 2018, the Art Gallery of Ontario retitled a painting by Emily Carr which contained an offensive word. Controversy ensued, with some arguing that unsanctioned changes to a work’s title infringe upon artists’ moral and free speech rights. Others argued that such a change serves to whitewash legacies of racism and cultural genocide. In this paper, I show that these concerns are unfounded. The first concern is not supported by law or the history of our titling practices; and the second (...) concern misses the mark by ignoring the gallery’s substantial efforts to avoid just such an outcome. Picking up on a suggestion from Loretta Todd, I argue that we can use Aboriginal Title as a model for thinking about the harms perpetuated by cultural appropriation, and the practices we should adopt to mitigate them. (shrink)

This is a short piece on literary literacy, in the form of a choose-your-own-adventure story. -/- The entire piece is spread across all three volumes: Volume 1 Chapter 12, Volume 2 Chapter 5, and Volume 3 Chapter 22.

A critical reflection on John Woods's new monograph, Truth in Fiction – Rethinking its Logic. I focus in particular on Woods’s world-inheritance thesis (what others have variously called ‘background,’ ‘the principle of minimal departure,’ and ‘the reality assumption,’ and which replaces Woods’s earlier ‘fill-conditions’) and its interplay with auctorial say-so, arguing that world-inheritance actually constrains auctorial say-so in ways Woods has not anticipated.

Attempting art: an essay on intention-dependenceIt is a truism among philosophers that art is intention-dependent—that is to say, art-making is an activity that depends in some way on the maker's intentions. Not much thought has been given to just what this entails, however. For instance, most philosophers of art assume that intention-dependence entails concept-dependence—i.e. possessing a concept of art is necessary for art-making, so that what prospective artists must intend is to make art. And yet, a mounting body of anthropological (...) and art-historical evidence and philosophical argument suggests that not only is such a criterion unsatisfied by most of the art-historical canon, but it also rests on a false premise: concepts of 'art' are not shared between cultures, nor even in the same culture across time. My dissertation aims to rectify this error by first exploring what our commitment to art's intention-dependence actually entails, and then showing that, properly understood, intention-dependence sets a number of important constraints on theories of art with respect to explanatory desiderata such as the success- and failure-conditions of art-attempts, the cross-cultural identification of art, and the reference of 'art' and art-kind terms. I begin by situating art's intention-dependence in the philosophical literature on intentional action, arguing that, properly conceived, intention-dependence is a weak criterion which can be satisfied either directly or indirectly. It therefore does not necessarily entail concept-dependence. I then use this distinction to motivate a new treatment of the success- and failure-conditions for art-attempts, arguing that the extant model's emphasis on compliance with 'the manner intended' is far too restrictive to capture actual artistic practices. I go on to show that Ruth Millikan's model of linguistic conventions supplies an independently plausible explanation of art's concept-independent origins in terms of the development of a system of indirectly intention-dependent conventions called an 'artworld'. I argue that this account of artworld development supplies us with the tools we need to distinguish art-kinds from other artifactual kinds. Finally, I turn my attention to methodological issues, arguing that even though 'art' is a social kind with its roots in arbitrary and historically-contingent networks of conventions, the philosophy of art is not merely an exercise in bare conceptual analysis. In fact, there is now a great deal of evidence to show that the ways we think about 'art' are inconsistent, incomplete, imperialistic, and largely unprincipled. Yet I argue that this does not mean that the artworld data have no bearing on theories of art. Instead, I argue that our best reflective understanding of our artworld practices sets the constraints on the reference of 'art' and art-kind terms. I argue that we have no privileged epistemic access to the ontology of social kinds; our only privilege lies in our ability to determine the proper subject of our inquiries. (shrink)

Aesthetics: 50 Puzzles, Paradoxes, and Thought Experiments is a teaching-focused resource, which highlights the contributions that imaginative scenarios—paradoxes, puzzles, and thought experiments alike—have made to the development of contemporary analytic aesthetics. The book is divided into sections pertaining to art-making, ontology, aesthetic judgements, appreciation and interpretation, and ethics and value, and offers an accessible summary of ten debates falling under each section. -/- Each entry also features a detailed annotated bibliography, making it an ideal companion for courses surveying a broad (...) collection of topics and readings in aesthetics. (shrink)

I argue that the coincidence of statue and matter is a special case of a common linguistic phenomenon: the use of partitive terms to individuate uses of non-count nouns (NCNs). By marking partitives and NCNs, we can easily account for the intuition that a statue and its matter are identical.

In Kant’s ethics, disinterest is derived from the concept of the categorical imperative and is taken to be the condition of the possibility of all moral actions. Schopenhauer, by contrast, treats disinterest as a necessary but insufficient condition for morality, and severs it from its ties to the categorical imperative. Disinterest, for Schopenhauer, leads to the concept of compassion, which he praises as the sole ground of all morality. But compassion seems fundamentally opposed to disinterest, since it involves taking an (...) active interest in someone else’s plight: a consideration not really treated in Kant. In this paper, I tackle the problem of reconciling compassion, in Schopenhauer, with the criterion of disinterest that he inherits from Kant. I also take up the challenge of explaining compassion’s altruistic tendency to act for another’s well-being if we take Schopenhauer’s determinism at face value, and acknowledge that human actions are fundamentally egoistic. (shrink)

Although the character of the “lady detective”is a staple of the cozy mystery genre, we contend that there are no great lady detectives to rival Holmes or Poirot. This is not because there are no clever or interesting lady detective characters, but ratherbecause the concept of greatness is sociallyconstructed and, like coolness, depends on public acclaim and perception. We explore the mechanics of genre formation, arguing that the very structure of cozy mysteries precludes female greatness. To create a “great”character,theauthor cannot (...) just endowher with certain attributes; she must actively work to overcome her audience’s tendency to import structures of oppression into the story, and she must wrestle against the conventions of the genre. In doing so, however, authors risk setting their stories in a wholly different genre. (shrink)

A review of Thomas Wartenberg's Thoughtful Images: Illustrating Philosophy Through Art (OUP 2023).

In 2006, David Carrier (Carrier, 2006, Museum Skepticism: A History of the Display of Art in Public Galleries. Durham: Duke University Press.) coined the term ‘museum skepticism’ to describe the idea that moving artworks into museum settings strips them of essential facets of their meaning; among art historians, this is better known as ‘decontextualization’, ‘denaturing’, or ‘museumization’. Although they do not usually name it directly, many contemporary debates in the philosophy of art are informed by an inclination towards museum skepticism, (...) from work on aesthetic cognitivism (Feagin, Susan, 1995, “Paintings and their places” Australasian Journal of Philosophy 73.2: 260-8.) and contextualism (Danto, Arthur C., 1988, “Artifact and Art”, in ART/ARTIFACT: African Art in Anthropological Collections. Exhibition Catalogue. New York: Center for African Art and Prestel Verlag, 18-32.) to cultural appropriation (Eaton, A. W. and Gaskell, Ivan, 2009, “Do subaltern artifacts belong in art museums?,” The Ethics of Cultural Appropriation, ed. James O. Young and Conrad Brunk, Oxford and Malden, Mass.: Wiley-Blackwell, 235-67), street art (Baldini, Andrea, 2016, “Street Art: A Reply to Riggle” Journal of Aesthetics and Art Criticism 74.2: 187-91), and the value of authenticity (Korsmeyer, Carolyn, 2016, “Real Old Things” British Journal of Aesthetics, 56.3: 219-31). The very first museum skeptic, however, was Antoine Chrysostôme Quatremère de Quincy (1755-1849). (shrink)

Review of Fernando Vidal's _Performing brains on screen_ (Amsterdam 2022).

A review of James Young's "Radically Rethinking Copyright in the Arts: A Philosophical Approach" (Routledge 2020).

A review of Tiziana Andina's The Philosophy of Art: The Question of Definition: From Hegel to Post-Dantian Theories (Bloomsbury 2013).

A review of Christy Mag Uidhir's Art & Art-Attempts (OUP 2013).

To fulfill their crucial duty of relieving suffering in their patients, physicians may have to administer palliative sedation when they implement treatment-limitation decisions such as the withdrawal of life-supporting interventions in patients with poor prognosis chronic severe brain injury. The issue of palliative sedation deserves particular attention in adults with serious brain injuries and in neonates with severe and irreversible brain lesions, who are unable to express pain or to state their wishes. In France, treatment limitation decisions for these patients (...) are left to the physicians. Treatment-limitation decisions are made collegially, based on the presence of irreversible brain lesions responsible for chronic severe disorders of consciousness. Before these decisions are implemented, they are communicated to the relatives. Because the presence and severity of pain cannot be assessed in these patients, palliative analgesia and/or sedation should be administered. However, palliative sedation is a complex strategy that requires safeguards to prevent a drift toward hastening death or performing covert euthanasia. In addition to the law on patients' rights at the end of life passed in France on April 22, 2005, a recent revision of Article 37 of the French code of medical ethics both acknowledges that treatment-limitation decisions and palliative sedation may be required in patients with severe brain injuries and provides legal and ethical safeguards against a shift towards euthanasia. This legislation may hold value as a model for other countries where euthanasia is illegal and for countries such as Belgium and Netherlands where euthanasia is legal but not allowed in patients incapable of asking for euthanasia but in whom a treatment limitation decision has been made. (shrink)

The quantification of phase synchrony between neuronal signals is of crucial importance for the study of large-scale interactions in the brain. Two methods have been used to date in neuroscience, based on two distinct approaches which permit a direct estimation of the instantaneous phase of a signal [Phys. Rev. Lett. 81 (1998) 3291; Human Brain Mapping 8 (1999) 194]. The phase is either estimated by using the analytic concept of Hilbert transform or, alternatively, by convolution with a complex wavelet. In (...) both methods the stability of the instantaneous phase over a window of time requires quantification by means of various statistical dependence parameters (standard deviation, Shannon entropy or mutual information). The purpose of this paper is to conduct a direct comparison between these two methods on three signal sets: (1) neural models; (2) intracranial signals from epileptic patients; and (3) scalp EEG recordings. Levels of synchrony that can be considered as reliable are estimated by using the technique of surrogate data. Our results demonstrate that the differences between the methods are minor, and we conclude that they are fundamentally equivalent for the study of neuroelectrical signals. This offers a common language and framework that can be used for future research in the area of synchronization. © 2001 Published by Elsevier Science B.V. (shrink)

La 4e de couverture indique : "Les Lumières sont souvent invoquées dans l'espace public comme un combat contre l'obscurantisme, combat qu'il s'agirait seulement de réactualiser. Des lectures, totalisantes et souvent caricaturales, les associent au culte du Progrès, au libéralisme politique et à un universalisme désincarné. Or, comme le montre ici Antoine Lilti, les Lumières n'ont pas proposé une doctrine philosophique cohérente ou un projet politique commun. En confrontant des auteurs emblématiques et d'autres moins connus, il propose de rendre aux (...) Lumières leur complexité historique et de repenser ce que nous leur devons : un ensemble de questions et de problèmes, bien plus qu'un prêt-à-penser rassurant. Les Lumières apparaissent dès lors comme une réponse collective au surgissement de la modernité, dont les ambivalences forment aujourd'hui encore notre horizon. Partant des interrogations de Voltaire sur le commerce colonial et l'esclavage pour arriver aux dernières réflexions de Michel Foucault, en passant par la critique post-coloniale et les dilemmes du philosophe face au public, L'Héritage des Lumières propose ainsi le tableau profondément renouvelé d'un mouvement qu'il nous faut redécouvrir car il ne cesse de nous parler.". (shrink)

The question of action or praxis has not been treated in particular by Michel Henry in his works. However, this subject is present at each step of his reflexion. This article makes a synthesis on this matter, taking into account all of his works, especially the last books on Christianity (which, in our view, fulfill the phenomenology of life). Having determined the immanent dialectic of action (from the gift of the power in the generation and the in-carnation of the (...) First Living), we can understand, following Michel Henry, the ethics of Life as the Commandment of Love. From such a perspective, the sin and the salvation can be reconnected to the native relation of the living with the Life. (shrink)

Dans l’avant-propos de ce recueil d’actes, Jacques Jouanna rappelle que la quatorzième édition du colloque hippocratique a fait date en ce qu’elle célébrait les quarante ans d’une série ininterrompue de conférences, inaugurée en 1972 par Louis Bourgey et lui-même. Parmi les vingt-quatre contributions rassemblées, onze portent sur les textes du Corpus hippocratique, tandis que les treize autres sont consacrées aux « hippocratismes », c’est-à-dire à la transmission et à la réception d’Hippocrat...

Le Jansénisme c’est d’abord un mot, une idée et une réalité. Ce sont aussi des personnages, hommes et femmes, qui au XVIIe et au XVIIIe siècles ont joué une incarnation qui n’était pas que religieuse ou théologique, malgré le primat de celle-ci. Le tableau historique que propose M. Le Guern est aussi l’analyse des positions et réactions des principaux acteurs, de Richelieu et Saint-Cyran à Antoine Arnaud, de Nicolas Pavillon et le Formulaire, jusqu’à Quesnel et la reprise des hostilités (...) après une certaine accalmie fin de siècle, avec les effets de la Bulle Unigenitus. Comme on le sait, le terme, sinon vraiment définitif dont il faudrait encore parler, du moins selon d’importants repères historiques, se lit aujourd’hui en divers mouvements qui, après miracles et convulsions, se réduiront, à défaut de se résoudre, dans les conflits, les dispersions et les dérives sectaires. Jansenism is, first of all, a word, an idea, and a reality. It also includes characters, the men and women who incarnated it during the 17th and 18th centuries, not only on a religious or theological level, despite the primacy of the latter. The historical picture that M. Le Guern proposes is also an analysis of the positions and reactions of the principle actors, from Richelieu and Saint-Cyran to Antoine Arnaud, from Nicolas Pavillon and the Formulary, all the way to Quesnel and the renewal of hostilities, after a certain calm at the end of the century, due to the effects of the Bull Unigenitus. As we know, the term “Jansenism”, while still open to discussion, can at least be interpreted today, in terms of important historical landmarks. It comprised various movements which, after miracles and convulsions, were finally degenerated –for want of a resolution – into conflicts, dissipation, and sectarian drifts. (shrink)

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

Nietzsche once proclaimed himself the 'Buddha of Europe', and throughout his life Buddhism held enormous interest for him. While he followed Buddhist thinking in demolishing what he regarded as the two-headed delusion of Being and Self, he saw himself as advocating a response to the ensuing nihilist crisis that was diametrically opposed to that of his Indian counterpart. In this book Antoine Panaïoti explores the deep and complex relations between Nietzsche's views and Buddhist philosophy. He discusses the psychological models (...) and theories which underlie their supposedly opposing ethics of 'great health' and explodes the apparent dichotomy between Nietzsche's Dionysian life-affirmation and Buddhist life-negation, arguing for a novel, hybrid response to the challenge of formulating a tenable post-nihilist ethics. His book will interest students and scholars of Nietzsche's philosophy, Buddhist thought and the metaphysical, existential and ethical issues that emerge with the demise of theism. (shrink)

Les auteurs de cet essai, spécialistes reconnus de l'écologie, reviennent sur le sens de l'écologie, notion cruciale et pourtant sujette à toutes les confusions. Ils retracent avec force et simplicité son origine historique et philosophique afin d'en saisir les enjeux politiques, économiques et urbains dans le monde d'aujourd'hui. Cette mise au point est l'occasion de redéfinir le sens du progrès ou de la modernité, à l'heure où la planète souffre d'une surexploitation de ses ressources par l'Homme. Cet ouvrage critique nous (...) offre l'opportunité de redéfinir la place de l'Homme dans un monde où l'hégémonie d'un anthropocentrisme inconsidéré n'est plus viable. C'est enfin un hymne à la beauté du monde et une revendication : le droit de chacun à préserver ses racines et ses repères. L'écologisme politique doit s'opposer à l'effacement des signes naturels, culturels et historiques qui donnent aux territoires leurs personnalités et les ancrent dans une histoire. L'écologisme ne peut se résumer à une simple tendance : il s'agit d'un humanisme se souciant des générations à venir, qui s'attache à préserver et à transmettre un héritage commun à tous. (shrink)

Cet article vise à caractériser les grandes dynamiques géomorphologiques à l’œuvre dans la plaine d’Itéa. S’appuyant sur trois années de prospections pédestres, de nombreux documents cartographiques, des missions océanographiques ainsi que sur les nombreuses coupes stratigraphiques accessibles dans la plaine, il présente ces résultats sous la forme de deux cartes géomorphologiques inédites. Les résultats obtenus mettent en avant la prédominance du fleuve Hylaithos dans la construction holocène de la plaine ainsi qu’une nette dissymétrie entre des environnements deltaïques au niveau d’Itéa (...) et un marais littoral récemment comblé au niveau de l’actuelle Kirrha. L’étude des dynamiques littorales, associée aux relevés océanographiques sonar et de sismique sous‑marine, a en outre permis de localiser des structures immergées dont l’appartenance au port antique de Delphes doit être discutée. (shrink)

Certaines sculptures d’époque archaïque trouvées dans les fouilles de l’École française d’Athènes à Délos sont encore très peu connues : c’est le cas des œuvres étudiées dans cet article, qui datent toutes de la fin de la période considérée. La paire de lions A 4103 et A 4104, trouvée par Homolle en 1878 dans l’Artémision (voir, en appendice, un bilan sur les sculptures archaïques découvertes à cette occasion), appartient à une série de fauves figurés dans une attitude menaçante qui est (...) représentée, en particulier, par deux exemplaires de l’Acropole d’Athènes également étudiés ici ; placés sur de hauts supports, peut‑être vers l’entrée du sanctuaire, ils soulignaient la puissance redoutable de l’Apollon Délien et de sa sœur Artémis. La sirène A 3995, un des rares exemples en ronde bosse de ce type de monstre à l’époque archaïque, se rapportait probablement au culte d’Artémis. Enfin, il est certain que la paire d’oiseaux A 3122 et A 3123 (pigeons ou colombes) provient non pas de l’Héraion, comme on l’a pensé, mais d’une zone située au sud‑est du lac : ils appartenaient peut‑être au sanctuaire GD4 68, comme la lionne A 4105. (shrink)

The paper presents a research programme for the neuroscience of consciousness called 'neurophenomenology' and illustrates it with a recent pilot study . At a theoretical level, neurophenomenology pursues an embodied and large-scale dynamical approach to the neurophysiology of consciousness . At a methodological level, the neurophenomenological strategy is to make rigorous and extensive use of first-person data about subjective experience as a heuristic to describe and quantify the large-scale neurodynamics of consciousness . The paper focuses on neurophenomenology in relation to (...) three challenging methodological issues about incorporating first-person data into cognitive neuroscience: first-person reports can be biased or inaccurate; the process of generating first-person reports about an experience can modify that experience; and there is an 'explanatory gap' in our understanding of how to relate first-person, phenomenological data to third-person, biobehavioural data. (shrink)