Philosophical anthropology emerges, partly at least, by dissatisfied and critical followers of Husserl’s phenomenology, such as Max Scheler and the young Martin Heidegger. They were dissatisfied with what they saw as a disregard of the concrete human being as an essential part of phenomenological analysis. They tried instead to claim that philosophy must search for, and anchor, its foundations exclusively in the human being, not as an abstract entity, but as an existential, concrete, physical being. In this specific philosophical, as (...) well as historical, context this paper suggests to locate Hans Blumenberg’s philosophical project by reconstructing his unique version of philosophical anthropology. The main aim of the paper is to describe and understand the way Blumenberg combines his theory of metaphors together with his anthropological considerations regarding the origin and emergence of human culture into his own version of philosophical anthropology. A version that can be seen as joining the original attempt of philosophical anthropology to overcome the deficiency in Husserl’s phenomenological project. (shrink)

This paper offers an account of Hans Blumenberg’s unique approach to myth. §1 shows that Blumenberg’s thought on myth, like his thought on metaphor, has been widely misconstrued. §2 argues that Blumenberg’s account of myth should be seen as part of the discussion of non-conceptuality. It explains that Blumenberg, invoking conceptuality’s epistemic limitations, challenges modern philosophy’s denigration of non-conceptuality. Blumenberg argues that conceptuality should not be understood in terms of mathematical-scientific rationality, but more broadly, and claims that myth and metaphor (...) are themselves conceptual. When conceptuality is understood broadly, what is taken to be quintessentially non-conceptual can be seen to be conceptual. §3 examines Blumenberg’s nuanced characterization of myth, focusing on the key notions of ‘work on myth’ and ‘work of myth’, and showing that the corresponding distinction between structure and function is insufficient to define myth. §4 explores ‘significance’ (Bedeutsamkeit), the additional concept needed to fully characterize myth. ‘Significance’ comes to light in the encounter between myth and myth’s deployment in subjective life experiences. Whether there can be an end to myth is discussed in §5. Cartesian rationalism and German Idealism were touted as bringing myth to an end, but Blumenberg contends that myth’s functional role in human life precludes its elimination. (shrink)

This exploration of Hegel's critique of the individualistic ethos of modernity and the genesis of his alternative vision traces the conceptual schemes Hegel experimented with to show how he settled on the concepts of 'ethical life' (Sittlichkeit) and Spirit as the means for overcoming subjectivity and domination.

This study of the interpretations of Aristotle's "Categories" in the thirteenth century provides an introduction to some main themes of medieval philosophical ...

In exploring skilled performance in Contact Improvisation, we utilize an enactive ethnographic methodology combined with an interdisciplinary approach to examine the question of how skill develops in CI. We suggest this involves the development of subtleties of awareness of intra- and interkinaesthetic attunement, and a capacity for interkinaesthetic negative capability—an embodied interpersonal ‘not knowing yet’—including an ease with being off balance and waiting for the next shift or movement to arise, literally a ‘playing with’ balance, falling, nearly falling, momentum and (...) gravity. We draw on insights from an interdisciplinary approach, including from a developmental perspective concerning the experience of dyadic interpersonal embodied skill development in both infancy and CI. Building on Ravn and Høffding’s definition of expertise in improvisation as an “oscillatory process of assuming and relinquishing agency” we propose that a key aspect of expertise in CI involves oscillation between levels and processes of interkinaesthetic sense of agency. These interdisciplinary insights also elucidate limitations within current conceptualisations of sense of agency, including the relationship between sense of agency and sense of control. (shrink)

Giorgio Pini - Duns Scotus on God - Journal of the History of Philosophy 45:3 Journal of the History of Philosophy 45.3 497-498 Muse Search Journals This Journal Contents Reviewed by Giorgio Pini Fordham University Richard Cross. Duns Scotus on God. Ashgate Studies in the History of Philosophical Theology. Burlington, VT: Ashgate, 2005. Pp. xi + 289. Paper, $34.95. In this volume, Richard Cross gives us an excellent treatment of Duns Scotus's teaching on God, admirable for both its (...) comprehensiveness and philosophical rigor. Scotus's positions on God's existence and nature, and on the Trinity, are reconstructed and evaluated with close attention to their argumentative soundness. Cross's method is particularly well-suited to his subject. As he notices, Scotus is, among theologians, "the least likely to appeal to mystery, and most likely to try to solve a.. (shrink)

At first glance, there seems to be a striking similarity in the notion of innate and free natural awareness of the fourteenth-century Tibetan philosopher and teacher Long-chenpa, and the notion of Inner Experience of the twentieth-century French philosopher Georges Bataille. For Longchenpa, innate natural awareness is synonymous with Buddha-nature—the pristine awareness that directly perceives reality as it is, without the mediation of beliefs, labels, or any other means stemming from the individual’s conditioned existence. Abiding in that state gives one the (...) capacity to release oneself from suffering. For Bataille, Inner Experience is naked, free from ties, even from an origin, in which its.. (shrink)

The Psychology of the Yogas explores the dissonance between the promises of the yogic quest and psychological states of crisis.

This chapter explores the practice of Body Weather (BW), a postmodern dance methodology, addressing how BW performers experience and enact agency in this context of practice. Adopting a cognitive ecological, ethnographic, and phenomenological approach, this work focuses on the creation of AURA NOX ANIMA (2016) – a short dance film directed by Sydney-based visual artist Lux Eterna and filmed on the sandy dunes in Anna Bay, New South Wales, Australia – to underscore the role played by the physical and cultural (...) environment in shaping BW performers’ sense of agency. Through the analysis of salient features of BW methodology, that include the practice of bisoku, slow movement, and the cultivation of an attention to the changing ‘weather’ of the performance ecology, this chapter suggests an ecological notion of agency as a key concept in the study of embodied cognition in performance. The chapter emphasises the relevance of addressing the environment-culture-context situatedness in the study of performance practices. (shrink)

Dance as a complex human activity is a rich test case for exploring perception in action. In this article, we explore a 4E approach to perception/action in dance, focussing on the intersubjective and ecological aspects of kinaesthetic attunement and their capacity to expand empathic and perceptive experience. We examine the question: what are the ways in which the performance ecology co-created in different dance practices influences empathic and perceptive experience? We adopt an enactive ethnographic and phenomenological approach to explore two (...) distinct dance forms: Contact Improvisation [CI], a duet-system based practice aimed at fostering interkinaesthetic awareness and challenging habits of movement; and Body Weather [BW], an anti-hierarchical movement practice sensitive to the surrounding environment. We argue that through intersubjective kinaesthetic attunement, CI scaffolds the development of perceptive awareness of subtle shifts within ourselves and others, allowing the cultivation of a capacity for flexibly traversing between conscious initiation of action, attuned responding, and the intersection between them. Similarly, we investigate the expansion of perceptive experience through kinaesthetic attunement in BW. We suggest that the capacity for empathy is enhanced in BW through drawing attention to, and perception of, the fullness of a place in a way that we do not typically experience. By focussing on the variations in which embodied perceptual skills are enacted in specific dance forms and the expansion of perceptive experience through kinaesthetic attunement, we stress the potential of the performing arts to cultivate and create new ways of empathic engagement with the world in which we find ourselves. (shrink)

This paper discusses the views of three medieval thinkers—Anselm, Thomas Aquinas, and John Duns Scotus—about a specific aspect of the problem of evil, which can be dubbed ‘the Lucifer problem’. What was the object of the first evil choice? What could entice a perfectly rational agent placed in ideal circumstances into doing evil? Those thinkers agreed that Lucifer wanted to be happier, but while Anselm thought that that was something Lucifer could achieve by his natural powers, Aquinas held that it (...) was not naturally possible for Lucifer to be happier, even though it was something he could obtain supernaturally. By contrast, Scotus posited that what Lucifer wanted was beyond what was logically possible, i.e. to be as happy as God (or to be God’s equal). An interesting consequence of Scotus’s hypothesis is that God could have done nothing to make Lucifer’s evil choice less likely. (shrink)

This work addresses the case of the Ballet National de Marseille (BNM) and the 2017 recreation of the piece Passione, created by the artistic directors Emio Greco and Pieter C. Scholten. This study, informed by a phenomenological approach, adopts ethnographic methods, including participant observation, in-depth interviews, and one researcher’s direct involvement with the practices of enculturation and enskillment in this dance form. It investigates how the dancers of the BNM articulate their diverse forms of agency in relation to the choreographer’s (...) artistic vision and demands. By looking at the specific case of the BNM staging of Passione, we can isolate some significant features of contemporary ballet’s trajectory as an emergent dance genre on the edge between innovation and tradition. (shrink)

Students of later medieval semantics are familiar with the controversy that developed at the end of the thirteenth century over the signification of names. The debate focused on the signification of common nouns such as ‘man’ and ‘animal’: Do they signify an extramental thing or a mental representation of an extramental thing?Some authors at the end of the thirteenth century also discussed another question concerning what names signify, that is, whether they signify the composite of matter and form or only (...) the form of the composite. This second debate will not be considered in this article. Duns Scotus is commonly recognized as having played an important role in this debate.See Costantino Marmo, “Ontology and Semantics in the Logic of Duns Scotus,” in Umberto Eco and Costantino Marmo, ed., On Medieval Theory of Signs, (Amsterdam and Philadelphia: John Benjamins, 1989), pp. 161–63; and esp. Dominik Perler, “Duns Scotus on Signification,” Medieval Philosophy and Theology 3 (1993): 97–120. On the topic in general, see Paul Vincent Spade, “The Semantics of Terms,” in N. Kretzmann, A. Kenny, J. Pinborg, eds., The Cambridge History of Later Medieval Philosophy (Cambridge: Cambridge U.P., 1982), pp. 188–90; Jan Pinborg, “Bezeichnung in der Logik des XIII. Jahrhunderts,” in Albert Zimmermann, ed., Der Begriff der Repraesentatio im Mittelalter, Miscellanea Mediaevalia 8 (Berlin and New York: de Gruyter, 1971): 238–81; Elizabeth J. Ashworth, “Signification and Modes of Signifying in Thirteenth-Century Logic: A Preface to Aquinas on Analogy,” Medieval Philosophy and Theology 1 (1991): 43–53; Claude Panaccio, “From Mental Word to Mental Language,” Philosophical Topics 20 (1992): 125–47. In his Ordinatio, he alludes to a magna altercatio among his contemporaries concerning signification.John Duns Scotus, Ordinatio 1.27.1–3 n.83, in Commissio Scotistica, ed, Opera omnia 6 (Vatican City: Typis Polyglottis, 1963), p. 97. What is more, he gives, in his two commentaries on Aristotle’s Peri hermeneias, a detailed and fair analysis of the two contrasting positions on this issue.John Duns Scotus, Super Peri hermeneias 1.2, and Super Peri hermeneias 2.1, in Opera omnia 1 (Paris: L. Vivès, 1891), pp. 540–44, 582–85. Scotus’s logical commentaries are usually thought to have been composed before his theological writings, in the last decade of the thirteenth century. (shrink)

Scotus claims that the extramental world is divided into ten distinct kinds of essences, no one of which can be reduced to another one. Although by the end of the thirteenth century this claim was not new, Scotus's way of articulating it into a comprehensive metaphysical doctrine resulted into a ground-breaking contribution to what became known as 'late medieval realism'. This paper shows how Scotus's view of the categories as ten kinds of irreducible essences should be seen as a development (...) and correction of his predecessors' (including Thomas Aquinas's and Henry of Ghent's) views. The main elements of Scotus's doctrine are his application of the real distinction to the categories, his view of inherence as a categorial item separated from accidents, and his distinction between absolute and non-absolute accidents. Finally, although Scotus's doctrine of the univocity of being seems to pose a challenge to his claim that categories are irreducible to each other and do not have anything in common, this paper shows how Scotus's doctrine of univocity and his realist conception of the categories can be reconciled as two theories that describe the world from different points of view. (shrink)

Scotus’s views on objective being — i.e. the special way objects of thought are supposed to be in the mind — have been recently interpreted in different ways. In this paper, I argue that Scotus’s apparently contradictory statements on objective being can be made sense only if they are read against the background of his theory of essence. Specifically, I claim that a key point of Scotus’s position is that objects of thoughts are in the mind but have mind-independent identity (...) (they are in the mind but not of the mind). I defend my interpretation by focusing on a usually neglected passage from Scotus’s Questions on the Metaphysics where Scotus provides an unusually explicit (if short) account of what he takes ‘to be objectively in the intellect’ to mean. (shrink)

Even though Scotus did not develop his account in direct opposition to Aquinas, a contrast between these two thinkers helps us to focus on some distinctive features of their respective approaches and on some characteristic moves they made to answer the question, “What is it to think?” Scotus agreed with Aquinas that, barring divine intervention, an intelligible species must be received in the intellect prior to the production of an occurrent thought about a thing’s essence. Unlike Aquinas, however, Scotus argued (...) that occurrent thoughts are qualities and not actions. This allowed him to reject the view held by Aquinas that the presence of the intelligible species in the intellect explains a thought’s intentionality. Rather, Scotus claimed that a thought’s intentionality is explained by a relation grounded in that thought and directed at its object. (shrink)

The short experimental film Shifting Perspectives stems from a collaborative research project initiated in 2019 in Sydney, Australia, during the 'Choreographic Hack Lab-a week-long laboratory co-presented by Critical Path and Sydney Festival in partnership with the Museum of Applied Arts and Sciences (MAAS), which asked artists and academics to rethink and respond to the idea of the Anthropocene (Pini & George, 2019). The film was later developed in 2020 during a Responsive Residency at Critical Path, Sydney, awarded to anthropologist (...) and choreographer Sarah Pini in collaboration with Jestin George, biotechnologist and visual artist, and Melissa Ramos, visual artist and filmmaker. This work aims to open a multivocal interdisciplinary dialogue across screendance, performance and synthetic biology. Inspired by a recent conversation between two leaders in the field of synthetic biology (Sarah Richardson and Tom Knight) and their divergent approaches to working with microbial life (Agapakis, 2019), the film invites to consider how collaborating with microorganisms can reshape our future in a more-than-human world. (shrink)

This conversational opinion article between two parties – Kate, a disability performance scholar and Sarah, an interdisciplinary artist-scholar with lived experience of disability – considers the dancing body as redeemer in the specific case of a dancer experiencing ‘chemo fog’, or Chemotherapy-Related Cognitive Impairment (CRCI) after undergoing oncological treatments for Hodgkin Lymphoma. This work draws on Pini’s own lived experience of illness (Pini & Pini, 2019) in dialogue with Maguire-Rosier’s study of dancers with hidden impairments (Gibson & (...) Maguire-Rosier, 2020). In an exploratory account based on an interview with one another, the authors ask: when our senses and perceptions of ourselves and the world we become are obfuscated, what is the nature of the new relationship between the performing self and its absent body/mind/world? How can we shape our narrative and articulate who we are, what we are doing or where we are going, if we are moving in the ‘fog’? Our discussion reveals how Pini’s dancing body elucidates healing, while recovering an agentic perspective in her experience of alienation and frustration tied to chemo fog and related impairments. With this work we offer an original perspective on how a dancing body can resist theoretical diagnosis. (shrink)

The concept of stage presence in performing arts is generally understood as the ability of the skilled performer to capture the attention of the audience, a prerogative of the talented actor, who occupies a position of power in respect to the audience. This work challenges the classic model of stage presence as an intrinsic quality of the performer and proposes instead a cognitive ecological ethnographic framework which considers the role played by various social actors — the public and the performers, (...) embedded in specific historical, cultural, and social environments — in shaping the performance event. Through an ethnographic and phenomenological analysis of the concept of stage presence in different performative contexts, this work proposes a cognitive ecological approach to the study of stage presence, suggesting possible methodological directions. (shrink)

The disagreement between Henry of Ghent and John Duns Scotus on divine illumination is usually recognized as a high point in the history of medieval epistemology. Still, there is much obscurity surrounding that debate, including the specific nature of the disagreement between those two thinkers. In this paper, I argue that the point at issue is the relationship between sense and intellect. Henry of Ghent, who posits a close tie between sense and intellect, holds that the senses are the only (...) natural source of both content and certainty for the intellect. By contrast, Duns Scotus holds that, in our natural state, the senses are the source of content but not of certainty for the intellect, which can achieve knowledge of the truth of first principles true by virtue of the meaning of their terms independently of the sensory input it receives. (shrink)

According to the biomedical model of medicine, the subject of the illness event is the pathology rather than the person diagnosed with the disease. In this view, a body-self becomes a ‘patient’ body-object that can be enrolled in a therapeutic protocol, investigated, assessed, and transformed. How can it be possible for cancer patients to make sense of the opposite dimensions of their body-self and their body-diseased-object? Could a creative embodied approach enable the coping with trauma tied to the experience of (...) illness? By applying a phenomenological approach and auto-ethnographic analysis to the experience of cancer, this visual exploration provides support for rethinking the cancer event through a performative perspective. This work previews images and video material collected over ten years of haematological treatments, video dance performances and physical explorations. This work displays how processes of healing can be set in motion by creative embodied practices, physical explorations and unexpected journeys. By resisting the biomedical model and allowing the emergence of new meanings, it illustrates how dance and performative practices offer ground for transformation. (shrink)

How should we understand intuitive cognition? Duns Scotus held that we have intuitive cognition only when objects cause our knowledge without any causal intermediary; if an intelligible species caused our knowledge, it would be abstractive cognition. Compared to abstractive cognition, intuitive cognition is the paradigmatic case of knowledge; by contrast, abstractive cognition is only a "second best.".

Observational learning can enhance the acquisition and performance quality of complex motor skills. While an extensive body of research has focused on the benefits of synchronous (i.e., concurrent physical practice) and non-synchronous (i.e., delayed physical practice) observational learning strategies, the question remains as to whether these approaches differentially influence performance outcomes. Accordingly, we investigate the differential outcomes of synchronous and non-synchronous observational training contexts using a novel dance sequence. Using multidimensional cross-recurrence quantification analysis, movement time-series were recorded for novice dancers (...) who either synchronised with (n = 22) or observed and then imitated (n = 20) an expert dancer. Participants performed a 16-count choreographed dance sequence for 20 trials assisted by the expert, followed by one final, unassisted performance trial. Although end-state performance did not significantly differ between synchronous and non-synchronous learners, a significant decline in performance quality from imitation to independent replication was shown for synchronous learners. A non-significant positive trend in performance accuracy was shown for non-synchronous learners. For all participants, better imitative performance across training trials led to better end-state performance, but only for the accuracy (and not timing) of movement reproduction. Collectively, the results suggest that synchronous learners came to rely on a realtime mapping process between visual input from the expert and their own visual and proprioceptive intrinsic feedback, to the detriment of learning. Thus, the act of synchronising alone does not ensure an appropriate training context for advanced sequence learning. (shrink)

In this article, I consider Duns Scotus’s treatment of accidents existing without substances (= homeless accidents) in the Eucharist to shed light on how he thinks Aristotle’s metaphysics should be modified to make room for miracles. In my reconstruction, Duns Scotus makes two changes to Aristotle’s metaphysics. First, he distinguishes a given thing’s natural inclinations (its “aptitudes”) from the manifestations of those inclinations. Second, he argues that it is up to God’s free decisions (organized in systematic policies) whether a thing’s (...) aptitudes manifest or do not manifest themselves in any given situation. In this way, Duns Scotus tries to find a point of equilibrium between the necessary causal order he attributes to Aristotle and his followers on the one hand, and God’s freedom to break the natural order at any moment on the other hand. (shrink)

This paper tackles the concept of alterity through an embodied perspective. By questioning my lived experience of cancer and how illness—as a disruptive event (Carel, 2008, 2016, 2021)—enables philosophical reflection and the exploration of ‘other’ ways of being-in-the-world (Merleau-Ponty 2012 [1945]), I ask if an embodied ‘chimeric-thinking’ can be used to question established notions of alterity and reshape our relationship with ‘otherness’ (Leistle 2015, 2016b). Building on a phenomenological approach to illness (Carel 2012, 2014, 2016, 2021), and a feminist post-humanist (...) approach (Haraway 1990, 1991, 2016), I present a case in which an autoethnographic and phenomenological approach focused on embodied experience may help revise dominant perspectives, providing access to understanding and engaging with profound biopsychosocial and somatic transformations. (shrink)

Lo studio si pone due domande sulla dottrina dell'essenzialismo, desunta dalla posizione di Avicenna sull'essenza : 1) come fu possibile per gli autori del Due e Trecento interpretare la dottrina aristotelica dell'essenza come dottrina dell'indifferenza dell'essenza all'individualità e all'universalità; 2) come poterono autori che sostenevano dottrine diverse fra loro appellarsi tutti alla risposta di Avicenna. In questo studio è presa in esame la posizione di Tommaso, soprattutto in quanto nell'evoluzione del suo pensiero non dette alla dottrina dell'indifferenza dell'essenza la medesima (...) interpretazione. La prima parte dello studio è centrata sulla dottrina dell'essenza in Avicenna, elaborata sulla scia della distinzione di Alessandro di Afrodisia tra universale e ciò cui l'universale pertiene. Nella seconda si considera la posizione di Tommaso, prima nel De ente et essentia, poi nel Quodlibet VIII, q. 1 delle Quaestiones de quodlibet, infine nei commenti al De anima e alla Metafisica, e nella Summa contra Gentiles. (shrink)

La ciencia fue cultivada, en el occidente islámico, de manera amplia y eficaz, pero ¿quién la financió y por qué? El artículo explora este vastísimo campo a partir de las fuentes árabes que aportan datos (crónicas históricas y diccionarios biográficos) para trazar un panorama del mecenazgo científico. De este modo, además, se contribuye a situar a la ciencia en su contexto social.

Between the thirteenth and fourteenth century, a remarkable number of thinkers developed an interest in explaining a cognitive state's property of being about something, as many recent studies have shown.1 Several of those later medieval accounts shared a common strategy. According to this common strategy, intentionality was explained in causal terms. Thus, it was contended that cognitive states are about what causes them, and that it is precisely because a certain thing causes a certain cognitive state that such a cognitive (...) state is about that thing. For example, I see something white because my act of seeing is caused by something white. Similarly, my act of thinking is about horses because horses cause it. I .. (shrink)