This book proposes a theory of human cognitive evolution, drawing from paleontology, linguistics, anthropology, cognitive science, and especially neuropsychology. The properties of humankind's brain, culture, and cognition have coevolved in a tight iterative loop; the main event in human evolution has occurred at the cognitive level, however, mediating change at the anatomical and cultural levels. During the past two million years humans have passed through three major cognitive transitions, each of which has left the human mind with a new way (...) of representing reality and a new form of culture. Modern humans consequently have three systems of memory representation that were not available to our closest primate relatives: mimetic skill, language, and external symbols. These three systems are supported by new types of “hard” storage devices, two of which (mimetic and linguistic) are biological, one technological. Full symbolic literacy consists of a complex of skills for interacting with the external memory system. The independence of these three uniquely human ways of representing knowledge is suggested in the way the mind breaks down after brain injury and confirmed by various other lines of evidence. Each of the three systems is based on aninventivecapacity, and the products of those capacities – such as languages, symbols, gestures, social rituals, and images – continue to be invented and vetted in the social arena. Cognitive evolution is not yet complete: the externalization of memory has altered the actual memory architecture within which humans think. This is changing the role of biological memory and the way in which the human brain deploys its resources; it is also changing the form of modern culture. (shrink)

This article examines the place of tragic poetry within the early history and development of ancient literary criticism. It concentrates on Euripides, both because his works contain many more literary-critical reflections than those of the other tragedians and because he has been thought to possess an unusually 'critical' outlook. Euripidean characters and choruses talk about such matters as poetic skill and inspiration, the social function of poetry, contexts for performance, literary and rhetorical culture, and novelty as an implied criterion for (...) judging literary excellence. It is argued that the implied view of literature which emerges from Euripidean tragedy is both coherent and conventional. As a critic, Euripides, far from being a radical or aggressively modern figure (as he is often portrayed), is in fact distinctly conservative, looking back in every respect to the earlier Greek poetic tradition. (shrink)

This paper explores some of the constructive dimensions and specifics of human theoretic cognition, combining perspectives from (Husserlian) genetic phenomenology and distributed cognition approaches. I further consult recent psychological research concerning spatial and numerical cognition. The focus is on the nexus between the theoretic development of abstract, idealized geometrical and mathematical notions of space and the development and effective use of environmental cognitive support systems. In my discussion, I show that the evolution of the theoretic cognition of space apparently follows (...) two opposing, but in truth, intrinsically aligned trajectories. On the epistemic plane, which is the main focus of Husserl’s genetic phenomenological investigations, theoretic conceptions of space are progressively constituted by way of an idealizing emancipation of spatial cognition from the concrete, embodied intentionality underlying the human organism’s perception of space. As a result of this emancipation, it ultimately becomes possible for the human mind to theoretically conceive of and posit space as an ideal entity that is universally geometrical and mathematical. At the same time, by synthesizing a range of literature on spatial and mathematical cognition, I illustrate that for the theoretic mind to undertake precisely this emancipating process successfully, and further, for an ideal and objective notion of geometrical and mathematical space to first of all become fully scientifically operative, the cognitive support provided by a range of specific symbolic technologies is central. These include lettered diagrams, notation systems, and more generally, the technique of formalization and require for their functioning various cognitively efficacious types of embodiment. Ultimately, this paper endeavors to understand the specific symbolic-technological dimensions that have been instrumental to major shifts in the development of idealized, scientific conceptions of space. The epistemic characteristics of these shifts have been previously discussed in genetic phenomenology, but without devoting sufficient attention to the constructive role of symbolic technologies. At the same time, this paper identifies some of the irreducible phenomenological and epistemic dimensions that characterize the functioning of the historically situated, embodied and distributed theoretic mind. (shrink)

Herodotus holds an honoured place among the pioneers of Greek epigraphy. We seek in vain for earlier signs of any appreciation of the historical value of inscriptions, and though we may conjecture that the antiquarian interests of some of his contemporaries or near-contemporaries might well have led them in this direction, our view of the beginnings of Greek epigraphical study must be based on Herodotus, whether or not he truly deserves to be regarded as its ρχηγέτηϲ. Apart from its significance (...) in the history of scholarship Herodotus' use of inscriptions may be expected to throw some light on his methods and on his conception of his task. He cites epigraphic evidence throughout his work and in relation to a wide range of topics; if his use of this material suggests any general conclusions, we do not need to allow for the bias of a single source or the effect of peculiar local conditions, as we must when we consider his accounts of individual episodes or areas. We are relatively well placed to assess his procedure. We have a reasonably clear idea of the general appearance of the various scripts concerned , and in this respect enjoy a considerable advantage over the majority of Herodotus' original audience. Three of the inscriptions which he cites have been wholly or partly preserved, and thus provide a simple gauge of his accuracy in reporting such evidence. (shrink)

Herodotus holds an honoured place among the pioneers of Greek epigraphy. We seek in vain for earlier signs of any appreciation of the historical value of inscriptions, and though we may conjecture that the antiquarian interests of some of his contemporaries or near-contemporaries might well have led them in this direction, our view of the beginnings of Greek epigraphical study must be based on Herodotus, whether or not he truly deserves to be regarded as its⋯ρχηγέτηϲ.Apart from its significance in the (...) history of scholarship Herodotus' use of inscriptions may be expected to throw some light on his methods and on his conception of his task. He cites epigraphic evidence throughout his work and in relation to a wide range of topics; if his use of this material suggests any general conclusions, we do not need to allow for the bias of a single source or the effect of peculiar local conditions, as we must when we consider his accounts of individual episodes or areas.We are relatively well placed to assess his procedure. We have a reasonably clear idea of the general appearance of the various scripts concerned (both Greek and Oriental), and in this respect enjoy a considerable advantage over the majority of Herodotus' original audience. Three of the inscriptions which he cites have been wholly or partly preserved, and thus provide a simple gauge of his accuracy in reporting such evidence. (shrink)

This paper investigates the origins of the Oral Theory as formulated by Milman Parry in Paris during the late 1920s by reexamining the scholarship on which it rests. Parry's Oral Theory compared the texts of oral performances in Yugoslavia with the Homeric texts in order to shed light on the presumed oral origins of the latter. His work integrated the work of the linguist and Indo-Europeanist Antoine Meillet, the linguist and scholar of oral poetics Matthias Murko, and the anthropologists Lucien (...) Lévy-Bruhl and Marcel Jousse. (shrink)

This paper investigates the origins of the Oral Theory as formulated by Milman Parry in Paris during the late 1920s by reexamining the scholarship on which it rests. Parry's Oral Theory compared the texts of oral performances in Yugoslavia with the Homeric texts in order to shed light on the presumed oral origins of the latter. His work integrated the work of the linguist and Indo-Europeanist Antoine Meillet, the linguist and scholar of oral poetics Matthias Murko, and the anthropologists Lucien (...) Lévy-Bruhl and Marcel Jousse. (shrink)

This paper investigates the origins of the Oral Theory as formulated by Milman Parry in Paris during the late 1920s by reexamining the scholarship on which it rests. Parry's Oral Theory compared the texts of oral performances in Yugoslavia with the Homeric texts in order to shed light on the presumed oral origins of the latter. His work integrated the work of the linguist and Indo-Europeanist Antoine Meillet, the linguist and scholar of oral poetics Matthias Murko, and the anthropologists Lucien (...) Lévy-Bruhl and Marcel Jousse. (shrink)

What matter who's speaking, someone said what matter who's speaking. Beckett, Texts for Nothing (in Stories and Texts for Nothing) 111 “What does it matter who is speaking”, someone said, “what d...

To understand the impact which the newly self‐conscious technology of information is likely to have, and to develop that technology effectively, it is necessary to appreciate two previous revolutions in information technology, those which followed the introductions of writing and of printing. Understanding the role which these technologies have in our intellectual lives may help to avoid the misconceptions which are generated by the temptation to think of the instruments of communication as having a life independent of the use to (...) which humans put those artifacts. (shrink)

Opposition to corporate legal rights has become more visible in recent years. Activists seek ways to address the influence of corporations on the state and its ancillary institutions. The most well-known tactics range from Occupy's embrace of anarchic, leaderless horizontalism to the Mayday PAC raising money to elect representatives who support a campaign finance amendment to the US Constitution. The spectrum of political efforts between these two approaches speaks to how the problem of corporate power resonates with many people in (...) the United States. It also, however, demonstrates how "democracy," as the ostensible opposition to corporate politics, can be interpreted as everything from... (shrink)

When we encounter the following words: ‘A few moments ago, I think, you heard Plato saying that there is no specific name for the art which deals with the body’, it is easy to put these into a literary context. We may imagine some kind of fictional dialogue, in which out of two or more partners one reminds another of what a few minutes ago Plato had said to them about a particular subject. Whether Plato is still present or has (...) left the room, we do not yet know, and we hope to get this information from the rest of the book. The book might be an historical novel by, say, Mary Renault. So much is clear, and with our knowledge of the Classics we are sure that the book is not by a Classical author. (shrink)

When we encounter the following words: ‘A few moments ago, I think, you heard Plato saying that there is no specific name for the art which deals with the body’, it is easy to put these into a literary context. We may imagine some kind of fictional dialogue, in which out of two or more partners one reminds another of what a few minutes ago Plato had said to them about a particular subject. Whether Plato is still present or has (...) left the room, we do not yet know, and we hope to get this information from the rest of the book. The book might be an historical novel by, say, Mary Renault. So much is clear, and with our knowledge of the Classics we are sure that the book is not by a Classical author. (shrink)

This article inquires whether and to which degree some fundamental traits of the World Wide Web may encourage us to revise traditional conceptions of what constitutes scientific information and knowledge. Turning to arguments for `open access' in scientific publishing and its derivatives (open content, open archives, etc.), contemporary tendencies in `social software' and knowledge sharing, the authors project a new look on knowledge, dissociated with linear notions of cumulation, progression, and hierarchy (e.g. of scientific argument), but related to circularity, heterarchy, (...) and evolution. Arguing from a medium theoretical perspective, they illustrate their ideas with developments in library science, current debates in epistemology and theories about information architecture, with a particular focus on `unsystematic' folksonomies. (shrink)

What are the implications of taking seriously Chaïm Perelman's proposition that “definitions are rhetorical”? Efforts to find Real Definitions are dysfunctional to the extent they direct argumentation toward pseudo “is” claims and away from explicit “ought” claims about how words are to be used. Addressing definitional disputes explicitly as propositions ofought rather thanis could put on the agenda the pragmatic concerns of definitional choice that might otherwise remain tacit.

ABSTRACT This essay questions the reading of Plato's Phaedrus according to which writing is understood as a mechanism of objectivity and critical distance. Plato's denomination of writing as a “pharmakon” indicates a deep ambiguity in his definition of writing—an ambiguity embodied in Phaedrus's written speech. The speech triggers both critical analysis and a simultaneous “rhetorical passivity,” whereby upon hearing the speech Socrates is consumed by a manic power. Although Socrates explicitly decries the detrimental consequences of writing in the Myth of (...) Theuth, he nevertheless is overcome by the power of the written speech and driven to a state of logomania. The Phaedrus demonstrates the potential for the written word to release one into a type of passivity, where the subject is no longer an autonomous master but a passive receiver. (shrink)

A passage in Plato’s Laws (719c) offers a fresh look at Plato’s theory of poetry and art. Only here does Plato call poetry both mimêsis “imitation, representation,” and the product of enthousiasmos “inspiration, possession.” The Republic and Sophist examine poetic imitation; the Ion and Phaedrus (with passages in Apology and Meno) develop a theory of artistic inspiration; but Plato does not confront the two descriptions together outside this paragraph. After all, mimêsis fuels an attack on poetry, while enthousiasmos is sometimes (...) used to attack it, sometimes to praise it. The explanation evidently lies in Plato’s understanding of drama, which in the Laws has grown more precise, from simply the presentation of characters to the presentation of multiple characters engaged in dramatic conflict. (shrink)

The ability to think in abstractions depends on the imagination. An important evolutionary change was the installation of a suite of six imaginative activities that emerge at first in childhood, which include empathy, symbolic play, and theory-of-mind. These abilities can be built upon in adulthood to enable the production of oral and written stories. As a technology, writing has three aspects: material, skill based, and societal. It is in fiction that expertise in writing is most strikingly attained; imagination is put (...) to use to create simulations of the social world that can usefully be offered to others. Fiction is best conceived as an externalization of consciousness, which not only enables us to understand others but also to transform ourselves so that we can reach beyond the immediate. (shrink)

The ability to think in abstractions depends on the imagination. An important evolutionary change was the installation of a suite of six imaginative activities that emerge at first in childhood, which include empathy, symbolic play, and theory-of-mind. These abilities can be built upon in adulthood to enable the production of oral and written stories. As a technology, writing has three aspects: material, skill based, and societal. It is in fiction that expertise in writing is most strikingly attained; imagination is put (...) to use to create simulations of the social world that can usefully be offered to others. Fiction is best conceived as an externalization of consciousness, which not only enables us to understand others but also to transform ourselves so that we can reach beyond the immediate. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aristotle’s Phantasia in the Rhetoric:Lexis, Appearance, and the Epideictic Function of DiscourseNed O’GormanIntroductionThe well-known opening line of Aristotle's Rhetoric, where he defines rhetoric as a "counterpart" (antistrophos) to dialectic, has spurred many conversations on Aristotelian rhetoric and motivated the widespread interpretation of Aristotle's theory of civic discourse as heavily rationalistic. This study starts from a statement in the Rhetoric less discussed, yet still important, that suggests that a visual (...) aspect inheres in Aristotle's theory of rhetoric. Near the beginning of book 3, which deals with lexis (style, sometimes subsuming delivery1 ), Aristotle conjoins lexis and phantasia with the copula "is" (eimi): "The subject of expression [lexeôs], however, has some small necessary place in all teaching; for to speak in one way rather than another does make some difference in regard to clarity, though not a great difference; but all these things are forms of outward show [phantasia] and intended to affect the audience" (1404a).2 Whereas scholars exploring the relationship between rhetoric and dialectic have compared and contrasted the Rhetoric and the Topics, I explore rhetoric's relationship with phantasia by reading the Rhetoric alongside De Anima. De Anima is Aristotle's seminal account of the senses and their relationship to psychê (often translated "soul"). It addresses topics intimately connected to rhetoric: perception, cognition, deliberation, visualization, imagination, and the image. Phantasia is integral to each of these psychic processes and to Aristotle's understanding of the function of appearance in human experience. Hence, itis a lens suitable for exploring the relationship between Aristotle's conception of civic discourse and his notions of sight and appearances as they relate to perception, interpretation, deliberation, and judgment. I find in Aristotle's phantasia a tie between his art of rhetoric and his psychology and phenomenology (anachronistic though these terms are). Aristotle's psychological works, as Richard McKeon points out, are foundational to Aristotle's philosophy, and thus to his Rhetoric. [End Page 16] "Psychological inquiries occupy an extremely important position in the philosophy of Aristotle, for the conception of the psychê lays the foundation for the continuity of functions in nature" (1947, 142). De Anima, especially, articulates the psychological and phenomenological conceptions often tacitly at work in the Rhetoric.The importance of phantasia for the trajectory of ancient rhetorical and aesthetic theory is seen in the parallels between the visual arts, rhetoric, and poetics in Greek and Roman thought.3 As David Freedberg states (perhaps, slightly overstates), parallels between painting and poetry are "to be found everywhere in classical literature" (1989, 50). With respect to such visual-verbal parallels in Aristotle, D. Thomas Benediktson's reading of Aristotle's psychological, poetic, and rhetorical works concludes that phantasia ties together the visual and the literary. "[Aristotle's passages on phantasia] do help to see why Aristotle took for granted the similarity, almost the identity, of literature and the visual arts. Both types of art are imagistic; they present to the viewer either an image, as in visual art, or as in literature, a set of moving images that the soul then uses as raw data (phantasia) to enable thought to occur" (2000, 170). Phantasia developed a legacy in Hellenistic aesthetics, where it came to designate suprarealism in painting, moving art "beyond imitation" (Fowler 1989, 180–81). In later Greco-Roman works, phantasia was used to designate vivid imagery in written and oral discourse, imagery that could create sights and scenes in the minds of audience members. As Quintilian noted in his discussion of forensic rhetoric, in Latin phantasiai were termed visiones. Here, phantasiabecame a mode of displacing narrative in rhetorical discourse:There are certain experiences which the Greeks call phantasiai, and the Romans visions [visiones], whereby things absent are presented to our imagination with such extreme vividness that they seem actually to be before our very eyes.... From such impressions arises that enargeia which Cicero calls illumination [illustration] and actuality [evidential], which makes us seem not so much to narrate [dicere] as to exhibit [ostendere] the actual scene.(Institutio Oratoria 4.2.29, 32)Quintilian's invocations of phantasia and enargeia can be traced to Aristotle's discussion of rhetorical style in book... (shrink)

Autopoietic societies have produced three major images of civilization: the Greco-Roman, the Eurocentric Western, and the Settler Society type. The most important incarnation of the latter to date has been America. This article explores the deep-going differences between American and European ideas of civilization. It examines how the American kind of autopoietic civilization expresses itself in preternaturally distinctive conceptualizations of nature and freedom, life and death, order and chaos, city and ecumene. The article discusses the political and social implications of (...) this. (shrink)

Platon n’est pas sérieux lorsqu’il conduit Socrate à déduire que la poésie doit être essentiellement narrative avec juste un peu de dialogue. Non seulement cette argumentation est-elle intentionnellement fautive, mais Platon crée aussi un Socrate qui obscurcit à dessein une distinction fondamentale. Le Socrate de Platon fait ensuite semblant d’être confus par son propre obscurcissement. En nous obligeant à nous frayer un passage à travers les broussailles de son argumentation erronée, Platon nous donne l’occasion d’avoir une participation plus profonde aux (...) véritables problèmes sous-jacents et de découvrir son thème : une bonne personne est stoïquement indifférente à la fois au malheur et au bonheur. (shrink)

In Historied Thought, Constructed World, Joseph Margolis identifies the philosophical themes that will dominate philosophical discussions in the twenty-first century, given the recognition of the historicity of philosophical thought in the twentieth century. In what follows I examine these themes, especially cognitive intransparency, and the arguments presented in favor of them, noting the extent to which they rest on a view of language that takes a written text, and not speech, as the paradigm of language. I suggest if one takes (...) speech as a mutual embodied action in a shared space as a model for language, the theme of cognitive intransparency—and the problems it brings in its wake—does not loom so large for those of us working in the history of philosophy. I conclude by showing that if we adopt this suggestion in relation to early Greek philosophy, that is, the period in the history of historied thought in which philosophy itself emerges as a linguistic and intellectual activity, we can better understand how and why philosophy emerged as it did—in the form of dialogues by Plato. (shrink)

The paper deals with the changes in the sense of synchronicity and simultaneity connected with the transformations in the structure of society. It examines and criticizes the modern concept of absolute chronology, understood as an objective temporal reference common to all observers. This notion is compared with the relative and flexible (but neither objective nor generalizable) forms of synchronization of different societies. The paper discusses finally the hypothesis that contemporary society is realizing a more complex and recursive form of temporality, (...) that questions the modern ideal of synchronicity. This temporality is connected with recent developments in telematics. (shrink)