The traditional divide between nature and culture restricts to the latter the use of information. Biosemiotics claims instead that the divide between nature and culture is a mere subdivision within the living world but that semiosis is the specific feature which distinguishes the living from the inanimate. The present paper is intended to reformulate this basic tenet in information-theoretic terms, to support it using information-theoretic arguments, and to show that its consequences match reality. It first (...) proposes a ‘receiver-oriented’ interpretation of semiosis. This interpretation implies that the means for recording, storing and processing information exclusively reside in the living world (extended so as to include the artefacts it produces). Then it may be argued that the main difference between the inanimate world and the living one lies in the fact that the very existence of the latter relies on information, which on the contrary is not relevant to the former. Thus, besides matter and energy, information is an entity irreducible to them which must be taken into account in any attempt for describing and understanding life. Information can interact with the real world only provided it is borne by some physical support: it must be ‘physically inscribed’. Contrary to matter and energy, information can be shared, not necessarily exchanged, so a same information can be borne by a number of distinct supports. Any living thing possesses means for recording, storing and processing information which are necessary for keeping it alive and securing its progeny. In particular, its genome contains hereditary information, can be replicated, and instructs the construction and maintenance of a phenotype. The simultaneous existence of a phenotype and of a genome, where the latter bears the symbolic description of the former, is mandatory for enabling the self-reproduction of an organism. Bearing and using information then endows a living thing with the ability to decrease the physical entropy, hence to act as Maxwell’s demon. Not only its own life is maintained against physical entropy, but its self-reproduction multiplies clones of the demon. Taking information as the entity which differentiates the living from the inanimate also supports Rovelli’s ‘relational’ interpretation of quantum physics. Experimental apparatuses then appear as information-theoretic channels from the inanimate world to a living observer. Besides having its own perspective (as stated by Rovelli), each of these channels has its own horizon because its capacity is necessarily finite. As another consequence, we may assert that the physicists’ quest of a ‘theory of everything’ is doomed to failure since, for lack of considering information as a relevant entity, physicists deny the living world, hence themselves. (shrink)

This paper puts Jane Bennett’s vital materialism into dialogue with Luce Irigaray’s ontology of sexuate difference. Together these thinkers challenge the image of dead or intrinsically inanimate matter that is bound up with both the instrumentalization of the earth and the disavowal of sexual difference and the maternal. In its place they seek to affirm a vital, generative materiality: an ‘active matter’ whose differential becomings no longer oppose activity to passivity, subject to object, or one body, self or entity (...) to its ‘other’. For both thinkers, displacing the hylomorphic conceptual structures that have tended to dominate western metaphysical thought is inseparable from critiquing the model of the individual subject as bounded, autonomous and self-identical. Such individualism is countered by the relational ontologies figured in Bennett’s ‘distributed agencies’ and Irigaray’s ‘placental economy’, and by a shared attentiveness to the capacities of the human body to bear others within. Nonetheless, this paper argues that each thinker renders this ‘other within’ in very different ways. On the one hand, Bennett’s approach complements and expands Irigaray’s notion of the elemental by affording a greater attentiveness to inorganic and non-sexuate matters. On the other, Irigaray’s conception of generative relationality and the ontological priority of the in-between allows us to think such material entanglements in ways that more fully displace the twinned logics of individualism and instrumentalization. Her project thereby affirms the relational and irreducible differences on which the ‘vitality’ of a vital materiality depends. If there is no more “earth” to press down/repress, to work, to represent, but also and always to desire, no opaque matter which in theory does not know herself, then what pedestal remains for the ex-sistence of the “subject”? If the earth turned and more especially turned upon herself, the erection of the subject might thereby be disconcerted and risk losing its elevation and penetration. For what would there be to rise up from and exercise his power over? And in? Irigaray, Speculum of the Other Woman Jane Bennett has recently argued that “the image of dead or thoroughly instrumentalized matter feeds human hubris and our earth-destroying fantasies of conquest and consumption”, continuing that: “The figure of an intrinsically inanimate matter may be one of the impediments to the emergence of more ecological and more materially sustainable modes of production and consumption”.11J. Bennett, Vibrant Matter: A Political Ecology of Things, Durham and London: Duke University Press, 2010, ix. Henceforth VM. View all notes This insight is prefigured and re-affirmed by the work of Irigaray. Her sustained analysis of western thought and culture shows how its constitutive disavowal of sexual difference and the maternal is inextricably bound up with an equally deep-rooted disavowal of matter and corporeality. As the above passage from Speculum suggests,22L. Irigaray, Speculum of the Other Woman, trans. G. Gill, Ithaca: Cornell University Press, 1985, 133. Henceforth S. View all notes Irigaray seeks to expose woman's reduction to an object for a subject and a maternal-material resource for man's speculations; but in disentangling woman from her symbolic identification with the earth, she also seeks to release the earth from its identification with a passive and manipulable matter. Her work thus bears directly on the revaluation required to transform human beings' relations to materiality: both their own, and that of the earth they inhabit. At the centre of this revaluation is Irigaray's work to displace the image of dead or intrinsically inanimate matter that Bennett also critiques, and to affirm instead a sexuate materiality that is both living and generative. Her consistent troubling of hylomorphism is as unsettling for the subject as her question: “But what if the ‘object’ started to speak?” This question is echoed in Bennett's concern with “the moment when the object becomes the Other, when the sardine can looks back, when the mute idol speaks”.33 VM, 2, citing W.J.T. Mitchell, What Do Pictures Want?, Chicago, Chicago University Press, 2005, 157. View all notes As this passage indicates, Bennett's own project is more concerned with the agency of non-human materialities – including their role in the constitution of the human – than with specifically sexed bodies or a materiality inflected by sexual difference. It is these crucial differences in emphasis, I will suggest, that allow the work of these two thinkers to be brought together in productive dialogue. On the one hand, Bennett's approach affords a greater attentiveness to inorganic and non-sexuate matter; on the other, Irigaray's twinned ontology of sexual difference and maternal relation is better able to affirm the relational differences on which the “vitality” of a vital materiality depends. The paper begins by outlining several key elements of Irigaray's philosophy of sexual difference to show how it leads necessarily to a rethinking of matter. This rethinking is especially helpful for shifting away from the hylomorphism that has been a dominant strand in western thought, informing an understanding of the earth as a fundamentally inert and ever-ready resource. As I will show, the figures through which Irigaray re-articulates female specificity also allow her to refigure the earth as active matter that “turns upon herself ” in generative flux. In the second section, I will situate Irigaray's re-thinking of matter in relation to Bennett's “vital materiality”.44Bennett can be aligned with a number of thinkers who have come to be grouped under the heading “new materialisms”. See S. Alaimo and S. Hekman, eds., Material Feminisms, Bloomington & Indianapolis: Indiana University Press, 2008; D. Coole and S. Frost, eds., New Materialisms: Ontology, Agency, and Politics, Durham and London: Duke University Press, 2010. View all notes An advantage of this concept is that it refuses the separation between humans and matter still implicit in concepts such as “the environment”. By attending to “our own constitution as vital materiality”, as well as the ways our “own” bodies are never “fully or exclusively human”, Bennett adjusts the status of human actants while re-evaluating non-human bodies “as actants rather than as objects”. As I will show, her approach provides a constructive critical perspective on Irigaray's work by drawing attention to the specifically non-sexuate nature of the elemental. Equally, however, Irigaray's insistence on sexuate difference problematises any appeal to a generic notion of “the human”. This is especially helpful, I will suggest, in relation to contemporary descriptions of climate change as “anthropogenic”. By homogenising human beings, such descriptions make it more difficult to address the ways in which current ecological problems are inseparable from global patterns of social, political and economic inequity. For both thinkers, challenging hylomorphism needs to be matched with a critique of the dominant modern model of the subject as bounded, autonomous and self-identical. And for both, this model is displaced and undone by the capacity of the human body to bear others within, in ways that engender and sustain human life. Yet as I will discuss in the final two sections, each thinker renders this “other within” in very different ways, with significant implications for the ethics and politics of a “vital materiality”. In the end it is Irigaray's rendering of a distinctively female capacity to bear an other within, explored via the generative relationality of a placental economy, that more fully escapes the individualism of the One and the Same. Together, Irigaray and Bennett show that to take seriously the ecological crises that currently confront us means overcoming the disavowal of both human beings' own fundamental materiality and our dependency on the sustaining materialities of the earth. In contrast, a dominant strand in contemporary responses to these crises is an environmental politics of “enlightened self-interest”55I borrow this phrase from H. Kopnina's critical discussion in “Forsaking Nature? Contesting ‘Biodiversity’ Through Competing Discourses of Sustainability”, Journal of Education for Sustainable Development 7, no. 1 : 51–63. that precludes any serious re-evaluation of human beings' relations to matter and the earth. If human beings can be persuaded that current levels of environmental degradation are damaging to them, threatening perhaps their very survival, they are more likely to take decisive steps to alter their behaviour. Insofar as such approaches demand action only for the sake of human interests and ends, they are both anthropocentric and spring from the same instrumentalising rationality that has engendered the ecological crises we currently face. They may well be successful in prompting action. But by foregrounding the survival of “the human species” per se, such approaches foreclose discussion of whose interests are served if survival is all that is allowed to be at stake, and whose lives are thereby consigned to ongoing exploitation. Moreover, as I will argue below, the instrumental rationality that serves survival is at odds with an affirmation of life, as a becoming that depends on difference. With this in mind, I will problematise Bennett's proposed politics of “expanded self-interest”, while seeking to retain many of the insights her approach brings. To more fully displace the “rational” self-interest that has encouraged human exploitation of the earth, we might take up Bennett's “vital materiality” in ways informed by Irigaray's conception of generative difference and the relational space-time of the in-between. (shrink)

Chapter 1 First Person Access to Mental States. Mind Science and Subjective Qualities -/- Abstract. The philosophy of mind as we know it today starts with Ryle. What defines and at the same time differentiates it from the previous tradition of study on mind is the persuasion that any rigorous approach to mental phenomena must conform to the criteria of scientificity applied by the natural sciences, i.e. its investigations and results must be intersubjectively and publicly controllable. In Ryle’s view, philosophy (...) of mind needs to adopt an antimentalist stance to achieve this aim. Antimentalism not only definitively rejects the idea that mind is a substance separated from the body, it also denies that mental phenomena radically differ from physical phenomena by virtue of several unique features. Most problematically, mental phenomena have a conscious character (mental states are related to specific qualitative feelings) and are accessible only to the first-person (only the subject knows directly what s/he is experiencing inside his/her mind). Ryle takes a strong stance on antimentalism going so far as to maintain that an approach to mind which aims to meet the criteria of scientificity set by the natural sciences must avoid any reference to internal, unobservable mental states. In his view (which is considered a specifically philosophical version of psychological behaviorism and also addresses questions put forward in psychological research), mental states can be redescribed in terms of behavioral dispositions. In this chapter, we address the historical roots of the antimentalist view and analyze its relation to the later tradition of research on mind. We show that, compared to the antimentalist stance, functionalism and cognitivism take a step back when they maintain that direct reference to mental states is necessary since mental states cause and therefore explain human behavior. This step backwards is often interpreted as a return to mentalism. However, this is only partially true. Indeed, we suggest that these later traditions retain one important element of Ryle’s antimentalism, i.e. the idea that mental states must be uniquely identified using external and publicly observable criteria, while excluding any reference to introspection and those qualitative dimensions of a mental state, which are accessible only to the first-person. According to the perspective we put forward, this epistemological stance has continued to influence contemporary research on mind and current philosophical and psychological theories which both tend to exclude the subjective qualities of human experience from their accounts of how the mind works. The issue we raise here is whether this is legitimate or whether subjective qualities do play a role with respect to the way our mind works. The conclusion of this chapter anticipates the argument the book makes in in favor of this latter position, starting from a particular angle, i.e. the problem of how we categorize concepts related to our internal states. -/- Chapter 2 The Misleading Aspects of the Mind/Computer Analogy. The Grounding Problem and the Thorny Issue of Propriosensitive Information -/- Abstract. After the crisis of behaviorism, cognitivism and functionalism became the predominant models in the field of psychology and of philosophy, respectively. Their success is mainly due to the new key they use for interpreting mental processes: the mind/computer analogy. On the basis of this analogy, mental operations are seen as cognitive processes based on computations, i.e. on manipulations of abstract symbols which are in turn understood as informational unities (representations). This chapter identifies two main problems with this model. The first is how these symbols can relate to and communicate with perception and thus allow us to identify and classify what we perceive through the senses. Here we limit ourselves to presenting this issue in relation to the classical symbol grounding problem originally put forward by Harnad on the basis of Searle’s Chinese room argument. An attempt to address the problem raised here will be made in chap. 3. The second point we discuss in relation to the mind/computer analogy concerns the idea of information it fosters. Indeed, following this analogy, information is something available in the external world which can be captured by the senses and transmitted to the central system without being influenced or modified by the procedures of transmission. This perspective does not take into account that – unlike computers – in living beings information is acquired by means of the body. As Ulric Neisser has already pointed out, the body is itself an informational source that provides us with additional sensory experience that influences (modifies or complements) the information extracted from the external world by the senses. To develop this line of analysis and to determine exactly what information is provided by the body and how this might influence cognition, we examine Sherrington’s and Gibson’s positions. Moving on from their views, we qualify bodily information in terms of ‘proprioception’. We use ‘proprioception’ in a broad sense to describe any kind of experience we have of our internal states (including postural information as well as sensations related to the general state of the body and its parts). Following Damasio’s and Craig’s studies, we further elaborate this position, arguing that living beings are equipped with an internal propriosensitive monitoring system which maps all the changes that constantly occur in our body and that give us perceptual (‘proprioceptive’ or propriosensitive) information about what happens inside us. Moreover, relying on Goldie’s and Ratcliffe’s view, we show that emotional information can also be considered as a form of ‘proprioception’ which contributes to determining everything we perceive. This analysis leads us to the second main thesis of this book: ‘proprioception’ is a form of internal perception and it is an essential component of the sensory information we can access and use for all cognitive purposes. -/- Chapter 3 Semantic Competence from the Inside: Conceptual Architecture and Composition -/- Abstract. Concepts are essential constituents of thought: they are the instruments we use to categorize our experience, i.e. to classify things and group them together in homogeneous sets. Here we define concepts as the internal mental information (representations) that allows us, among other things, to master words in natural language. By analyzing the way in which individuals master word meanings we explore a number of hypotheses regarding the nature of concepts. Following Diego Marconi’s research, we differentiate between two kind of abilities that underpin lexical competence – so-called ‘referential’ and ‘inferential competence’ – and we suggest that, in order to support these abilities, concepts must also include two corresponding kinds of information, i.e. inferential and referential information. We point out that the most widely used and acknowledged theories of concepts do not make this distinction, instead broadly characterizing the information used for categorization in terms of propositionally described feature lists. However, we show that while feature lists can explain inferential competence, they do not account for referential competence. To address the issue of referential competence we examine Ray Jackendoff’s hypothesis that to account for the possibility of linking perceptual and conceptual information we need to assume the existence of a (visual) representation that encodes the geometric and topological properties of objects and bridges the gap between the percept and the concept. Furthermore, we analyze the extension of this work by Jesse Prinz who introduced the notion of a proxytype, a perceptual representation of a class of objects that incorporates structural and parametric information related to their appearance. However, as we point out, proxytypes can only explain the relationship between perception and concepts with respect to instances that can be perceived through the senses and that belong to the same class by virtue of their physical similarity. We suggest that this notion be extended to include larger conceptual classes. To accomplish this, we further develop Mark Johnson, George Lakoff and Jean Mandler’s idea of a schematic image and argue that conceptual representations include a perceptual schema. Perceptual schemata are non-linguistic, structured experiential gestalts (patterns or maps) that make use of information taken from all sensory modalities, including body perception. They accomplish a quasi-conceptual function: they allow us to recognize and to classify different instances. In this work, we hypothesize that perceptual schemata are an essential component of concepts, but not identical to them. Instead, we suggest that concepts include both perceptual and propositional information with perceptual schemata providing the ‘perceptual core concept’ that grounds related propositional information. -/- Chapter 4 In the Beginning There Were Categories. The Bodily Origin of Prelinguistic Categorical Organization: The Example of Folkbiological Taxonomies -/- Abstract. Studies of categorization in psychology and the cognitive sciences have made use of the notions of ‘category’ and ‘concept’ without precisely defining what is meant by either; in fact, often these terms have been used as synonyms, making it difficult to address specific issues related to conceptual development. This chapter begins by discussing the definitions of, as well as the distinctions between, ‘categories’ and ‘concepts’ in the classical philosophical tradition (Aristotle, Kant and Husserl). We introduce our view of categories with reference to Husserl. Categorization is defined as the way in which our experience is originally (pre-linguistically) organized in a passive and fully unconscious manner on the basis of universal structuring principles. Conceptualization is explained as a later process in which the earlier categorical macro-classes are further subdivided into more specific and detailed sets; this later process also relies on linguistic learning and exposure to culture. On the basis of Ray Jackendoff, Jean Mandler, George Lakoff and Mark Johnson’s work, we hypothesize that categorization is a two-step process that begins with the formation of homogeneous sets of entities partitioned into regions that describe the ontological boundaries of the objects that humans perceive (categories) and continues at a later stage with the development of more specific classifications (concepts). In this chapter, we mainly address three related issues: Why should we assume that there is categorical organization which precedes the development of a conceptual system? How do categories and concepts relate to each other? Shall we hypothesize that categories are innate or that they are formed before concepts on the basis of information and organizational structure available at a very early developmental stage? We show that categorical partitions are necessary for categorization and, following Mandler, that the general categories we form at an early age do not match our adult superordinate concepts. As for the third issue, we argue that there might be no need to assume that categories are innately present in the human mind, since their formation can be explained – at least in certain cases – by basic mechanisms that work on body (propriosensitive) information. This hypothesis will not be discussed in general, but in relation to a particularly relevant example of categorical partition, i.e. the folk-biological dichotomy between ANIMATE/INANIMATE. This is compared with other dichotomies that derive from it, but are not directly categorical such as LIVING/NON-LIVING and BIOLOGICAL/NON-BIOLOGICAL. -/- Chapter 5 Internal States: From Headache to Anger. Conceptualization and Semantic Mastery -/- Abstract. Here we ask if we can also apply the distinction between referential and inferential competence we introduced in Chapter 3 to words that do not refer to things that are perceived using the external senses, especially to words/concepts that denote bodily experiences (such as pain, thirst, hunger, etc.) or emotions. We introduce and discuss the hypothesis that – even though such words/concepts do not refer to intersubjectively identifiable entities in the external world – they do have a kind of referent that can be accessed via direct perception, more specifically ‘proprioception’, as we have defined it in terms of all propriosensitive information we can consciously access. In the first part of the chapter, we specifically consider terms denoting bodily experiences such as ‘pain’ or ‘hunger’ and argue that their referents are identified and classified from a first-personal point of view on the basis of four main characteristics: their specific intensity, their localization in the body, their co-occurrence with other signals and above all their specific qualitative sensations. Emotions are addressed in the second part of the chapter. We suggest that there is a continuity between bodily experiences and emotions. In particular, we argue for a perceptual theory of emotions in line with that proposed by James and Lange at the end of the 19th century and developed more recently by authors such as Damasio (see also chap. 2§5, §6). The hypothesis we put forward is that the referential information that supports the categorization of emotions and therefore also our mastery of terms referring to emotions consists in the perception (i.e. the ‘proprioception’) of those bodily states and changes in bodily states which constitute our emotional experience. In the context of this discussion we examine some objections to this line of reasoning that arise from a cognitivist perspective and following authors such as Oatley, Johnson-Laird and Frijda, we distinguish between basic emotions that can be identified and classified solely on the basis on how they feel and complex emotions whose identification and classification additionally depends on cognitive factors. To describe how emotions are identified and classified on the basis of how they feel, we rely on Marcel and Lambie’s distinction between an ‘emotion state’ and an ‘emotion experience’. Both notions indicate kinds of feelings that we consciously experience. However, they describe first-order and second order emotion awareness respectively. The emotion state is the feeling we have of the bodily states and changes that occur when we are experiencing an emotion, while the emotion experience is the fully developed and integrated emotion we both experience and are, with reflection, aware of experiencing. On the basis of this differentiation, we also show that the same characteristics that aid in the identification and classification of bodily experiences (specific qualitative sensations; somatic localization; specific intensity; presence/absence of specific concomitant sensations) can also be used for the identification and classification of emotions – at least basic emotions. In the last two sections of the chapter we present some clinical evidence on the semantic competence of people who suffer from Alexithymia and Autism Spectrum Disorder which supports the conclusions of our preceding analyses. -/- Chapter 6 The ‘Proprioceptive’ Component of Abstract Concepts -/- Abstract. In this chapter, we address the issue of whether the mastery of abstract words requires only inferential knowledge and thus, if the concepts that support the mastery of abstract words include only linguistic information. We start by differentiating the notions of ‘abstract’ and ‘general’ which are often erroneously confused. We then identify a strict definition of abstract, as contrasted with ‘concrete’, that applies to words or concepts whose referent cannot be experienced by the senses. We argue that abstract words/concepts would be better described as theoretical, because they are usually conceived as structured sets of inferential knowledge expressed linguistically; that is, as small theories. Pointing out parallels with Carnap’s analysis of this issue in philosophy of science, we hypothesize that words/concepts denoting non-observable entities are not all ‘equally theoretical’, because their link to sensory experience can be stronger or weaker. We revive the distinction, inspired by Quine, between theoretical and intertheoretical concepts/words. This distinction relies on the fact that the former – unlike the latter – retains a strong, although indirect, connection with perception. In Quine’s discussion, perception is understood uniquely in terms of observability, i.e. of external sensory experience. Here we argue, however, that bodily, ‘proprioceptive’ (i.e. propriosensitive) experience can also serve to referentially ground theoretical (i.e. abstract) concepts/words. We frame this issue using the example of the theoretical concept ‘freedom’ and Lakoff’s hypothesis that this concept is developed on the basis of bodily information. We contrast this with the example of ‘democracy’ which more closely resembles an intertheoretical concept/word. Furthermore, we show that one of the classical views put forward in psycholinguistic research to explain how abstract concepts are mentally represented – i.e. Paivio’s Dual Coding Theory – points in the same direction as our analysis. The same is true of Barsalou’s work suggesting that we use internal information to understand at least some abstract words. To sustain this position, we put forward two lines of evidence: the first comes from psycholinguistic studies while the second examines deficits of semantic competence exhibited by people with Autism Spectrum Disorder. On the basis of our analysis, we put forward a classification that distinguishes between different kinds of concreteness and different degrees of abstraction: concepts/words referring to body experiences and basic emotions are described as analogous to concrete concepts/words because they are grounded in perceptual (i.e. propriosensitive) experience, while abstract concepts/words are considered more or less abstract depending on whether they are intratheoretical (and rely entirely on inferential information) or theoretical (and are partially grounded in perceptual – or more often in propriosensitive perceptual – information). In the last section of the chapter we consider two scales that have been used in psycholinguistic research to measure the degree of concreteness vs. abstractness of words and we show that – used conjointly – they can provide a measure of the internal vs. external grounding of specific words. (shrink)

We address three fundamental questions: What does it mean for an entity to be living? What is the role of inter-organismic collaboration in evolution? What is a biological individual? Our central argument is that life arises when lineage-forming entities collaborate in metabolism. By conceiving of metabolism as a collaborative process performed by functional wholes, which are associations of a variety of lineage-forming entities, we avoid the standard tension between reproduction and metabolism in discussions of life – a tension (...) particularly evident in discussions of whether viruses are alive. Our perspective assumes no sharp distinction between life and non-life, and does not equate life exclusively with cellular or organismal status. We reach this conclusion through an analysis of the capabilities of a spectrum of biological entities, in which we include the pivotal case of viruses as well as prions, plasmids, organelles, intracellular and extracellular symbionts, unicellular and multicellular life-forms. The usual criterion for classifying many of the entities of our continuum as non-living is autonomy. This emphasis on autonomy is problematic, however, because even paradigmatic biological individuals, such as large animals, are dependent on symbiotic associations with many other organisms. These composite individuals constitute the metabolic wholes on which selection acts. Finally, our account treats cooperation and competition not as polar opposites but as points on a continuum of collaboration. We suggest that competitive relations are a transitional state, with multi-lineage metabolic wholes eventually outcompeting selfish competitors, and that this process sometimes leads to the emergence of new types or levels of wholes. Our view of life as a continuum of variably structured collaborative systems leaves open the possibility that a variety of forms of organized matter – from chemical systems to ecosystems – might be usefully understood as living entities. (shrink)

At the heart of semantics in the 20th century is Frege’s distinction between sense and force. This is the idea that the content of a self-standing utterance of a sentence S can be divided into two components. One part, the sense, is the proposition that S’s linguistic meaning and context associates with it as its semantic interpretation. The second component is S’s illocutionary force. Illocutionary forces correspond to the three basic kinds of sentential speech acts: assertions, orders, and (...) questions. Forces are then kinds of acts in which propositions are deployed with certain purposes. I sketch a speech-act theoretic semantics in which that distinction does not hold. Instead of propositions and forces, the theory proposes proto-illocutionary acts and illocutionary acts. The orthodox notion of a proposition plays no role in the framework, which is a good thing, since that notion is deeply problematic. The framework also shows how expressionists, who embrace a sophisticated speech-act framework, face no Frege-Geach embedding problem, since the latter assumes the Sense/Force distinction. (shrink)

There are three main views of the development of Plato’s distinction between being and becoming which have been defended in recent times. Most scholars have thought that Plato always held the same version of the distinction despite appearances to the contrary. But some who have taken this position have thought that Plato took the realm of being to consist of things which never change in any way, and the realm of becoming to consist of things (...) which are never stable in any way. Others have thought that Plato’s account of things in the realm of becoming was not so extreme. They have maintained that the realm of being is made up of things which never change in any way, but that the realm of becoming consists of things which constantly change while they exist in many ways. The third view belongs to those who have held that Plato did in his middle dialogues take the extreme view of becoming and the extreme version of the distinction which that entails. But later, they claim, he discovered that the distinction was incoherent. He therefore abandoned it, and the metaphysical doctrine of degrees of reality which he had based on it, altogether. (shrink)

Selon Thomas d'Aquin, il y a distinction réelle dans les choses causées, entre la forme de la chose et l'acte d'être. Le but de l'article est de montrer que la démonstration d'une telle distinction dépend de la nature de la hiérarchie causale. L'acte d'être de la chose causée est, dans cette chose elle-même, une participation à la nature propre à la cause efficiente en tant que telle. Et cette participation ne peut pas être identique à la nature de (...) l'effet en tant que tel. Le meilleur texte de s. Thomas sur le sujet se trouve dans le Quodlibet 12, dernier produit de son activité parisienne. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.1 (2001) 77-99 [Access article in PDF] Malebranche's Distinction Between General and Particular Volitions Andrew Pessin "God needs no instruments to act," Malebranche writes in Search; "it suffices that He wills in order that a thing be, because it is a contradiction that He should will and that what He wills should not happen. Therefore, His power is His will." 1 (...) God acts by willing; so much is clear. But Malebranche goes further, especially in his Treatise, by asserting that (i) only in miracles and the initial creation does God act by "particular volitions," while (ii) God ordinarily acts in nature via laws or "general volitions." This distinction between general and particular volitions is central to Malebranche's theories of divine activity, theodicy, and occasionalism. Nevertheless, I will argue, it has been almost universally misunderstood.The two standard interpretations of Malebranche's expressions "general volition" and "particular volition" are these: (GC) A "general volition" for Malebranche is one whose content is general; a "particular volition" is one whose content is particular. [End Page 77](PC) All divine volitions have particular contents; but a "general volition" is one which is in accord with general laws, while a "particular volition" is one not in accord with general laws. 2Andrew Black offers the following two schemata for volition contents, where (B) also provides the general form of laws of nature: A: Let c be F at t. B: For all created substances x and y and for every time t1, if x is G at t1and x bears relation R to y then there is a time t2 such that t2 bears relation T to t1 and y is F at t2. 3(A) is "particular" insofar as it represents a particular state of affairs, involving a particular substance in a mode at a time; (B) is general in making no such reference. According to (GC), then, when Malebranche's God acts by "general volitions," He has volitions whose content is of the form of (B) (specifically, a law of nature); when He acts by particular volitions His volitions are of the form of (A). According to (PC), both general and particular volitions are of the form of (A), while the former are in accord with laws of nature and the latter aren't.To simplify matters, I will focus on God's activity in the material world; the laws of nature in question will usually be the laws of motion. Further, to avoid terminological confusion, I will refer to volitions of the form of (A) as "particular content volitions," and those of (B) as "general content volitions." The issue before us then is: When Malebranche's God acts by "general volitions," are these general content volitions or particular content volitions? Proponents of (GC) support the former; those of (PC) the latter.Unhappily, almost everything Malebranche says directly on the subject can be interpreted either way. 4 (I'll speculate why at the end.) And admittedly, what Malebranche says more broadly about natural laws and divine volitions is often suggestive of (GC)—so it is no surprise that almost all recent commentators adopt (GC), usually simply assuming it without argument. Still, I shall argue that if one of the interpretations is correct, it is (PC). [End Page 78]My plan in this paper: (1) Offer some prima facie support for (PC); (2) Provide four arguments that (PC) either fits better with, or is alone consistent with, various Malebranchean doctrines; (3) Reply to some recent objections against (PC); (4) Argue that Malebranche's direct reply to Arnauld supports (PC); (5) Offer a conclusion and final thought. 1. Some Prima Facie Support For (PC) Let me first note that Steven Nadler offers various passages which do at least suggest (PC). 5 But that evidence, while strong, is not alone conclusive. For one thing, those passages can perhaps be accommodated by (GC); 6 for another, there are many passages which suggest (GC). So we must go further.Consider, then, Malebranche's primary concern in the Treatise, the... (shrink)

….it [is] wholly irrational to regard as doubtful matters that are perceived clearly and distinctly by the understanding in its purity, on account of mere prejudices of the senses and hypotheses in which there is an element of the unknown.Descartes, Geometrical Exposition of the MeditationsSubstance dualism, once a main preoccupation of Western metaphysics, has fallen strangely out of view; today’s mental/physical dualisms are dualisms of fact, property, or event. So if someone claims to find a difference between minds and (...) bodies per se, it is not initially clear what he is maintaining. Maybe this is because one no longer recognizes ‘minds’ as entities in their own right, or ‘substances.’ However, selves - the things we refer to by use of ‘I’ - are surely substances, and it does little violence to the intention behind mind/body dualism to interpret it as a dualism of bodies and selves. If the substance dualist’s meaning remains obscure, that is because it can mean several different things to say that selves are not bodies. (shrink)

….it [is] wholly irrational to regard as doubtful matters that are perceived clearly and distinctly by the understanding in its purity, on account of mere prejudices of the senses and hypotheses in which there is an element of the unknown.Descartes, Geometrical Exposition of the MeditationsSubstance dualism, once a main preoccupation of Western metaphysics, has fallen strangely out of view; today’s mental/physical dualisms are dualisms of fact, property, or event. So if someone claims to find a difference between minds and (...) bodies per se, it is not initially clear what he is maintaining. Maybe this is because one no longer recognizes ‘minds’ as entities in their own right, or ‘substances.’ However, selves - the things we refer to by use of ‘I’ - are surely substances, and it does little violence to the intention behind mind/body dualism to interpret it as a dualism of bodies and selves. If the substance dualist’s meaning remains obscure, that is because it can mean several different things to say that selves are not bodies. (shrink)

While both intuitive knowledge and reason are adequate ways of knowing for Spinoza, they are not equal. Intuitive knowledge, which Spinoza describes as the ‘greatest virtue of mind’, is superior to reason. The nature of this superiority has been the subject of some controversy due to Spinoza's notoriously parsimonious treatment of the distinction between reason and intuitive knowledge in the Ethics. In this paper, I argue that intuitive knowledge differs from reason not only in terms of its method (...) of cognition—but also in terms of its content. More specifically, I maintain that there is something that is known by intuition, namely the unique essences of things, that is not known by reason. My argument is supported by an examination of Spinoza's account of essences in the Ethics, which reveals that he is committed to both unique and shared essences. Based on this dual commitment, I argue that whereas for Spinoza both reason and intuition can be said to reach adequate knowledge of the shared essence of a thing, the unique essence of a singular thing, which is nothing but its actual essence, can only be known through intuitive knowledge. (shrink)

1 Domains of application 2 Formulating the conceptual/nonconceptual distinction 3 Is there such a thing as nonconceptual content? 4 Developing the account of nonconceptual content .

Ancient sceptics, unlike their modern counterparts, claim to live their scepticism. Nowadays scepticism, whether epistemological, moral, or of any other variety, is seen as a purely theoretical position, with no direct bearing on the actual living of one’s life; this is because philosophical theories and everyday attitudes are taken to be in some way “insulated” from one another. Serious questions may be raised about the character of this alleged “insulation,” but these are not my present concern; the fact is (...) that no such split between “the philosophical” and “the ordinary” was entertained in the ancient world. It follows that the viability of scepticism as a way of life is a crucial issue for ancient sceptics. It is no accident that one of the most enduring objections to ancient scepticism is to the effect that the sceptical attitude—that is, the posture of universal suspension of judgement—is incompatible with any kind of normal human action; this was known in antiquity as the charge of apraxia, “inaction.” The sceptics for their part, were just as persistent in arguing that suspension of judgement had no such damaging consequences. In as much as the assessment of actual or imaginable types of human life is the province of ethics, I take this debate between ancient sceptics and their detractors to be, in a broad sense, an ethical debate. (shrink)

Hierarchical organization is an essential characteristic of living things. Although most biologists affirm the concept of living things as hierarchically organized structures, there are widespread differences of interpretation in the meaning of hierarchy and of how the concept of hierarchy applies to living things. One such basic difference involves the distinction between the concept of control hierarchy and classification hierarchy. It is suggested that control hierarchies are distinguished from classification hierarchies in that (...) while the former involve authority relationships between levels, the latter do not. This is illustrated in an analysis of proposed hierarchies of replicators and interactors.The analysis of levels of hierarchies and their relationships also brings up the part-whole problem. An authority relationship between levels implies that the whole has a determining influence on the parts that make up the whole, and that parts have no independent, meaningful existence apart from the whole. The concept of an authority relationship in a part-whole relationship introduces the question of the independence or sovereignty of the components of the subordinate levels in a hierarchically organized living thing. This problem is discussed along with an analysis of the rather novel theory of enkapsis proposed by H. Dooyeweerd, in which he distinguishes part-whole relationships from enkaptic relationships. (shrink)

This dissertation addresses the ontological significance of poetry in the thought of Martin Heidegger. It gives an account of both his earlier and later thinking. The central argument of the dissertation is that poetry, as conceptualised by Heidegger, is beneficial and necessary for the living of an authentic life. The poetry of T. S Eliot features as a sustaining voice throughout the dissertation to validate Heidegger's ideas and also to demonstrate some interesting similarities in their ideas. Chapter one demonstrates (...) how effectively certain concepts from Heidegger's 'Being and Time' can be applied in an analysis of T.S. Eliots celebrated poem 'The Love Song of J. Alfred Prufrock'. The reading involves concepts such as angst, authenticity, inauthenticity, the they and idle talk as they appear in 'Being and Time' and then relates these to aspects of T.S Eliot's poem. Chapter two is an exegesis of Heideggers essay 'The Origin of the Work of Art' in order to understand the meaning of poetry as he describes it. The essay centres on the interpretation of a painting by Vincent van Gogh, and what the experience of the painting reveals to someone authentically engaging with the artwork. Heidegger attempts to establish what the essence of a thing is (the artwork as thing), for the 'origin' of the artwork resides in its 'thingliness'. He creates an important distinction between equipment and the artwork, as well as earth and the world in order to justify the unique, originary position that the artwork occupies. This leads Heidegger to create a new understanding of poetry (which is expanded to encompass all art forms) and to emphasise the importance of the human agent in both the creation and preservation of the artwork. Chapter three is an exploration of language in both the Heidegger of 'Being and Time' and the later Heidegger's thought. The aim is to explore the ontological effect that Heidegger's conception of language has for our existence. He places language within a primordial role arguing that it is not us who speak language, but language that speaks us. This conception has important consequences for our relationship with Being, and the way in which we understand our existence. The final chapter unifies the various themes of the dissertation into a cohesive argument. The chapter begins with a discussion on the meaning of our existence following the later Heidegger. This is nothing less than the guardianship of Being which can only be understood in its relation to our dwelling within the fourfold. In conclusion it is through the measure of the language of poetry that we can realise the possibility of authentic dwelling. (shrink)

This paper makes an effort to interpret the relationship between the concepts "Zuhandenheit" (readiness-to-hand) and "Vorhandenheit" (presence-at-hand), as they are analysed in §§ 15-16 of Heidegger's "Being and Time". These concepts are two modes of existence of the beings met in our surrounding world. So, they don't concern different things. Heidegger doesn't give the title "things" to the beings ready-to-hand; he names them "equipments" (Zeug). It's a concept relative to the Aristotelian "organon", which Aristotle exemplifies with the (...) human hand as a primary equipment. But Zuhandenheit isn't a quality of the things; the term has to do with the secret character of the equipments as the maining way of their disclosure. It's the Being-in-itself of the equipments, as long as they are useful. This Being-in-itself has nothing common with the Kantian Ding an sich, which is based on the presupposition of a cognitive relationship between subject and object. I posit also the question, whether Zuhandenheit can rendet the secretness and familiarity of our immediate approach to the environment, and my answer to this question is negative. (shrink)

The second International Knowledge and Discourse Conference, held at the University of Hong Kong in June 2002, was the forum for the long-awaited debate between Bruno Latour and Steve Fuller. Bruno Latour counts beyond two. He places the blame for the emphasis in academia on the subject-object distinction on Kant. Latour wants academics to acknowledge that things act, and suggests we look at other traditions, e.g. the Chinese, for alternatives to the subject-object dichotomy. Steve Fuller concentrated on (...) the moral project of science, which is to draw a distinction between the human and the non-human and, to highlight the fact that, as the culmination of the sciences, social science has a particular responsibility to make this distinction. He accused Bruno Latour of evading the moral issue. The debate can be read as a reiteration of the postions of Bruno Latour and Steve Fuller on the question of heterogeneity at the theoretical level, but it did not address the topic at the practical or research level. (shrink)

KANT ARGUES AT GREAT LENGTH in the Critique of Pure Reason that the existence of God cannot be demonstrated by means of theoretical reason. For after dividing all traditional theistic proofs into three different kinds—the ontological, the cosmological, and the physico-theological—Kant argues first that the cosmological and physico-theological implicitly assume the ontological argument and then that the ontological argument is necessarily fallacious. By restricting knowledge in this manner Kant notoriously makes room for faith, that is, in this case, for a (...) practical proof of the existence of God, which he develops in the Critique of Practical Reason. Kant’s reasons for rejecting theoretical proofs of the existence of God have received considerable attention. In particular, Kant’s objection to the ontological argument, namely that existence is not a real predicate, still seems relevant in contemporary philosophy of religion. What has not received much attention, however, is the relationship between Kant’s rejection of theistic proofs in his critical period and his views on the matter in his pre-critical period. For throughout his pre-critical period, but especially in his The Only Possible Argument in Support of a Demonstration of the Existence of God, Kant believes that there is a theoretical proof of the existence of God. One would naturally expect Kant’s criticisms of theistic proofs as developed in the “ideal of pure reason” to apply in straightforward ways to his earlier attempts at a theistic proof. However, Kant rejects the three traditional arguments in The Only Possible Argument just as he does in the first Critique. Further, his reason for rejecting the ontological argument in particular is identical to the one presented in the first Critique: “Existence is not a predicate or a determination of a thing.” Accordingly, Kant understood himself to be developing a theistic proof in The Only Possible Argument that is distinct from the three traditional arguments and is also not subject to the objections he raises against them. Given that Kant rejects all theoretical proofs of God’s existence in his critical period and given that he did not take his critical objections to the traditional proofs to apply to the theistic proof developed in The Only Possible Argument, what is his justification for rejecting his pre-critical argument for God’s existence? (shrink)

Aristotle's conception of being is dynamic. He believes that a thing is most itself when engaged in its proper activities, governed by its nature. This paper explores this idea by focusing on Metaphysics , a text that continues the investigation of substantial being initiated inMetaphysics Z. Q.1 claims that there are two potentiality-actuality distinctions, one concerned with potentiality in the strict sense, which is involved in change, the other concerned with potentiality in another sense, which he says is more useful (...) for the present project. His present project is the investigation of substantial being, and the relevant potentiality is the potentiality for activity, the full manifestation of what a thing is. I explore Aristotle's two potentiality-actuality distinctions AND argue that the second distinction is modeled on the first, with one crucial modification. Whereas a change is brought about by something other than the object or by the object itself considered as other (as when a doctor cures himself), an activity is brought about byte object itself considered as itself. This single modification yields an important difference: whereas a change leads to a state other than the one an object was previously in, an activity maintains or develops what an object already is. (shrink)

Abtract: This article argues that the debate between reductive and nonreductive physicalists is best characterized as a disagreement about which properties are natural. Among other things, natural properties are those that characterize the world completely. All physicalists accept the “completeness of physics,” but this claim contains a subtle ambiguity, which results in two conceptions of natural properties. Reductive physicalists should assert, while nonreductive physicalists should deny, that a single set of low-level physical properties is natural in both of (...) these senses. This way of drawing the distinction succeeds where previous approaches have failed and illuminates why the debate about reductionism is important. (shrink)

How does Descartes justify his claim that conceiving of a mind as a thinking thing and a body as an extended thing show that mind and body are distinct substances? The paper attempts to answer that question by following a clue Descartes gave Arnauld that virtually everything in Meditations Three through Five is germane to the real distinction between mind and body. The paper develops the distinction between material truth and formal truth from Descartes’s discussions of (...) falsity in Meditation Three. In Meditation Three, clear and distinct ideas are materially true. They are consistent. They represent the possibility that there is something that corresponds to the idea (de dicto possibility). God is not a deceiver. Since it is psychologically impossible to doubt a clear and distinct idea, Descartes concludes Meditation Four by arguing that clear and distinct ideas are formally true (representative). Clear and distinct ideas represent true and immutable natures (essences). It is in virtue of true and immutable natures that it is possible that there are things of determinate kinds. Hence, in Meditation Five, clear and distinct ideas represent de re possibilities. Since the mind/body distinction is a distinction between true and immutable natures, Descartes takes clearly and distinctly conceiving a thinking thing as distinct from an extended thing to be sufficient for claiming a real distinction between mind and body. (shrink)

In this paper, I show that, although Husserl explicitly explains a kinetic theory of Leib already in § 83 of Raum und Ding, a real phenomenology of the distinction between Leib (living body) and Körper (corporeal object) is not conceivable without Scheler's contribution. It’s quite common to search for the origin of this distinction in Ideen II, in a work composed of texts written in different moments from 1912 on. Before 1912 Husserl dedicated himself to the (...) theme of corporeality in the first part of Göttinger Vorlesungen 1904/1905 as well as in the lectures in the Sommersemester of 1907 titled Ding und Raum [Hua XVI]. Both lectures, however, lack an explicit analysis on the distinction between Leib and Körper. Scheler instead mentions it already in an unpublished text from 1908/1909 and fully develops it in the years 1911 and 1912, where the issue is explored in a more organic and radical way than in the writings of Husserl. -/- In diesem Beitrag möchte ich darauf hinweisen, dass, obwohl Husserl bereits in § 83 von Raum und Ding eine kinetische Theorie von Leib erklärt, eine reale Phänomenologie der Unterscheidung zwischen Leib und Körper ohne Schelers Beitrag nicht denkbar wäre. Im Allgemeinen wird ihr Ursprung in den Ideen II festgestellt, einer Schrift, die aus den Texten verschiedener Zeiten nach 1912 besteht. Vor 1912 widmet sich Husserl dem Thema der Körperlichkeit in dem ersten Teil der Göttinger Vorlesungen 1904/1905 sowie in den Vorlesungen aus dem Sommersemester 1907 über Ding und Raum [Hua XVI]. In beiden Vorlesungen fehlt jedoch eine explizite Untersuchung zum Unterschied zwischen Leib und Körper. Bei Scheler hingegen ist sie bereits in einem Nachlasstext aus 1908/1909 auffindbar und wird in den Jahren 1911 und 1912 sehr ausführlich entfaltet. Die Auseinandersetzung mit dieser Thematik erfolgt bei ihm viel organischer und eingehender als bei Husserl. -/- In questo scritto dimostro che, sebbene Husserl espliciti una teoria cinetica del Leib già nel § 83 di Raum und Ding, una vera e propria fenomenologia della distinzione fra Leib (corpo vivente) e Körper (oggetto corporeo) è inconcepibile senza il contributo di Scheler. Generalmente tale distinzione viene ricondotta a Idee II, un testo che è il risultato di diverse versioni composte a partire dal 1912. Prima del 1912 Husserl si dedica al tema della corporeità nella prima parte delle Göttinger Vorlesungen del 1904/5, e nelle lezioni del Sommersemester del 1907 dedicate a Ding und Raum [Hua XVI]. In entrambi questi testi manca però un’analisi esplicita sulla differenza fra Leib e Körper. In Scheler invece tale distinzione è già rintracciabile in un inedito del 1908/09 per poi essere pienamente esplicitata nel biennio 1911-1912, dove è presente un’elaborazione di questa tematica ben più organica e radicale rispetto a quella presente negli scritti di Husserl. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 10.1 (2003) 53-55 [Access article in PDF] A Pragmatic Consideration of the Relation between Depression and Melancholia David H. Brendel THE MELANCHOLIA OF THE PAST and the major depression of the present are extraordinarily complex notions that represent different things to different people. With her compelling article "Is This Dame Melancholy? Equating Today's Depression and Past Melancholia," Jennifer Radden makes an important contribution (...) to the debate on whether these concepts are identical, overlapping, or distinct. Exploring both conditions from descriptive and causal points of view, Radden appropriately concludes that fully equating the two of them would constitute a "troubling oversimplification." Her line of reasoning runs as follows. Because past descriptions of melancholia and current descriptions of major depression are marked by dissimilarities (such as the genius and creativity associated with the former and the self-loathing and emphasis on loss associated with the latter), only an underlying causal base common to both conditions would justify our equating them. But the cause (or causes) of melancholia and depression remain mysterious. Thus, although Radden acknowledges that a causal explanation might yield substantial benefits ("research possibilities, further hypotheses, and even hope of prevention, or cure"), she suggests that we remain in a descriptive mode when comparing the two conditions and conclude that they are not one and the same.Radden's argument that past melancholia and contemporary depression are descriptively distinct is convincing and, I think, indisputable. But I would like to challenge and expand upon some of her ideas about considerations of causality and about the role of pragmatic reasoning in working out the relation between melancholia and depression. First of all, although Radden is correct that the cause of many (or perhaps most) depressive states is unknown, she underrates the extent of the empirical knowledge that we have acquired about the causation of depression and, in so doing, undervalues the relevance of causal reasoning to making the melancholia/depression distinction. Recent empirical research has revealed that major depressive episodes can result from brain lesions such as left-sided strokes or metabolic disorders such as hypothyroidism (Yudofsky and Hales 2002). Psychosocial research, moreover, has suggested that stressful life events also can be understood as causes of depression (Kendler, [End Page 53] Karkowski, and Prescott 1999). These findings provide some hope that the identification of causes of various clinical states is a real possibility. Identification of such causes, I believe, could empower us to make some plausible claims about the similarities or differences between past melancholia and current depression. A melancholic individual like van Gogh, for example, had a different illness than a contemporary stroke patient with major depression in a present-day hospital, not only on the basis of descriptive distinctions between their conditions, but also on the basis of the causes of their respective states. Although of course we cannot know the cause of van Gogh's melancholia, we can reasonably assume that it was not the result of a left-sided stroke due to the absence in his case of other clinical deficits that usually result from such a stroke (such as language and motor deficits). Plausible assertions about the causes of melancholic and depressive states would add to the robustness of any claims regarding the distinctness of the conditions.Conversely, careful consideration of the etiology of various clinical presentations might prompt us to hypothesize a shared pathophysiology and thereby lead us to believe that they are essentially identical conditions. It is difficult or impossible to discover a cause of melancholia in individuals who lived in past eras. But we might achieve our goal by comparing well-defined major depression to various forms of what Radden calls "masked depression," such as those seen in cross-cultural settings, where the subjective symptoms of sad mood are absent but numerous somatic signs of depression are observed. If it turned out that major depression and masked depression had the same cause, then differences in their clinical phenomenology would become merely surface differences that belie a shared etiological process. How might one discover the existence of such a process... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 21.1 (2001) 95-99 [Access article in PDF] The Distinction between ego (e) and ego-Self (e/S): Notes on Religious Practice Based upon Buddhist-Christian Dialogue Yagi Seiichi Toin University The Goal of Religious Practice We cannot see the transcendent as an object. Nor is it the case that the transcendent and the human are two separated realities that are united afterwards. When the Self (Christ in me--Gal. (...) 2:19-20) reveals itself to and in the ego (Gal. 1:16), the ego becomes aware of the Self, which is divine--human or transcendent--immanent. This is called enlightenment.In enlightenment, the ego (hereafter: e) does not vanish.When the Self (hereafter: S) appears to and in the ego, the ego (now a relatively independent part of S) becomes the function of S. The ego, understanding itself as the knot of inner and outer reality, plays the role of the reason of the whole body, the center of which is S. In this case we represent such a person as e/S. e/S is the subjectivity of the religious life. D.T.Suzuki and one of his disciples, Ryomin Akizuki called e/S the "individual qua trans-individual." 1 In enlightenment, e/S as the authentic subject, which remains potential before enlightenment, is actualized or realized so that it understands itself as e/S, no more as the mere ego. In order for e/S to be realized and understand itself as e/S, egocentricity, egoism and the confusion of the verbalized reality with "reality as it is" must be overcome. This is the goal of religious practice. e/S From the point of view of interreligious dialogue,"Christ who lives in me" corresponds to "actualized Buddha-nature" or "the Formless Self" in Buddhist language, that is, the Self as we call it. 2 In the case of Paul,"Christ who lives in me" is the ultimate subject of him on the one hand, and "Christ the Son of God" is the object of his faith on the other (Gal. 2:19-20). That means: the ego of Paul that believes in the Son of God is borne by "Christ in me"; as Paul says, "Christ was revealed to and [End Page 95] in me" (Gal. 1:16). In this way, the subjectivity of Paul consists of e/S. Of S, namely, Paul is aware as e/S--neither as e, which is ignorant of S, nor as S. It is impossible for S to exist alone. Egocentricity and Egoism The distinction between e and e/S is of fundamental importance to our theme. e means in this essay the mere ego that is ignorant of S.When it becomes aware of S we represent it as the ego of e/S. e is egocentric and egoistic. It goes without saying that the ego-centered "I" driven by desires produces immorality and social anomies. The biblical word for this is sin, the transgression of the Law.But there is another problematic concerning e, namely egoism, which can be at work even in the effort to attain a high level of morality. We understand the egoistic ego as follows: the ego is to itself the only reality that concerns and moves it. It posits itself solely on itself apart from the relation to others and to S. By itself it projects itself and strives to realize itself. It can, among others, set up its own ideals and pursue their realization. It can, for example, conceive the moralistic ideal that seems to be the reverse of immorality and social anomie. Indeed, it can succeed in controlling egocentricity so that it seems to have attained perfect morality. In reality, it is interested only in its own moral perfection, not in the person encountered (moralistic egoism). Such e is illustrated in Luke 18:9-14 and described in Romans 7:7-24. Egoistic ego must die to itself and must be freed from egoism. (In Romans 6, for example, Paul does... (shrink)

The distinction between the essential and non-essential attributes of material objects is one that can be traced back to Aristotle. It is the distinction between those attributes or things true of objects that need not be true of them in order for them to endure or persist and those attributes or things true of objects that must remain true of them as long as they can be said truly to exist. ;The claim that individuals (...) themselves have essential and non-essential attributes is one that has been subject to much modern and contemporary criticism. In this work I have defended the distinction between essential and non-essential attributes against its contemporary opponents. Critics have maintained that upholding the distinction invariably leads to inconsistency, contradiction or nonsense. They have argued that whether or not an object has an attribute essentially or non-essentially depends, not upon the object itself, but upon human interests or conventions. Further, they have argued that whether or not an object has an attribute essentially or non-essentially would be relative to our conceptualizations of the object, to a specific language, to our interest in the object or to the way in which one referred to the object. ;In considering the logical objections aimed at upholding the distinction I have shown that the arguments that are purported to demonstrate that the essential/non-essential distinction can be maintained only at the cost of contradiction, inconsistency or nonsense are convincing only if one either fails to heed various distinctions that we, upon reflection, ordinarily make or acknowledge or is guilty of using certain terms equivocally, or else equivocates in the treatment of specific examples and analyses of certain sentences and statements. . . . UMI. (shrink)

Certain researchers in the field of moral psychology, following Turiel, argue that children and adults in different cultures make a distinction between moral and conventional transgressions. One interpretation of the theory holds that moral transgressions elicit a signature moral response pattern while conventional transgressions elicit a signature conventional response pattern. Four dimensions distinguish the moral response pattern from the conventional response pattern. 1. HARM/JUSTICE/RIGHTS – Subjects justify the wrongness of moral transgressions by stating that they involve a victim (...) that is harmed, whose rights have been violated or who has been subject to an injustice. Conventional transgressions do not involve a victim that is harmed, whose rights have been violated or who has been subject to an injustice. 2. AUTHORITY – Subjects judge moral transgressions as wrong independent of structures of authority while the wrongness of conventional transgressions can be changed by an authority. 3. GENERALIZABILITY – Subjects judge moral transgressions as generalizably wrong, i.e., independent of time and place, while conventional transgressions’ wrongness depends on time and place. 4. SERIOUSNESS – Subjects judge moral transgressions as more seriously wrong than conventional transgressions. Others have criticized this view for a diversity of reasons. Relevant for our purposes is that, first, there appear to be cultural differences in what constitutes a moral transgression and second, it is unclear what the exact hypotheses are, surrounding this supposed moral/conventional distinction. I will present planned and ongoing experimental research that investigates two specific problems we encountered in the moral-conventional literature. First of all, we cannot draw reliable conclusions from previous work about the generalizability of the wrongness of different kinds of transgressions. In previous experiments, differences in time and place are often but not always confounded with a variety of other differences. For example, Huebner et al. ask participants if the depicted act would be OK for someone who lived elsewhere where everyone else did this. Moreover, when varying time and/or place, participants are likely to assume that other things differ as well. In our study, we vary time and/or place in a variety of scenarios in order to investigate what assumptions participants make when confronted with the generalizability question. Second, it is an open question as to what extent any transgression will universally elicit one of the two signature response patterns. In our study, we make use of existing differences in participants’ value hierarchy to test this. For one and the same scenario, we compare the response of participants for whom authority is an important value with the results of participants for whom authority is not an important value, in order to see if there are differences in the two groups’ response patterns. References: Haidt J., Koller S. & Dias M. 1993. Affect, culture and morality, or is it wrong to eat your dog? Journal of Personality and Social Psychology 65:613-628. Huebner B., Lee, J.L. & Hauser, M.D. 2010. The Moral-Conventional Distinction in Mature Moral Competence. Journal of Cognition and Culture 10: 1-26. Kelly D., Stich S., Haley K.J., Eng S.J. & Fessler D.M.T. 2007. Harm, Affect, and the Moral/Conventional Distinction. Mind & Language 22:117-131. Nichols S. 2004. Sentimental Rules: on the Natural Foundations of Moral Judgment. Oxford University Press. Stich S., Fessler, D.M.T. & Kelly D. 2009. On the Morality of Harm: A response to Sousa, Holbrook and Piazza. Cognition 113:93-97. Turiel E. 1983. The Development of Social Knowledge. Morality & Convention. Cambridge University Press. (shrink)

Although the implications of Hume's distinction between philosophical anatomy and painting have been the subject of lively scholarly debates, it is a puzzling fact that the details of the distinction itself have largely been a matter of interpretive presumption rather than debate. This would be unproblematic if Hume's views about these two species of philosophy were obvious, or if there were a rich standard interpretation of the distinction that we had little reason to doubt. But a (...) careful review of the literature shows neither to be the case. We are far from scholarly consensus about Hume's vision of philosophical anatomy and painting, and what unity there is rests on extremely unsteady ground and leaves important questions unanswered. In this article, my aim is three-fold: first, to show that the appearance of well-grounded scholarly unity about Humes distinction is illusory; second, to dispose of those misinterpretations of Hume's distinction that are sufficiently at odds with the text that they can be demonstrated to be false in this context; and third, to explore in sufficient detail the numerous questions one might raise about the content of Hume's distinction so that the stage might at last be properly set for a truly full account of Hume's distinction between philosophical anatomy and painting. (shrink)

Brentano’s account of intentionality has often been traced back to its scholastic sources. This is justified by his claim that objects of thought have a specific mode of being—namely, “intentional inexistence” —and that mental acts have an “intentional relation” to these objects. These technical terms in Brentano do indeed recall the medieval notions of esse intentionale, which is a mode of being, and of intentio, which is a “tending towards” of mental acts. However, within the lexical family of intentio there (...) is another distinction that plays an important role in medieval philosophy—namely, the distinction between first and second intentions, which are, roughly speaking, concepts of things and concepts of concepts respectively. What is less well-known is that Brentano explicitly borrowed this distinction as well, and used it in his account of intentionality. This paper explores this little-known chapter in the scholastic-Austrian history of intentionality by evaluating both the historical accuracy and the philosophical significance of Brentano’s borrowing of the scholastic distinction between first and second intentions. (shrink)

Defining "terrorism" as the intentional targeting of non-combatant civilians, the paper argues that, other things being equal, it is not possible to effectively distinguish morally between "terrorism" and use of military power against combatant targets which might reasonably be expected to produce some guesstimable quantity of "collateral" or non-combatant civilian casualties; that it is upon the expected likely consequences of actions rather than upon the intentions underlying them, that actors should be morally judged. Furthermore I argue that other (...) attempts to rationalize the use of conventional military force, as retaliatory for prior "terrorist" actions, or as preemptive, also often largely fail either on historical grounds or pragmatic grounds. (shrink)

The question which is never entirely resolved is: what is life? Biology, claims to stand for the study of life and living things, yet we would say that it cannot make a thoroughly clear distinction between living and non living, except in some very obvious cases. There are textbook definitions, of course, based on certain notable properties such as the ability to metabolize or reproduce, but these are arbitrary. If we are familiar with the (...) characteristics of a particular animal or plant, we know enough to be able to pronounce that it is dead when certain internal and external behaviours are no longer evident. Even this has difficulties - such as revealed in the arguments about whether to switch off a human life support system or not. When you find a squishy object on the seashore, can you be sure if it is alive or dead - or never living? The same dilemma confronts medical scientists and microbiologists trying to decide, for example, whether viruses are living, or quasi living, or intermittently living, or what. (shrink)

In the interpretation of Kant’s transcendental idealism, a textual stalemate between two camps has evolved: two-world interpretations regard things in themselves and appearances as two numerically distinct entities, whereas two-aspect interpretations take this distinction as one between two aspects of the same thing. I try to develop an account which can overcome this dispute. On the one hand, things in themselves are numerically distinct from appearances, but on the other hand, things in themselves can (...) be regarded as they exist in themselves and as they appear. This reveals a mutual entailment of both accounts. Finally, I suggest that this approach most naturally leads to a kind of ‘phenomenalism’, but of a sort not normally attributed to Kant. (shrink)

In the context of uncertainty and anxiety regarding the role of leadership and management, this article explores the relationship between Mintzberg’s concept of the distinction between the engaged and disconnected manager, Heidegger’s notion authentic and inauthentic being and Benner and Wrubel’s distinction between two forms of professional practice attunement: an attunement to technique and an attunement to lived experience. It argues that while Mintzberg outlines the distinction between engaged and disengaged management, he does (...) not develop an understanding of the conditions which lead a manager to be either engaged or disconnected. The role of anxiety in Heidegger’s distinction between authentic and inauthentic being and the role of stress and worry in Benner and Wrubel’s distinction between an attunement to technique and an attune- ment to the lived experience of professional practice provides the basis for understanding the relationship between engaged and disconnected management. After developing the theoretical perspectives of Mintzberg, Heidegger, Benner and Wrubel, two examples are presented: one of the way in which an engaged manager experiences anxiety as an opportunity for greater attune- ment to lived experience and one who experiences anxiety as a condition for disconnection and detachment from the lived experience of his leadership practice. (shrink)

By all accounts one of the most influential philosophical contributions of Duns Scotus is his distinction between intuitive cognition, in which a thing is known as present and existing, and abstractive cognition, which abstracts from actual presence and existence. Recent scholarship has focused almost exclusively on the role given intuitive cognition in the justification of contingent propositions and on the debates over certitude which arose from the critiques of Scotus's distinction by Peter Aureoli and William of Ockham.

This paper deals with phenomenological distinctions concerning empathy with real persons and empathy with fictional characters. We will introduce both contemporary accounts of our perception of others and Edith Stein’s account of empathy. These theories will turn out to be fruitful in defending our main thesis, i.e. that the differences between empathy with real people and empathy with fictional characters are not structural but just qualitative. We will argue that in both cases empathy is a direct act of perceiving (...) others and their lived experience. However, stemming from Stein’s work, we will underline that empathy with real persons is in principio more vivid and intense than empathy with fictional characters. In order to identify similarities and differences between empathy de vivo and empathy in fiction, we will focus on the following issues: the quality of perception; the motivational context and the “life-world context”; the ontological status of persons vs. characters. (shrink)

Descartes contends that he, or his mind, is really distinct from his body. Many philosophers have little patience with this claim. What could be more obvious than that the mind depends on the body? But their impatience often dissolves when they recognize that Descartes only asserts a de re modal statement. To say that one thing is really distinct from another is to say that each can exist apart from the other. But should we grant Descartes this de re modal (...) claim itself?Descartes's argument for the real distinction is based on the assumption that clear and distinct conception provides a reliable guide to possibility. (shrink)

This paper shows that Hegel’s ontology of living beings provides us with indispensable conceptual resources for making sense of his account of the ontology of human action. For Hegel, living bodies are ontologically distinct in that their objective presence is thoroughly permeated by the self-reflexivity characteristic of subjectivity, and as such they cannot be adequately conceived in terms of categories that are appropriate to inanimate, “subject-less” objects. It is argued that actions are similar in this regard, and (...) like organic bodies they need to be conceived as self-realizing, self-articulating, dynamic wholes whose various material parts cannot be thought independently of their internal relations and their place in the whole. It is argued, further, that the categories Hegel appeals to in conceiving how organisms develop through stages are useful for making sense of how the objective shape of an action unfolds over time. (shrink)

Few if any distinctions are more easily recognisable and assented to than that between _objects_, that is, things which are some ways, and that which they are, that is, _ways for objects to be_ (‘ways of being’ for short). In this paper I present an argument designed to show that this distinction is indeterminate in the sense that the truth-conditions of predicational sentences leave open what should count as an object and a way of being. The bulk (...) of the argument is inspired by the celebrated permutation argument advanced by Quine, Wallace, Putnam and others. (shrink)

Philosophers have long suspected that thought and discourse about what we ought to do differ in some fundamental way from statements about what is. But the difference has proved elusive, in part because the two kinds of statement look alike. Focusing on judgments that express decisions--judgments about what is to be done, all things considered--Allan Gibbard offers a compelling argument for reconsidering, and reconfiguring, the distinctions between normative and descriptive discourse--between questions of "ought" and "is." Gibbard considers (...) how our actions, and our realities, emerge from the thousands of questions and decisions we form for ourselves. The result is a book that investigates the very nature of the questions we ask ourselves when we ask how we should live, and that clarifies the concept of "ought" by understanding the patterns of normative concepts involved in beliefs and decisions. An original and elegant work of metaethics, this book brings a new clarity and rigor to the discussion of these tangled issues, and will significantly alter the long-standing debate over "objectivity" and "factuality" in ethics. Table of Contents: I. Preliminaries 1. Introduction: A Possibility Proof 2. Intuitionism as Template: Emending Moore II. The Thing to Do 3. Planning and Ruling Out: The "Frege-Geach" Problem 4. Judgment, Disagreement, Negation 5. Supervenience and Constitution 6. Character and Import III. Normative Concepts 7. Ordinary Oughts: Meaning and Motivation 8. Normative Kinds: Patterns of Engagement 9. What to Say about the Thing to Do: The Expressivistic Turn and What it Gains Us IV. Knowing What to Do 10. Explaining with Plans 11. Knowing What to Do 12. Ideal Response Concepts 13. Deep Vindication and Practical Confidence 14. Impasse and Dissent References Index This is a remarkable book. It takes up a central and much-discussed problem - the difference between normative thought and "descriptive" thought. It develops a compelling response to that problem with ramifications for much else in philosophy. But perhaps most importantly, it brings new clarity and rigor to the discussion of these tangled issues. It will take some time to come to terms with the details of Gibbard's discussion. It is absolutely clear, however, that the book will reconfigure the debate over objectivity and "factuality" in ethics. --Gideon Rosen, Professor of Philosophy, Princeton University Gibbard,/author> writes elegantly, and the theory he develops is innovative, philosophically sophisticated, and challenging. Gibbard defends his theory vigorously and with admirable intellectual honesty. --David Copp, Professor of Philosophy, Bowling Green State University. (shrink)

Defining "terrorism" as the intentional targeting of non-combatant civilians, the paper argues that, other things being equal, it is not possible to effectively distinguish morally between "terrorism" and use of military power against combatant targets which might reasonably be expected to produce some guesstimable quantity of "collateral" or non-combatant civilian casualties; that it is upon the expected likely consequences of actions rather than upon the intentions underlying them, that actors should be morally judged. Furthermore I argue that other (...) attempts to rationalize the use of conventional military force, as retaliatory for prior "terrorist" actions, or as preemptive, also often largely fail either on historical grounds ("terrorists" often see their actions as responses to previously unjustified killing or letting die of the non-combatant civilian population they see themselves as representing) or pragmatic grounds (as the unintentional killing of non-combatant civilians often increases the sense of righteous indignation which helps recruit further "terrorists"). (shrink)

Hume begins ‘Of scepticism with regard to the senses,’ Section 2 of the Treatise, Book I, Part iv with the claim that it is otiose to ask whether or not there are bodies since belief in their existence is unavoidable. The appropriate question is rather ‘What causes induce us to believe in the existence of body?’. For Hume, belief is lively conception. Hence, he is also undertaking to answer the logically prior question: What causes induce us to form the concept (...) of body? Hume wants to explain the ordinary notion of, and belief in, external objects as part of his science of human nature. (shrink)

John V. Taylor was a missionary statesman, ecumenist, Africanist, onetime General Secretary of the Church Missionary Society, and later Anglican Bishop of Winchester. His work offers a theology and practice of Christian mission which is faithful to scripture while fully facing the facts of the contemporary world at the beginning of the third millennium. Does Christian evangelism promote sectarianism and violence, or can it contribute to harmony and peace in the global village? Can Christians extol the true significance of Jesus (...) Christ without demeaning others? Who is God and how does God's nature shape ours? This book tackles these and other vital issues by giving the first major account of the life and thought of one of the 20th century's greatest religious thinkers. Here is an example and tutor to any thoughtful Christian. Consistently incarnational and sacramental in his approach, Taylor seeks to live out the truths he discovers in his daily ministry as poet, priest and prophet - inviting those around him to share the way of Christ. Taylor is also author of major works such as "The Go-Between God", his book on the Holy Spirit, and "The Christlike God", where he outlines the distinctive Christian insight into God as the patient, generous, self-sacrificing love we see in Jesus. (shrink)

Synthetic biology presents a challenge to traditional accounts of biology: Whereas traditional biology emphasizes the evolvability, variability, and heterogeneity of living organisms, synthetic biology envisions a future of homogeneous, humanly engineered biological systems that may be combined in modular fashion. The present paper approaches this challenge from the perspective of the epistemology of technoscience. In particular, it is argued that synthetic-biological artifacts lend themselves to an analysis in terms of what has been called ‘thing knowledge’. As such, they should (...) neither be regarded as the simple outcome of applying theoretical knowledge and engineering principles to specific technological problems, nor should they be treated as mere sources of new evidence in the general pursuit of scientific understanding. Instead, synthetic-biological artifacts should be viewed as partly autonomous research objects which, qua their material-biological constitution, embody knowledge about the natural world—knowledge that, in turn, can be accessed via continuous experimental interrogation. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

This article offers a thorough and critical reading of Husserl’s Thing and Space. This reading is principally motivated by the effort to methodologically design a phenomenological–topological approach to the research of lived sonic environments. In this book, Husserl lays foundations of phenomenological topology by understanding perceptions as places and defining, consequently, the space as a system of places. The critical reading starts with pointing out the ambiguity of location in Thing and Space, which consists mainly in the insufficient implementation of (...) the distinction between the location and the localization. Further investigations then reveal the roots of this ambiguity in both the preference of visual perception and the omission of subjective aspects of kinesthesia. The article critically examines Husserl’s notion of the appended localization that expresses the marginalization of acoustic experience. In conclusion, the article utilizes the critical findings to formulate the project of a place-based, medium-centered, and multi-sensory approach to sonic environments. (shrink)

Despite holding to the essential distinction between mind and body, Descartes did not adopt a life-body dualism. Though humans are the only creatures which can reason, as they are the only creatures whose body is in an intimate union with a soul, they are not the only finite beings who are alive. In the present note, I attempt to determine Descartes'' criteria for something to be ''living.'' Though certain passages associate such a principle with the presence of (...) a properly functioning heart, I show that there are important reasons for also understanding life in terms of a degree of complexity of design. (shrink)

Voluntary active euthanasia and physician assisted suicide should not be legalised because too much that is important about living and dying will be lostIn the first of this two part series, I unpack the historical philosophical distinction between killing and allowing a patient to die in order to clear up the confusion that exists. Historically speaking the two kinds of actions are morally distinct because of older notions of causality and human agency. We no longer understand that (...) distinction primarily because we have shifted our notions of causality from a traditional formulation to a modern formulation of causality and thus of moral assessment that focuses on the effects of an action. In this essay, I prepare the ground for a companion essay by showing that the traditional formulation allows us to maintain notions of meaning and purpose to human living and dying that are precluded in the efficiency paradigm of modernity. Taken together with the companion essay, I am claiming that voluntary active euthanasia and physician assisted suicide should not be legalised because too much that is important about dying and living will be lost.TWO LIESIt would be naïve to think that euthanasia, in either the VAE sense, or in the more passive sense of PAS, does not happen. It would even be naïve to think that it does not occur in a non-voluntary form. It would be equally naïve, however, to think it could be controlled through governmental regulation. The real question with regard to PAS/VAE, put so eloquently by Martha Minow, is which lie do you countenance: the lie that euthanasia does not already happen, or the lie that it can be controlled without having repercussions well beyond the limits of procedural mastery?1 With this two part paper series, I will argue that the …. (shrink)