This chapter contains sections titled: 1 2 3 4 Acknowledgments References.

'Everyone knows what attention is’ according to William James. Much work on attention in psychology and neuroscience cites this famous phrase only to quickly dismiss it. But James is right about this: ‘attention’ was not introduced into psychology and neuroscience as a theoretical concept. I argue that we should therefore study attention with broadly the same methodology that David Marr has applied to the study of perception. By focusing more on Marr's Computational Level of (...) analysis, we arrive at a unified answer to the question of what attention is, what role it plays in the mind, and why organisms like us have that capacity. I propose a methodology for studying attention at Marr's Computational Level that optimizes in a three-dimensional space: it should capture core aspects of our first-person experience of attention, be explanatorily powerful in psychology and neuroscience, and fertile in an interdisciplinary context. I show how this methodology leads to what I call the priority structure account of attention. Attention is what organizes current information to make it more useful for the organism. We can identify it by four features. Attention, in this way, helps a cognitive system to integrate its informational state with its current motivational state. I describe how this account improves on alternatives and shows why attention is a useful concept in many disciplines and for connecting them. -/- This article is categorized under: Philosophy > Psychological Capacities Psychology > Attention Philosophy > Foundations of Cognitive Science. (shrink)

continent. 2.2 (2012): 76–81 Comments on Eugene Thacker’s “Cosmic Pessimism” Nicola Masciandaro Anything you look forward to will destroy you, as it already has. —Vernon Howard In pessimism, the first axiom is a long, low, funereal sigh. The cosmicity of the sigh resides in its profound negative singularity. Moving via endless auto-releasement, it achieves the remote. “ Oltre la spera che piú larga gira / passa ’l sospiro ch’esce del mio core ” [Beyond the sphere that circles widest / penetrates (...) the sigh that issues from my heart]. 1 The axiomatic sigh of the pessimist is in a way the pure word of philosophy, a thought that thinks without you, speaks where you are not. The live pneumatic form of the soul’s eventual exit from the dead body’s mouth, the sigh restores consciousness to the funeral of being, to the passing away that is existence. Pessimism speaks in piercing aphorisms because first it sighs. “Beyond the sphere passeth the arrow of our sigh. Hafiz! Silence.” 2 … pessimism is guilty of that most inexcusable of Occidental crimes—the crime of not pretending it’s for real. To the pessimist, the ‘real’ world—the world on whose behalf we are expected to wake up in the morning—is a ceaseless index of its own unreality. The pessimist’s day is not an illumined space for the advancement of experience and action, but a permanently and inescapably reflective zone, the vast interior of a mirror where each thing is only insofar as it is, at best, a false image of itself. Within this speculative situation, inside the doubleness of the mirror, pessimism splits into two paths, false and true, one that tries to fix pessimism (establish a relation with the mirror) and decides in favor of the apparent real, and another that totally falls for pessimism (enters the mirror) and communes with the greater reality of the unreal. These two paths are distinguished by their relation to pessimism’s guilt vis-à-vis the world’s reality-project. The first form, that which remains pessimism for the world and puts on a smiling face, stays guilty to itself (i.e. unconscious) and thus turns hypocritical, becoming at once the pessimism of the commoner who really just wants things to be better for himself and the pessimism of the elite who wants to critically refashion reality in his own image. The general form of this worldly, hypocritical pessimism is the impulse to ‘make the world a better place’, which is the global mask under which the world is diurnally made worse. The second form, that which follows pessimism away from the world and ceases to put on a smiling face, refuses guiltiness as itself theessential Occidental mode of pretense and turns honest, becoming at once the intelligent pessimism required of all ordinary action and the radical pessimism necessary for self-knowledge: seeing that no one is capable of doing good. The general form of this universal, honest pessimism is the impulse not to worry, to give up and embrace dereliction, which is the only real way the world is actually improved. Where worldly pessimism is the engine productive of interminably warring secular and sacred religions (good-projects), universal pessimism strives hopelessly for the paradise of a supremely instantiated pessimus: things are getting so bad that there is no longer any time for them to get worse; things are so constantly-instantly worst that this is BEST. Cosmic pessimism is the mode of universal pessimism which can yet discourse with the world, which has not chosen silence and can spread the inconceivably BAD NEWS in an orderly form ( kosmos ) that the world can understand (if it wanted to). … the result of a confusion between the world and a statement about the world. That is what the world is (the result of a confusion between the world and a statement about the world). … a generalized misanthropy without the anthropos. Pessimism crystallizes around this futility—it is its amor fati , rendered as musical form. Pessimism’s love of fate is a blind love, a love of the blindness of being human in a cosmos conceived around the human’s eclipse, a heavy levitation in the contradictory space between the inescapability of its having been and the impossibility of its will-be. Pessimism’s song of futility is a sensible way of loving fate, with a minimum of eros, by means of a kind of matrimonial love of the fatal. As music, pessimism stays open to the irreparable and the inexorable without the binding of affirmation, in the apparent absence of the radical, infinitely surplus will that absolute amor fati seems to require. Crying, laughing, sleeping—what other responses are adequate to a life that is so indifferent? “Unless a man aspires to the impossible, the possible that he achieves will scarcely be worth the trouble of his achieving it. We should aspire to the impossible, to absolute and infinite perfection [….] The apocatastasis is more than a mystical dream: it is a norm of action, it is a beacon for high deeds [….] For true charity is a species of invasion [….] It is not charity to rock and lull our fellow men to sleep in the inertia and heaviness of matter, but rather to arouse them to anguish and torment of spirit.” 3 … the impossibility of ever adequately accounting for one’s relationship to thought. “The paroxysm of interior experience leads you to regions where danger is absolute, because life which self-consciously actualizes its roots in experience can only negate itself [….] There are no arguments [….] On the heights of despair, the passion for the absurd is the only thing that can still throw a demonic light on chaos [….] I live because the mountains do not laugh and the worms do not sing .” 4 It took three attempts before she was fully decapitated, all the while she continued, perhaps miraculously, to sing. According to the earliest account of Cecilia’s martyrdom, the beheading turns out worse. After not severing her head in three strokes, “the cruel executioner left her half dead” (seminecem eam cruentus carnifex dereliquit). 5 Cecilia’s effortlessly powerful endurance of the three strokes—a fitting icon for pessimism as an art of dereliction—demonstrates the “passivity and absence of effort [….] in which divine transcendence is dissolved.” 6 There’s a ghost that grows inside of me, damaged in the making, and there’s a hunt sprung from necessity, elliptical and drowned. Where the moving quiet of our insomnia offers up each thought, there’s a luminous field of grey inertia, and obsidian dreams burnt all the way down. Like words from a pre-waking dream. There is no reason to think that they are not. NOTES 1. Dante Alighieri. Vita Nuova . ed. and trans. Dino S. Cervigni and Edward Vasta. Notre Dame: University of Notre Dame Press. 1995. 41:10. 2. Hafiz of Shiraz. The Divan . trans. H. Wilberforce Clarke. London: Octagon Press. 1974. 10.9. 3. Miguel de Unamuno. The Tragic Sense of Life in Men and Nations . trans. Anthony Kerrigan. Princeton: Princeton University Press. 1972. 305-6. 4. E.M. Cioran. On the Heights of Despair . trans. Ilinca Zarifopol-Johnston. Chicago: University of Chicago Press. 1992. 9-10. 5. Giacomo Laderchi. S. Caeciliae Virg[inis] et Mart[yris] Acta. . . Rome. 1723. 38. 6. Georges Bataille. On Nietzsche . trans. Bruce Boone. London: Continuum. 2004. 135. See Nicola Masciandaro. “ Half Dead: Parsing Cecilia .” A Commentary on Eugene Thacker’s "Cosmic Pessimism" Gary J. Shipley Pessimism is the refusal to seek distraction, the refusal to remodel failure into a platform for further (doomed) possibilities, the refusal of comfort, the acceptance of the sickness of healthy bodies, the cup of life overflowing with cold vomit. If, as Ligotti suggests when discussing Invasion of the Body Snatchers , 1 humans prefer the anxieties of their familiar human lives to the contentment of an alien one, then the pessimist, we could argue, represents some perverted combination of the two, preferring (presuming he has a choice) the defamiliarization of human life to the contentment of its unquestioned mundanity. The quasi-religious state of mind that Wittgenstein would mention on occasion, that of “feeling absolutely safe,” 2 is a state the pessimist could only imagine being approximated by death, or perhaps some annihilative opiate-induced stupor. This Wittgensteinian commingling of certainty and faith looks every bit the futile gesture, a mere rephrasing of collapse or partial collapse. The only certainty open to the pessimist is that of the toxic formula of life itself—a formula known and lacuna-free. Certainty, far from being the gateway to deliverance, becomes the definitive impediment; and the possibility of salvation, as long as it remains, becomes crucially reliant on postulations of ignorance, epistemic gaps, a perennial incompleteness: “the perfect safety of wooed death […] the warm bath of physical dissolution, the universal unknown engulfing the miniscule unknown.” 3 The height of Leibniz’s Panglossian insanity nurtured the idea that our knowing everything—via the universal calculus—could be accurately described a triumph, as opposed to a nightmare in which our every futility is laid bare. Stagnancy and boredom are perhaps two of the greatest ills of Western civilisation, and the most potent pessimism tells you that you’re stuck with both. The most we can hope for, by way of salvation, is to throw open our despair to the unknown. The fact that Schopenhauer’s pessimism stopped short of morality and allowed him to play the flute, as Nietzsche complained, highlights the predicament of a man who despite having adorned nothingness with a smiling face still found himself alive. The demand here is that it be felt: a cross-contamination of intellect and emotion. The safety net of numerous parentheses makes for a failed philosophy, rather than a philosophy of failure. Depressives make bad pessimists, because, unless they choose to die, living will always infect them with necessities of hope, forcing them to find something, anything (all the various “as ifs”) to make existence tolerable. For as Cioran observed, while “[d]epressions pay attention to life, they are the eyes of the devil, poisoned arrows which wound mortally any zest and love of life. Without them we know little, but with them, we cannot live.” 4 And even when cured of our depressions we’ll find ourselves consumed, eaten alive by the hyper-clinical (borderline autistic) mania that replaces them: a predicament captured all too clearly in the microscriptual fictions of Robert Walser, where spectral men and women stifle their depressive madness with protective comas of detail, their failed assimilations buried beneath thick crusts of remote data. Like Beckett’s Malone their stories may have ended, but cruelly their lives have not. Pessimism is an extraneous burden (a purposeless weight) that makes everything else harder to carry, while at the same time scooping it out and making it lighter. If pessimism had a sound it would be the harsh non-noise of tinnitus—the way that every person would hear themselves if they refused their distractions long enough to listen: a lungless scream from the extrasolar nothing of the self. The music of pessimism—if indeed we can imagine such a thing—is the reverberating echo of the world’s last sound, conjectured but never heard, audible only in its being listened for. The one consolation of this hollow paradox of audibility being, that “he will be least afraid of becoming nothing in death who has recognized that he is already nothing now.” 5 The pessimist suffers a derangement of the real, a labyrinthitis at the nucleus of his being: he’s the stumbling ghost relentlessly surprised that others can see him. If Cioran’s refusal is manifested in sleep (when even saying ‘no’ is too much of a commitment), then Pessoa’s resides in the dreams inside that sleep. Pessoa chooses to exploit the fact that he’s being “lived by some murmuring non-entity both shadowy and muddied” 6 by growing more voids to live him. His is a Gnostic breed of sleep, “sleeping as if the universe were a mistake,” 7 a sleep that dreams through Thacker’s cosmic pessimism (“a pessimism of the world-without-us.”, “the unhuman orientation of deep space and deep time” 8 ), through the critical error of there being anything at all when there could be nothing. The metaphysical pessimist is someone who, however well life treats them, still desires to wake from it, as from the poisonous air of a bad dream. Pessimism is a paradox of age, being simultaneously young and old; its youth residing in a refusal to accept the authority of existence (its rich history, its inherent beneficence), a refusal to “get over” the horror of what it sees with its perpetually fresh eyes, and its maturity in the unceremonious disposal of the philosophical playthings (those futile architectures) of adolescence. As Thacker remarks: “Pessimism abjures all pretenses towards system—towards the purity of analysis and the dignity of critique.” 9 A sentiment shared with Pessoa, who duly categorizes those that choose to enact this futile struggle: “The creators of metaphysical systems and of psychological explanations are still in the primary stage of suffering.” 10 If the pessimist has shared a womb with anyone, it’s with the mystic and not the philosopher. As Schopenhauer tells us: “The mystic is opposed to the philosopher by the fact that he begins from within, whereas the philosopher begins from without. […] But nothing of this is communicable except the assertions that we have to accept on his word; consequently he is unable to convince.” 11 The crucial difference between the mystic and the pessimist is not the latter’s impassivity and defeatism, but his unwillingness/inability to contain in any way the spread of his voracious analyticity, his denial of incompleteness, his exhaustive devotion to failure. The truth of our predicament, though heard, is destined to remain unprocessed. Like the revelations of B.S. Johnson’s Haakon (“We rot and there’s nothing that can stop it / Can’t you feel the shaking horror of that?” 12 ) the pessimist’s truths are somehow too obvious to listen to, as if something inside us were saying, “Of course, but haven’t we gotten over that?” Pessimism is simple and ugly, and has no desire to make itself more complex or more attractive. The true moral pessimist knows that the Utilitarian’s accounts will always be in the red. He can see that for all his computational containments, his only honest path is a negative one, and that such a path has but one logical destination: that of wholesale human oblivion. Thacker notes how at the core of pessimism lies the notion of “the worst,” through which death is demoted by the all-pervasive suffering of a life that easily eclipses its threat. And so with doom made preferable to gloom, death begins to glint with promise, “like beauty passing through a nightmare.” 13 But even among pessimists suicide is, for the most part, thought to be an error. Schopenhauer, for instance, regarded suicide a mistake grounded in some fundamentally naïve disappointment or other. Pessoa too thought suicide an onerous escape tactic: “To die is to become completely other. That’s why suicide is a cowardice: it’s to surrender ourselves completely to life.” 14 There is a call here to be accepting of and creative with the puppetry of your being, an insistence that it’s somehow a blunder to attempt to hide in death from the horrors you find inlife. 15 Tied up with this perseverance is the slippery notion of the good death, for maybe, as Blanchot warns, suicide is rarely something we can hope to get right, for the simple reason that “you cannot make of death an object of the will.” 16 “Even in cases where the entire corpus of an author is pessimistic, the project always seems incomplete,” 17 and this is not simply because the project itself belies something yet to be disclosed, but because the project itself is a thing waiting. It waits on a cure it knows will not come, but for which it cannot do anything (as long as it continues to do anything) but wait. NOTES 1. See Thomas Ligotti. The Conspiracy Against the Human Race . New York: Hippocampus Press. 2010. 91. 2. Ludwig Wittgenstein. “A Lecture on Ethics.” Philosophical Review . (74) 1. 1965. 8. 3. Vladimir Nabokov. Pale Fire . New York: Vintage. 1989. 221. 4. E. M. Cioran. The Book of Delusions . trans. Camelia Elias. Hyperion. 5.1. (2010): 75. 5. Arthur Schopenhauer. The World as Will and Representation. vol. 2 . trans. E .F J. Payne. New York: Dover. 1966. 609. 6. Eugene Thacker. “Cosmic Pessimism.” continent. . 2.2 (2012): 67. 7. Fernando Pessoa. The Book of Disquiet . trans. Richard Zenith. London: Penguin. 2002. 35. 8. Eugene Thacker. “Cosmic Pessimism.” continent. . 2.2 (2012): 68. 9. Ibid. 73. 10. Fernando Pessoa. The Book of Disquiet . trans. Richard Zenith. London: Penguin. 2002. 341. 11. Arthur Schopenhauer. The World as Will and Representation. vol. 2 . trans. E .F J. Payne. New York: Dover. 1966. 610-11. 12. B.S Johnson. “You’re Human Like the Rest of Them.” in Jonathan Coe. Like a Fiery Elephant: The Story of B.S. Johnson . London: Picador. 2004. 177. 13. Fernando Pessoa. The Book of Disquiet . trans. Richard Zenith. London: Penguin. 2002. 415. 14. Ibid. 199. 15. “Suicide is, after all, the opposite of the poem.” Anne Sexton. No Evil Star: Selected Essays, Interviews and Prose . ed. Steven Gould Axelrod. Ann Arbor: University of Michigan Press. 1985. 92. 16. Maurice Blanchot. The Space of Literature . trans. Ann Smock. Lincoln: University of Nebraska Press. 1989. 105. 17. Eugene Thacker. “Cosmic Pessimism.” continent. . 2.2 (2012): 75. (shrink)

Our visual experience of the world is one of diverse objects and events, each with particular colors, shapes, and motions. This experience is so coherent, so immediate, and so effortless that it seems to result from a single system that lets us experience everything in our field of view. But however appealing, this belief is mistaken: there are severe limits on what can be visually experienced. -/- For example, in a display for air-traffic control it is important to (...) track all moving items. For a single item, this can be done without problem. Three or four can also be tracked, although some degree of effort may be needed. As the number is increased further, accurate tracking becomes more and more difficult—and eventually, impossible. Performance is evidently affected by a factor within the observer which enables certain kinds of perception to occur, but is limited in some way. This factor is generally referred to as attention. -/- At various times, attention has been associated with clarity of perception, intensity of perception, consciousness, selection, or the allocation of a limited “resource” enabling various operations (see Hatfield, 1998). During the past several decades, considerable progress has been achieved by focusing on the idea of selection (Broadbent, 1982). In particular, attention can be productively viewed as contingently selective processing. This can be embodied in various ways by various processes—there need not be a single quantity identified with all forms of attention, or a single site where it operates (Allport, 1993; Tsotsos, 2011). Although “paying attention” is often considered to be a unitary operation, it may simply refer to the control of one or more selective processes, ideally in a co-ordinated way. While this view has some cost in terms of conceptual simplicity, it can help make sense of a large set of phenomena. -/- This article surveys several of the major issues in our understanding of attention and how it relates to perception. It focuses on vision, since many—if not all—considerations are similar for all sensory modalities, and the level of understanding achieved in this domain is currently the most advanced. (shrink)

Over the last decade, attention has crawled from out of the shadows into the philosophical limelight with several important books and widely read articles. Carolyn Dicey Jennings has been a key player in the attention revolution, actively publishing in the area and promoting awareness. This book was much anticipated by insiders and does not disappoint. It is in no way redundant with respect to other recent monographs, covering both a different range of material and developing novel positions (...) throughout. The book might have been called The Attending Self, since Jennings defines attention as mental prioritization controlled by the self. This invocation of the self is among her central innovations, and may prove to be the main source of controversy. I will highlight points of contention here, but want to emphasize at the outset that the book is essential reading for anyone interested in attention. Jennings also contributes to a range of other debates, which will help a broader audience appreciate the importance this topic.After a brief introduction, Jennings provides “a philosophical landscape” of attention (chap. 2), tracing the concept through history. This is an invaluable achievement that will be welcomed by both newcomers and veterans. Jennings exhibits enormous breadth, covering areas that contemporary philosophers of mind tend to neglect: medieval philosophy, Buddhist thought, and phenomenology, to name a few. We also get perspectives on attention from core figures in the Western canon, such as Descartes, Locke, and Kant, as well as thinkers who gave the topic a more political inflection: Mary Wollstonecraft and W. E. B. DuBois. Jennings surveys contemporary literature as well, locating recent work in these older lineages. Some authors get more treatment later in the book (e.g., William James and Wayne Wu). Overall, Jennings provides the best overview of this history I have seen. She proves that attention is not a new topic, but one with deep roots and one that can inform current debates; Jennings draws on these roots throughout. I would love to see a companion piece surveying scientific theories, including “gain control” and “biased competition,” which get little airtime in the book. Some recent philosophical theories are under-explored as well, including Chris Mole’s concept of cognitive unison (Jennings discusses other aspects of his view), Carlos Montemayor and Harry Haladjian’s exploration of attention’s diversity (we get a touch of this), and my own proposal that attention is a gateway to working memory (not mentioned here). That said, no extant survey is more complete.Chapter 3 begins with the empirical claim that attention is regulated by slow brainwaves, and then takes up two issues. The first is mental causation. Endorsing moderate emergentism, Jennings argues that slow brain waves are causally efficacious even though they are not reducible to lower-level processes. (The metaphysics and neuroscience are presented accessibly, aided by three appendixes.) Second, Jennings argues that these slow brain waves indicate that attention is controlled by the self. As someone who was never moved by the mental causation problem—I don’t think overdetermination threatens efficacy—I would have welcomed more development of this second issue. For one thing, in linking attention to subjective control, Jennings eschews the idea that there can be purely “bottom-up” attention driven by stimulus features alone. This goes against the orthodoxy in attention science, and makes it hard for her to accommodate phenomena such as “pop-out,” or the commonsense idea that attention can be “captured” by a sudden flash or loud sound. For another thing, I wanted to hear more on why Jennings relates slow brain waves to the self. Does this include the slow waves that occur during deep sleep? Is there even such a thing as the self? Is there one self or many? How do slow brain waves reflect our interests, projects, values, self-conceptions, autobiographical narratives, or social identities? Does the social self invoked by Wollstonecraft and DuBois gain a foothold here? The whole chapter campaigns against metaphysical reductionism, but arrives at a perspective on the self that will strike some readers as highly reductive.In the fourth chapter, Jennings sheds further light on her conjecture that attention involves the self by advancing the thesis that attention endows sensory information with meaning. On the face of it, this may sound implausible. Object recognition, reading, and many other meaning-involving processes can take place outside of attention and outside of consciousness. But Jennings has a richer notion of “meaning” in mind. She develops the idea of “subject unity,” which is imposition of structure on perception that reflects the interests of the perceiving subject. This, she claims, is what brings perception into the space of reasons. Along the way, she has interesting observations about binding, feature integration, and demonstrative reference. The material is highly original, and Jennings’s postulation of interest-based perceptual organization is compelling. At the same time, one might wonder whether interests are really relegated to the ambit of attentional control. Consider the cocktail party effect, wherein one’s own name captures attention. This implies a preattentive filter that reflects our interests. Emotionally charged words, facial expressions, and dangerous objects also work this way, and social biases can operate preattentively as well. If these reflect our interests, then meaning may arise outside attention.Jennings’s fifth chapter explores the relationship between attention and consciousness. Some authors have argued that attention is necessary and sufficient for consciousness. Jennings focuses primarily on the necessity claim. She does not systematically review the empirical literature here, but she addresses some of the key findings, and effectively rebuts studies that allege to find consciousness outside attention. She does not rest her case there, however. Instead, she identifies a new class of examples that purport to establish the possibility of consciousness without attention. Her central example she calls “conscious entrainment,” which is what we experience when engaged in habitual or skilled activities. Other possible examples touched on in the chapter include hypervigilance in individuals with attention deficit hyperactivity disorder (ADHD), passive movie watching, dreaming, and “attentional neglect.” These states all involve intense focus, Jennings admits, but not attention. To some readers this may sound contradictory. Isn’t focus a kind of attention? Don’t these states of absorption involve stimulus selection and enhancement of relevant features, suppression of distractors, and other hallmarks of attention? Jennings says none of this is tantamount to attention. Recall that she thinks attention is controlled by the self. In these cases, we are invited to imagine that the self takes a passive role: control is either ceded to the world (movie watching) or to previously mastered routines (skills and habits). Thus, Jennings’s claim that there is no attention in these cases hangs on her contentious thesis that attention requires a controlling self. One might also push back by arguing that, in some of Jennings’s allegedly selfless examples, the self remains involved. Skilled activities and hypervigilance, for example, can reflect personal interests.Skills and hypervigilance get more airtime in chapter 6. There, Jennings turns to questions of responsibility—a neglected topic in attention research. The chapter begins with a manslaughter trial in which the teenage plaintiff was given a light sentence because the judge evidently believed that the teen’s ADHD compromised his ability to control his actions. The example may be a bit triggering for people who have a personal relationship with this diagnosis, but, putting that aside, Jennings uses it to introduce the important concept of attention-based control. With reduced control, Jennings argues, comes reduced responsibility. I am inclined to see ADHD as involving dysregulation of attention (difficulty disengaging and dividing attention, for example) rather than diminished attention, but that can still be characterized as an issue with control of attention; therefore ADHD still illustrates Jennings’s point that there is a link between responsibility and control of attention. This, it turns out, is only half of her story. Having argued for this link, one might expect Jennings to follow Wayne Wu, who contends that attention is necessary for action, and hence for responsibility. She does not. Instead, she says argues that responsibility can also arise in cases of “strategic automaticity.” This brings us back to skills. When skills are deployed, action is governed by learned pairings between stimuli and responses. The choice to exercise a skill requires attention, so attention is needed for being a responsible agent, but once a skill kicks in, attention is no longer required, and one can be held responsible for actions performed skillfully—thus attention is not required for responsibility tout court. Jennings addresses an opposing view (defended by Wu, Ellen Fridland, and Barbara Montero), according to which skills involve “automatic attention” rather than no attention. Jennings worries that this move will collapse the distinction between attention and other kinds of selection and filtering that occur throughout the nervous system, including the retina. She says that the attentional interpretation of skilled action is at odds with the lack of top-down reweighing of sensory inputs, regulated by lateral frontal cortex. These objections to automatic attention warrant response. My own view is that attention involves broadcasting to working memory, so retinal filtering is ruled out. Jennings’s insistence on top-down reweighing will not move those who believe attention can be purely bottom-up. For all that, I side with Jennings in wanting to allow for responsibility without attentional control. I think we can be responsible for implicit biases, for example. I also think attentional control is insufficient for responsibility, as when we act under duress.Jennings offers fresh perspective on the nature of attention, and its role in meaningful perception, consciousness, action, and responsibility. Each chapter can be read separately, but they hang together well, and each reflects her thesis that attention is essentially linked to the self. Though I am skeptical of that strong claim, we would do well to follow Jennings in regarding attention as interest-laden interface between mind and world. I look forward to a sequel in which attention is related to richer conceptions of identity, and where the political consequences of this link are actively explored. Meanwhile, one can hardly fault Jennings for covering too little. She tackles a remarkable range of topics, from metaphysics to ethics. Her arguments throughout demand response, repay careful study, and propel the field forward. (shrink)

If we acknowledge that a perceptual experience’s sensory phenomenology is not inherently representational, we face a puzzle. On the one hand, sensory phenomenology must play an intimate role in the perception of ordinary physical objects; but on the other hand, our experiences’ purely sensory element rarely captures our attention. I maintain that neither indirect realism nor the dual component theory provides a satisfactory solution to this puzzle: indirect realism is inconsistent with the fact that (...) sensory phenomenology typically goes unnoticed by perceivers; while, the dual component theory cannot do justice to the important role that sensory phenomenology plays in our perceptual awareness of physical objects. I argue that in order to avoid the difficulties with each of the standard alternatives, we must characterize sensory phenomenology as functioning in the way that linguistic symbols function in thought. (shrink)

Our emotional states affect how we perceive the world. If I am stressed, annoyed, or irritated, I might experience the sound of children laughing and screaming as they play around the house in a negative manner — it is unpleasant, loud, piercing, and so on. Yet, if I’m in a relaxed, happy, loving mood, the very same sounds might be experienced as pleasant, playful, warm, and so on. The sounds being made by the children are the same in both cases, (...) but how they are experienced differs. The auditory experience is affected by the emotional state that I am in. I perceive the sounds differently depending on how I’m feeling. Although this might at first seem to be a trivial observation, it certainly is not. We take for granted that our perceptual experiences give rise to justified beliefs and knowledge. Thus, if my perceptual experience of an object can differ based on my emotional state, and I take my perceptual experience to justify my beliefs and even lead to knowledge, then we might have a problem. If emotions — which are not fixed and in large part uncontrolled — affect our ability to accurately perceive the world, then they may undermine the justified beliefs and knowledge gained on the basis of our perceptual experience of the world. My goal here is to explore this potential problem. -/- I consider how we might understand the effect that emotions have on the justification of our perceptual beliefs about the world, beliefs that we acquire from a variety of sensory modalities — audition, gustation olfaction, and so on. I take the problem to be associated with one of two forms of perceptual influence: penetration or multisensory integration. In any given perceptual moment there are multiple sensory modalities and mental states at play, each affecting the overall experience. Whether we understand the influence of emotion on perception as a form of non-perceptual penetration or a form of non-visual sensory perception of the inner body — interoception — the potential epistemological difficulties remain: how can we be said to acquire justified beliefs and knowledge on the basis of such influenced perceptual experience. As has been the norm, only the five exteroceptive senses of vision, audition, olfaction, taste and touch are typically discussed in the context of sensory perception. However, as I argue, there is strong reason to accept the claim that emotional experience is a form of interoception, and that interoception ought to be considered when discussing sensory perception. In this way, then, I propose that clarifying the role played by interoception in sense perception across modalities is necessary if we are to make progress on the epistemological problems at hand. (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)

Our emotional states affect how we perceive the world. If I am stressed, annoyed, or irritated, I might experience the sound of children laughing and screaming as they play around the house in a negative manner — it is unpleasant, loud, piercing, and so on. Yet, if I’m in a relaxed, happy, loving mood, the very same sounds might be experienced as pleasant, playful, warm, and so on. The sounds being made by the children are the same in both cases, (...) but how they are experienced differs. The auditory experience is affected by the emotional state that I am in. I perceive the sounds differently depending on how I’m feeling. Although this might at first seem to be a trivial observation, it certainly is not. We take for granted that our perceptual experiences give rise to justified beliefs and knowledge. Thus, if my perceptual experience of an object can differ based on my emotional state, and I take my perceptual experience to justify my beliefs and even lead to knowledge, then we might have a problem. If emotions — which are not fixed and in large part uncontrolled — affect our ability to accurately perceive the world, then they may undermine the justified beliefs and knowledge gained on the basis of our perceptual experience of the world. My goal here is to explore this potential problem. -/- I consider how we might understand the effect that emotions have on the justification of our perceptual beliefs about the world, beliefs that we acquire from a variety of sensory modalities — audition, gustation olfaction, and so on. I take the problem to be associated with one of two forms of perceptual influence: penetration or multisensory integration. In any given perceptual moment there are multiple sensory modalities and mental states at play, each affecting the overall experience. Whether we understand the influence of emotion on perception as a form of non-perceptual penetration or a form of non-visual sensory perception of the inner body — interoception — the potential epistemological difficulties remain: how can we be said to acquire justified beliefs and knowledge on the basis of such influenced perceptual experience. As has been the norm, only the five exteroceptive senses of vision, audition, olfaction, taste and touch are typically discussed in the context of sensory perception. However, as I argue, there is strong reason to accept the claim that emotional experience is a form of interoception, and that interoception ought to be considered when discussing sensory perception. In this way, then, I propose that clarifying the role played by interoception in sense perception across modalities is necessary if we are to make progress on the epistemological problems at hand. (shrink)

A broad range of behavior is associated with crossmodal perception in the arts. Philosophical explanations of crossmodal perception often make reference to neuroscientific discussions of multisensory integration in selective attention. This research demonstrates that superior colliculus plays a regulative role in attention, integrating unique modality specific visual, auditory, and somatosensory spatial maps into a common spatial framework for action, and that motor skill, emotional salience, and semantic salience contribute to the integration of auditory, visual, and somatosensory information (...) in ordinary perceptual contexts. I present a model for multisensory integration in our engagement with artworks derived from a diagnostic recognition framework for object recognition and a biased competition model for selective attention. The proposed model attributes a role to superior colliculus in a broader fronto-parietal attentional network that integrates sensory information, primes perceptual systems to the expectation of stimulus features salient to particular sensorimotor or cognitive tasks at particular locations, and inhibits the perception of task irrelevant distracters. I argue that this model demonstrates that crossmodal effects are the rule not the exception in perception and discuss ways in which it explains a range of crossmodal effects in our engagement with pictures, dance, and musical performances. (shrink)

Photo by Thought Catalog on Unsplash INTRODUCTION The coronavirus pandemic is a challenge to educators, policy makers, and ordinary people. In facing the threat from COVID-19, school systems and global institutions need “to address the essential matter of each human being and how they are interacting with, and affected by, a much wider set of biological and technical conditions.”[1] Educators must grapple with the societal issues that come with the intent of ensuring the safety of the public. To some, (...) “these are actually as important as the biological concerns of people.”[2] The current global crisis shows that “scientifically, socially, and politically the economy and technosphere are not just related, they are integral to a comprehensive response to major challenges.”[3] In developing these responses, scientists, government leaders, and policy makers need to consider the vulnerabilities of people, especially those in “thrown away” groups.[4] Jerome Ravetz explains that “microscopic viral predators cull our populations, as ever, but with a selection that is not natural but social and political.”[5] Educators must address the underlying vulnerabilities and evaluate the virus as a threat to academic experiences and access to a fair education. ANALYSIS • Critical Pedagogy By definition, the critical approach to teaching is about the problem-posing method of education developed by Paolo Freire. In his Pedagogy of the Oppressed, he proposed a paradigm shift away from the banking method of learning wherein teachers deposit knowledge into the minds of students. Critical pedagogy is an educational approach that challenges students to develop the ability to recognize and criticize dominating theories and evaluate them in their social context. Teachers press students to recognize oppression and try to remedy oppression in their culture.[6] Despite the lack of in-person interaction between the teacher and the students, the effort to use innovative teaching techniques like critical pedagogy should continue. Online learning is not just about the use of technology, although the internet is crucial in the delivery of content. Since human beings are creators of value, they determine the meaning and purpose of technology. In this way, the set of values people have will influence online learning. Teachers cannot be more concerned about outcomes than about the process itself. The process is crucial since the ability of the student to think critically is developed in the exchange between the student and the teacher. The teacher cannot simply dump loads of information (deposit knowledge) but must pose problems to test the analytical and critical skills of students.[7] Education is about how people humanize the world. Policy makers miss the point when they focus on the delivery but do not pay attention to the substantive aspect of learning, which is human empowerment. Education is meant to expand the freedom of people. Education should be seen as an integrative activity. Learning is a formative process that aims to develop the human person. Without the face-to-face encounter between teacher and students, the challenge is finding ways to make learning an effective means to mold the values of young people. • Online Critical Pedagogy & the Role of Technology Physical distance appears to be an impediment in realizing the ideals of learning. The lack of contact between the teacher and the students may prevent a more meaningful interaction since online instruction is impersonal. It can be argued that there is no alternative to some classroom activities, especially laboratory experiments in science courses. The total classroom environment naturally influences the behavior of students when it comes to academic work: the look in the eyes of the professor, the caring ways of a teacher, or the pressure while taking exams contribute to an experience that only a classroom setting can provide. If implemented properly, technology can facilitate the personal relationships between teachers and students while providing meaningful experiences. With the current need for online learning during the COVID-19 pandemic, gadgets are indispensable. Some would even consider gadgets an extension of the human body. A mobile phone is not just any instrument; it has evolved into a novel way of being in the world. Our gadgets are a means of seeing how the outside world unfolds. Modern technological tools allow the interface of people in many fields of experience in a globalized environment. Computers and other digital devices extend the meaning and value of human freedom. For example, a laptop provided to a poor child can redefine the meaning of and what the future might hold for that child. The device is crucial to the whole learning process. Modern tools are critical to self-discovery and greater freedom. The values that people embrace will matter in the new normal. The internet has provided a new democratic space that empowers groups and individuals to express themselves and to understand the world.[8] In an online class, students and teachers alike need to analyze big picture questions and layers of information. For example, the student in an ethics or philosophy class can reflect on the realities of life. With the proper guidance, online education should help define the meaning of moral commitment and human responsibility. CONCLUSION Before the pandemic, policy makers had been pursuing the goals of a globalized economy. They had been fashioning and promoting programs that cater to the interests of a consumer-driven world that has deprived the poor of opportunity. When the pandemic struck, globalization suddenly came to a halt and people realized the things that truly matter in life – family, love, and life itself. The new normal must now emphasize the role of education as a source of inner strength that can empower the person to live well reinforcing values based on a social consciousness. Critical pedagogy is possible under the new normal. The distance between the teacher and student does not make the educational process less real and in the absence of a vaccine, online learning is the safest strategy. Governments cannot freeze an entire school year since education is the only way out from poverty for millions. The COVID-19 pandemic provides a reason to re-imagine teaching using technology to encourage all students to question systems of oppression or greed, as the persistent pursuit of the truth is what education is all about. [1] Hartsell, Layne, Krabbe, Alexander, & Pastreich, Emmanuel. “Covid-19, Global Justice, and a New Biopolitics of the Anthropocene.” Social Ethics Society Journal of Applied Philosophy 6, no. 2 (2020), 3. [2] Ravetz, Jerome. “Science for a Proper Recovery: Post-Normal, not New Normal.” Issues in Science and Technology [Internet] July 15, 2020. https://issues.org/post-normal-science-for-pandemic-recovery/ [3] Hartsell, et al. “Covid-19, Global Justice, and a New Biopolitics of the Anthropocene,” 6. [4] Ravetz, “Science for a Proper Recovery: Post-Normal, not New Normal.” [5] Ibid. [6] Freire, Paolo. Pedagogy of the Oppressed. (New York: Continuum Books, 1993). [7] Freire writes that in such a situation “instead of communicating, the teacher issues communiqués and makes deposits which the students patiently receive, memorize, and repeat.” See his Pedagogy of the Oppressed. [8] Bakardjieva, Maria. Internet Society. (London: Sage Publications, 2005). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 43.1 (2005) 83-105 [Access article in PDF] Does Malebranche Need Efficacious Ideas? The Cognitive Faculties, the Ontological Status of Ideas, and Human Attention Susan Peppers-Bates But whatever effort of mind I make, I cannot find an idea of force, efficacy, of power, save in the will of the infinitely perfect Being. Malebranche, Elucidation 15 One of the signatures of 17th century rationalists (...) is their replacement of the Scholastics's dependence on the deliverances of the senses with a dependence on the deliverances of the intellect as the key to gaining knowledge.1 Correct use of the intellect leading to freedom from the passions and to certain knowledge figures prominently in the works of Spinoza and Leibniz. Descartes's Meditations uses skeptical doubt to withdraw the mind from the senses, and his reliance on the meditative genre not only reveals to his readers the intellect as a distinct source of knowledge, but also trains them to use properly their will or faculty of judgment. Commentators have argued persuasively that overthrowing the sense-based epistemology and metaphysics of the Aristotelians depended on "discovering" the primacy of one's intellect over the senses, and using the deliverances of the mind to establish solid foundations for a new metaphysics and epistemology.2 Indeed, [End Page 83] outlining the proper use of the mind's faculties arguably lay at the basis of the Cartesian program in particular. This importance can be seen in Arnauld and Nicole's influential Port-Royal Logic, which aimed at training its readers in the proper use of the intellect.3Few would question Nicolas Malebranche's inclusion in the rationalist tradition.4 For while Malebranche famously takes ideas out of the Cartesian mind and transports them to God's—thus privileging the divine over the natural light—he shares Descartes's belief that our intellect, not our senses, holds the key to metaphysical truths such as the essence of matter, the mind-body distinction, and the existence of God.5 Yet, recently, Nicholas Jolley has contended that Malebranche's later commitment to "efficacious ideas" undermines his earlier belief in the power of the cognitive faculties: he believes that Malebranche abandons his view that the mind makes "real use" of the intellect to know intelligible objects.6 Jolley's position builds upon Alquié and Robinet's claims that around 1694-95 Malebranche moved from a vision "in" God to a vision "by" God. Now God's ideas act on and modify the soul with both sensations and intellectual concepts, rather than the human intellect contemplating ideas in the Divine Reason.7Alquié and Robinet argue that Malebranche, pushed by the battles with Arnauld and Régis over the status of ideas, introduced the language of "efficacious" ideas to explain how the union of the human and the divine mind is supposed to work.8 Robinet in particular suggests that in cashing out the metaphor of God enlightening human minds, Malebranche moved from a static "ontologist" view of idea-objects in God to an active "illuminationist" view whereby divine ideas cause(intellectual [End Page 84] and sensory) perception by modifying the soul.9 Once one accepts this view of the place and function of efficacious ideas in Malebranche's metaphysics, it seems natural to accept Jolley's declaration that the only way for the mind to apprehend ideas in God is if those ideas "act directly on the mind; [if] they thereby cause cognitive states to arise in a substance which is devoid of all genuine cognitive capacities of its own."10 Indeed, Jolley suggests that Malebranche ultimately made the soul passive in all its states, including its volitional ones.11In this paper, I argue that a strong interpretation of efficacious ideas, whereby they appear to become true causal agents, must be rejected precisely because it pushes us into an incorrect reading of Malebranche's theory of the divine and human faculties. Making ideas true causal agents within God privileges divine reason at the... (shrink)

Through the many reinterpretations of Freud’s essay Das Unheimliche (1919) within French Postmodernism, in recent decades, the uncanny has become a vague synonym for the methodology of deconstruction. The article aims to disambiguate the uncanny by reestablishing its characterizing nucleus and relocating it within the aesthetics through the philosophy of Stanley Cavell. The American philosopher claims that this feeling can be generated by drawing attention to the ordinary, which is so close and familiar to fade out of (...) focus. Cavell and the German Philosopher Juliane Rebentisch following him show that artistic practices can reinforce this experience, as through displacements and dislocations, they deprive objects of daily use and ordinary matters of their familiarity and force us to look more closely at their material, sensorial, and phenomenological dimensions. In this way, Cavell and Rebentisch offer a path to reconstitute a stable conceptual framework for defining the uncanny, linking it to Freud’s definition of something familiar appearing in an unfamiliar light. At the same time, they also propose a novelty by interpreting the uncanny not as inherently frightening and disturbing but as a compelling affective state that encourages a willingness to reappropriate and rediscover the ordinary. (shrink)

continent. 2.2 (2012): 155–158 Michel Serres. Biogea . Trans. Randolph Burks. Minneapolis: Univocal Publishing. 2012. 200 pp. | ISBN 9781937561086 | $22.95 Conveying to potential readers the significance of a book puts me at risk of glad handing. It’s not in my interest to laud the undeserving, especially on the pages of this journal. This is not a sales pitch, but rather an affirmation of a necessary work on very troubled terms: human, earth, nature, and the problematic world (...) we made. It is this world that aspirates the silence (so to speak), and therefore the subject which, along with the development of the “made world” exports the excess augmentation of the cosmically missing, this silence of the natural, et cetera. Had we learned from Locke that lesson of “labor,” to consume what we need… but perhaps we need more than what matters? Serres’ Biogea has several functions on this manner, if it is indeed a book to be consumed. First, readers searching for novelistic entertainment have a place to dwell. Biogea deserves a place in your back pocket; biographical generosity and poetic fluidity should satisfy most textual fetishes. For lay philosophers who want to refresh their acumen, Biogea deserves a place on the book shelf, one already reads a sorely needed postmodern tune-up here. Serres’ style is clearly French; he leaves few cheese crumbs on his words, rather preciseness and breathing in the work give way to a sweeping manner that breaks the narrative line of sight. A circular narrative and anachronistic fragmentation of terms allows an abyssal atmosphere to swell, if only to pump into the book the externality of its broader text. Biogea aspires to a higher standard and the book, at times, is thinking this negentropic problem too. Univocal, the publisher, has crafted a book appropriate for the hands to hold and the translations are an achievement of an otherwise difficult writer to translate. Terms are the conditions of a broader text. It is important to note that Serres’ content is as much a thinking of terminal ports. There is a regard for the transportation technology of the written word. For me, this is the mark of genius, a craftiness that tells of a book device that I may trust. Serres is an accomplished thinker and a necessary voice to check the putative trendiness of anti-postmodernist and market-driven theory of endless cultural liquidation. Offering interventions on subjectivity as an open system we are given a chance to affirm the human, not merely to discard it, but to engage its poetic image emotion, the calibratory silent sense of the analogic world; the terms on which we base our efforts. 1 The human is the center of its own negation, constantly mediating it. Something deeper at stake appears in the work then, and it is quite obvious from the onset. Certainly, a book is an intensification of possible text and those who brought this actual book into existence have captured a rarity in regards to the subject matter and artistic accomplishment. I mentioned terms as conditions, so let us understand Biogea as bio-yea, a yes to bios . An affirmation of living and accepting presence for all of its defiance of images, words, and things temporal. Therefore Serres’ existence and its existants plays parts; out of linearity and still like a porous bone pumping blood it manufactures into the fleshy life it becomes. Starting from a man named silence chaos emerges, or the man “Old Taciturn” takes up a journey anticipating a great flood. In other words, a development akin to the one in Genesis. In dealing with this ancestral occupation, fusing Genesis with contemporary philosophical terms, Serres initiates this anachronistic fragmentation under the forming subjectivity of his own autobiography. This mutation in the open system is precisely one of Serres’ terms. There an abyss is at work, stated, but also measured by heels on the ground—the abyss dispatching earthen tensions, that which plays our tunes, that which we abide by and recognize in volcanoes, rivers, oceans, earthquakes and weaponry in the battles of the world. Set in later stages of the book, such tensions are harnessed through scientific principles in an attempt to unify the terms of natural force if only to terminate the world. Thus the elevation of the earth into the world is clearly set forth. Here already, and few pages in, a resonance is set forth under appellations such as the river Garonne, a subjectivity as much as it is inhuman, the river is the inhuman that makes us human. I get the sense that Serres is taking up a challenge issued by Wallace Stevens; namely, that the great poems of heaven and hell have been written, but that only the poem of the earth has resisted composition. 2 On this level we cannot avoid the killing factor of silence, given that our cognition blocks its pure, radical obliteration. Thus a silence of attunement to the earth is in a novel dialectic of the rithmic and rhythm. A technological world, a triumph of termination is set forth. If a text imposes its will given the reader who authorizes it, it is made to convey or convect a presupposition to a reader or its inhabitant(s). Text is therefore both, in-content, contenting, contentedness, and in reading it, a way to navigate self-destruction (dis-content). Here then would one note that the “inhuman” reveals itself, “an aperiodic rhythm of lovers and beloved…the sea as our friend…but as our enemy…maternal vivifying sea.” The sea is an open book, or vaginal birth canal, where the engagement of text comes forth: “…woman sea, open vulva.” One sees like the sea, but only after it, when the uninhabitable truth of inhabiting it switches the polarity of the sailors soul: “I was seeing like the sea” (9-11). In other words, we are invited to embrace the nonsense of the visible. At this point I am taken to Jean-François Lyotard’s work The Inhuman , specifically the first entry on negentropy that would be congruent with Serres’ thematic. 3 The human being exports, deports, or transplants its relation through text, through the system— and this is its sense or relation to silence, to music. Unaware of Serres’ proximity to this work, the concept of gender interrelation as regards a solar catastrophe runs clear. It would be, on this basis, that Serres references his peers, the other texts that, as mentioned above, are discarded in philosophy today. For students of philosophy what we have here is perhaps a gift, a needed project. If silence and death are at work, there is a political valence to deal with, and here, much like the domain of the text and the dominion of the reader, we confront the world of natural, fluid violence. The anti-postmodernist critique is in part based on a weak idea that the loss of ideology, of a world vision, motivates the “correlationist” project. 4 Serres seems to offer another way to view this when he notes that whereas persons “sometimes kill,” it is clearly “the collective” that “always kills” (17). What is the collective today, if not an organizing function we never see yet acts in its favor in the name of truth? One feels a sense of enigma here, if only to link to what Stevens remarked of communism as a “grubby faith,” providing this applies for capitalism as well, namely any ideology of progress overly interested in absolutes. Here we get the sense that the inhuman, silence, this type of killing, always killing, could not be matched by human-made, political dynamos. Or that if it comes to an equilibrium, a catastrophe is never too far from us to read with our heels. We are left to note that the forces of nature presuppose and permeate political systems, the more these systems obtain force, the more the system takes upon itself the proper name of nature that motivates its dissemination, albeit falsely. This note, that in an age of ecocide and technological captivity (sustainability and transparency) political regimes won’t grow our soul-learning ears any larger than our tongues, stands clear to us. The promise of technological desubjectification is here pushed aside. Regarding politics, Serres illustrates this fact: Where did this corpse come from? Who was it? Who killed it? I don’t know. I won’t try to find out. I refuse to get vengeance for it. And I only see Garonne. For our victims, today, are the rivers, too. Their waters have irrigated my life, enchanted my thought, invigorated my body; I’ve known them to be threatening, untamable, as dangerous as the sea when it rages. Yes, murderous. They decided to control their courses; dams, sometimes senseless, destroying sites and valleys, reduced entire populations to servile displacements; programs for the irrigation of thirsty farmland, often beneficial of course, completed their drying up.(22) Serres enters into his idea concerning the captivity of language from the natural into a world system: For thousands of years, we have been licking things with our tongues, covering and daubing them so as to appropriate things for ourselves. If language boils down to a convention, this convention took place between the speakers without consulting the thing named, become as a result the property of those who covered it in this way with their drawn or voiced productions. Malfeasance analyzes these acts of appropriation. Thus every inert object, every living thing as well, sleeps under the covers of signs, a little in the way that, today, a thousand posters shouting messages and ugly riots of color drown, with their filthy flood, the landscapes, or better, exclude them from perception because the meaning, almost nil, of this false language and these base images forms an irresistible source of attraction to our neurons and eyes. This appropriation covers the world’s beauty with ugliness. (38-39) Technological concealment coming to bear, we begin to get a sense of another commentary on the condition of sensing, driving home the necessity of a text dealing with such subject matter to be what its terms insist. Thus toward new openings: The new opening. As low beneath our feet as you like, the Biogea opens us to another space, high enough for us to be able to acquire a wisdom there, that of redeveloping this same place differently from our fathers, this place that’s still politically cut up by old hatreds, beneath the flood of tears and blood that we call history. Without this soft place, spiritually very old, but newly conceived in this way, without the juridical construction of a common good, opposed to our filthy ownership, I don’t see how our planet, hard, will survive. Hardness that depends on a softness, material belonging that depends on this temporary rented location (51). Serres enters into a summit on the content and the structure of his work. Archimedes is brought in with the concept of three volcanoes. Meaning fire, but as well earth, water, air. For it was Archimedes’ war machines that sought to lift the earth, thus bringing in the question of principles of science: “can a principle be invented while controlling its consequences?” (66-7). May the earth be put in a sentence, terminated by terminology, appellations, gone wild? By means of these element-dominating laws, this old physicist began to tear nature away from the ancient myths; by a strange return, today we’re plunging our successes back into the anxieties and terrors from which that ancient physics was born. Yes, our new history of science and technology is plunging, today, as though in a loop, into the fundamental human myths from which Empedocles’ first laws came. A major progression and a regression on the nether side of the origins. Consequently, the contemporary time requires that we try to return to that unity in which the principles of hate and love are at the same time human, living, inert and global. We will never attain a deontology of our knowledge and actions without thinking the subjective, the objective, the collective, and the cognitive all together simultaneously. Here, hate and love are the result of these four components.(71) Working then on the concept of fire-starting mirrors to the atomic annihilation of the Second War, Serres works into the subjectivity in question on the matter of rhythm—say rithmic— precisely at that point: Knowledge is changing today. The all-political is dying; the monarchy of the sciences said to be hard is coming to a close. The science of the things of the world will have to communicate just as much as the things of the world do, which do it much better than humans do, who don’t always want to do it. Let’s celebrate two changes this morning. The first one strikes a new blow to our narcissism. No, knowledge and the world don’t resemble our analytical enjoyments of refined cutting up, of endless debates and of exclusions full of hate. They, on the contrary, form a bloc and a sum, alliance and alloys. Uniting the fields of knowledge among themselves the way the things are connected among themselves, the second newness puts into place sets united by interlacing, webs and simplexes that combine with the things of the world, themselves combined, the combined knowledge that understands them.(130-1) Biogea closes on its opening flood thematic, approaching the initial telos of Genesis. Here the trees are brought into a position with atmosphere, the opaque abyssal reservoir, the tomb of the sun, sea in the polarity of the earthen heaven and hell. The poem of the earth then is silent but deadly, indeed, as funny as that phrase is, mainly a tomb gas. The meaning of the living and the non-meaning of things converge in the muteness of the world; this meaning and non-meaning plunge there and come out, the ultimate eddy. Mundus patet: through a fissure, through an opening, a fault, a cleft come noises, calls as small as these apertures. I’m listening, attentive, I’m translating, I’m advancing in the scaled-down meaning and science. Mundus patet: should the world open greatly, it will launch me into its silence. The totality remains silent. Knowledge expanded in elation. White origin of meaning, fountain of joy. (198) Final Remarks One test of a review is the long term trajectory the referee thinks the book will have. I see Serres’ text lending greatly into the vision of Biogea . In fact, in the vision of the novel inquiries of Stephen Jay Gould’s work there is something to be thought on the level of the individual and the species; namely, that humanity and its uniqueness is in its deferral, its thinking and naming, a thinking surrounded by silence that filters into everything, that pulls us through the world, the kinetic pulse we recognize, and all of that we cleave away in the base philosophical maxim of difference itself. Unique individuals are spatial creatures: we dwell, and we ought to get good at it. Yet this is an imaginative space that, if you are crazy enough to believe it, de-term-ine the conditions of its own terms. That is why we are not merely creating spaces on the acceleration of time, or so this ignoramus thinks, to accidentally transcend. Imagination already has this insatiable silence that we drink up and fail to manifest. Space is timeless. The imagination itself, shared by humans for themselves, their objects, and the species as a whole, is a non-defined space of relation; a whole human trajectory as part of nature, and part of worlds that are the other side of thinking nature, the consequence of it, at least our attempt to do so. Our survival is based on our deliberation, our caution, our natural deconstructive sense toward this silence that is already part of the song, sung, singing of this century without end. Good books will let us inhabit this space and recognize a form of life. Serres’ text moves toward dwelling, as noted, in masterful and accessible ways. The pitched battles are the falling replays of anemic and dead politics. As soon as we realize there is humanity, we may be able to enjoy the end of it, our inhuman capability of listening to silence. NOTES 1. See Michel Serres. The Parasite . Minneapolis: University of Minnesota Press. 2007. 2. Wallace Stevens, “Imagination as Value” [ca. 1945], in Collected Poetry and Prose . New York: The Library of America. 1997. 724-39. 3. Jean-François Lyotard. The Inhuman: Reflections on Time . Trans. Geoffrey Bennington & Rachel Bowlby. Stanford, CA: Stanford University Press. 1992. 4. See the introduction: Quentin Melliassoux. After Finitude: An Essay on the Necessity of Contingency . Trans. Ray Brassier. New York: Continuum. 2008. EDITOR'S NOTE: This review was updated on August 8, 2012. Substantial edits include block quotes from the book under review as well as the inclusion of comments from the author. (shrink)

This chapter examines how our sense modalities interact in the perception of persistence. The chapter concentrates on two questions. The first concerns perceptual processing—do perceptual computations of object persistence ever integrate and compute over representations from more than one modality? It argues that this question should be answered affirmatively. The second question concerns perceptual experience—do experiences of object persistence ever exhibit a constitutively multisensory phenomenal character, or is the phenomenology of object persistence always uniquely associated with just one (...) modality? The chapter argues that the available evidence underdetermines the answer to this question, but suggests ways it might be empirically resolved. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:How We Keep Caring While Walking Through Our PainOla Ziara and Rachel CoghlanAuthor Dedication. To my dear brother Omar Ziara, a bright doctor, entrepreneur, and community advocate who was killed in an Israeli bombing in November 2023.May your soul rest in peace and may your memory remain alive in our hearts. May your unborn child grow up to become the wonderful man that you were. Forever loved by all.Palestinian-American (...) poet, Suheir Hammad, writes:Occupation means that every day you die, and the world watches in silence. As if your death was nothing, as if you were a stone falling in the earth, water falling over water.And if you face all of this death and indifference and keep your humanity, and your love and your dignity and you refuse to surrender to their terror, then you know something of the courage that is Palestine.I am a doctor from the Gaza Strip in Palestine. I live through acute war and protracted occupation. I work under missiles and through scant resources. I experience risks and dangers and face abominable choices made from nightmares. I know heartbreaking death.As doctors here, we fear, suffer, cry, and grieve alongside our patients and their families. This is my story of how we continue to care.Summer 2014 A Fifty-Two-Day War: How To Stay And How To Keep Them SafeThe huge bombardment strikes close to the hospital, scattering glass and rubble. It brings an abrupt end to my rare, quiet pause for coffee. Are the babies hit? We sprint to the Neonatal Intensive Care Unit, our full attention only on those infants, hastily checking every crib. My thoughts are frenzied. What if the next missile strikes us? Will I be able to rescue them? Will I have time to carry their tiny bodies outside through wreckage and fire? How will I choose who to save, and who to leave behind? Could I choose? Will I even be able to think lucidly, act logically for those babies if the fire consumes us? We stay.Somewhere, a house razed to the ground, a mother and her children dead. This time, our babies are safe.Summer 2014 A Fifty-Two-Day War: How To Cast Off Danger And How To Find ConsolationA missile shatters our neighbour’s roof. I am about to leave home for my evening shift. I check on my shaking mum; she is okay, not hurt at least. I ring the senior doctor. I am sorry. I am coming. I will be a little late. Two further missiles hit, wiping out the next-door building completely. No, do not send an ambulance for me. It is too dangerous. I will come [End Page 153] alone. Trembling through the dust and darkness, I leave on foot to reach those babies. I must compose myself. We are needed there to bring calm, to keep caring.And we gamble our lives to seek distraction and comfort for ourselves. We find solace through unbearable pain in our caring.Winter, Spring, Autumn, Summer, Any Day: How To Question Purpose And How To Feel HelplessIt is an ordinary night shift in ‘quiet’ times. Tonight, all the beds are occupied. All the ventilators are taken, forcing life into small, sick faces. At dawn, the phone call comes. A new baby struggling to breathe is on his way. I call around. No more beds to take him here or anywhere. No more ventilators—here or anywhere. Bring him here. We will care for him.He is in a very bad way. He needs immediate life-saving care. We take turns manually ventilating him, working to the hissing rhythm of the Ambu Bag1—inflating, deflating, inflating. Our arms ache. We keep pumping the bag. Do not stop. The moment when the morning shift arrives is our moment of salvage. We can go home. We have made it through the night without medicines, machines, disposables, or enough manpower, our arms throbbing. We have kept him alive.But he is so fragile, the system is fragile, we are fragile. Dare I even ask—is it worth it? Is it worth a baby surviving the... (shrink)

Attention influences the character of conscious perceptual experience in intricate and surprising ways, including our experience of contrast, space, and time. These patterns of influence have been argued to cause trouble for the attractive thesis that differences in the character of conscious experience flow from differences in what we represent. I present a novel theory of the functional role of attention that has the resources for a systematic representationalist account of these phenomena. On the erotetic theory of (...) class='Hi'>attention, we bring an interest to the task of perception, captured as a question we seek to answer. Questions, as understood here, are contents that cognitive systems can represent rather than sentences. We process perceptual input as a putative answer to our question in a way that is modulated by attentional focus; attentional focus aims to pick out something that matches what our question is “about.” In certain cases, this yields a form of predictive coding: if the contribution of focus matches what our question is about, we take it to select one of the possible answers we are entertaining, even though our perceptual input by itself does not supply a full answer. The proposed account also provides a new account of the phenomenology of salience. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS Easter in Ordinary: Reflections on Human Experience and the Knowledge of God. By NICHOLAS LASH. Oharlottesville, Virginia: Uni· versity Press of Virginia, 1988. Pp. 313. $29.95 (hardbound). Nicholas Lash sets out "to construct an argument in favor of one way of construing or interpreting human experience as experience of the mystery of God " (p. 3), and to show that this awareness of God has (...) nothing to do with analyses of " religious experience " or of theism. Recent attention to religious experience, such as that of the philosopher Riohard Swinburne or of the research unit established by the zoologist Alister Hardy at Oxford, relies on a conception of that experience as individualistic rather than communal and as a matter of feeling or sensation in contrast to thought. Lash aMrihutes ·this view of religious experience to the legacy of William James, and contrasts it with that of Frederick Schleiermacher. According to Lash, James identifies the personal wi~h the individual, contrasts thought with feeling, and regards religious experience as private in contrast to public, or " naked " with respect to language, institutions, and other cultural forms. Schleiermacher avoids these errors by focusing not on discrete, datable experiences that one can identify as religious, hut on a moment that pervades all human experience, to the source or object of which the grammar of Christian doctrine gives the name "God." Lash acknowledges that Schleiermacher can he read in support of either of these two different ways of construing religious experience (pp. 112, 129), hut he does not realize that James can also he read in a way that blurs the dichotomy he sets up. Both James and Schleier· maoher provide uncommonly sophisticated accounts of the social character of the self and of the role of language and thought in shaping perception and feeling. In his Ethik, Schleiermacher locates the individual in social and cultural institutions, and elaborates the anthropology that informs his influential lectures on hermeneutics. Three of many notable contributions of James' Principles of Psychology are a chapter on the self that is the source of conceptions of the social self in American sociology and social psychology, a critique of classical empiricism showing that the distinction between sense impressions and ideas is an artifact of an erroneous psychological theory, and a famous chapter on the stream of thought in which he argues human experi505 506 BOOK REVIEWS enoe is not divided into ideas, sensations, and feelings, but is a continuous flow of consciousness. Toward the end of his career, he gave up the concept of consciousness as too closely associated with the mental in contrast to the physical, and spoke instead of the flux of experience. Lash accuses James of Cartesi1an dualism, and attributes to him the view that there is a "little person," a Cartesian self imprisoned in the body. He admi,ts that the Principles contains no such view, hut sug· gests that Jaines becomes mo't'e and more Cartesian as he develops, his radical empiricism. In fact, there is very little in James that could accurately be called Cartesian, and nothing ei,ther in the Principles or in the late Essays in Radical Empiricism that would condone any such picture of an homunculus inside the body. Contrary to Lash's view, the idea of "pure experience" in the latter work does not refer to experience that is independent of language, culture, or institutions, but is rather a reminder that such distinctions as that between objec· tive and subjective, feeling and thought, or perception and fantasy, are not girven in experience, but are products of our interpretations. Despite their social views of the self, both Sohleiermacher and James focus on the consciousness of the individual when they come to ex· amine religious experience or piety. James says.that he will stress the more extreme or devdoped reports of religious experience in order to examine the " ripe fruits " of,tJhe religious life. Both share a Protes· tant bias toward personal piety as the heart of religion, and regard ritual and institutional forms as the communal context for that piety, and an insufficient appreciation for the value of the routine and conventional. But this is not to be identified in either... (shrink)

This piece, included in the drift special issue of continent. , was created as one step in a thread of inquiry. While each of the contributions to drift stand on their own, the project was an attempt to follow a line of theoretical inquiry as it passed through time and the postal service(s) from October 2012 until May 2013. This issue hosts two threads: between space & place and between intention & attention . The editors recommend that (...) to experience the drifiting thought that attention be paid to the contributions as they entered into conversation one after another. This particular piece is from the BETWEEN INTENTION & ATTENTION thread: Jeremy Fernando, Sitting in the Dock of the bay, watching... * R.H. Jackson, Reading Eyes * Gina Rae Foster, Nyctoleptic Nomadism: The Drift/Swerve of Knowing * Bronwyn Lay, Driftwood * Patricia Reed, Sentences on Drifitng * David Prater, drift: a way * * * * * Australia, Summer, 2012. …. essential humanity exists, and runs its course, within a system whose first principle is the preservation of balance. And arching over it all, is the logos of The Dreaming. How shall we state this when we fully understand it I do not know, but I should think we are more likely to ennoble it than not. Equilibrium ennobled is abidingness.” 1 On return to birthplace I write. Caught between jetlag and surprise, a relentless sun cracks my skin. Upright words fall under cockatoo roars. The attempt to settle, to be attentive, is shaken. Some kind of Dreaming surrounds and elements intrude without consent. Homeless at home. Exhausted, I fight sleep’s hard currents. Their victory would confuse the body clock, so the in-between wins. Half-there — half-awake — here in this place — I am driftwood. Driftwood: wood floating in or washed ashore by a body of water. A severed limb set adrift from the birthing body. Tossed from home it’s cast into processes of wind, water, sand, bacteria, decay and movement. Driftwood is orphaned members at the mercy and agency of weather, currents, submersion, and being thrown into dry world. Driftwood — singular plural. White man got no dreaming. Him go ‘nother way. White man, him go different Him got road belong himself. 2 photo: Bronwyn Lay The old man comes from the northern rivers. A while ago, he could no longer pay attention to wage slavery, so retreated north to be with dead redgum that lay abandoned in dry riverbeds. Derived from driftwood peoples tossed here by the sea, he followed the fragile river veins of his birth. He walked along water bodies and through country’s lungs. Some kind of displaced ancestral song compelled his leathered hands to pick up centuries old driftwood from flood plains. It emerged from under muddy creeks, was flung up by salt soaked coves, pushed underground by cracks in the claypan and lay embedded in mud and salinized soil. Smoothed and grooved in equal measure, the branches were marked by an organic alphabet that preceded him. As he held the wood, he touched decomposing circles that started with a blast and never ceased writing into abandoned flesh. When the ute was full the old man returned home having been away with the stuff that ‘growed him up’. His shed filled with red sawdust and the sound of tools at labour. His hands sculptured driftwood. History carved into itinerant skin. I sit opposite the old man. His body no longer holds the repetition of carpentry. He can no longer gift driftwood its detail. Outside redgum bits lie scattered around the fence line and beside the dam. He crouches over an unreliable computer researching the massacres of indigenous peoples that occurred along the same river veins that ‘growed him up’ long ago. Staring into the remnants of frontier resistance that he and I inherit, his eyes nurture fire. He discovers severed limbs and the slicing of tribes. In the ashes of sentences he sifts the lies that smoulder into our histories. In the 30’s the anthropologist Stanner said that due to certain factors — lack of change and isolation — the ideal and real come very close together in indigenous Dreaming. They are a people who were able to defeat history. 3 “If the Ideal and the Real drift too far away from one another (as they did at the end of the middle ages and seem increasingly to do this century) men face some difficult options. They have to change their way of life, or their philosophy, or both, or live unhappily somewhere in-between.” 4 Stanner says Indigenous Dreaming is blackfella thinking. 5 Dreamtime is not ethereal, not utopic, or otherworldly. It’s fused with the real and it’s not mine. I might never understand, but it’s the substance of my home. This here place ‘growed me up’. Is driftwood the unhappy in-between? Is it a radical itinerant written upon by currents? Where are we? The settler restless? photo: Alison Pouliot I return to the bush late one night, tired from high talk in city cafes, to find the old man at his computer. He’s either researching his white farming ancestors, or tracing unrecorded massacres of blackfellas. I laugh, “You know Dad, if you were indigenous you might go out by the dam and sing up your ancestors rather than try find them on a screen.” He peers over his glasses. His stare delivers an ancestral scold. He’s white man. Of course he archives. This is our way. One may see that, like all men, he is a metaphysician in being able to transcend himself. With the metaphysician goes a mood and spirit, which I can only call a mood or spirit of assent, neither despair nor resignation, optimism not pessimism, quietism nor indifference. The mood, and the outlook beneath it, make him hopelessly out of place in a world in which the renaissance has triumphed only to be perverted, and in which the products of secular humanism, rationalism and science challenge their own hopes, indeed their beginnings.” 6 The clinamen sometimes comes abstract — the rarefied swerve of possibility. But in the place we gather &mdash where this text has landed — in the heart of settler colony denial — the clinamen reminds of familiar violence and goes maximum. The earth’s swerve. Topography’s tip. Physics gone violent. Here, drift is initiated by the tear of flesh, scurvy voyages, frontier blood and the deracination from belonging. Here, war precedes drift. We all got tossed. Here. Pay attention. The country has its own gaze. ‘Lest we forget’. The seasonal turn on aborescent substances starts with a fall, an upwards rupture, a drop, a cut, a storm, a violence, a loss, forced migration, refugees, agricultural imperialism, settler wheat and poisoned rations. Pay attention to aftermath debris. Don’t drift too far from the real. History hasn’t settled into the water. It still tosses limbs back and forth. Surrounded by the backdrop of Dreaming country the old man archives and dreams. Both ways of settling into the real. But lest we forget, time, in this place, has no textual tick — tock. Our bodies know this, even though we persist with shipwreck illusions. It’s difficult being here. Here. Pay inattention. I walk through eucalyptus, over dried out clay pans and under kookaburras. It’s been two years in-between. This time country speaks strong underfoot. Forget books, forget texts, forget other lands and times, beginning and end. Be here. All falls raw. Leaves drop and refuse to compost. Bark untethers quick. Light denudes worlds. The heated horizon melts monoliths. It’s enough to make Cartesians shiver. Awake. Refuse the temptation to run. Have enough courage to drift into here. Love with a gum tree. Stand with her whole and dissolving. She moves light between our limbs, tossing them to wind. She — the original romance — is the dream that dares touch flesh and reaches over nightmares with elemental desire. I gaze and lose me. There’s no distance. The land that ‘growed me up’ speaks with symbiotic breath. There’s no division, no separation, no other. The gum is plastic arborescence. You be my body for me, always were. …..but I wake to driftwood histories and recall slaughters. Drifted, wicked fellow citizen — the other is someone else’s blind sleep. Betrayal maintains the other as mine. Archives reveal this place doesn’t belong to me. Body articulates that it became here. Gumtree cares not………her arms take me in anyway. “Like all men he is a philosopher in being able to use his power of abstract reason. His genius, his metier, and in some sense — his fate is that because of endowment and circumstance this power has channelled itself mainly into one activity, making sense out of social relations among men living together.” 7 The old man excavates seven generations of settler ancestors. They’re an ordinary lot with written-upon skin. He records genocides that occurred alongside his peoples fertility. Bodies rise from riverbeds like sovereign sacrifices. It hurts. It disrupts. He labours at the past with gestures that might go unnoticed in a country suffocated by rich amnesia. Inside walls, he seems attentive to historical details. Outside he seems inattentive to time, lost to us and embedded in a family of active matter — the bush. His driftwood skin appears around my eyes - grooves of experience, the rush of cruel sun, the push of blind winds, and the love of everything. The sovereign’s reluctant children are thrown here by, with and through blood, but country gets in and sculpts us here. photo: Chris Corrigan “But his abstractions do not put him at war with himself.” 8 The kangaroo family appears at dusk. When the sun is soft I follow the old man into the back paddock. Children skip behind us. In-between generations, I step into the old man’s driftwood leanings. My feet find traces of his understanding – the archivist that reads trees. Here, on home dirt, inattention and attention collapse as we wander into where we are. The roo family gaze at us. Through the grass the old man’s wooden finger articulates kin’s details. He points to the head male, the mother holding a joey in pouch and the young warriors side by side. My children, quieter than ever, meet the laser - eyed silence of another family. In half-light Dad, me, and the kids mirror the kangaroo constellation and stand gentle together. At the bushblock’s limit we encounter ancestral desires. White peoples are subject to driftwood histories. We’re severed limbs attempting to fuse here now, with what was, only to discover our skin becomes racked and embedded with the weather. Into the shelter and fissures of this difficult and ambiguous inheritance, I fall into dream light until balance saturates. Light breaks when the kangaroos move. They bounce someplace else without effort or impact. We turn and tread through the dark towards home. It’s time to sleep. Driftwood skin covers the country. Dreaming is still. photo: Bronwyn Lay NOTES W.E.H. Stanner, The Dreaming and Other Essays , (Melbourne: Black Inc. Agenda, 2009), 72. Ibid., 56. Stanner is recalling one intelligent old man who said to him, “with a cadence almost as though he had been speaking in verse.” Ibid., 60. Ibid., 69. Ibid., 58. Ibid., 67. Ibid., 68. Ibid., 59.  . 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In The Problem of Perception, A.D. Smith’s central aim is to defend the view that we can directly perceive ordinary objects, such as cups, keys and the like.1 The book is organized around the two arguments that Smith considers to be serious threats to the possibility of direct perception: the argument from illusion, and the argument from hallucination. The argument from illusion threatens this possibility because it concludes that indirect realism is true. Indirect realism is the view that (...) we perceive mind-independent ordinary objects, but can only do so indirectly, by perceiving mind-dependent objects: objects whose existence depends on being perceived or thought about. The argument from hallucination draws a similar conclusion: if we perceive mindindependent ordinary objects at all, then our perception of them is indirect in the same way. In responding to these arguments, Smith develops an account of percep- tual consciousness. Perceptual consciousness is a kind of experience, distinct from what Smith calls ‘mere sensory experiences’, or equivalently, ‘mere sensation’. Perceptual consciousness is experience that is properly percep- tual, in which one has the phenomenology of perceiving things in the external world (including one’s body) that exist independently of one’s mind. Perceptual consciousness on its own does not suffice for actually being in perceptual contact with mind-independent reality, although it suffices for it to seem as if one i s . It follows that perceptual consciousness does not suffice for direct perception of ordinary objects, or for direct realism. Nevertheless, Smith holds that the correct account of perceptual consciousness is a crucial element in blocking the arguments from illusion and hallucination, and therefore in supporting the possibility of direct perception. This is an extraordinarily engaging book. Within a single, unified narrative, one encounters the views of many philosophers—Husserl, Fine, Broad, Sextus Empiricus, Loar, Schopenhauer, Meinong, Burge, Dilthey, Russell, Dennett, Sartre, O’Shaughnessy, Evans, Berkeley, Craig, Brentano and many.... (shrink)

John McDowell (in Mind and World) and Bill Brewer (in Perception and Reason) argue that the content of our perceptual experience is conceptual in the following sense. It is of the type of content that could be the content of a judgement – that is, a content which results from the actualization of two (or more) conceptual abilities. Specifically, they suggest that the conceptual abilities actualized in experience are demonstrative abilities, and thus the resulting content is of the type we (...) may express by means of sentences of the form ‘this is thus’. In this paper I argue that we cannot construe experiential contents in this way. I first outline a construal of the ability to think about a thing being thus which is based on Brewer's discussion of conceptual experiential contents, and which I take to be the best construal available to the conceptualist. I then show that on this construal the demonstrative abilities that account for our experience of properties require intentional focused attention to the relevant properties. The conceptualist is thus committed to holding that we experience only the properties we are intentionally attending to, and I argue that this is implausible. The interest in examining Brewer's conceptualist construal of experiential content and pointing out its shortcoming is not limited merely to an interest in whether there is a workable conceptualist account of experiential content. I suggest that certain aspects of Brewer's construal capture important (and often neglected) aspects of our perceptual experience, and that understanding why the account fails can contribute to our understanding of both experiential content and demonstrative thought. (shrink)

This paper aims to show how some of Wittgenstein's considerations in the Philosophical Investigations speak to the neo-empiricist tendency to give sensation a purely causal, non-epistemic role. As the foil for Wittgenstein's criticisms, I outline the way Wilfred Sellars rehabilitates sensory impressions from his own diagnosis of the Myth of the Given by construing them as purely causal episodes. Sellars' work shows how it is possible to have a keen appreciation of the incoherence of the empiricist model yet (...) to believe that we ought to maintain that model by modifying our account of the role that sensations play in perception. Sellars and Wittgenstein have the same understanding of what a non-epistemic conception of sensations must involve. Wittgenstein articulates the way this conception manifests itself in ordinary thinking while Sellars gives it a sophisticated theoretical elaboration designed to retain what is key for sensory episodes while avoiding traditional problems of givenness. The instructive difference between Sellars and Wittgenstein is that while Sellars believes we can develop a coherent non-epistemic conception, Wittgenstein’s work suggests that we cannot. (shrink)

Impressions, energy radiated by phenomena in the momentary environmental scene, enter sensory neurons, creating in afferent nerves a data stream. Following Kant, by our inner sense the mind perceives its own thoughts as it ties together sense data into an internalized scene. The mind, residing in the brain, logically a Language Machine, processes and stores items as coded grammatical entities. Kantian synthetic unity in the linguistic brain is able to deliver our experience of the scene as we appear to (...) see it. Uniquely, the brain records its own history, synthesizing a Movie-in-the-Brain, called the Noumenal Cosmos. Attempting thereby to represent the actual Universe, this makes for a sovereign brain that governs itself. The brain is domicile of an Ego, with its selfhood at stake at all times. Yet, it can know itself only by its actions, in which it appears as an actor in its own movie. Phenomena enter garbled, as confused apparitions, and must be put in good form using top–down feedback control by Ego, so that each movie frame makes rational sense within the overall context of the Noumenal Cosmos. A stack of frames is processed typically in 40 Hz rhythm with 300 ms process time each, for about 12 in the stack at any time. Successive neural centers are processing the stack in the brain assembly line, based on data from increasingly global receptive fields. Ego stitches together the movie frames, but only the top frame is in consciousness for 25 ms. The top frame contains the whole scene where the Ego makes an appearance as the actor that imposes Kantian synthetic unity on the scene, merely an assembly of grammatical texts, in a system-internal coded process language, fitting the scene into the Noumenal Cosmos. But Ego observes Ego only to the extent permitted by the objectivity rule, only what it does and thinks, not its true face. From the Noumenal Cosmos, the Ego receives grammatical messages in the internal sense code. They are integrated into a whole in the reaction of the Ego to the momentary scene. The voluntary nature of Ego’s decisions is explained, based on its ability to code in advance its own actions sequentially in time, as it sees fit with a view to an orderly Noumenal Cosmos, records of code being arranged spatially in neural structures. (shrink)

One sceptical rejoinder to those who claim that sensory perception is cognitively penetrable is to appeal to the involvement of attention. So, while a phenomenon might initially look like one where, say, a perceiver’s beliefs are influencing her visual experience, another interpretation is that because the perceiver believes and desires as she does, she consequently shifts her spatial attention so as to change what she senses visually. But, the sceptic will urge, this is an entirely familiar (...) phenomenon, and it hardly involves some special or theoretically important cognitive effect on sensory perception. Even supposing that the sceptic is correct about cases that are accurately described in this way, the rejoinder oversimplifies the possible roles that attention may play in mediating cognition and perception. This paper aims to identify these different roles, and by emphasis on empirical research on feature-based and object-based attention. What emerges is a plausible and well- evidenced mental schema that describes attention -mediated cognitive penetration. At the very least, the burden of proof is shifted to the sceptic, as he then must show that there are no mental phenomena involving attention in the more nuanced ways described here. One additional benefit of this analysis is that it illuminates various features of attention and its relation to both cognition and phenomenal consciousness. Therefore the analysis should be of interest to a broad range of theorists of the mind, and not just those invested in the cognitive penetration debate. (shrink)

Many approaches to addressing labour injustices—shortfalls from minimally decent wages and working conditions— focus on how governments should orient themselves toward other states in which such phenomena take place, or to the firms that are involved with such practices. But of course the question of how to regard such labour practices must also be faced by individuals, and individual consumers of the goods that are produced through these practices in particular. Consumers have become increasingly aware of their connections to complex (...) global production processes that often involve such injustice. For example, activist campaigns have exposed wrongful harm in factories producing clothes, shoes and mobile phones and farms producing coffee, tea and cocoa. These campaigns have promoted the message to ordinary people that by becoming connected to unjust labour practices through their purchasing behaviour, they acquire special additional moral responsibilities to contribute to reforming such practices, or to address the hardships suffered by the victims of the wrongdoing that result from them. The moral significance of the responsibilities of individual consumers has not, however, received much analytical scrutiny. Why should we believe that there are such responsibilities? And if there are such responsibilities, what are their grounds? How stringent are the responsibilities triggered by such connections? Finally, what are the implications of such responsibilities—the courses of action that they prescribe or proscribe? The activists who assert special ethical responsibilities for consumers have promoted many particular courses of action, but have seldom articulated the grounds of these responsibilities or explained why they should be taken to be stringent. And moral and political theorists have not devoted much focussed attention to this issue. For the consumer who is concerned to act in a morally permissible way, this presents a troubling practical challenge regarding the goods they may (or may not) purchase, and the moral relevance of their consumption choices more generally. While we cannot address all of these pressing questions in this chapter, we try to make some headway with them by discussing two general approaches to the question of how individuals should conceive of their responsibilities with respect to such practices, taking as our starting point the recent work of the late Iris Marion Young—the most sustained treatment of this topic by a prominent political theorist. In a series of influential articles and a posthumously published book, Young articulated an approach to conceiving of individual responsibilities to address labour injustices—the social connection model—at home and abroad. She also argued that an alternative model—the liability model—which she claimed had dominated discourse on this topic, suffered from very serious flaws. In a critical vein, we will argue that Young’s arguments against the liability model are not convincing, and that the alternative she proposes is itself vulnerable to some damaging objections. We also find, however, that the liability model would need to be extended in various ways to provide an adequate account of individual responsibility to address shortfalls from minimally decent wages and working conditions, and we begin the task of sketching an extended framework. (shrink)

This book argues that external world skepticism is false for straightforward reasons. To make this case it develops and defends a neglected methodological approach involving a distinctive process of first-person reflection. We begin within the practices, procedures, and commitments of ordinary life and science. We then seek some reason to think skepticism true, carefully scrutinizing all the most important arguments. Finding no reason to think it true and decisive reasons to think it false, we reject it. As (...) the book shows, this is a fully satisfactory refutation. No epistemological theorizing is needed. The book begins by exploring and defending this method in seminal works of G. E. Moore and J. L. Austin. Turning to contemporary epistemology, it asks why we shouldn't appeal to considerations about the world when responding to skeptical argumentation. No good reason is found, despite exploration of a wide range of central issues in recent epistemology. To the contrary, perfectly ordinary examples indicate that it is correct to reject the skeptical scenarios - the dreaming worry, Descartes' evil demon, the brain-in-a-vat - by appealing to things we know about the world. Likewise, considerations about sensory perception do not provide any reason to think our evidence excludes considerations about the world. Along the way, methodological lessons are drawn from consideration of the most important skeptical arguments in the contemporary literature. The book concludes by defending the satisfactoriness of its approach. What emerges is a new understanding of what philosophical illumination might look like in relation to core epistemological issues. (shrink)

Much of recent philosophy of perception is oriented towards accounting for the phenomenal character of perception—what it is like to perceive—in a non-mentalistic way—that is, without appealing to mental objects or mental qualities. In opposition to such views, I claim that the phenomenal character of perception of a red round object cannot be explained by or reduced to direct awareness of the object, its redness and roundness—or representation of such objects and qualities. Qualities of perception that are not captured by (...) what one is directly aware of or by representational content are instances of what Gilbert Harman has called “mental paint” (Block, 1990; Harman, 1990). The claim of this paper is that empirical facts about attention point in the direction of mental paint. The argument starts with the claim (later modified) that when one moves one's attention around a scene while keeping one's eyes fixed, the phenomenology of perception can change in ways that do not reflect which qualities of objects one is directly aware of or the way the world is represented to be. These changes in the phenomenology of perception cannot be accounted for in terms of awareness of or representation of the focus of attention because they manifest themselves in experience as differences in apparent contrast, apparent color saturation, apparent size, apparent speed, apparent time of occurrence and other appearances. There is a way of coping with these phenomena in terms of vague contents, but vague contents cannot save direct realism or representationism because the kind of vagueness required clashes wth the phenomenology itself. (shrink)

Artworks are attentional engines, or artifacts intentionally designed to direct attention to formal features that are diagnostic for their artistically salient aesthetic, expressive, and semantic content. This is nowhere more true than the movies. Moving pictures are constructed from a suite of formal and narrative devices carefully developed to capture, hold, and direct our attention. These devices are tools for developing content by controlling the way information is presented throughout the duration of our engagement with a movie. (...) In this respect moving pictures are analogous to visual routines used to direct and bias attention in natural behavior - they are artifacts used to deliver information on the fly as it is needed for the development of the narrative. This article reviews some of the fundamental devices movie makers use to discharge this function - such as variable framing and criterial prefocusing – and discusses their relation to our underlying cognitive, affective, and neurological architecture. These formal devices are designed to guide and control salient aspects of viewers behavioral responses to mass market movies. Therefore, we argue that it is no surprise to discover that that they are fine tuned to the architecture of emotion, perception, and cognition. (shrink)

[File is the introduction to the monograph] -/- Abstract to monograph -/- How and whether thinking affects perceiving is a deeply important question. Of course it is of scientific interest: to understand the human mind is to understand how we best distinguish its processes, how those processes interact, and what this implies for how and what we may know about the world. And so in the philosopher’s terms, this book is one on both mental architecture and the epistemology (...) of perception. But there is a more human interest. How we make contact with the world, and with one another, is of the most basic of importance. We can make both sensory contact and cognitive contact with the world. The first is traditionally supposed to be determined by the biological nature of our sensory systems, while the second is at least partly determined by us, what we have learned, our experiences, and so on. The most basic claim of the book is that this is mistaken and importantly so. Our sensory contact with the world can also change and in a way that is importantly affected by the cognitive contact that we have, or have had, with the world. Thinking does not just affect perceiving, thinking improves perceiving. If this is true, it changes not only how we should theorize the mind, it changes how we should understand, as individuals, our place in and contact with the world. (shrink)

Because psychological studies of attention and cognition are most commonly performed within the strict confines of the laboratory or take cognitively impaired patients as subjects, it is difficult to be sure that resultant models of attention adequately account for the phenomenon of effortless attention. The problem is not only that effortless attention is resistant to laboratory study. A further issue is that because the laboratory is the most common way to approach attention, models resulting from (...) such studies are naturally the most widely propagated, these models naturally tend to be biased toward features of attention most amenable to laboratory study, and these models by their implications set the agenda for future study that leads back to the laboratory. In this self-reinforcing system, features of attention not amenable to laboratory study are naturally neglected by researchers. In this chapter, I suggest an alternative model of attention as a heuristic for opening paths to further profitable research. The features of attention emphasized in this model are not new, but the synthesis is novel and sheds some light on issues relevant to the topic of effortless attention. I begin with the five following observations: -/- 1. One naturally pays attention to a task of current interest. 2. There are (at least) two distinct modes of attention—selective and diffuse. 3. Attention is a constantly shifting avenue for the assimilation of information. 4. Information is not forced in from outside but is captured through internal sensitization. 5. Human information processing is fundamentally syntactic. -/- Combining these five observations yields an explanatory model of attention that is not only consistent with the data from the many studies on attention in recent decades but also allows us to investigate the neglected phenomenon of effortless attention. The model relies on the notions of apertures, draw, and syntax and is explicated by addressing each of the above observations in turn. In the final part of the chapter, I explore how the model expands our understanding of effortless attention. (shrink)

Our perception of the world and our relationships with other people are not, I argue, distinct activities. Focusing, first, on Merleau-Ponty’s description in the Phenomenology of Perception of his playful interaction with an infant, and, second, on contemporary research on the phenomena referred to as neonate imitation, joint attention, and mutual gaze, I argue that perception can be a collaborative endeavor. Moreover, this collaborative endeavor, which is definitive of both infant and adult perception, entails trust; our trust in (...) others is not simply a feeling that we perceive but also a way of perceiving. As infants, our trust in others is our perception of the world we share with our caregivers as the world we will also share with others; it is our perception of the world we share with our caregivers as real. As adults, we live our trust in others by perceiving the objects that surround us in ways that protect, rather than damage, the shared worlds that we create in our relationships with them. (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

1施莱尔玛赫 contribution to the development施莱尔玛赫for hermeneutics in the development of Historically hermeneutics In order to make a decisive turn when he made ​​the future "general hermeneutics" , hermeneutics will be applied to all text interpretation. When the traditional hermeneutics contains In order to understand, description and application,施莱尔玛赫the attention is hermeneutics as "the art of understanding." 施莱尔玛赫also introduced the interpretation of psychology, can penetrate the text by means of its author's individuality and flexibility soul. He wanted to become a systematic (...) hermeneutics, and criticism of previous hermeneutics is "the rules of the merger," and the lack of coherence. Wu Ning speaking, they deal with different issues is a combination of methods. 施莱尔玛赫hermeneutics points to avoid misunderstanding of the text. This part is up to the final discussion of施莱尔玛赫criticism of the United States. 2. Dilthey contribution to the philosophical hermeneutics of Dilthey on施莱尔玛赫In order to write the thesis, including In order to Protestant hermeneutics history, from the Reformation to the future as a second reference books. He was a learned scholar and has been on many topics regardless above. For our purposes, Dilthey is a philosopher with a passion for life, he was placed In order to humanities and social sciences and natural sciences in an established full equality of points, by the foundation on the hermeneutics In order to develop a basic methodology. But in the science competition, he was seeking "Allgemeingultigkeit", a universal validity, to do so In order to give him too much towards the foundation to the scientific methods of thought. He is still a major development of the character of philosophical hermeneutics. 3 Heidegger before and on philosophical hermeneutics, "and there is time" contribution to the development of philosophical hermeneutics is the decisive shift in Heidegger, born with the future, there are original philosopher The early works. He Freiburg Hu plugs Seoul assistant, and in the phenomenological Hu stopper Seoul In order to create a useful set up beyond the traditional methods of philosophy, but he is still too dependent on science Hu stopper Marco effectiveness. Part I: description of the evolution of the early Heidegger: "ontology - the fact of hermeneutics," the book published after the death of Heidegger was published in 1999, English translation, Heidegger in this series by the fact that the ontology of hermeneutics In order to give us a hermeneutic understanding of his meaning. In order to avoid the traditional hermeneutics of his meaning, In order to return to the ancient hope臘hermeneueinc and hermeneia idiom. He attempts to go beyond the limits of contemporary objects, through the period of return to the ancient hope臘general language idioms. Hermeneutic encounter with the interpretation of Homer's description of the mouth, publish, translate and interpret. His description of historical hermeneutics in the pull-down maps and sub ​​Lane Park after a groundbreaking Aristotle hope臘idioms in the loss of richness and decline. But the hermeneutics of Heidegger speaking the method is close to something, such as early speech hermeneutics In order to approach closer to the truth of it is understandable the former interpretation of this domain as there face life. For this last hermeneutics as the method of self-understanding, but in a letter to his students Engelbert Kerbs letter, Heidegger also emphasizes the history In order to recognize the character. Us from our understanding of historical context, our understanding of the structure is formed by shaping the concept of history and even our language. In Dilthey's hermeneutics, he also stressed that understanding the historical basis. From Dilthey to Heidegger this view. Heidegger in his speech defines hermeneutics as "the fact of participation, close, and descriptions of the same interrogation methods." Hermeneutics is the interpretation of not only understanding knowledge as a negative process, but active participation, interrogation and close. Fact of itself is interpreted, it is through understanding the questions and answers something. Heidegger back to the necessary conditions for our understanding of factors, understanding of "the former structure." He describes some part of the former, is awareness and understanding of nature, we understand something "to" something, and we understand it in a specific historical context. Further more, we expect to understand it in the presence of a sight, not a determining sexual arousal by the sight, by the basic problems of the future horizon, it is "the possibility of there," the sight, for there is a special special possible time horizon. These early works of Heidegger has been found there the possibility of meaning. We all都leadership to a new concept of the humanities. In addition, as a rational animal, as Aristotle said sub-Lane, who is of a future there may not be included, including the timing of there. People are looking to understand their own there. Instructions to Heidegger, hermeneutics offers a new concept for the person's point of view. Part II: there and time hermeneutics is first mentioned in the "there and the time," Section VII, Heidegger phenomenology has been interpreted as if it is. In order that he found "the meaning of phenomenological description as a way to rely on hermeneutics, phenomenology of this and some of the logos have hermeneuein the characteristics of this phenomenology is to use some basic meaning of the word hermeneutics, it indicates the work In order to interpret . "In the second sense, Heidegger found in hermeneutics裡are there for the meaning of this method of exposing the shield. The third meaning is the interpretation of this promising continuous manner so that its future is possible, it's future there. Section 31 of hermeneutics is important, because there is some understanding that is. Understanding the process is the center of human existence, in Section 32 entitled "interpretation and understanding," understanding the interpretation built on. Visit the world around it and understand things as this or that, always never as pure consciousness. As Heidegger said, "always had to watch as the ability to understand and interpret", in other words, there is no precedence in the interpretation of pure consciousness, there is always ask questions and interpretation of the visual field. Section 44, regardless Heidegger also true about management, in its modern form as a true statement, is always carried a deeper understanding and interpretation of the export process. But the really right is defined as the management there has been an associate of knot, so it access to basic ontology of sight. It is obvious that there's open, this hole is to guide him toward the police point of view of the artistic part of the next lecture will be discussed. This lecture primarily presents the two early works of Heidegger in which hermeneutics plays a definitive role. As background, the contributions of Schleiermacher and Dilthey are presented briefly before going into Heidegger's contribution. Ⅰ. Schleiermacher's Contribution to the Development of a Philosophical Hermeneutics Schleiermacher made a decisive turn in the history of hermeneutics when he proposed a "Universal Hermeneutics," a hermeneutics that would apply to all kinds of text interpretation. While traditional hermeneutics included moments of understanding, explication and application, Schleiermacher focused on hermeneutics as the "art of understanding . "Schleiermacher also introduced psychological interpretation whereby one tried to penetrate the individuality and soul of the author of a text. He wanted hermeneutics to be systematic, and he criticized previous hermeneutics for being only an" amalgam of rules "and lacking systematic coherence. Rather , they were methods for dealing with an array of different kinds of problems. Schleiermacher's hermeneutics was directed at avoiding misunderstanding of the text. At the end of this section Gadamer's criticisms of Schleiermacher will be discussed. Ⅱ. Dilthey's Contribution to Philosophical Hermeneutics Dilthey wrote his dissertation on Schleiermacher and included a history of Protestant hermeneutics since the Reformation as a second companion volume. He was a broadly educated professor and wrote on many topics. For our purposes, Dilthey was a life-philosopher with a passion for placing the Humanities and Social Sciences on an equal footing with the Natural Sciences by developing a basic methodology for them based on hermeneutics. But in competing with the sciences, he sought an "Allgemeingultigkeit," a universal validity, and in doing so he tended to give too much ground to the way of thinking in the sciences. Still, he is a major figure in the development of philosophical hermeneutics. Ⅲ. The Contribution of Martin Heidegger to Philosophical Hermeneutics before and in Being and Time The decisive turn in the development of a philosophical hermeneutics came in the early writings of Martin Heidegger, a radical and original philosopher. He was in Freiburg an assistant to Husserl and found in Husserl's phenomenology a useful way of overcoming traditional philosophy, but he still found Husserl too preoccupied with scientific validity. Part Ⅰ: Heidegger's Early Lectures: Ontology-the Hermeneutics of Facticity A posthumously published and translated set of Heidegger's lectures on ontology in terms of a hermeneutics of facticity gives us a sense of his understanding of hermeneutics. He bypassed the traditional sense of hermeneutics and went back to the Greek usage of hermeneuein and hermeneia. He attempted to overcome the limitations of modern objectivity by returning to the usages current in ordinary language in ancient Greece. There hermeneutics meant orally interpreting Homer, announcing, translating, and explaining. His account of the history of hermeneutics after Plato and Aristotle is a history of decline and loss of the richness found in Greek usage. But hermeneutics for Heidegger meant a means of access to something, and in these early lectures hermeneutics became an interpretive means of access to facticity, to the realm of pre-interpretive understanding as Dasein faces life. Ultimately hermeneutics became a means for the self-understanding for Dasein. But in a letter to his student, Engelbert Krebs, Heidegger also emphasizes the historical character of cognition. We understand from our situation in history, and our understanding is structured by historically shaped concepts and even our language. Dilthey, too, emphasized the historical matrix for understanding in his hermeneutics, and Heidegger took this up from Dilthey. Heidegger defined hermeneutics in the opening lines of the lectures as "the unified manner of the engaging, approaching, accessing, interrogating, and explication of facticity." Hermeneutics as interpretation is not just understanding as a passive process of cognition but an active engaging, interrogating, and accessing. Facticity itself is interpretive in that it sees what something is through question and answer. Heidegger is stepping back into the factors that precondition our understanding, the "forestructure" of understanding. This forehaving, he says, belongs to the very nature of knowing and understanding. We see something "as "something, and we see it in a specific historical situation. Furthermore, we see it in an existential horizon of expectation, a horizon haunted by uncertainty, by the" fundamental questionability of the future, that is of "possible being," of what is possible for this particular being at this particular time and place. Already in these early works Heidegger finds in the sense of what is possible being, a sense of "ontic questionability, care, restlessness, anxiety, temporality." All of this leads to a new conception of humanity. Instead of being an animal endowed with reason, as in Aristotle, a human being is a being with a possible future, a being with temporality. Humans are beings seeking to know themselves. Hermeneutics, Heidegger says, offers the standpoint for a new conception of the human being. Part Ⅱ: Being and Time The first mention of hermeneutics is in section 7 of Being and Time, where Heidegger is already interpreting phenomenology as letting what is show itself. He finds that " the meaning of phenomenological description as a method lies in interpretation. The logos of the phenomenology of Dasein has the character of hermēneúein. The phenomenology of Dasein is a hermeneutic in the original signification of the word, where it designates the work of interpreting. "In a second sense, Heidegger finds in hermeneutics a means of uncovering the meaning of being for Dasein. And the third sense is the interpretation Dasein as continually making its future possibilities, its future being. Section 31 is important to hermeneutics because there the being of Dasein is said to be understanding. Understanding is the central process of an existing human being. In section 32, titled "Understanding and Interpretation," interpretation builds on understanding. It looks around at the surrounding world and sees things as this or that, always already , never as pure perception. As Heidegger puts it, "The seeing of this sight is always already understanding and interpreting." In other words, there is no pure perception prior to interpretation; there is always the horizon of questioning and interpreting. In section 44, Heidegger argues that truth, too, in its modern forms as statements which are true, is derivative from the deeper processes of understanding and interpreting that are always already going on. But when truth is rightfully defined in connection with being, then it moves into the horizon of fundamental ontology. It is the disclosure of being. This insight is part of what leads him to his view of art, which we will discuss in the next lectur. (shrink)

Cosmopolis A Review of Cosmopolitics -/- 2015/3-4 -/- Editorial Dominique de Courcelles & Paul Ghils -/- This issue addresses the general concept of “spirituality” as it appears in various cultural contexts and timeframes, through contrasting ideological views. Without necessarily going back to artistic and religious remains of primitive men, which unquestionably show pursuits beyond the biophysical dimension and illustrate practices seeking to unveil the hidden significance of life and death, the following papers deal with a number of interpretations covering (...) a wide field extending from belief to theory, from emotions to concepts, from the wisdom of personal experience to the most sophisticated doctrines. Spirit and spirituality are indeed many-faceted notions. They may refer to the intricate world of the interacting spirits which inhabit living beings in animistic traditions, without excluding a “grand force” linking human beings within a dynamic whole on which their very existence rely . They also bear upon more atomistic and either/or approaches of Western philosophy, which have become embodied in Cartesian dualism against a monotheist background, to the point of freezing the essence of individuals and culminating in the extreme individualism that characterizes our contemporaries. However, this equally refers to the opposite conception of materialism, across times and cultures, from ancient India and Greece (Cārvāka, originally known as Lokāyata, or some Buddhist doctrines for the former, Democritus or Lucretius for the latter) to more contemporary materialistic schools, whether modern or postmodern. -/- The following papers look at the contrasting forms of the philosophy and spirit of the human factor set into a whole, with no artificial disjoint between the psychical and the physical levels, as Wittgenstein put it: “And how can a body have a soul?”. This approach is not unrelated to the notion of anthropocene examined in a recent issue of Cosmopolis, with provides another comprehensive framework open to a spiritual life emerging from the very environment that generated it. -/- *** The first section of this issue was edited by Dominique de Courcelles, director at the National French Research Centre (CNRS), whom we wish to thank for collecting relevant studies relating to the religious and political questions, with a view to focusing on the war of ideas inevitably waged behind images, concepts and perceptions, taking an asymmetrical approach. To the extent that they are mindful of global/local interactions and include representations, opinions and beliefs, such disciplines as philosophy, philology, history and social sciences can provide useful studies accounting for new practices in geopolitics and a fair diplomacy. -/- In her introduction, Dominique de Courcelles first poses the question of how the religious and political spheres interrelate, with their corresponding religious demands and humanistic values. She then suggests that the right question today may be breaking with the philosophy of human rights concerned with the defense of human beings against the hazards of arbitrary politics or the instrumental use of religion, in favour of a fair philosophy of humankind, a new humanism. This would consist in recognizing a common loyalty of all towards one interhuman, not only interstate community, to protect it from both the autonomy demanded by individuals and the instrumental use of minorities. -/- Considering the fact of diversity, so important today in terms of both politics and religion, Abdelhai Azarkan looks at the conditions under which tolerance could obtain the double status of right and duty. He revisits to two philosophers, John Locke and Voltaire, who thought about it from the historical reality of religious wars. The former made tolerance into a right, basing his analysis on the political-legal level, while the latter saw tolerance as a duty, from an analysis based on ethical-political criteria. -/- Mathieu Guidère examines what he calls semantic denominationalism, a term which implies religious attributes and identities, whichever national loyalties or personal belonging they may have at the same time. Since the early 2000s, thie phenomenon has expanded tremendously, compounded by the “war on terror” and the over media-oriented terrorist actions. Denominational expressions act as formal names for ordinary and high-profile players in domestic and foreign policies of democratic states. These systems reveal a receding secularization, while the powerful comeback of religious identities signals the failure of nation-states and the weakening of the humanist spirit. -/- Barbara De Poli retraces the history of a contemporary jihadism claiming its Islamic essence and asserting the truth of genuine coranic principles via the war on infidels, with a view to restoring the Caliphate. After defining the term jihad, she shows that even if this contemporary jiadism is spreading in the Muslim world, it radically departs from Islamic law and the received use of the term jihad, in so far as it is rooted in the early radical thinking of Islamic ideologues in the 20th century, starting with with Hassan al-Banna, the founder of the Muslim Brotherhood. This current has been fueled by by international conflicts since the outbreak of the war in Afghanistan, in which the so-called Western countries bear a major responsibility. -/- Abderrazak Sayadi starts from the Tunisian experience to ask the question of humanist values and democracy within the relationships between the religious and political spheres. As a historian of religion, he is brought to demystify certain islamic principles and to paying attention to the reform of law, seeing the separation of religion and politics as a precondition to a successful democratic gamble and the establishment of a renewed humanism. -/- Dominique de Courcelles reminds us that getting a better knowledge of narrations and words makes it possible to better understand how logical and rhetorical thinking works for those who wage an asymetriccal war, re-enchanting and mystifying the world to better take control. As soon as 1932, an exchange of letters between Einstein and Freud made it clear that, in order to free man from fatality and war, education understood as culture was fundamental. Such illustrations as the exécution of Oussama ben Laden and the Caliph’s speech in Mossoul show that a premiminary analysis of images and words is essential to a fair diplomacy conducted by people from civil society, whose culture and wisdom allow justice and force to speak together and better resist war. -/- Marcel Boisard thinks that on the day the guns fall silent, exhausted by war, we will not return to the state borders that have prevailed for a century as an outcome of the Sykes-Picot agreement of 1916. It is time to prepare the “day after”, which will be a huge challenge. To this end, a summit of Middle-East nations is urgently needed to globally decide the fate of those peoples. On the condition that we know who the enemy is and accept to name it, to understand the history of the countries, groups and alliances, and to question any false or self-interested sense of certainty. -/- *** In the second section, Paul Schafer provides the author’s experiences to explain how culture, from the artistic to the biological, has the power to to open the doors to spirituality, from the inner self to the global environment. He asks himself whether a relative permanence of spirituality can arise from the specific moments that characterize it. Laurent Ledoux synthesizes the conclusion of a symposium held on 22 January 2015 on the links between philosophy and management, on the basis of the spiritual dimension conceived as “natural” and the answers it may suggest to the issues that face the organizations in a “contemporaniversal” world. Jacques Rifflet makes that question in a secular perspective, based on the wellsprings of personal commitment before it can be caught by any religious creed or scientific theory. In this sense spirituality, in alliance with reason, both inspires human consciousness and illuminates its destiny. Sami Aldeeb asks himself whether Islam can be reconciled with human rights. Caught between the belief in an absolute and final Word descended from the sky, and evidence showing that any religion is the creation of a given culture and a society situated in time and space, the Makkan and … contexts et médinois call for differentiated, if not opposite answers and exegeses. Bernard Carmona provides the outline of a dialogical framework, which is known to be a feature of debates between the various philosophical schools of classical India, exemplified here by the transdisciplinary perspective of debates within a Buddhist context. *** The articles not focused on the previous topic include a study by Landry Signé on China’s strategy, competing with the United States to control African resources. The author deals with the specific case of China’s rapprochement with Southern Sudan since Sudan was broken up. In the last paper, Goran Fejić and Rada Iveković, return to the essential role that women should play, and comments upon the role of some international legal instruments related in particular to the elimination of all forms of discrimination. The perspective is transnational and transethnic and is based on secular criteria, as regards nation-building and more generally society-building. Considering the persistence of widespread violence, whether in times of armed conflict or in times of peace, the question remains whether it is possible to fully implement rights and justice instruments. (shrink)

Brain implants, such as Deep Brain Stimulation (DBS), which are designed to improve motor, mood and behavioural pathology, present unique challenges to our understanding of identity, agency and free will. This is because these devices can have visible effects on persons' physical and psychological properties yet are essentially undetectable when operating correctly. They can supplement and compensate for one's inherent abilities and faculties when they are compromised by neuropsychiatric disorders. Further, unlike talk therapy or pharmacological treatments, patients need not (...) ‘do’ anything for the treatment to take effect. If one accepts, as we argue here, that brain implants are unique among implantable types of devices, then this can have significant implications for what it means to persist as the same person and be the source of one's thoughts and actions. By examining two of the most common indications for DBS in current use, namely in the motor (Parkinson's Disease) and psychiatric (Major Depression) domains, we further argue that although DBS, as it is currently applied, does not necessarily represent a unique threat to personal identity and agency per se, it introduces an unprecedented ‘third party’ into the debate on these concepts. In this way, DBS can be used as a tool to begin probing, both conceptually and empirically, some of philosophy's most perennial metaphysical questions. (shrink)

This book draws on Iris Murdoch's philosophy to explore questions related to the importance of attention in ethics. In doing so, it also engages with Murdoch's ideas about the existence of a moral reality, the importance of love, and the necessity but also the difficulty, for most of us, of fighting against our natural self-centred tendencies. Why is attention important to morality? This book argues that many moral failures and moral achievements can be explained by (...) class='Hi'>attention. Not only our actions and choices, but the possibilities we choose among, and even the meaning what we perceive, are to a large extent determined by whether we pay attention, and what we attend do. In this way, the book argues that attention is fundamental, though often overlooked, in morality. While the book's discussion of attention revolves primarily around Murdoch's thought, it also engages significantly with Simone Weil, who introduced the concept of attention in a spiritual context. The book also engages with contemporary debates concerning moral perception and motivation, empirical psychology, animal ethics, and Buddhist philosophy. The Ethics of Attention will be of interest to researchers and advanced students working on Iris Murdoch, Simone Weil, ethics and moral psychology, and the philosophy of attention. (shrink)

Among the reasons that Whitehead is such an interesting philosopher is that his work resonates across philosophical traditions. This collection develops connections between Whiteheadian concepts and recent European thinkers. The purpose is not simply to compare, however, but, as editor Jeremy Fackenthal suggests, to develop a Whiteheadian thinking “in tandem” with European philosophers in order to create disruptions or “dislocations” in thought that can engender creative approaches to contemporary problems.One general feature of the book deserves mention at the outset, (...) though I will return to it later in the review: although phenomenology and hermeneutics are each represented in the volume, roughly half of the essays focus on the work of Gilles Deleuze (if we group these together with essays focused on “new materialism,” which is connected with Deleuze, the proportion is more like two-thirds). This will be no surprise, since Deleuze is the European philosopher who was most appreciative of Whitehead. And yet, the result is that the conversation with “continental philosophy” is highly selective.The book is organized into three parts, each comprised of three essays. In part 1, “Technological and Systematic Dislocations,” William S. Hamrick brings Whitehead into conversation with Maurice Merleau-Ponty's concept of “the flesh” to suggest an ecological ontology capable of overcoming the instrumentalization of nature. Hamrick's strategy is to read Whitehead and Merleau-Ponty as contributing to an “ontological foundation” for a sustainable civilization (18). Bo Eberle writes about the “quantified self” suggested in new, wearable self-monitoring technologies. Drawing on Whitehead's notion of causal efficacy, Eberle argues that devices such as Fitbit give us access to bodily states that bypasses the standard ways we are aware of ourselves (i.e., through consciousness). He goes further to argue that, like all ways of knowing, wearable technologies are selective, and that the selection reflects the interests of the manufacturers and promotes a certain kind of subjectivity (in the case of Fitbit, a subjectivity that is oriented toward “getting your steps in”). Whitehead's epistemology thus enables the critic of wearable technologies to understand how contemporary experience and self-understanding is shaped not simply by recent technological mediations but by the material interests embedded in them. J.R. Hustwit and Carl Dyke take on what they call “activist” uses of Whitehead that naively (in their judgment) suggest that a non-relational substance metaphysics is to blame for most of our social ills. They employ the theory of complex adaptive systems in conversation with Whitehead and Antonio Gramsci to show that, in fact, achieving significant social change is far more difficult and even unpredictable than mere insertion of better ideas into public discourse. Dominant hegemonies have ways of adapting and absorbing attempts to undermine them. Here Hustwit and Dyke draw on the philosophy of Paul Ricoeur to suggest that resistance to the dominant hegemony is nevertheless always possible because of the vagueness of discourse, allowing a plurality of competing interpretations and thus fractures in the dominant hegemony. However, even this kind of resistance is impossible to control and its effects incapable of being entirely predicted. To the essay's titular question, “Can Whitehead save the world?” the authors answer, “No.”In part 2, “Animal/Human Dislocations,” Jeremy Fackenthal draws on the new materialism of Rosi Braidotti (and Deleuze) along with Whitehead to argue for a “process-relational” nomadism that culminates in a “becoming-imperceptible.” His reading together of Whitehead and Braidotti creates the opportunity to recast the former's concept of objective immortality in such a way that it does not refer to death so much as to being diffused into a relational network. The satisfaction of an actual occasion may be taken as its translation into its effects among its relations. Fackenthal argues that this becoming-imperceptible makes possible a sustainable presence within a fragile network of life. Deena M. Lin uses Whitehead, Braidotti, and Judith Butler to lay out a vision of human life as precarious and deserving attention, care, and solidarity. She presses this vision as a direct moral assault on US (Trump's) policy toward Syrian refugees. Going further, she draws on Braidotti's posthuman account of zoe to argue for universal connection and solidarity with all life that should foster, as the title of her essay puts it, “Welcoming of Syrian Life.” Tano Posteraro offers an intriguing essay drawing on Jakob von Uexküll's account of animal experience. Posteraro argues that Uexküll's notion of an animal's Umwelt, shaped by its distinctive perceptual apparatus, needs to be supplemented by Whitehead's notion of prehension to account for the active dimension of animal perception. Rather than a passive registering of animal environments, Posteraro argues that the latter are constructed, and that concepts (or conceptual prehensions) should be understood as tools with which such environments are constructed.In part 3, “Time, the World, and Abstraction,” three essays probe ways that Whiteheadian and Deleuzian themes may resonate critically and constructively. Kris Klotz brings the thought of Whitehead and Deleuze together to inquire about how alternatives to present social forms are envisioned. He argues that, for Whitehead, every actual occasion involves a selection of some features of the past, and, further, that every selection is also an abstraction from the concrete welter of influences impinging on it. For Whitehead, then, to envision alternatives involves a critique of abstractions, a reinstatement of the concrete plurality of possibilities. This, for Whitehead, is what rationality does: it works at restoring the concrete, and, with it, a series of alternatives that have been eclipsed. To this Whiteheadian analysis, Klotz adds Deleuze and Guattari's critique of “opinion.” For Deleuze and Guattari, opinion is not an idiosyncrasy but a consensus to which differences of experience are subjected. Philosophy, for Deleuze and Guattari, must always struggle against opinion in order to bring alternatives to light. These conceptions of reason/philosophy, Klotz argues, represent useful ways to critique inequalities and other social wrongs that are embedded in the social forms that are routinely taken for granted. Elijah Prewitt-Davis uses a scene from Buffy the Vampire Slayer, along with philosophical innovations of Foucault, Deleuze, and Whitehead, to offer a distinctive account of power. Prewitt-Davis calls attention to Deleuze's important book on Leibniz, The Fold, and to how Whitehead's concept of prehension lies at its center. The upshot is that power is not reduced to dominance but, instead, is at work wherever any occasion of experience persists amid the onslaught of the influence of other occasions. Power, as Deleuze wrote, is the capacity to be affected—and to decide how to constitute oneself anew. Keith Robinson offers a detailed account of Whitehead's epistemology along with a reading of Deleuze's analysis of temporality to suggest that there is a common trajectory that seeks to undermine what the title of the essay describes as the “Bifurcation of Nature” (i.e., the separation of natural phenomena and human experience) within the dominant Western philosophical tradition.There is much of value in the volume as a whole. Aside from staging what Spinoza might have called good encounters between Whitehead and a number of continental philosophers, enhancing the conceptual power of each, the contributors are able to make a case that these philosophical trajectories, when read together, have much to contribute to our understanding of and response to the pressing issues of the day. In addition, readers who are interested in the relationship between Whitehead and the new materialism will find this volume to be a helpful resource, stocked with fine examples of how to sharpen new materialist thinking with Whitehead and how to read contemporary contexts through these lenses. On the other hand, this book is not a handbook nor a comprehensive reference. The organizational logic behind its division into sections is murky and the amount of attention given to particular continental philosophers as opposed to others appears somewhat arbitrary: there are recent continental philosophers who get little to no attention at (Derrida, Malabou, Žižek, Agamben, Latour, Nancy, for example), several of whom might prove to be quite interesting to read “in tandem” with Whitehead. Perhaps that is just to say that there are many more essays to be written. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Subtlety and Moral Vision in FictionEileen JohnIIn Martha Nussbaum’s work in Love’s Knowledge, the subtlety of literary fiction is given a prominent role in explaining literature’s moral influence. 1 Nussbaum argues that the subtlety displayed in certain works of literary fiction can help readers develop habits of perception such that they will perceive their actual moral world more finely and respond to it with a more nuanced range of (...) feeling. We are encouraged to perceive in this way both by encountering good examples of subtle, sensitive moral agents, in characters such as James’s Maggie Verver in The Golden Bowl, and by undergoing the perceiving, responding activity that can be required of a reader. The overarching assumption is that, as moral agents, we need finely-tuned perceptions and felt responses if we are to pick up on the morally relevant elements of our circumstances. We cannot count on finding bold, neat and regular moral patterns to follow; we are rather likely to find ourselves in a complex web of particular contexts, each demanding special moral attention. 2Nussbaum develops these claims in close conversation with the fiction and literary essays of Henry James. 3 Through examples from his novels, she illustrates and elaborates upon the ideal he points to in his essays, the ideal of “being finely aware and richly responsible,” of being a person “on whom nothing is lost.” 4 It seems quite appropriate to dwell on the works of Henry James as displaying—and as demanding from readers—a finer discrimination of elements of experience than we [End Page 308] ordinarily achieve. Discussing the “we” of James’s readers (and leading with a phrase of James’s), Nussbaum puts it: “‘Participators by a fond attention’ in the lives and dilemmas of his participants, we engage with them in a loving scrutiny of appearances. We actively care for their particularity, and we strain to be people on whom none of their subtleties are lost, in intellect and feeling” (p. 162). Having experienced this as readers, we are supposed to be better prepared to approach our own lives and dilemmas with equally scrupulous and caring attention.In general, I am less confident than Nussbaum about the connections between responsible reading of excellent fiction and the pursuit of a responsible moral life. The effects of intense appreciation of fictional moral contexts on real-life decision-making and action are probably quite indirect, requiring encouragement from real-life experiences, from practice with situations in which we have something at stake. But for the moment, I want to develop a suggestion that assumes, in agreement with Nussbaum, that one may take habits of perception learned as a reader and make them count in one’s larger moral life—albeit with reinforcement from one’s judgments and actions in that life.My suggestion involves seeing literary fiction as sometimes playing a subversive role with regard to subtlety. In saying that literary fiction can be “subversive” of subtlety, I am trying to capture the ways in which reading fiction can disrupt a working standard of subtlety. Works of fiction do not provide “normal” perceptual fields, and readers do not approach them with precisely “normal” perceptual habits, so, roughly stated, the reader-fiction interaction has plenty of potential for disrupting epistemic standards of subtlety, bluntness, opacity and so forth. I will illustrate two sorts of subversions of subtlety with an example from Toni Morrison’s The Bluest Eye. In one case, I will argue that the subversion of the standard of subtlety has moral import—this will provide a case to contrast with Nussbaum’s Jamesian examples.By bringing in an example from a non-Henry James novel, I hope to open up the discussion of moral vision in fiction to encompass epistemic qualities besides subtlety. It does not seem that the ideals of subtlety, fine awareness, and missing nothing can be the only epistemic qualities which serve to support literary works’ moral influence. 5 Nussbaum herself acknowledges that, by focusing on one literary paradigm, she pursues only one strand of a larger project (pp. 45–46). Since I here consider just one example from a different style of novel... (shrink)

From a largely Western phenomenon, the “animal turn” has, in recent years, gone global. Animals and Human Society in Asia: Historical, Cultural and Ethical Perspectives is just such a timely product that testifies to this trend.But why Asia? The editors, in their very helpful overview essay, have from the outset justified the volume's focus on Asia and ensured that this is not simply a matter of lacuna filling. The reasons they set out include: the fact that Asia is (...) the cradle of early human settlement and animal domestication; Asia encompasses an extreme diversity of closely connected ecosystems and human cultures; Asia is the place where the world's major religions originated; and, as in other parts of the world, Asia's use of animals for food and other utilitarian purposes constitutes a prominent feature of its culture. All of these factors, they argue, made Asia a unique lab for the exploration of major developments in human civilization and the complexities of human-animal interactions.Based on these premises, the book is divided into four parts, each concentrating on areas that the editors consider to have paramount significance in world history: Part I, “Hunting and Domestication”; Part II “Animals as Food”; Part III “Animals at War”; and Part IV “Animals in Culture and Religion.” As many good works on animal studies do, the volume adopts a truly cross-disciplinary approach, uniting scholars from disciplines as diverse as archaeology, history, anthropology, art, religion, literature, and cultural studies. It too takes an interregional approach and covers a vast geographical area, stretching from the western edge of Asia in the Levant to Central Asia, where once roamed the horses of the nomadic pastoral tribes, to the other end of Asia, including India, China, and Japan. Temporally impressive as well, the work takes us from the deep history of the Paleolithic period up to the contemporary world, exploring the diverse roles that a wide range of animals—horses, donkeys, camels, elephants, tigers, and so forth—have played in Asia's rich and unique past and present.Strong in archaeology, Part I, “Hunting and Domestication,” responds to the much-called for “deep” or “coevolutionary” history of human-animal relations in recent years. The three chapters discuss, respectively, the roles that proboscideans have played in the diet and culture of early societies in Paleolithic China and beyond; the ways in which animals of all sizes have been increasingly integrated into the diet, daily uses, trade, and warfare in Holocene Negev; and the diversifying roles played by donkeys in the early Bronze Age in Southern Levant as a food source, a means of transport and in ritual sacrifices. Together, they demonstrate, with reference to telling archaeological evidence how the early societies in this region have been highly dependent upon the increasingly sophisticated interactions with and uses of mega-herbivores in the protracted and by no means clear-cut transition from hunting and herding towards the agricultural way of life, affirming the co-existing and co-constituting relations between humans and other animals in the deep past of Asia.The chapters in the section on “Animals at War” equally reveal the crucial roles that animals have played in the military sphere, as either a practical war technology or a show of military power. “Elephants in Mongol History” revisits the thesis of elephant-mounted troops in South and Southeast Asia as a barrier to Mongol expansion. Through its lively account of the pivotal battles in Mongolian history, especially that against India and China, it illustrates with great success the complex interactions between animals (especially elephants, horses, and humans), technology, and the geographical environment, which jointly exercised their influence on the outcome of warfare and degree of success of political rule. Turning away from the dynamic of warfare, the following two chapters explore the biopolitical question of the management of the horse as a bio-resource in the Mamluk Sultanate of Egypt and Syria (1250–1517) and early Ming Dynasty China, respectively. The first one places its focus on the breeding, procurement, and feeding of the horse subjects in question, while the latter concentrates on the human organization of various resources for the upkeep of government horses—a conventional area of study called “horse administration” in the institutional history of the government in China.The last section, “Animals in Culture and Religion,” examines the changing images of apex predators, such as lions and tigers, in Buddhist perceptions from South Asia to East Asia; the cult of the Horse King in late Imperial China; and the significance of animal signs in Mongolian historiography. They represent an established approach in animal studies that seeks to understand different aspects of human culture through symbolic or metaphorical animals. Instead of treating the animals discussed as mere abstractions, which has been a frequent criticism of works that adopt this approach, the relations between the symbolic animals and their prototype in the natural world were attentively explored. The essay on the cult of the Horse King, for example, closely links the wax and wane of the cult since late imperial China with the changing use and subsequent disuse of the actual horses in agriculture, transportation, commerce, and quotidian life. Yet, classic as these essays on symbolic animals are, one does feel slightly unsatiated when coming to the end of this section, which also marks the end of this volume. Having been reminded early in the introductory essay that Asia was “a major site for the emergence of moral teachings and ethical guidance on the treatment of animals” and how this legacy “still affects the lives of billions of humans to this very day,” one feels naturally rather let down that no article in this volume directly addresses this vital ethical dimension, especially since it belongs to a series on “animal ethics.”Indeed, regarding the task of placing either the nonhuman animals or the ethical relations between humans and other animals center stage, the essays in this volume achieve only varying levels of success. Some authors exhibit a more acute awareness of what “animal studies” or “animal ethics” might entail epistemically and methodically and experiment by paying closer attention to the species-specific characteristics, experience, and agency of nonhuman animals in order to cast off the deified anthropocentrism previously ruled in humanist scholarship. However, others have made no such attempt. For example, in Part II of “Animals as Food,” an essay on the production and consumption of milk in contemporary China, albeit alert to the issue of health hazards to consumers, omits any consideration of the subject from the dairy cows’ perspective under the modern intensive farming system. Moreover, otherwise superb research on the tuna-fishing industry in Japan, with its insightful discussion of the nexus between knowledge economies and imperial politics, too passes over any discussion of the fate of the tuna, whether collectively as a group of living organisms containing 15 species or individually as animals with an embodied experience. One does ponder whether these essays would fit better in a volume on the cultural history of food or on the entwining history of knowledge production, economics, and politics, which conventionally position human interests at the center of research.Taken as a whole, this is an impressive volume that directs our attention to the hitherto understudied world of Asia in animal studies. The long durée, with its interdisciplinary and interregional approach, also most powerfully presents a past in Asia that could not have been the same without the participation of animals at every level, from everyday life to the shaping of cultural values, the construction of belief systems, the building of a national identity, and even the rise and fall of regimes. Scholars and students interested in expanding the frontier of our understanding of the world with a more inclusive “we” should find a wealth of interesting subjects on which to build further research. Finally, the volume also presents a fitting occasion for all scholars committed to animal studies to consider the grave challenge confronting the field that arose alongside its growing respectability and rapid expansion: Should it be oriented toward the destabilization of our previously anthropocentric conception of the world? Or should no such perimeter be imposed, as in this volume? The overall breadth and limitations of this volume leave one pondering this issue. (shrink)

I develop a nontheistic (quasi-)Berkeleyan idealism. The basic strategy is to peel away the attributes of God that aren't essential for role he plays in idealist metaphysics. God's omnibenevolence, his desires, intentions, beliefs, his very status as an agent ... aren't relevant to the work he does. When we peel all these things away, we're left with a view on which reality is a vast unity of consciousness, weaving together sensory experiences of colors, shapes, sounds, sizes, etc. into the (...) trees, electrons, black holes, and central nervous systems that fill the world around us. This phenomenal unity is governed by laws analogous to those posited by materialists, governing the unfolding of reality. I argue that if reality is fundamentally phenomenal in this way, we can give a unique account of perception that robustly captures direct realist intuitions of reality forming the "constituents" of our experiences: In perception, our finite unities of consciousness come to literally overlap with the unity of consciousness that is reality. I assess the unique virtues and challenges such a view faces, paying particular attention to the question of whether idealism entails a profligacy of physical laws. (shrink)

As a moral foundation for vegetarianism and other consumer choices, act consequentialism can be appealing. When we justify our consumer and dietary choices this way, however, we face the problem that our individual actions rarely actually precipitate more just agricultural and economic practices. This threshold or individual impotence problem engaged by consequentialist vegetarians and their critics extends to morally motivated consumer decision-making more generally, anywhere a lag persists between individual moral actions taken and systemic moral progress made. Regan (...) and others press just this point against Singer's utilitarian basis for vegetarianism; recently Chartier criticizes act-consequentialist vegetarianism by identifying many factors weakening the connection between individual meat purchases and changes in animal production. While such factors are relevant to act-consequentialist moral reasoning, I argue, they need not defeat the act-consequentialist case for vegetarianism and consumer ethics. This is shown by offering a probabilistic account of the threshold issue and discussing the positive and negative role-modelling effects of our morally motivated dietary and consumer choices. (shrink)

The primary intention of this book is to elucidate the relations between sensory perception and art as a form of knowledge. This enables us to understand how different kinds of art are given their meaning not only from observation, resemblance and reason but also from an artist’s sensitivity to the inner form of sensory experience as it is realized in perception, reflection, memory and imagination. By assuming a number of different points of view, Part 1 shows (...) how the physical object and the act of sensory perception are logically interdependent, and I give my elaboration of this argument two kinds of emphasis. In the first place, it opposes all arguments that support a merging of the mental and physical, as in idealism, materialism, neutral monism and panpsychism. A conceptual distinction is observed because sensory perception gives the physical object its identity. This idea also implies that the physical object is only realized by sentient life - self-aware inner life and a world become possible simultaneously. The second emphasis concerns the mind-body problem, and towards the end of Part 1 I offer an argument which places this problem in a certain light by representing the brain not as a physical counterpart to inner experience but as essentially instrumental to perception and self-awareness, and related experience. The argument in Part 2 is distinguished by a sense of continuity between the nature of sensory perception and the formal resources of artists in both physical and literary media. Hence, in a discussion of Titian’s Assumption of the Virgin, I indicate ways in which the painter conveys the inner experience and character of the figures in the painting by means of compositional design, light and colour, and thereby uses these and other sensuous resources to portray human life and experience. This is followed by a discussion of two sonnets by Shakespeare, in which the same general aim is pursued by using the literary resources of figurative language. Finally, a discussion of Hamlet shows how, in this work, the augmentation of figurative language by dramatic form strengthens the view that art can provide a form of knowledge that is based as completely upon intuition about our sensory experience as it is upon reason and observation. Just as my (true) perception of a cup as a vessel for drinking tea or coffee arises immediately from past experience, so the dramatist can see immediately from his or her past experience how a character might perceive things and behave. -/- . (shrink)

In this paper we argue that predictive processing (PP) theory cannot account for the phenomenon of affect-biased attention prioritized attention to stimuli that are affectively salient because of their associations with reward or punishment. Specifically, the PP hypothesis that selective attention can be analyzed in terms of the optimization of precision expectations cannot accommodate affect-biased attention; affectively salient stimuli can capture our attention even when precision expectations are low. We review the prospects of three (...) recent attempts to accommodate affect with tools internal to PP theory: Miller and Clark’s (2018) embodied inference; Seth’s (2013) interoceptive inference; and Joffily and Coricelli’s (2013) rate of change of free energy. In each case we argue that the account does not resolve the challenge from affect-biased attention. For this reason, we conclude that prediction error minimization is not sufficient to explain all mental phenomena, contrary to the claim that the PP framework provides a unified theory of all mental phenomena or the brain ‘s cognitive functioning. Nevertheless, we suggest that empirical investigation of the interaction between affective salience and precision expectations should prove helpful in understanding the limits of PP theory, and may provide new directions for the application of a Bayesian perspective to perception. (shrink)

Can we be responsible for our attention? Can attention be epistemically good or bad? Siegel tackles these under‐explored questions in “Selection Effects”, a pathbreaking chapter of The Rationality of Perception. In this chapter, Siegel develops one of the first philosophical accounts of attention norms. Her account is inferential: patterns of attention are often controlled by inferences and therefore subject to rational epistemic norms that govern any other form of inference. Although Siegel’s account is explanatorily powerful, (...) it cannot capture a core attention norm in cognitive science: one should balance between exploratory and exploitative attention. For central cases of exploratory attention such as mind‐wandering, child‐like, and creative thinking are non‐inferential. Siegel’s view classifies them as “normative freebies” that are not subject to epistemic evaluation. We’re therefore left with a disjunctive conclusion: either Siegel’s inferentialist theory of attention norms is incomplete or cognitive scientists are wrong about the norms that govern attention. (shrink)

In this article, I examine the moral dimensions of gender affirmation. I argue that the moral value of gender affirmation is rooted in what Iris Murdoch called loving attention. Loving attention is central to the moral value of gender affirmation because such affirmation is otherwise too fragile or insincere to have such value. Moral reasons to engage in acts that gender affirm derive from the commitment to give and express loving attention to trans people as a (...) way of challenging their marginalization. In the latter part of the paper, I will discuss how my arguments bear on recent arguments by Robin Dembroff and Daniel Wodak (2018) on the use of gender-neutral language. They argue that we have a duty not to use gender-specific pronouns for anyone. Their conclusion turns, in part, on a rejection of gender affirmation as a moral duty. The value of gender affirmation, rooted in our moral perception of trans people, should make us skeptical of this conclusion, in favor of a more nuanced and pluralistic approach to the ethics of gendering. (shrink)

In our everyday interaction with the environment, we often perceive objects and spaces as opportunities to feel, maintain, enhance, and change our affective states and processes. The concept of affective affordance was coined to accommodate this aspect of ordinary perception and the many ways in which we rely on the material environment to regulate our emo- tions. One natural way to think of affective affordances in emotion regulation is to interpret them as tools for regulating felt affective states. (...) We argue that this way of conceiving of affective affordances is too restrictive. By analyzing the role of expressive properties of objects and spaces in emotion regulation, we show that our environment does not need to elicit felt affective states to regulate our emotions. Thus, we revise the concept of affective affordance to accommodate these cases. This revised concept explains more with less. Hence, it should be preferred in wide-reaching philosophical projects that aim to explain human affectivity as a situated phenomenon. (shrink)

Object perception deploys a suite of perceptual capacities that constrains attention, guides reidentification, subserves recognition, and anchors demonstrative thought. Objects for perception—perceptual objects—are the targets of such capacities. Characterizing perceptual objects for multisensory perception faces two puzzles. First is the diversity of objects across sensory modalities. Second is the unity of multisensory perceptual objects. This paper resolves the puzzles. Objects for perception are structured mereologically complex individuals. Perceptual objects are items that bear perceptible features and have perceptible (...) parts arranged to form a unified whole. This circumscribes the targets of object perception where neutral talk concerning intentional objects and objects of perception cannot. Nonetheless, it is more permissive than identifying perceptual objects with material bodies, which excludes too much and leans too heavily on vision. The account thus is tailored to capture the role of objects in perception beyond vision: tactual, auditory, and olfactory objects are individuals with differing structures. Its flexibility also enables the account to accommodate shared objects for multisensory perception: multisensory perceptual objects are mereologically complex individuals with hybrid structure. For instance, one can bimodally perceive a common whole with parts accessible to one but not both modalities. Each sense provides a partial perspective on a complex whole that is perceptible through the coordinated use of multiple senses. Understanding perceptual objects as structured mereologically complex individuals thus provides a theoretically useful notion of an object for multisensory perception that resolves the puzzles of diversity and of unity. (shrink)

We can perceive shapes visually and tactilely, and the information we gain about shapes through both sensory modalities is integrated smoothly into and functions in the same way in our behavior independently of whether we gain it by sight or touch. There seems to be no reason in principle we couldn't perceive shapes through other sensory modalities as well, although as a matter of fact we do not. While we can identify shapes through other sensory modalities—e.g., I (...) may know by smell (the scent of mango) that the object causing my sensory experience is round—this is not perceiving an object as shaped, but rather inferring from the character of one's sensory experience and collateral information that an object of a certain shape caused it. That it is possible to perceive shape by other modalities, however, is suggested by the case of bats and aquatic mammals like dolphins which navigate through their environment by a form of sonar. It is plausible that they have some form of auditory representation of space, and so of shape. These facts about shape perception raise important questions about the relation between those features of perceptual experience which are intrinsic to different sensory modalities and the nature of our perceptual representation of shapes, and, more generally, of the space within which we perceive shaped objects to be located. John Campbell's paper, "Molyneux's Problem" (see above), raises a number of interesting and important questions about the nature of our perception of shape properties, particularly the cross-modal nature of shape perception, and ties them to more general questions about the nature both of perceptual.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Music Education in an Age of Virtuality and Post-Truth by Paul WoodfordPanagiotis A. KanellopoulosPaul Woodford, Music Education in an Age of Virtuality and Post-Truth (New York, Routledge, 2018)This book is provocative. And challenging. It is written with passion, aiming to induce controversy. And with good reason. For we live in times when populism professes an illusionary sense of community, invoking a seemingly 'anti-systemic' but highly hypocritical, racist, (...) and sexist discourse;1 in times where "bullshitting"2 has advanced to the highest governmental levels in many countries; in times where "authoritarian neoliberal statism"3 becomes the new status quo, inducing a scandalous increase of economic inequalities, forcing large populations to live precarious lives; in times where privatization of educational services in the context of market-oriented practices impose restrictive and ultimately unjust politics of accountability and performativity;4 in times where instrumentalization of educational ends has taken the lead, assisted by a systematic co-option and misappropriation of notions such as excellence and creativity;5 in times, finally, where spaces that allow for "the sharing (out) of the incalculable,"6 forging unknown potentialities in education, life, and thought, are being destroyed. In such times, Paul Woodford has stepped in, reclaiming his right to speak uncompromisingly.Hannah Arendt has written that "[w]hen men [sic] are deprived of the public space--which is constituted by acting together and then fills of its own accord [End Page 108] with the events and stories that develop into history--they retreat into their freedom of thought."7 Woodford refuses to retreat. He writes as a public intellectual of the highest order, committed to upset and not please those in power. A great service that his latest book performs is that it speaks daringly, stirring a debate that helps us all to do away with fear. For as Bertrand Russell has aptly said quite a long time ago, "[I]f thought is to become the possession of many, not the privilege of the few, we must have done with fear. It is fear that holds men [sic] back."8Resisting the "melancholy of inner exile,"9 but not immune to possible accusations of left melancholy, understood as "a refusal to come to terms with the particular character of the present,"10 the author wrote a book that provokes music educators to actively think beyond their sealed and safe world of convictions that is based on ideology-free conceptions of music teaching. Estelle Jorgensen has long ago brought to our attention the urgency of this task: "in an era in which the mindset and political reality have changed dramatically, … there is an urgent need to revisit the political character of music education and the ways in which it needs to address the cultural issues of our day."11Along this pathway, Woodford's book encourages music educators to live and teach as public intellectuals, forging "a democratic purpose for music education"12 that acts against the "anachronistic and formalist conception of music that reduces music education to supply-side economics as children are conceived as either future professional musicians or consumers and not as citizens to be prepared in schools to participate intelligently in the political life of society."13 Woodford articulates a vision of music education "as preparation for adulthood and democratic and global citizenship."14 He strongly advocates an approach that balances performance and creativity-based experiences with a socio-historical study of the social, ideological, and cultural workings of different musics in a wide variety of contexts. He encourages music educators to teach "how music's structural properties and qualities contribute to the shaping of people's perceptions and understandings of themselves and their world,"15 "asking the who, what, when, where, how, to, with, or for whom, and, most importantly of all, why of music."16 He envisions a music classroom that exercises social criticism "directly and self-consciously"17 both through "learning how to make music"18 and through thinking about music. He sees this approach as a tool for raising students' consciousness. Woodford's ultimate vision of music education is one that casts it as a means for cultivating "a justice-oriented" approach... (shrink)

Writing, the exigency of writing: no longer the writing that has always (through a necessity in no way avoidable) been in the service of the speech or thought that is called idealist (that is to say, moralizing), but rather the writing that through its own slowly liberated force (the aleatory force of absence) seems to devote itself solely to itself as something that remains without identity, and little by little brings forth possibilities that are entirely other: an anonymous, distracted, deferred, (...) and dispersed way of being in relation, by which everything is brought into question – and first of all the idea of God, of the Self, of the Subject, then of Truth and the One, then finally the idea of the Book and the Work so that this writing (understood in its enigmatic rigor), far from having the Book as its goal rather signals its end: a writing that could be said to be outside discourse, outside language. – Maurice Blanchot ( The Infinite Conversation , xi) The Compendium * Beginning with the idea and practice of writing, and moving to the subject or self, then to truth and the One, and arriving at the Book and the Work, Blanchot’s words reflect the trajectory of the following work of writing. True to the embeddedness of the subject in the work of writing, the term “Compendium” has been a metonym for me over the past few years as I have thought about the concept of totality alongside its expression in figures such as the One, the Whole, or the All. In the following I aim to share some of the content of this metonym, and to enrich it by making some distinctions. 1 Here the term “Compendium” will refer to a concept of totality that is ontological (pertaining to being, and the copula) and also textual (pertaining to the symbolic, and the signifier-signified relationship). The Compendium is a figure for thinking the world as a Book, in the broadest sense—an approach to reality that is by no means new, but one that is due for renewal. 2 In partial answer to the question of the Compendium we will say that the word ‘Compendium’ stands in for expressions which seek to totalize, or concepts which seek to approach the concept of ‘everything,’ particularly when these expressions are bound up in the question of the Book (both the book as a physical object and the Book as a metaphysical figure: a way of thinking about the work in and of writing). The question of the Compendium is strongly associated with the physical and metaphysical form of the Book, like the mysterious and symbolic books which are opened in the Biblical book of Revelation, the book of life and the book of death, which together constitute an important couplet. 3 Parataxis & Hypotaxis There are two helpful distinctions that will bring us closer to an answer to the question “What is a Compendium?” The first distinction is between two figures in and for writing: parataxis and hypotaxis . Typically paired in contrast to one another as literary techniques, with parataxis indicating a side-by-side placement of textual elements and hypotaxis referring to subordinate arrangements of textual elements, the two figures can be understood as having a philosophical significance in addition to their practical function as devices for writers. For us these two terms will remain between philosophical theory and writing practice, and serve as a perspective for our writing and creation of texts. Here I take texts to refer to anything from the concrete written words in a book, to the ontological text of the world that we experience. Parataxis , as a figural way of thinking about the ontological structure of texts, refers to texts which are tightly woven and interdependent – texts within which each sentence bears the weight of the entire work. Parataxis often involves repetition, great density, and fragility. One of the best examples of this sort of text is Theodor Adorno’s posthumous magnum opus , Aesthetic Theory . In addition to the text itself, the translation history of the book may also help us to better understand parataxis and its relation to hypotaxis . The final published version of Aesthetic Theory , in German, was a text that Adorno intended to revise and rewrite, but this intention was never realized because of his untimely death. Where the German text of Aesthetic Theory certainly exemplifies the concept of parataxis , the first English edition took this densely woven text and carved Adorno’s lengthy paragraphs and lengthy sentences into manageable ‘bite-sized’ pieces of English text. The first translator took further liberty and inserted headings and new paragraph breaks where there were none in the original. Aesthetic Theory was eventually retranslated by Robert Hullot-Kentor and is now available in a form that is much more faithful to the original work. 4 The pertinent idea that this translation history points to is the distinction between parataxis and hypotaxis . Where parataxis describes texts which are repetitive, densely woven, and often fragile, hypotaxis describes texts which are hierarchical and in which the primary relation is linear – the latter of which is very similar to the first English translation of Aesthetic Theory . On the other hand, the original German text that Adorno wrote was very dense, often repetitive, and contained long sections of text unbroken by paragraphs or headings. This example of parataxis was then turned towards hypotaxis through the initial translation which took a text that was, in many ways, nonhierarchical and nonlinear, and artificially subjected it to a hierarchy that was not its own (and here I take the word of Fredric Jameson who comments on the two translations in a note at the beginning of his book Late Marxism ). 5 The point here is not about translation, but rather the distinction between parataxis and hypotaxis precisely as they are figures for discourse, written or otherwise. The concept of parataxis looks far more postmodern and rhizomic than the concept of hypotaxis which remains very modern and arborescent. This is a more figural way of talking about the distinction. However, if we wanted to take a more precise and analytical approach we could say that on the level of form parataxis involves a relationship between sentences and paragraphs in which each part bears an equally crushing responsibility to present the whole content of the text. As well, on the level of content, parataxis requires that each concept in a work take on the full conceptual weight of the total work. Continuing the analysis, we could say that parataxis describes texts in which there is no (or very little) linear or causal move from antecedent to consequent, whether in content or form. Instead, parataxis describes texts which weave together concepts via conjugations or associations. The concept of hypotaxis , on the other hand, requires that texts submit themselves to hierarchy, one example of which is logical argumentation. The contingency of the conclusion upon premises in hypotaxis is certainly distinct from the repetition, re-presentation, and conjugation of concepts in parataxis , and I think that this is evident in the difference between the writing styles prevalent in contemporary Analytic philosophy and Continental philosophy. It is not the case that the distinction between parataxis and hypotaxis absolutely corresponds with the writing styles of Continental and Analytic philosophy (respectively). There are thinkers who take exception to this pattern, such as Badiou’s more formal approach in the discourse of Continental philosophy to give one example. However, when Analytic philosophy takes its writing lessons from the sciences, and seeks to do philosophy via the clean linear move from antecedent to consequent, then I think that Analytic philosophy writes with hypotaxis in mind. On the other hand, when Continental (particularly German and French) philosophy takes its writing lessons from narrative or poetry then Continental philosophy writes with parataxis in mind. It is not fair to say that all those writing Continental philosophy are looking to narrative and poetry for stylistic direction, just as it is not the case that all those writing Analytic philosophy have mathematics and science as their writing format, however there are some striking ways in which the differing epistemologies of Continental and Analytic philosophy encourage writing with parataxis and hypotaxis in mind (respectively). For some, writing with parataxis or hypotaxis in mind is a conscious decision and a product of stylistic self-consciousness, and for others it is an unconscious discursive and epistemic requirement that must be met in order to be involved in a particular discourse. Before moving on to our second distinction, and then an examination of the question of the Book, it is important to point out that both totality and figurations like the One, the Whole, and the All, come out of very human desires to totalize or to actualize our being-towards-totality. The relationship between identity and totality then can be construed, with Heidegger in mind, as striving toward wholeness, completion, or fulfillment, each of which is a quality of compendia. 6 Compilation & Selection The first distinction between parataxis and hypotaxis pertains to both form and content, and to both the mechanics of writing and the ideas to which writing refers. The second distinction pertains to both as well. In the process of writing and in the process of perception as well, there is a tension between compilation and selection . To begin with, in the work of theory-writing there is compilation, and this is because writing theory requires a broad perspective and certain measure of totalization. On the other hand, writing theory requires that the writer select an idea or a combination of ideas to individuate out of a radical and infinite multiplicity of identities and combinations. The concern here is not primarily for the writing of a theory about a specific idea, like a secondary work or a reference text. But rather the concern is with the writing of grand theories: Marx and Marxism, Derrida and Deconstruction, Husserl and Phenomenology, Sartre and Existentialism, Saussure and Structuralism —each of which strives along a trajectory towards being all-encompassing, whether it intends to or not. Today, we could even say that Speculative Realism has embarked on this journey, and perhaps now we could say that the discourse of Speculative Realism has reached the inevitable point after which a grand theory leaves the hands of its writer or writers and becomes a possession of the collective consciousness of the academy, or (perhaps now) the mass consciousness of the blogosphere—and this is a true pharmakon , a poison and a cure, a blessing and a curse. 7 When we write theory, whether the scope is that of a grand theory or a particular theory, we write in the tension between compilation (making good on the desire to be all encompassing) and selection (being required to decide and discern and to judge what is included in the work and what is deleted or appended or abridged or given over to ellipses). Generally speaking, the work of theory-writing often comes out of a desire to totalize, that is, to develop a theory of everything that is able to apprehend new experiences and ideas while still remaining whole. I grant that this is not a universal desire, and that not everyone who sits down to write a work (or book) of theory does so because of their will-to-totality, but it remains that this drive to totalize does condition a great many writers of theory (especially those who seek to develop grand theories like those mentioned previously). At the beginning of his book of interviews, Between Existentialism and Marxism , Sartre is quoted as saying, after completing the first volume of his Critique of Dialectical Reason : “I no longer feel the need to make long digressions in my books, as if I were forever chasing after my own philosophy. It will now be deposited in little coffins, and I will feel completely emptied and at peace—as I felt after Being and Nothingness . A feeling of emptiness: a writer is fortunate if he can attain such a state. For when one has nothing to say, one can say everything .” 8 This is where our two initial distinctions come to bear on the being-towards-totality as it is expressed in the concrete practice of writing: the first being between parataxis and hypotaxis , and the second being between compilation and selection. Where this second distinction is concerned there is a certain paradox at play given that selection is inescapable, and compilation is unachievable. Selection is inescapable (with the figure of the Compendium in mind) because, even when the imperative to compile is followed to excruciating lengths, selection still has the last word. This is why the Compendium is a figure rather than some material thing that can actually be accomplished or actualized. No matter how far one goes along with the will-to-archive and the will-to-compile, it is only ever a question of minimizing selection and never eliminating it. This leads to the second point, which is that total compilation is unachievable. The closest thing to total compilation that we have before us is the ontological and textual fabric of the world. Even in the case of the world, compilation cannot be enacted in a total fashion because of the need to include both the sphere of the actual and the sphere of the possible or potential. This as another way in which compilation is always-already selection, and further evidence that total compilation is practically impossible. Discursive Figuration and Total Writing Rather than figuration referring to a figure of speech or an image, here the term points to a way in which to think about the work of writing, both the work put into writing, and the work that is the result of writing: the finished yet incomplete final piece. As figures or figurations, the Book and the Compendium are ways of thinking about the work of writing and the human desire for the wholeness, completion, and fulfillment that are made manifest in the completed form of the book (whether a published or printed or saved document put to rest by the author). These two figures bear more strongly upon works that seek to be all-encompassing, and works that strive towards expressions of totality such as the One, the Whole, or the All. Moving on to the topic of the subtitle, and on a more prescriptive note, I would say that there is more hope for theory-writing to be found in parataxis than hypotaxis . Part of the reason for this claim is the poststructuralist critique of hierarchies, and yet another part is the compelling line of thinking called “weak thought” (in theology by John D. Caputo, and in philosophy by Gianni Vattimo, among others). 9 The consequences of these two convictions are such that if one is to strongly assert the truth of a grand theory without leaving the realm of hierarchy-critique and weak thought, then one must write paradoxically with parataxis in mind, and in so doing write weakly and non-hierarchically. This does not mean avoiding a sort of topography or topology when writing theory, rather it means avoiding both subjugation and oppression in thought by pursuing a nonviolent sort of ontology. In order to do this, theory writing does not present itself as an exercise in logical analysis where one mechanically moves from a set of premises (via contingency) to the inevitable conclusion (via necessity). Instead, theory approaches the idea of a Compendium. Given that the figural Compendium places parataxis and compilation above hypotaxis and selection, then the question becomes: is placing one part of a binary term before another not just another way of selecting, or another expression of hypotaxis ? Counter to the urge to resign oneself to the reign of selection, with some qualification one can nonetheless write without deciding whether selection and hypotaxis should be subservient to compilation and parataxis (which is to say that writing-without-decision is somewhere between and beyond possibility and impossibility). This dilemma can be disarmed by stating that theory writing is not about primacy, and not about having-decided-beforehand, both stylistically and also where content is concerned. This is the paradox of writing: always striving along a trajectory ( telos ) towards totality via parataxis and compilation, but always being drawn back to finitude and making selections, and placing one idea before another with hypotaxis in mind. In light of this paradox, the question of the Compendium as a figure for discourse and a figural Book has resonance with Jacques Derrida’s essay on Edmund Jabès’ Book of Questions , found in his Writing and Difference . The Question of the Book “Little by little the book will finish me.” 10 Derrida quotes Jabès, and proceeds to outline the reflexive relationship between the author of the book and the book itself, each of which are subjected to the other through a sort of chiasmus, both ontological and textual (not that the two are entirely separable). The Book, for Derrida like Blanchot in the introductory quotation, “infinitely reflects itself” and “develops as a painful questioning of its own possibility”, and in light of this we can draw an association with the painful tension between the practical reality of selection and the ideal trajectory of compilation. 11 This tension in writing, between the will to total compilation and the necessity of abridgment, is an ontological tension between part and whole just as it is a textual tension between signifier and signified. The ontological tension in writing that Derrida expresses in his essay on Jabès is between everything and nothing – a contradiction which Derrida finds in Jabès’ Book of Questions and also in the divine, in God. When one writes between compilation and selection one writes towards totality, and here we can follow Derrida who states that the lapse in signification, presumably in the signifier-signified discrepancy, is a “ rupture with totality itself” and furthermore that this lapse cannot be rectified through deductive reason or even philosophical discourse. 12 This rupture with totality, found in the troubled relation between signifier and signified, can also tell us a lot about the Book and about writing. Given an understanding of writing as an ontological act that strives towards (but never accomplishes) totality, we can see the written book as the manifested and given body of that striving. Perhaps in other disciplines or even other schools of philosophy there is a cultural climate within which the article is prized above the book, but I am fairly confident, especially when referring to the grand theories of Continental thought, that there is a respect for the book as a uniquely meaningful object capable of apprehending totality. Derrida writes, Between the too warm flesh of the literal event and the cold skin of the concept runs meaning. This is how it enters into the book. Everything enters into, transpires in the book. This is why the book is never finite. It always remains suffering and vigilant. 13 Here the vitality of the literal event is compromised by the deadening weight of the concept, and the figure of the Book assists in this lapse of meaning. The Book is a totalizing object, much like the figure of the Compendium, and yet this totalization lacks its final object of completed totality both because the figural Book is necessarily incomplete, and because the physical book is always-already a product of selection. Instead of achieving its end of being a place where everything takes place, it suffers from the lapse of writing, the discrepancy between event and concept. Derrida continues his exposition on Jabès by bringing to light yet another reflexive relation, a reversal of the relationship between the Book and the world. Derrida writes that, for Jabès, “the book is not in the world, but the world is in the book.” 14 In addition to what was stated before, I take figuration to mean that the concepts employed, such as the Book or the Compendium, are not subject to the supposed rigor of analysis that is so prized by Enlightenment or Capitalist realisms. The figure of the Book and the figure of the Compendium cannot be held accountable to standards imported from scientific method, given an understanding that these standards require a concept to be replicable, consistent, falsifiable, measurable, and so on… This is an important point to make, especially in the present atmosphere within which theory must justify itself under conditions that are not its own. Instead of being held to these standards, figuration serves as a way in which to think about writing that leaves thought open to idealistic speculation, imperfect analogies, and most importantly the ever-present gain and loss that occur in the relationship between thought and being. By extension the figural way of addressing writing indulges in enough generalization to accommodate the excess/lack relationship between the ideal form of the Book or the Compendium, and the manifested and given body of a text (as it is practically completed and closed). Here we speak against the hostile atmosphere which would have theory submit itself to hierarchical rigor, rather than Blanchot’s “enigmatic rigor”, by being explicit about the discursive conditions and epistemic conditions under which theory operates. To write with parataxis in mind is, to a certain degree, to write with weakness as one’s methodology (with weak thought being in opposition to hypotaxis and hierarchy as much as weak thought can be in opposition to anything). Rather than asserting the strength of hierarchical theory, and rather than employing antagonistic argumentation with the goal of refutation different discursive and epistemic conditions for theory writing must be cultivated (and these are by no means new). First the critical and theoretical spirit reveals itself as being concerned with the task of complication—especially the complication and critique of binaries, dichotomies, dualities, polarities, paradoxes, parallaxes, hybridities, and especially antinomies. Second, theory positions itself as a sort of showing or revealing, rather than being ultimately focused on coming to full agreement or disagreement. This is where figuration can help theory-writing, both by placing emphasis on teleologies and trajectories (like parataxis and compilation), and by shifting focus away from pure primacy, power, or absolute origin. Figuration then, assists theory writing by placing the concern of theory outside of the concerns of the hard or soft sciences, and into the realm of thought or the idea. To speak of ‘the’ Compendium or ‘the’ Book, here, is to generalize not regarding the perfect form of the Compendium or Book, but to engage speculatively with an abstract idea which remains singular and yet complicated by multiplicity. The question of the Book that Derrida asks through Jabès is a question of everything and nothing, totality and nonbeing, and this question is a concern for writing and a concern for the figure of the Compendium so defined by the tension between compilation and selection, and parataxis and hypotaxis . On the note of nonbeing, we can look to the final page of Derrida’s first essay on Jabès in Writing and Difference and notice the introduction of his neologism, différance (with an ‘a’). Derrida writes: Life negates itself in literature only so that it may survive better. So that it may be better. It does not negate itself any more than it affirms itself: it differs from itself, defers itself, and writes itself as différance . Books are always books of life (the archetype would be the Book of Life kept by the God of the Jews) or of afterlife (the archetype would be the Books of the Dead kept by the Egyptians). 15 This introduction of différance into the equation of the Book, alongside ontological affirmation and negation, hearkens back to the discussion of the symbolic lapse earlier in his essay. Differing and deferring, the Book is always a Book of Life and a figure for the intersection of the vital (life) and the total in writing. In a way, the writer of the Book may be someone who lives life, and in another way the writer of the book-as-object may be someone who engages in the act of writing, both practically (by inscribing words on paper, or typing script on a computer) and ontologically or symbolically (by investing their existence and inexistence into a work worthy of the figural Book). In addition to the writer as writer, the writer also serves as an editor, and the editorial role alongside the idea of the Compendium shows the editor to be one who collects and compiles, while being restrained by eventual selection and decision. Beyond this the editor of works and texts, in both the Book and the world, is engaged in a process of inscribing notation—of annotating (on) the Compendium. Eternal commentary is a feature of the textual Compendium, just as open-ended totality describes the ontological Compendium. The writer as writer does not simply write texts, but rather engages in a profoundly ontological act of inscribing their existence into the world, and the writer as editor does not merely annotate or alter texts as they are, but rather comments upon the text of the world. In/Conclusion So as we create texts, and as we write and create theory, let us be and remain attentive to the figure of the Compendium and the figure of the Book. These two concurrent metonymies are essential for total writing (grand theories, etc.), and may be forgettable for those concerned with fragmentary or hierarchical writing (which are valid in their own right). From the ontological and symbolic text of the world and phenomenological experience, to concrete texts such as books or mixed media, the figure of the Compendium and the figure of the Book are important for the actualization of the human will to be all-encompassing. The figure of the Compendium teaches writers of theory that the repetition, density, and fragility of parataxis offers a strong sort of weakness which does not become yet another variety of oppressive and hegemonic thought. Rather than write with hypotaxis in mind, subjugating one thought to another via cause and effect or antecedent and consequent, I would hope that theory-writing could guiltlessly indulge in the dialectical and contradictory conjugation of ideas, and take this as a legitimate methodology. Rather than being ashamed of showing resonances or giving way to abridgment or ellipses, it is my own authorial (but not authoritative) conviction that one need not give up on totalizing and constructing grand theories because of the fact that complete totalization is impossible, and one need not give up on totalizing and constructing grand theories because of the worry of violence, for the Book and the Compendium lack their completed object and are ever incomplete trajectories. NOTES * UPDATED 7/19/13: we've updated the HTML version to reflect the (correct) PDF version. Our apologies to the author—eds. 1. I would like extend thanks to Dr. Peter Schwenger of the University of Western Ontario for his comments on this paper and his hospitality as it was presented as a Theory Session at the Centre for Theory and Criticism on October 26th 2012. I would also like to thank Andrew Weiss for conversation and critique. 2. I should clarify my use of the term ‘figure’ at the outset. Given the use of the term by Jean-Francois Lyotard in Discourse, Figure (and also Gilles Deleuze in Francis Bacon ), I should state clearly that my use of the term will not correspond to the term ‘figure’ understood as the representation of an object. Instead, my use of the term ‘figure’ and its variations (‘figural’, ‘figurative’, ‘figuration’) will refer to the illustrative or metaphorical use of the Compendium or the Book as models or ways of thinking about writing and discourse. 3. Cf. Revelations 20:12-15. 4. Theodor Adorno, Aesthetic Theory , Trans. Robert Hullot-Kentor (London & New York: Continuum Press, 1997). 5. Fredric Jameson, Late Marxism: Adorno, or the Persistence of the Dialectic (London & New York: Verso, 1990), ix-x. 6. I have written about this concept of being-towards-totality elsewhere in two pieces of writing: the first is called Notes on the Compendium (an unfinished draft) which addresses some very wide theoretical concerns, being structured as a sort of itinerary or archive, and the second is Dialectics Unbound (Punctum Books, 2013) which outlines a concept of totality without the violence of totalization. While these works are more concerned with ontological totality, here I would like to focus on the idea of the Compendium as a textual totality. 7. Cf. Louis Morelle, “Speculative Realism: After Finitude and Beyond, A vade mecum” in Speculations: Journal of Speculative Realism . Issue 3 (Brooklyn, New York: Punctum Books, 2012), 241-272. 8. Jean-Paul Sartre, Between Existentialism and Marxism . Trans. John Matthews (London & New York: Verso, 1974), 9. 9. Cf. John D. Caputo, The Weakness of God (Indiana: Indiana University Press, 2006). 10. Jacques Derrida, “Edmond Jabès and the Question of the Book” in Writing and Difference . Trans. Alan Bass (Chicago: University of Chicago Press, 1978), 65. 11. Ibid, 65. 12. Ibid, 71. 13. Ibid, 75. 14. Ibid, 76. 15. Ibid, 78. (shrink)