Shape and slant judgments of rotated or frontoparallel ellipses were elicited from three groups of 10 subjects. A masking stimulus was introduced to control processing time. Backward masking trials were presented with interstimulus intervals of 0, 25, and 50 msec, Reduction of processing time altered shape judgments in the direction of projective shape and slant judgments in the direction of frontoparallelness. This finding is consistent with the shape-slant invariance hypothesis. In order to study the effects of processing (...) load, one group of subjects was given prior knowledge of the kind of judgment to be made on each trial, one group had no prior knowledge, and a third group made both judgments on each trial. The effects of the processing load manipulation were interpreted in terms of the role of attention in perceptual encoding. Consistent with previous findings, allocation of attention did not affect perceptual encoding. (shrink)

In a backward masking paradigm Epstein, Hatfield, and Muise (1977) found that presentation of a frontoparallel pattern mask caused the perceived shape of elliptical figures which were rotated in depth to conform to a projective shape function. The current study extended the masking function by examining the effect of a mask which was partially or wholly cotemporal with the target. The study also assessed the functional equivalence of the masking treatment and the conventional treatment for minimizing depth information. Reports (...) of perceived shape and perceived orientation were obtained under three conditions: binocular without mask, binocular with mask, monocular without mask. Under the first condition, perceived shape conformed to objective shape and perceived orientation was proportional to objective orientation. Under the latter two conditions, perceived shape was in very close agreement to projective shape and the two functions did not differ. Orientation was underestimated greatly under both conditions. We concluded that the effect of the mask on perceived shape is mediated by its effect on encoding of orientation information, although an additional effect on the subsequent stage of shape-slant integration cannot be excluded. (shrink)

Twelve subjects provided shape and orientation judgments for a set of projectively equivalent, variously rotated rectangles under three viewing conditions—monoptic, dichoptic, and binocular—with and without the presence of a pattern mask. In the absence of the mask, partial constancy was exhibited under the first two conditions and near perfect constancy under the binocular condition. Orientation was discriminated. Presence of the mask produced projective shape matching and diminished orientation discrimination. It is argued that the site of masking was postchiasmal, and the (...) results are related to previous work with pattern masking of projectively equivalent ellipses. (shrink)

This paper develops an appearance view of perception (focusing on vision). When we see an object, we see it by having it appear some way to us. We see the object, not the appearance; but we see the object via the appearance. The appearance is subjectively conditioned: aspects of it depend on attributes of the subject. We mentally have the appearance and can reflect on it as an appearance. But in the primary instance, of veridical perception, it is the object (...) that we focus on and experience. I contrast this view with naive realism (sometimes called disjunctivism) (Brewer, Campbell, Noe) and with intentionalist or representationalist views, which I call the physical content view (Dretske, Tye, Crane, Hill, Burge). I agree with these views in rejecting sense-data intermediaries and in affirming direct perception, but I argue that direct perception occurs via appearances, making mine a critical direct realism. The other views attempt to explain the spatial content of perception (shape, size, distance) entirely through the physical properties of objects and their physical relation to the perceiver (viewing position). I argue instead that there are ineliminably subjective aspects of normal spatial perception, which are systematically manifested as a lack of full phenomenal constancy. This systematic underconstancy can’t be accounted for at all by a consistent naive realism; for the physical content view, it requires that most of our ordinary perception is classified as illusory, violating the spirit of that view. Accepting phenomenal underconstancy as pervasive, I suggest that our ability to perceive the mind-independent properties of objects depends on developed conceptual abilities. In the final section, I compare my appearance view with the adverbialism of Chisholm and the critical direct realism of Roy Wood Sellars. (shrink)

You can perceive things, in many respects, as they really are. For example, you can correctly see a coin as circular from most angles. Nonetheless, your perception of the world is perspectival. The coin looks different when slanted than when head-on, and there is some respect in which the slanted coin looks similar to a head-on ellipse. Many hold that perception is perspectival because you perceive certain properties that correspond to the “looks” of things. I argue that this view is (...) misguided. I consider the two standard versions of this view. What I call the PLURALIST APPROACH fails to give a unified account of the perspectival character of perception, while what I call the PERSPECTIVAL PROPERTIES APPROACH violates central commitments of contemporary psychology. I propose instead that perception is perspectival because of the way perceptual states are structured from their parts. (shrink)

How are names for new disciplinary fields coined? Here a new (and fun) way to look at the history of such coinages is proposed, focusing on how phonesthemic tints and taints figure in decisions to adopt one type of suffix rather than another. The most common suffixes used in such coinages (“‐logy,” “‐ics,” etc.) convey semantic and evaluative content quite unpredictable from literal (root) meanings alone. Pharmaceutical manufacturers have long grasped the point, but historians have paid little attention to how (...) suffixes of one sort or another become productive. A romp through examples from English shows that certain suffixes have become “hard” or “soft” in consequence of the status of their most prominent carrier disciplines. The “‐ics” ending came to signify hardness in consequence of the prestige of physics, for example (with “‐metrics” as the arteriosclerosis of suffixes), while lower‐status (less “hard”) disciplines have developed alternate endings (such as “studies”). Some suffixes are eschewed for their perceived ideologic slant (the “‐isms,” for example). Historians of science need to think more about the pragmatics of language, a task made easier by information technologies and databases that allow searches for words by suffix and first known use. (shrink)

Psychological studies (Proffitt, 2006) have demonstrated that what one sees is influenced by one's goals, physiological state, and emotions. These studies demonstrate that there is a positive correlation between the physical demands (energetic cost) and perceived valence (emotional cost) of a task and the appearance of slant and egocentric distance in the environment. The studies are compelling. However, one can question whether their results are due to changes in the way participants perceived the orientation and extent of (...) their environment or are instead artifacts of the way they judged the difficulty of expected tasks in particular contexts. We asked participants to sketch the rough spatial layout of several paintings as accurately as possible. In this type of task participants continuously compare what they have drawn against what they perceive. Therefore, participants performance can be interpreted as a means to directly measure of the spatial metric of perception. We chose two paintings by Andrew Wyeth as target images: “Christina's World” and “Winter, 1946.” Participants were asked to draw the spatial arrangement of the key features of the scene depicted in the target painting twice: prior to being presented with biographical information about the subject of the painting condition; and then again after being told the biographical information that altered the perceived task demands or emotional valence of the events they depicted. We predicted that participants' drawings would differ in the two conditions indicating that: change in the energetic or emotional costs of the depicted action would cause them to perceive the depicted orientation of hills as steeper and distance between key landmarks as longer. Results from the energetic cost condition support this prediction. We will discuss our results and the suggestion that these types of effects reflect a role for motor simulation in perception (Witt, 2005). (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Rhetorical Sense of Philosophy by Donald Phillip VereneJeffrey Dirk WilsonVERENE, Donald Phillip. The Rhetorical Sense of Philosophy. Ithaca, N.Y.: Cornell University Press, 2021. xiii + 139 pp. Cloth, $49.95Rhetoric gives philosophy the ability to speak. Philosophy gives rhetoric something to say. They are mutually indispensable, and their rivalry at times descends into enmity. There are also occasions when only the one can rescue the other from catastrophe. (...) Those are the overarching dynamics of Verene's book.There is an introduction, then two parts, "Prolegomena Philosophiae," comprising four chapters, and "Three Rhetorics," comprising three chapters, followed by an epilogue, notes, and an index.Though Verene does not mention Hume in the introduction—and only twice in the book otherwise—it is difficult not to think of him when Verene speaks of philosophy as "a theater of memory," as if correcting Hume's "theater of the mind." It is also corrective to presentism, often attributed to Hume, when Verene claims that a chief task of the philosopher "is to keep us from always living in the present. For this labor to be accomplished the philosopher must go to school with both the poets and the orators." Rhetoric, rightly understood, helps philosophy to remain philosophy and prevents it from becoming sophistry.In chapter 1, "Philosophical Thinking," Verene reminds the reader that mortality is not a choice. The bounded nature of human life leads to the pursuit of happiness and, therefore, also to the pursuit of meaning. The human responds in two ways, by creating both arguments and stories, but arguments as well as stories need words.The "and yet" comes in the second chapter, "Philosophy and the Muses." Verene writes, "The philosopher knows that the real always outstrips language." Philosophy and its kin, poetry, point beyond themselves. Writing is remembering, but what is written, even at its best, can never capture all that is remembered, and memory, even at its best, can never capture all that is.In "Philosophy and Eloquence," Verene maps a way of escaping Kant. Modern philosophy rejects rhetoric and memory in its pursuit of novelty as progress. Verene introduces the concept of ingenium, "a power philosophy shares with rhetoric." It "is the ability to perceive similarity in dissimilars.... the power to produce metaphor" and irony. Metaphor and irony are philosophy's response to the stale univocal predication of critical thinking that Verene sees as the reduction of reality to an analytic concept.In "Philosophical Style," he shows that as soon as a subject is joined to a predicate, the subject ceases to be only what it was. The predicate is an [End Page 369] otherness that is pulled into the subject such that ever after the subject has an inner dialectic. "The ball is red" is generative of a ball that is not merely a ball but also something else, something foreign to its ballness. The ball gives up nothing of what it was but, rather, gains something that it was not, and yet not in the deterministic way of necessity. The ball does not have to be red, but if it is red, then "ball" and "red" constitute an inner dialectic. The ball is red predicatively and not tautologically, but separating out the kinds of predication does not exhaust all the mystery of the inner dialectic; nothing can.The three rhetorics are of "Self-Discourse," "Absolute Thought," and "The Philosophical Frontispiece." These are chapters respectively about speech appertaining to man, God, and the political entity, though each considered slant rather than head-on.Verene juxtaposes Descartes and Vico with respect to self-discourse. Descartes reframes the human being in terms of the first-person singular pronoun, thereby transforming the personal into the categorical. Vico responds by writing not an "autobiography" but, rather, The Life of Giambattista Vico Written by Himself, thereby transforming the pronoun for the other, "he," into the self-identifier. There follows an essay on the essay and especially on the essays of Montaigne as autobiography. "To think," Verene writes, "is to move ideas in relation to each other and thus to illuminate what comes before the mind in experience." What emerges is a dialectic between the "I" and... (shrink)

Experimental phenomenology has demonstrated that perception is much richer than stimulus. As is seen in color perception, one and the same stimulus provides more than several modes of appearance or perceptual dimensions. Similarly, there are various perceptual dimensions in form perception. Even a simple geometrical figure inducing visual illusion gives not only perceptual impressions of size, shape, slant, depth, and orientation, but also affective or aesthetic impressions. The present study reviews our experimental phenomenological work on visual illusion and experimental (...) aesthetics, and examines how aesthetic preference is influenced by stimulus factors determining visual illusions including anomalous surface and transparency as well as geometrical illusion. Along with line figures producing geometrical illusions, illusory surface figures inducing neon color spreading and transparency effects were used as test patterns. Participants made both of psychophysical judgments and of aesthetic judgments for the same test pattern. Both of geometrical illusions and aesthetic preferences were found to change similarly as a function of stimulus variables such as the number of filling lines and the size ratio of the inner and outer figural components. Also, following specific stimulus variables such as lightness contrast ratio and spatial interval between inducing figural elements (so called ``packmen''), strong effects of color spreading and transparency were accompanied with strong preferences. It seems that the paradigm to investigate aesthetic phenomena along with perceptual dimensions is useful to bridge the gap between experimental phenomenology and experimental aesthetics. (shrink)

In this interview-essay, artist Rosanna Bruno talks with the author about her illustrations of The Trojan Women, a comic-book made in collaboration with Anne Carson. Bruno’s illustrations offer the reader an oblique entry into a devastated Troy: they are translation “at a slant.” The artist speaks on going against what is visually expected or plausible, in her use of surprising imagery to convey and counterpoint suffering, and touches upon the use of humor to bring the tragedy into sharp focus. (...) Bruno explains how the comic-book format can communicate radical ideas in the interdependence of word and image. She talks through creating the feeling of live theater and the emotional tenor brought about by an almost entirely non-human cast: dogs, cows, a huge wave, a turnip-like rootling, a pair of dungarees. The illustrator elucidates the collaborative process between herself and Carson, revealing the various iterations of characters before they settled on their final forms, and the materials and methodologies Bruno employed in its rendering. (shrink)

Today's academia is obsessed about writing and speaking gobbledygook. At least most of the time. It has little time in sitting still and actually reading fiction, poetry and say, Wittgenstein. One pretends to say fancy things about these authors but one does not actually read books anymore. COVID 19 Lockdown prompted this author to answer queries from students and peers about a reading list. So prepare a wide ranging list he did which covers everything from the version of Mahabharata one (...) ought to read to novels on celibacy. But then he chose to publish at Prabuddha Bharata over all other platforms because the Ramakrishna Mission has the finances to keep this list alive 200 years hence. This was written during COVID 19 Lockdown in India at the end of April, 2020. Nirad C Chaudhuri insisted on making a good bibliography in his magnum opus. This author follows Nirad C Chaudhuri in quietly speaking about how Harold Bloom plagiarised the Late Professor John Senior's reading list. The list also comments on Romanticism and the art of writing itself. The list on Hinduism is truly contrarian. One hopes that this list survives when GoodReads and other Listopias are no longer. -/- Today's academia is obsessed about writing and speaking gobbledygook. At least most of the time. It has little time in sitting still and actually reading fiction, poetry and say, Wittgenstein. One pretends to say fancy things about these authors but one does not actually read books anymore. COVID 19 Lockdown prompted this author to answer queries from students and peers about a reading list. So prepare a wide ranging list he did which covers everything from the version of Mahabharata one ought to read to novels on celibacy. But then he chose to publish at Prabuddha Bharata over all other platforms because the Ramakrishna Mission has the finances to keep this list alive 200 years hence. This was written during COVID 19 Lockdown in India at the end of April, 2020. Nirad C Chaudhuri insisted on making a good bibliography in his magnum opus. This author follows Nirad C Chaudhuri in quietly speaking about how Harold Bloom plagiarised the Late Professor John Senior's reading list. The list also comments on Romanticism and the art of writing itself. The list on Hinduism is truly contrarian. One hopes that this list survives when GoodReads and other Listopias are no longer. -/- These COVID 19 days, while the First world is mooning over syllabi for their kids and third and fourth world folks like me are tackling Umphan; I chose to prepare a new kind of syllabus. A syllabus which is not merely a list. In these days of incessant and meaningless webinars which my students can only spread memes about and only the poor and doctors will actually travel to white nations which are killing their own; here's a list which ends with Hindu classics which are contrarian. Nirad C Chaudhuri, a much maligned man in India and a forgotten polyglot in white privileged academia said we must first prepare a bibliography. So, Figure it out. I used some of the Hindu resources on recognition mentioned here and tried to work on Stephen King; a privileged white tenure track person from Trumpland just snowballed me. Now, this list is syllabi and also just a list of a bunch of books to read during Lockdowns which will be more common in the future because COVID 19, as Dr Fauci tells us; is here to stay. Even if one COVID 19 person is there; then along with Ebola, my white privileged tenure track fiends; off you go to gagaland. We in India already know these diseases. Go figure it out. (shrink)

The best case for thinking that quantum mechanics is nonlocal rests on Bell's Theorem, and later results of the same kind. However, the correlations characteristic of Einstein–Podolsky–Rosen (EPR)–Bell (EPRB) experiments also arise in familiar cases elsewhere in quantum mechanics (QM), where the two measurements involved are timelike rather than spacelike separated; and in which the correlations are usually assumed to have a local causal explanation, requiring no action-at-a-distance (AAD). It is interesting to ask how this is possible, in the light (...) of Bell's Theorem. We investigate this question, and present two options. Either (i) the new cases are nonlocal too, in which case AAD is more widespread in QM than has previously been appreciated (and does not depend on entanglement, as usually construed); or (ii) the means of avoiding AAD in the new cases extends in a natural way to EPRB, removing AAD in these cases too. There is a third option, viz., that the new cases are strongly disanalogous to EPRB. But this option requires an argument, so far missing, that the physical world breaks the symmetries which otherwise support the analogy. In the absence of such an argument, the orthodox combination of views—action-at-a-distance in EPRB, but local causality in its timelike analogue—is less well established than it is usually assumed to be. 1 Introduction1.1 Background1.2 Outline of the argument2 The Experiments2.1 Standard EPRB2.2 Sideways EPRB2.3 Comparing the experiments2.4 The need for beables3 The Symmetry Considerations3.1 The action symmetry3.2 Time-symmetry in SEPRB4 The Basic Trilemma4.1 An intuitive defence of Option III?5 Avoiding the Trilemma?6 The Classical Objection7 Defending Option III7.1 The free will argument7.2 Independence and consistency8 Entanglement and Epistemic Perspective. (shrink)

Objectives Older adults are considered one of the most vulnerable groups to COVID-19. However, previous studies on emotion and aging have found that older adults report better well-being than younger adults in global survey and daily report. To better understand older adults’ well-being during the COVID-19 outbreak, we examined age differences in daily affective experiences in this study. Method Two hundred and thirty-one participants from mainland China aged 18 to 85 were recruited to participate in the 14-day daily diary study, (...) after a pretest. Their trait affect and demographic information were measured in the pretest. Their daily affect and stress levels were measured in the daily assessments. Results We found that older adults reported lower perceived stress related to COVID-19 in daily life, compared to younger adults. The negative relationship between daily perceived stress and high arousal positive affect and the positive relationship between daily perceived stress and high arousal negative affect was weaker in older than younger adults. Discussion These results provide initial evidence of daily affective well-being across different age groups in adulthood during the COVID-19 outbreak. Such information is important for developing interventions to promote better well-being during the COVID-19 outbreak. (shrink)

This article investigates the often cited and dismissed, but rarely examined, relationship between legalizing same-sex marriage and polygamy. Employing a comparative historical analysis of U.S. and South African jurisprudence, ideology, and cultural politics, we examine efforts to expand, restrict, and regulate the gender and number of legally recognized conjugal bonds. South African family jurisprudence grants legal recognition to both same-sex marriage and polygyny, while the United States prohibits and resists both. However, social and material conditions make it easier to practice (...) family diversity in the U.S. than in South Africa. Our analysis of the very different histories of polygamy and same-sex marriage in the two societies suggests the centrality of racial politics to marriage regimes, yielding paradoxical narratives about the implications of legal same-sex marriage for the future of polygamy and sexual democracy. If there is a slippery marital slope, we argue, it does not tilt in a singular or expected direction. (shrink)

Introduction i. Character of the Book The central thesis of this book is that experiential awareness of God, or as I shall be saying, the perception of God, ...

This essay derives its focus on poetry from the subtitle of Die Fröhliche Wissenschaft: “la gaya scienza.” Nietzsche appropriated this phrase from the phrase “gai saber” used by the Provençal knight-poets (or troubadours) of the eleventh through thirteenth centuries — the first lyric poets of the European languages — to designate their Ars Poetica or “art of poetry.” I will begin with an exploration of Nietzsche’s treatment of poets and poetry as a subject matter, closely analyzing his six aphorisms which (...) deal explicitly with poets and poetry. Having considered The Gay Science as a text about poetry, I will then briefly explore three further ways in which The Gay Science can be thought of as itself a kind of poetry. The result of these analyses is an understanding of Nietzsche’s own understanding of philosophy (and of the best way to live) as also a form of poetry. (shrink)

We perceive smells as perduring complex entities within a distal array that might be conceived of as smellscapes. However, the philosophical orthodoxy of Odor Theories has been to deny that smells are perceived as having a distal location. Recent challenges have been mounted to Odor Theories’ veracity in handling the timescale of olfactory perception, how it individuates odors as a distal entities, and their claim that olfactory perception is not spatial. The paper does not aim to dispute these criticisms. (...) Rather, what will be shown is that Molecular Structure Theory, a refinement of Odor Theory, can be further developed to handle these challenges. The theory is further refined by focusing on distal perception that requires considering the perceptual object as mereologically complex persisting odor against a background scene conceived of as a smellscape. What will be offered is an expansion of Molecular Structure Theory to account for distal smell perception within natural environments. (shrink)

Ecological feminism (or ecofeminism) and feminist bioethics seem to have much in common. They share certain methodological and epistemological concerns, offer similar challenges to traditional philosophy, and take up a number of the same practical issues. The two disciplines have thus far had little or no direct interaction; this is one attempt to begin some conversation and perhaps stimulate some cross-pollination of ideas. The email dialogue engaged an active ecofeminist scholar, Karen Warren, and an active feminist bioethicist, Hilde Nelson, in (...) an exchange of ideas. Jessica Pierce, whose research cuts between environmental philosophy and bioethics, served as moderator. (shrink)

Explaining the nature and mechanisms of conscious experience in neurobiological terms seems to be an attainable, if yet unattained, goal. Research at many levels is important, including research at the cellular level that explores the role of recurrent pathways between thalamic nuclei and the cortex, and research that explores consciousness from the perspective of action. Conceptually, a clearer understanding of the logic of expressions such as ‘‘causes’’ and ‘‘correlates’’, and about what to expect from a theory of consciousness are required. (...) The logic of some terms, such as ‘‘qualia’’ and ‘‘reductionism’’, continues to generate misunderstandings about the scientific possibilities and limits. Experimentally, a deeper understanding of the role of the thalamus in coordinating activity across cortical levels, and a readiness to reconsider the orthodox approach to thalamocortical organization are also required. (shrink)

No agreed-upon account of mirror reversal is currently available although it has been discussed for more than two thousand years since Plato. Mirror reversal usually refers to recognized left-right reversal of a mirror image. Depending on the nature and layout of a reflected object, however, top-bottom reversal may be recognized instead of left-right reversal; no reversal at all may be recognized; and the presence or absence of reversal may not be decidable. Takano (1998) proposed a psycho-optic theory to explain all (...) these cases of mirror image recognition in a consistent manner. The proposed theory assumes different causes of mirror reversal depending on whether an object's left-right axis is parallel or perpendicular to a mirror's surface. This theory was later criticized in that it provided no explanation when the left-right axis is neither parallel nor perpendicular but at an intermediate angle between zero and 90 degrees with a mirror. This article completes the theory by presenting psycho-optic anal.. (shrink)

The purpose of this book is to develop a terminological structure in which private perceptions can be discussed publicly without bringing into existence the usual unnecessary philosophical problems of confused usage of language. chisholm displays an appraisive, quasi-ethical use of language, whereby he claims that a thing has some particular sensible property is to have adequate evidence that it actually does have that property. (staff).

Are interpersonal affordances a distinct type of affordance, and if so, what is it that differentiates them from other kinds of affordances? In this paper, I show that a hard distinction between interpersonal affordances and other affordances is warranted and ethically important. The enactivist theory of participatory sense-making demonstrates that there is a difference in coupling between agent-environment and agent-agent interactions, and these differences in coupling provide a basis for distinguishing between the perception of environmental and interpersonal affordances. Building further (...) on this foundation for understanding interpersonal affordances, I argue that in line with some enactivist work on social cognition, interpersonal affordances ought to be considered as those that are afforded by agents and are recognized as such. Given this distinction, I also make the point that because our social conventions establish persons as more than mere agents, the direct perception of interpersonal affordances may also involve seeing others as embodied selves. Distinguishing between types of affordances thus also matters ethically: there can be harms done when an agent is not perceived as an agent, and there can be harms done when an agent is not perceived as a self. (shrink)

THE FATES of perceiving and remembering have been inextricably intertwined in Western philosophy and psychology. It has been asserted from Plato’s Theaetetus onwards that there can be no remembering without perceiving and, though much less frequently, no perceiving without remembering of some sort. Just how either of these forms of interdependency occurs, however, has given rise to continual controversy. Little discernible progress has been made since Plato first proposed, in the Theaetetus, a model of the mind as an aviary in (...) which individual memories wait like captive birds to be plucked from the cage of recollection in order to aid in the identification of present perceptions. The elaborate and ingenious character of this memory machine—elaborate and ingenious in comparison with the simpler model of the wax tablet also proposed in the Theaetetus—was to prove prophetic, since later treatments of perception often invoke memory as a deus ex machina brought in to resolve ambiguities and perplexities of perceptual experience. (shrink)

Influenced by the flowering of positive psychology in the field of foreign language acquisition research in recent years, the present study aimed to explore the perceived functions of playfulness, as a personality construct, among English as a foreign language learners. To this aim, an initial sample of 38 EFL learners were selected randomly from the private language institutes of Mashhad, the second largest city in Iran. They were interviewed about any perceived functions of playfulness in the EFL learning (...) context. A qualitative content analysis of the collected data led to the extraction of four categories: Fun and laughter, creativity, mastery orientation, and cultivating relationships. A further in-depth analysis of the categories and comparison with the functions of adult playfulness in psychology revealed that these four categories can be subsumed under two of the four structural components of adult playfulness; namely, other-directed playfulness and intellectual playfulness. The ability of EFL learners to turn language learning situations, tasks, and environment into enjoyable ones via their playfulness can have implications for the quality of their interpersonal interactions in class and eventually their language proficiency. The findings of this study can pave the way for the translation of the adult playfulness construct from developmental and personality psychology and family relations into the second language acquisition domain and its conceptualization in future research in this domain. (shrink)

There has been a growing interest within analytic philosophy in addressing political and social issues, which has been referred to as the “political turn” in the discipline. The aim of this paper is twofold. First, it discusses the very characterization of the political turn. In particular, it introduces the definition proposed by Bordonaba-Plou, Fernández-Castro, and Torices, suggests that we should not consider the turn a form of activism, and explores an additional benefit of the ideal/nonideal distinction for characterizing the turn. (...) Second, it addresses the concern of what attitude we should take in the face of the different sensitivities we might have with respect to what constitutes an injustice. Which philosophical works should count as part of the political turn? The paper explores three different attitudes toward this dilemma, and favors what it calls the revisionist attitude, which emphasizes the fact that our perception of injustice is subject to error. (shrink)

In this chapter, I will present an empirical conjecture to the effect that some bodily actions are categorically perceived. These are bodily actions such as grasping or reaching for something, which I am going to call motor actions. My conjecture builds on one recently put forward about how the categorical perception of facial expressions of some emotions works. I shall motivate my own conjecture on the basis of both theoretical and empirical considerations, describe how it could be operationalised and (...) what explanatory gain could be obtained from it. (shrink)

According to the received account of guilt in the philosophical literature, one cannot feel guilt unless one takes oneself to have done something morally wrong. But ordinary people feel guilt in many cases in which they do not take themselves to have done anything morally wrong. In this paper, I focus on one kind of guilt without perceived wrongdoing, guilt about being merely causally responsible for a bad state-of-affairs. I go on to present a novel account of guilt that (...) explains guilt about mere causal responsibility, according to which guilt represents part of the self as bound up with what is bad. (shrink)