In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 54-63 [Access article in PDF] Movement Class as an Integrative Experience:Academic, Cognitive, and Social Effects Svetlana Nikitina I believe the benefits of this type of course reach beyond the obvious possibilities of professional and academic achievement. The degree of personal discovery, creativity, self-development and insight are immeasurable. I am particularly referring to my experience here at Harvard. Claire Mallardi, from course (...) syllabus Performing arts courses at research institutions such as Harvard University are often seen as extracurricular with only tangential or imperceptible effect on students' academic interests. Yet, when I interviewed biology, math, or neuroscience concentrators who took Claire Mallardi's Movement for Actors and Directors course at Harvard in the spring of 2000, most of them told me that it was one of the most meaningful experiences in their academic development, and, according to one psychology concentrator, "the best psychology course" she ever took. In spite of boundaries separating the arts courses from hard and soft sciences, in students' experience the connections run deep. What were those connections that students made from their dance class experience to their academic and social development? And, what in the teaching and nature of the course supported this highly integrative experience that allowed students to reach beyond mastering an artistic medium and become better learners in general? These were the two major questions that guided this study.Why am I interested in the integrative quality of arts education? I am highlighting the academic importance of performing arts programs to suggest to university administrators and instructors in other disciplines the "immeasurable" personal and academic value of such courses whose place is often seen as marginal. Perhaps also, pedagogy used for integration in this course into the academic fabric of the institution could provide models for other courses and curricula that are trying to be integrative or interdisciplinary in a more self-conscious way. And, there are more and more such [End Page 54] courses on every college campus these days. Moriel Blaisdell in Preparing Faculty for the New Conceptions of Scholarship for example, cites "integrative studies" programs among most important trends in higher education today with their goal "to synthesize, to look for new relationships between the parts and the whole, to relate the past and future to the present, and to ferret out patterns of meaning that cannot be seen through traditional disciplinary lenses." 1One of the most daring experiments in universities now, and the one to which the integrative dance course could speak directly, is interdisciplinary teaching in neuroscience, for example. Neuroscience proceeds from the belief in the inherent unity of mind and body and attempts to discover the nature of the relationship between them. In a different way and with a different goal than arts courses, neurosciences also try to cross the boundary of subjective and objective experience, mind and body, physical technique and personal interpretation, which are at the heart of teaching and learning in the performing arts. While not being prescriptive, I would like to suggest that perhaps close attention to the pedagogy and integrative experiences of students in the performing arts courses could provide some insights for pioneering bridge-making in other academic areas as well.I would like to propose that what lies at the core of integrative capacity of a performing arts course, like the one Claire Mallardi teaches at Harvard, is the inherent tendency of the arts to transcend the boundary of body with the mind, and to seek unity of self as both the subject and the object. In a dance, in the words of Margaret H'Doubler, the body is seen "as the outer aspect of personality, for it is the agent through which we receive impressions from the external world and by which we communicate our meaning." 2 This basic translation between body and mind, mental and physical, artistic and academic that went on in Mallardi's class, resulted in integrative and transformational experiences for her students. "I never until this class — comments one student — equated emotions with movement or... (shrink)

Umberto Eco’s philosophical project, which culminates in the development of a systematic and philosophically relevant semiotics, has a perplexing and problematic debt to and link with pragmatism in its many forms. Indeed, his apparent relation to pragmatism as such is in fact quite tangential if we ignore the pivotal role of Peirce in defining and supporting Eco’s explicit semiotic turn. But Eco claimed that John Dewey’s Art as Experience, the foundation of a distinctively pragmatist aesthetics, was a major factor (...) in his early philosophical movement away from certain premises of the aesthetic tradition that held sway during his student days. Eco engages Dewey in surprising and enlightening ways in his early books, but the trail of Dewey is gradually ‘lost.’ It is this trail, wandering through different contexts, that I follow in this paper. I also indicate how Dewey’s work could have played a larger role in Eco’s mature aesthetic thought and that we should see the absence of Dewey to represent a lost opportunity for emphasizing and enriching the pragmatist side of a semiotic approach to aesthetics. (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 * * * * "… to sleep perchance to dream " 1 To dream: to be not quite asleep, yet not particularly awake. Or, rather: to be awake but not quite know it. For, it is only when we dream, when we are dreaming, that we know that we are not in that final sleep. But we can only know that we are dreaming, that we have dreamt, when we are awake, when we have awoken; after it is too late. When all we know is that the sleep beyond finitude, the sleep that is the step beyond, is not yet upon us, is only to come. To die to sleep … To dream: a sleep that refuses sleep. Perchance to dream: to drift—between sleep and sleep. Aye there's the rub For, can we even know if we have been sleeping? Or, if death has claimed us?—even if a little death. α Ω α Ω α Ω To drift: but from, to, what? For, to drift implies a certain direction that one was headed from, heading to, headed for; without these indications, markers, points in relation with each other, one would just be moving. Can one know—intend—one's drift? Certainly a stunt driver would say so. But even as (s)he is starting her slide, all that (s)he can know is that she is setting the car, herself, the car with herself in it, in motion: after which the drift itself takes over. After which, all (s)he can do is attend to it. At the point of the drift: both (s)he and the car are drifting—here, one might not even be able to separate the movement from those involved in it. Without either of them, there would not be a drift; there is no drifting without the drifter. Both the drifter and the drifting are in a relationality; in which, all that they can know is that they are in relation with each other. Hence, the drift itself is a relationality. A non-essence. But, it is not as if we cannot speak of it. Perhaps though: we can only speak of it as if we can speak of it. Always already an imaginary gesture; where what is being imagined is the relationality between the drift and the ones drifting. Thus, we have a situation where the drifter and drifting are in a relationality; where relationality itself is what is being imagined. Perhaps then, what are we drifting from, to? , is a moot question. As is, what is drifting? Perhaps then, all we can say is drift? To speak of drift is an attempt to speak of the unspeakable. Not that what is speakable and what is unspeakable are antonyms: if that were so, speaking the unspeakable would make no sense, be a contradiction. But that in every act of speaking, something unspeakable is potentially said: something that opens, ruptures, wounds even. And not just that—at the point where it punctures, speaking itself moves out of the way for the unspeakable; speaking itself disappears. "… the whole art is to know how to disappear before dying, and instead of dying. " 2 To disappear; or, to drift out of sight. Where the words themselves slip away. After all: "in the Beginning was the Word. It was only afterwards that Silence came." Perhaps the wish, the hope, is that "the end itself has disappeared …" (Baudrillard, 70) Remaining hidden from us. Perhaps only glimpsed when we dream. Secret. α Ω α Ω α Ω " Bury all your secrets in my skin " (Corey Taylor) Which is the problem: words cling. And they remain. Perhaps not ontologically; but they certainly remain to haunt us. And here, we should not forget Lucretius' lesson that communication occurs in the skin between the parties in communion with each other. Which is not to say that the encounter is determined by atoms—and more precisely atoms that move in straight lines until they collide with each other—that communication is pre-determined. For, one must not forget that will is found, discovered, enacted even, at the moment the atoms swerve. Clinamen . Drift. But even in their movement—drifting—they trace themselves into the skin between; a tangential touching. Perhaps only briefly. But even then, enough … "… there's always texture that betrays the place." (May Ee Wong) Here though, one must not forget that betrayal cannot happen in the absence of love. In fact, betrayal is the very excess of love: where one loves the other so much that one can no longer bear to see the other drift from what (s)he could have been. Whether that idealised other exists or is only in one's head is another question altogether. Perhaps, a fetishised other: keeping in mind that "fetishes are hinged around simulation." After all, "when one is supposed to show up as an oil rig diver no one is expecting actual crude oil" (Amanda Sordes); in fact, actualisation is the perfect way to destroy the fantasy. Perhaps then, the only way to maintain love for another is to maintain a proper distance, as it were, from love: allow the love to constantly alter, change. And here, one must not forget that if love is a relationality between one and another who remains wholly other (otherwise just a mere manifestation of the self), love is a relationality that knows nothing except for the fact that it is in a relation. For, to love one has to attend to—without subsuming another, some other, under oneself. Which means that to love, one has to be willing to risk, to open oneself, to allow oneself to be wounded, torn apart. In new ways, ways that we have yet to understand, come across, ways we do not yet have a name for. Thus, this movement in love is one that occurs in utter blindness; to not only the other, but to what love is. This is love as pure drifting. Perhaps always searching for love itself, without ever knowing what it is that it is looking for. Love: only at the very moment when the word love itself disappears. Perhaps all we can do is sit, and attend: watching the tides flowing away—as if they were having their "last swim of the summer." (Hendrik Speck) Like a butterfly. α Ω α Ω α Ω Isn't it quite amazing how the appearance of a butterfly can inject a stutter or pause into any conversation? Words and words pour out of the animals in assembly, before they are all of a sudden arrested by the passing flight. Heads turn to trace a lilting poetics, attempting to close the distance with this seemingly awkward beauty. There are no straight lines here, only a relative arrival and departure to bracket a brilliant and bewildering trajectory, surging and lurching in a vibrating and nomadic line avant la lettre. (Sean Smith, 'I Seek You: Countdown to Stereoscopic Tear') Before the letter. Before the possibility of naming. Before being sayable. Quite possibly also before language. And yet, a "surging and lurching," a movement with an effect—"vibrating and nomadic"—tracing itself before there is even anything to trace. Leaving something, even if that thing remains unknowable, for us to attend to. Drifting into us. I had some dreams they were clouds in my coffee, clouds in my coffee..." (Carly Simon) NOTES William Shakespeare, Hamlet , Act 3 Scene 1. Jean Baudrillard, Why hasn't everything already disappeared? , 25.  . (shrink)

continent. 1.2 (2011): 141-144. This January, while preparing a new course, Robert Seydel was struck and killed by an unexpected heart attack. He was a critically under-appreciated artist and one of the most beloved and admired professors at Hampshire College. At the time of his passing, Seydel was on the brink of a major artistic and career milestone. His Book of Ruth was being prepared for publication by Siglio Press. His publisher describes the book as: “an alchemical assemblage that composes (...) the life of his alter ego, Ruth Greisman— spinster, Sunday painter, and friend to Joseph Cornell and Marcel Duchamp. Through collages, drawings, and journal entries from Ruth’s imagined life, Seydel invokes her interior world in novelistic rhythms.” This convergence of his professional triumph with the tragedy of his death makes now a particularly appropriate time to think about Robert Seydel and his work. This feature contains a selection of excerpts from Book of Ruth (courtesy of Siglio Press) alongside a pair of texts remembering him and giving critical and biographical insights into his art and his person. These texts, from a former student and a colleague respectively, were originally prepared for Seydel's memorial at Hampshire College and have since been revised for publication in continent. For more information on Book of Ruth, please visit the book's page at the Siglio Press website. —Ben Segal draughty R. * Lauren van Haaften-Schick 2011 “The most apt way to order Smithson's library is with the conjunction 'and'; science and religion; modernism and mass culture; what is present and what is missing.” —Alexander Alberro, 248 Robert Seydel's classes on collage and collecting immersed his students in a curious world of cabinets, oddities, exhaustive archives and obscure histories, explored always with critical rigor and a sincere eye for wonder. His office was a compendium of the ancient, mythic, potential and unworldy, where seemingly unrelated references were endlessly pulled, piled and fused in an ecstatic dance of hyper-annotation. The small room and all its contents overflowed with notes tucked in every margin and corner. Books coated the walls like a switchboard, anxious and humming, waiting for infinite links to be activated. William Blake's books of Job and Urizen summoned Greek mythology and the animal as metaphor, leading to 19th century cryptozoology and the cave paintings at Lascaux, Gaston Bachelard's description of the bird in his garden and Robert Rauschenberg's Canyon . Tracking archetypes and following tangential threads, new revelations and ancient narratives were compiled and ordered to form a new text, a bibliography as assemblage, portrait and poem. Robert's library—one of his many collections—is a portrait, an “artifact, collage of time, a token and remnant” (Seydel, 2007) He is humming with it still. The imagination of this room—of Robert—breathes through the pages of Book of Ruth, as every decision and detail unfolds to a cosmos. Allegory, invention, personal and art histories are entangled and leveled, rendering lived, perceived and absorbed experiences indistinguishable. Anonymous scraps discovered on the street or studio floor, careful clippings and drawn figures are chosen and animated through serendipitous destruction and whimsical, delicate positioning. A precise vocabulary of characters and terms erupts and collapses as personas and passers-by wave and whisper, “Every figure reveals aspects of the total form, which is open and green” (Seydel, 2007). The initials R.S. repeat, a nod to Robert's true family tree and further complicating identification. Robt, Robert's sometimes alter-ego, appears in myriad forms as a trickster “half-wit,” mercurial and skittish, or soft and worn thin. Saul is a solemn tinkerer, parsing the world and sometimes blind. Ruth, the speaker of the book, records and translates all, her voice wavering between poetic verse and a cryptic half-speech as complex as it is sparse. The rhythm of frayed edges sets time - the weight of the world and the lightness of paper. Robert wrote of his process, “Material is essential; scuffings carry history, which wanders throughout” (Seydel, 2007). Collectors, assemblers, sway between careful movements of selection and placement as they pull from the found world, mediating calculated and unconscious association to form a lexicon of gestures, symbols and allusion, the “artifacts of a life... the refuse and rejecta of days” (Seydel, 2007). These assembled fragments shift and chatter, at home in their homelessness, actors performing in their own lives, populating an invented world of similar orphans. Such accumulated, severed parts carry the injury of their cutting and retain the evidence of their source, binding loss to creation in a symbiosis of trauma and repair. Mourning and remembrance are deeply embedded in the histories and acts of such practices. Grievance, acceptance, and the fragility of life are conveyed in the 18th century allegorical arrangements of fetal specimens by Frederik Ruysch. A certain melancholy reverence colors Joseph Cornell's intimately tactile assemblages rendering the universe tangible in miniature, or made in devotion to unrequited loves. Preserved in stasis, these ghosts and idols are kept in a purgatory where fact and fiction, past and present are irrelevant distinctions. Catalogued and contained, the subject of loss is transferred to an artifact. Every thread, scrap and letter may be glued, gathered and placed in a museum, a tomb, a box, a page, ripe and open for possession. Holding on to grief and reveling in disrepair, we opt to be haunted. Forever unbalanced and in flux, the sublime of collage is its resolve to irresolution. For Robert, “Art, as creation and as sign of primary Imagination, is not objects but a state, a kind of fluid” (Seydel, 2007) Reflecting on his work, life, and death, I am drawn to my library and the myriad titles acquired through his inspiration. There is Daniel Spoerri's An Anecdoted Topography of Chance , Susan Stewart's On Longing , various Borges, Barthes, Perec, and especially Life: A User's Manual , which concludes that the perfect puzzle will have no solution. I think of the drawers of miscellaneous swallowed objects at the Mutter Museum, Ray Johnson coding the every day in riddles, Wallace Berman twisting tongues, and Susan Hiller laying every detail to bear. Collectors and makers working in endless cycles of observation, ingestion and display. Every gesture informs and is defined by others, every space is shaped by that which surrounds and fills it, the knot has an inner logic, the gigantic is not so different from the miniature, there is a world in every detail, and “All art is collage” (Seydel, 2011) These thoughts have molded my life, my art, and all the minutia that keep the two so profoundly intertwined; There is no difference between life and what we do with our time. “I write my life. I make me up.” What a gift to share this secret way of knowing the world, and to leave this knowledge for us to do with what we please. “Art begins in admiration” (Seydel, 2011) Lauren van Haaften-Schick is a curator, writer and artist based in New York. Upcoming curatorial projects include "Cancelled" at the Center for Book Arts, and "The Spirit of the Signal" at Nicole Klagsbrun Gallery, New York. Recent activities include the workshops "Market, Alternative" and "Alternative Art Economies" at Trade School and Momenta Art, and the e-flux Time/Store, New York. She is the founding director of two arts spaces in Northampton, MA and Philadelphia, PA. She received a BA in Art History and Studio Art from Hampshire college in 2006. Sura Levine on Robert Seydel If early on in his time at Hampshire College I was officially his “mentor,” Robert Seydel quickly became one of my great teachers. Over the years we talked about everything, from art, music, collage, and poetry, to campus politics, this latter far too often. It was always a sublime pleasure, if all too rarely done, to enter his apartment to look at his work in progress, to peruse his bookshelves where, inevitably, there were always new treats to examine. And, while he was working on his Book of Ruth , I was given the opportunity over the course of many meals at the Korean and other restaurants, to talk with him about image and poem ordering. To see how he thought through each comma, each juxtaposition across the gutters of the Book, was to watch a brilliant curator at work. Each day, I walk past his wonderful collaged portrait of Ruth, purchased, after much haggling, as a birthday present, a couple of years ago. And each day, I think how lucky I am to have known Robert as he produced this magnum opus. One of my greatest pleasures in 24 years at the College was to teach “The Collector” with Robert. One of my greatest regrets is that the magic we created together in the classroom will not, and cannot, be duplicated. Its various incarnations, its utter intelligence and magic, were all so deeply Robert’s. His was a mind that put poetry, philosophy, history of science, and history together with art, and art together with music. His intellect and eye were unparalleled. He introduced us to so many artists. He shared his fascination with the cabinets of curiosity of Aldrovandi, of Seba, and Peter the Great’s collection of fetal anomalies, as well as the Museum of Jurassic Technology in Los Angeles. Robert knew them all and so many more. He was a walking encyclopedia, his home a great archive. Arcane knowledge, perhaps, but oh so important for another of Robert’s heroes, the mid-20th century Belgian artist Marcel Broodthaers, whose name he invariably mispronounced as “Broadthayers.” In speaking his name, Robert would always look in my direction in a panic, and then he go on and maul it. I absolutely loved his various mispronunciations of French names and terms! “The Collector” was always filled with talented young artists, art historians, philosophers and writers who all came to understand the wondrous obsessions of the figure of the collector. Students in this course created dazzling projects each term. He always moved while looking and speaking. He read deeply, and commented on everyone’s work with wonderful generosity. Robert always found something to praise even in the least developed of projects. Robert inspired and mentored all of his students into making work that far exceeded their expectations—and ours. For those of you who were lucky enough to have been touched by or to have had an evaluation written by Robert, savor it, keep it, reread it, and share it. He loved working with you all; it is somehow fitting that he died while prepping yet another new course. Robert, it’s almost impossible to speak of you in the past tense, even though you left us a month ago. No doubt, if you knew about our gatherings and celebrations of you, you would be embarrassed that we are making a fuss over you; you always placed the focus on others rather than on yourself. This trait is exactly why so many people miss you now. We’re here to love you publicly as we all did privately for the eleven years you were among us. Robert, my very dear friend, you were an extraordinary artist—you were my brother of choice. My heart broke when yours did. I miss you profoundly. —Sura Levine, February 26, 2011 Sura Levine is a professor of art history at Hampshire College. Her field of specialty is 19th century Belgian and French art, particularly realism and impressionism. Having worked in museums for a number of years both prior to coming to the College, and, as guest curator and co-author of exhibition catalogues, she became particularly interested in the history of museum and trends in collecting. It was because of their shared interests that she and Robert Seydel developed their course, The Collector, which they co-taught for many years. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dharma Bums: The Beat Generation and the Making of Countercultural PilgrimageP. J. JohnstonI believe in the sweetness of Jesus And Buddha— I believe, In St. Francis, Avaloki Tesvara, the Saints Of First Century India A D And Scholars Santidevan And Otherwise Santayanan Everywhere.(Kerouac 1959: 15)Preliminary Polemics“PILGRIM, n. A traveler that is taken seriously.”—Ambrose Bierce, The Devil’s Dictionary 2007: 133As Beat commentator Stephen Prothero describes in his article “On the (...) Holy Road: The Beat Movement as Spiritual Protest” (1991), the Beats and their pilgrimages have most emphatically not been taken seriously. Both critics and scholars have been unkind to members of the Beat generation, and this unkindness has manifested itself in relative neglect of the Beats in all possible aspects of scholarly investigation. But nowhere does this appear more pronounced than in the area of Beat religion. Though some recent scholarship has been picking up from this earlier neglect and it is now [End Page 165] possible to find serious biographies of most of the major Beat writers and some belated attention to the movement as a literary phenomenon, the only book-length treatment of Beat Buddhism I was able to locate (Tonkinson 1995) hardly qualifies as a scholarly work and was published not by an academic press but as a special feature of the Buddhist magazine Tricycle. Prothero hypothesizes that this is because of the movement’s reputation as rebellious and antinomian—in its heyday the movement was characterized in identical unsavory terms by publications representing interests as diverse as Life and Playboy, with the latter describing the Beats as “nihilists” and the former claiming that the Beats were at war with “Mom, Dad, Politics, Marriage, the Savings Bank, Organized Religion, Literary Elegance, Law, the Ivy League Suit and Higher Education, to say nothing of the Automatic Dishwasher, the Cellophane-wrapped Soda Cracker, the Split-Level House and the clean, or peace-provoking H-bomb” (Prothero 1991: 206). Norman Podhoretz of Partisan Review went further still, claiming that the Beats were “hostile to civilization” and that the movement as a whole amounted to “a revolt of the spiritually underprivileged and crippled of soul” and “an affirmation of death” (ibid., 206). One couldn’t ask for a more passionate disavowal of the Beats or a more thorough polemic that the movement was profoundly antireligious.This could not contrast more with the Beats’ representation of their movement and its aims, with Jack Kerouac going so far as to reinterpret the crucial term “Beat” (a term for someone down and out originally borrowed from criminal street jive) as a noun derived from the adjective “beatific,” a specifically religious term familiar from such phrases as “the beatific vision” (ibid., 206–207). Several of the representative Beat writers were practicing Buddhists, influencing the entire movement to such an extent that Buddhist ideas and imagery suffused Beat literature as a whole. Ginsberg and Kerouac especially emphasized the positive and constructive elements of their spiritual vision, arguing that literature such as On the Road and Howl should be understood as religious affirmations of what is good and holy rather than as purely critical undertakings: “For the crucifix I speak out, for the Star of Israel I speak out, for the divinest man who ever lived who was German (Bach) I speak out, for sweet Mohammed I speak out, for Buddha I speak out, for Lao-tse and Chuang-tse I speak out” (ibid., 206–207). Or, as Allen Ginsberg put it less lyrically (and rather more bluntly): “Howl is an ‘Affirmation’ by individual experience of God, sex, drugs, and absurdity... the poems are religious and I meant them to be” (ibid., 207).But for the most part, Beat asseverations in no way diminished scholarly wariness about the Beat movement and its spirituality—as Prothero concludes, “the tendency among literary scholars is to see these [religious] concerns as tangential rather than constitutive” while “historians of American religion who have explored beat spirituality have tended to focus almost exclusively on the beats’ engagement with Zen and then to dismiss that engagement as haphazard” (ibid., 207).It is my contention that the mainstream scholarly neglect of Beat spirituality is in some part... (shrink)

In this thesis I investigate the notion of experience in German Idealist Philosophy. I focus on the exploration of an alternative to the transcendental model notion of experience through Schelling's insight into the notion of logogrif. The structural division of this project into two sections reflects the two theoretical standpoints of this project, namely the logic and the logogrif of experience. The first section - the logic of experience - explores the notion of experience provided in Kant's Critique of Pure (...) Reason, Critique of Judgement and Fichte's Science of Knowledge. I argue that Kant's fundamental question about the possibility of synthetic a priori judgements succeeds in thematising the aporia of cognitive experience but results in a subject-oriented, representational model which radically confines the notion of experience to the constitutive laws of the understanding or to the normative precepts of Reason. Experience is founded upon a sharp division between faith and knowledge, will and logic, desire and reflection, absolute and finitude. Fichte's endeavour to articulate a non-representational account of experience, does not succeed in extricating itself from the representational model, so long as experience is reduced to the ever-producing deeds of the self-positing ego. Despite the serious differences between Kant's and Fichte's notions of experience, both accounts, so long as they unfold from a transcendental standpoint, attempt to resolve experience into conceptual laws or determinations of the ego's absolute will. Experience is transformed into an object of the subject's cognitive or volitional faculties. The paradoxes of man's interaction with the world are intended to be accommodated either by the law-giving spontaneity of the understanding and the Architectonic of Pure Reason or by the overpowerful primordial act of the self-positing ego. This implies the conceptualisation of the self in terms of constant identity-through-time, or sheer self-determination. However, this conceptualisation remains at the normative or prescriptive level, which in turn is projected upon the world. The latter, though appears as the subject's property, essentially remains alien and opaque, confirming the radical limitations of the ego rather than its order-giving authority. Moreover, this notion of experience is ultimately founded upon a radical expulsion of the divine from the world, the de-spiritualisation of the sensual and the de-sensualisation of the spiritual, the sharp juxtaposition between absolute and finitude. This results in a self-defeating subjectivity, whose firm identity and rule-giving authority does not rescue it from its perennial unattainability to 'organise the conditioned' or 'conquer the unconditioned'. In Kant's and Fichte's thought, however, I detect elements that potentially transgress their transcendental account of experience. These are found in Kant's concept of spontaneity and free play between understanding and imagination, and Fichte's concept of productivity. I argue that these elements lose their potential dynamism, so long as they are absorbed by the transcendental demands for the solution of the aporias of logic. However, these elements point to the need for a radical re-conceptualisation of the notion of experience. This is provided by means of Schelling's logogriflic approach, which constitutes the theme of the second section. The second section - the logogrif of experience - attempts to articulate a different approach towards the notion of experience, through an exploration of Schelling's versatile and provocative thought. This section focuses on Schelling's original insight into the notion and act of logogrif, which opens the dialogue between logos and mythos, cosmic becoming and human soul, cosmic imagination and human reflection, faith and knowledge. This section attempts to illuminate Schelling's fascinating philosophical investigations and discoveries that have been rather overlooked, possibly, due to Hegel's overwhelming critique. This section, after a brief critical examination of the Identity Philosophy, attempts to elucidate Schelling's notion of experience through his middle works, Of Human Freedom, Ages of the World, The Deities of Samothrace, which are treated as a self-developing trilogy. Schelling re-addresses the aporias of logic not as part of Reason's self-interrogation but as part of the cosmic paradoxes and living experiences. In this way, Schelling resets the scene of the debate on the conditions of possibility for cognitive experience by putting on the stage the enigmas of the cosmos and life rather than the Tribunal of Reason. Logic itself is conceived as a potency in the cosmic becoming, and consequently can no longer attempt to establish the transcendental conditions for the possibility of cognitive experience. Cosmic becoming, in which man is an active part, is conceived as the process of the movement, the interaction, the transformations and transmutations of multiple potencies. These, far beyond any mechanical conceptualisation, appear as self-moving and yet interdependent, unknown yet familiar, inscrutable and yet manifest powers, describing the mystery of life itself. The latter is depicted as an ever-recurrent act of longing for self-expression as active unity. Experience is conceived as the lived process of a network of living potencies, which may not only resist rational powers but may also puzzle and seize them. In this context, reflection acquires a plastic dimension, as opposed to its rigidity in the representational model of experience. Reflection depicts cosmic longing's self-formation, whose man is part. This self-bending formation partially illuminates the nature of longing, and from this standpoint is the logic of the longing. However, this formation is movable, transmutable and mostly ineffable, and from this standpoint is the logic of a riddle: a logogrif. Logogrif is the transitive term that attempts to describe the transition of experience from its enacted phase to its allusive conceptual utterance, and in this sense the term itself participates in both phases, as both form of thought and form of life. The logogrific approach to experience in turn transposes us as from the realm of pure concepts to the realm of the mystery of life, from pure thought to acts of longing, from the Architectonic of Pure Reason to Cosmic Theurgy. The latter term attempts to grasp the paradox and dynamism of cosmic and non-cosmic becoming by means of multiple, vanishing and ever-recurring, transmutable potencies, or in Schelling's terms 'the magic of insoluble life'. Schelling's logogrific account consists in a powerful voice for the re-enchantment of the world, the introduction into the notion of experience of the imminence of the divine. This is not suggested in terms of the adoption of old religious doctrines but by means of the discovery and re-discovery of the theurgy of life, through the intensification of our artistic mood, the creative expansion of our deeds. This notion of experience allows for the reconsideration of the notion of the self, in terms of a dynamic, conflictual process between conscious and unconscious powers and the critical revaluation of the accounts of subjectivity which reduce it to the sphere of self-consciousness. The thesis concludes with the need for an investigation into the relation between logos and mythos, which only tangentially has been introduced by the present project. In this context it will be possible to re-appraise the potential that the logogrific approach opens for an alternative to both logical and traditional mythological patterns of thinking. (shrink)

Although research into fair and alternative trade networks has increased significantly in recent years, very little synthesis of the literature has occurred thus far, especially for social considerations such as gender, health, labor, and equity. We draw on insights from critical theorists to reflect on the current state of fair and alternative trade, draw out contradictions from within the existing research, and suggest actions to help the emancipatory potential of the movement. Using a systematic scoping review methodology, this paper (...) reviews 129 articles and reports that discuss the social dimensions of fair and alternative trade experienced by Southern agricultural producers and workers. The results highlight gender, health, and labor dimensions of fair and alternative trade systems and suggest that diverse groups of producers and workers may be experiencing related inequities. By bringing together issues that are often only tangentially discussed in individual studies, the review gives rise to a picture that suggests that research on these issues is both needed and emerging. We end with a summary of key findings and considerations for future research and action. (shrink)

A tactile record and playback system will progress _tactileology_—a new cross-disciplinary field related to tactile sensations—as it will enhance its use in the instruction, archiving, and analysis of human manipulation. In this paper, we describe two key devices for achieving tactileology: a tactile sensor capturing human tactile sense (fingernail color sensor) and a robotic tactile sensor, both of which can detect not only normal force but also tangential force. This is beneficial because people manipulate objects and tools in various (...) ways, such as grasping, picking, and rubbing. The fingernail color sensor registers the three-dimensional (3D) force applied to a fingertip by detecting the fingernail color change caused by blood distribution under the fingernail, which can be observed with green illumination and a miniature camera. Since detecting this color change is more complicated than using a robotic sensor, the relationships between the image and 3D force are learned using a convolutional neural network (CNN). In the robotic sensor, the 3D force applied to a robotic finger transforms into a bright area using an illuminated acrylic core, a rubber robotic finger skin, and a miniature camera. We measure normal force and tangential force by the brightness and movement of the bright area, respectively. Using a force gauge or an electronic scale for measurement, we perform a series of evaluation experiments. The experimental results show that the precision of both the fingernail color sensor and the robotic tactile sensor are sufficient for our system. (shrink)

Exploring the intimate tie between body movement and space and time, Lee begins with the position that body movement generates space and time and explores the ethical implications of this responsibility for the situations one’s body movements generate. Whiteness theory has come to recognize the ethical responsibility for situations not of one’s own making and hence accountability for the results of more than one’s immediate personal conscious decisions. Because of our specific history, whites have developed a particular embodiment (...) and body movement that generates places that can only be characterized as more comfortable and more enabling to whites. (shrink)

As COVID-19 and its variants spread across Australia at differing paces and intensity, the country’s response to the risk of infection and contagion revealed an intensification of bordering practices as a form of risk mitigation with disparate impacts on different segments of the Australian community. Australia’s international border was closed for both inbound and outbound travel, with few exceptions, while states and territories, Indigenous communities, and local government areas were subject to a patchwork of varying restrictions. By focusing on borders (...) at various levels, our research traces how the logics of medico-legal bordering have filtered down from the international to the intra-national, and indeed, into hyper-local spaces. This is not just apparent in the COVID-19 moment but in previous pandemics of 1918 to 1919 influenza and smallpox, in which practices of quarantine and lockdowns were both unevenly distributed and implemented on multiple scales of social organization. An interdisciplinary approach between history and law reveals that human movement during pandemic times in Australia has been regulated in a manner that sees mobility as a risk to public health capable of mitigation through the strict enforcement of borders as a technology of both confinement and exclusion. (shrink)

"This collection provides a powerful and sophisticated analysis of how environmental movements influence politics in Asia, and how politics influences movements." -- John S. Dryzek, Centenary Professor, University of Canberra "This important book reflects the challenges and questions currently foremost in scholars', activists' and policy-makers' minds-the Anthropocene, environmental justice, China's Belt and Road Initiative, and post-politics-all addressed through the lens of environmental movements in Asia. -- Jonathan Rigg, Professor at the School of Geographical Sciences, University of Bristol "How have authoritarianism, (...) democratization and political change affected environmentalism in East and Southeast Asia? How have environmental mobilization and demands for environmental justice at the grassroots influenced politics there? These are among the vital questions answered by this insightful and well-crafted volume." --Paul G. Harris, Chair Professor of Global and Environmental Studies, Education University of Hong Kong "This book shows convincingly that the concept of Anthropocene is as relevant in Asia as anywhere." -- Philip Hirsch, Emeritus Professor of Human Geography, University of Sydney "Despite its claims to universality, the Anthropocene concept remains largely a Western phenomenon. This book is crucial in correcting this view by putting environmental movements in Asia center stage." -- Eva Horn, Professor of Literature and Cultural History, University of Vienna. (shrink)

Sequential action makes up the bulk of human daily activity, and yet much remains unknown about how people learn such actions. In one motor learning paradigm, the serial reaction time (SRT) task, people are taught a consistent sequence of button presses by cueing them with the next target response. However, the SRT task only records keypress response times to a cued target, and thus it cannot reveal the full time‐course of motion, including predictive movements. This paper describes a mouse (...) class='Hi'>movement trajectory SRT task in which the cursor must be moved to a cued location. We replicated keypress SRT results, but also found that predictive movement—before the next cue appears—increased during the experiment. Moreover, trajectory analyses revealed that people developed a centering strategy under uncertainty. In a second experiment, we made prediction explicit, no longer cueing targets. Thus, participants had to explore the response alternatives and learn via reinforcement, receiving rewards and penalties for correct and incorrect actions, respectively. Participants were not told whether the sequence of stimuli was deterministic, nor if it would repeat, nor how long it was. Given the difficulty of the task, it is unsurprising that some learners performed poorly. However, many learners performed remarkably well, and some acquired the full 10‐item sequence within 10 repetitions. Comparing the high‐ and low‐performers’ detailed results in this reinforcement learning (RL) task with the first experiment's cued trajectory SRT task, we found similarities between the two tasks, suggesting that the effects in Experiment 1 are due to predictive, rather than reactive processes. Finally, we found that two standard model‐free reinforcement learning models fit the high‐performing participants, while the four low‐performing participants provide better fit with a simple negative recency bias model. (shrink)

The technological revolution and appropriation of internet tools began to reshape the material basis of society and the urban space in collaborative, grassroots, leaderless, and participatory actions. The protest squares’ representation on Television screens and mainstream media has been broad. Various health, governmental, societal, and urban challenges have marked the advent of the Covid-19 virus. Inequalities have become more salient as poor people and minorities are more affected by the virus. Social distancing makes the typical forms of protest impossible to (...) carry out. Under social distancing, some state-led policies took advantage of social media to focus on the Covid-19 pandemic to silence social and political activities, censor criticism, and control the press. However, during the pandemic era, the movements for social justice have been particularly active, focusing on defending workers’ rights, mutual aid and solidarity, monitoring policymakers, and popular education. These progressive movements combined concrete practices and experiences to confront the reactionary, capitalist, and governmental actors that sought to shape and envision the world. Through different case studies of protest movements during the pandemic in Europe, the UK, and Asia, this paper argues that at the time of rising racial, social, and economic inequalities, the social activities adapted to the circumstances determined by the social distancing and the impossibility of people gathering in physical spaces. Subsequently, the people in different countries had various individual and collective responses to the support of health workers, systemic inequalities, loss of jobs, and other societal and financial challenges imposed by the governments. It means that, rather than disappearing, the social movements have adapted to the unexpected situations during the pandemic outbreak. The pandemic broke the new digital global wave of protests in this sense. (shrink)

In this paper, I argue that, while Kierkegaard distinguishes between an event 'contrary to the order of nature' and an event 'above the order of nature,' and while he recognises a strong order of nature and a strong bond of natural laws, the idea of miracle (i.e., expressed explicitly in terms of violation of laws of nature or of the order of nature) is not important to him. The unavoidable doubtfulness of all historical knowledge and the 'non-immediate' character of personal (...) experience are the most important reasons for what is, at best, a tangential interest in miracles. (shrink)

In this paper, I argue that, while Kierkegaard distinguishes between an event 'contrary to the order of nature' and an event 'above the order of nature,' and while he recognises a strong order of nature and a strong bond of natural laws, the idea of miracle (i.e., expressed explicitly in terms of violation of laws of nature or of the order of nature) is not important to him. The unavoidable doubtfulness of all historical knowledge and the 'non-immediate' character of personal (...) experience are the most important reasons for what is, at best, a tangential interest in miracles. (shrink)

One of the first comprehensive treatments of Deleuzian thought. There is always something schizophrenic about logic in Deleuze, which represents another distinctive characteristic: a deep perversion of the very heart of philosophy. Thus, a preliminary definition of Deleuze's philosophy emerges: an irrational logic of aberrant movements. —from Aberrant Movements In Aberrant Movements, David Lapoujade offers one of the first comprehensive treatments of Deleuzian thought. Drawing on the entirety of Deleuze's work as well as his collaborations with Félix Guattari, from the (...) “transcendental empiricism” of Difference and Repetition to the schizoanalysis and geophilosophy of Anti-Oedipus and A Thousand Plateaus, Lapoujade explores the central problem underlying the delirious coherence of Deleuze's philosophy: aberrant movements. These are the movements that Deleuze wrests from Kantian idealism, Nietzsche's eternal return, and the nonsense of Lewis Carroll; they are the schizophrenic processes of the unconscious and the nomadic line of flight traversing history—in short, the forces that permeate life and thought. Tracing and classifying their “irrational logics” represent the quintessential tasks of Deleuzian philosophy. Rather than abstract notions, though, these logics constitute various modes of populating the earth—involving the human as much as the animal, physical, and chemical—and the affective, mental, and political populations that populate human thought. Lapoujade argues that aberrant movements become the figures in a combat against the forms of political, social, philosophical, aesthetic, and scientific organization that attempt to deny, counter, or crush their existence. In this study of a thinker whose insights, theoretical confrontations, and perverse critiques have profoundly influenced philosophy, literature, film, and art over the last fifty years, Lapoujade invites us to join in the discordant harmonies of Deleuze's work—and in the battle that constitutes the thought of philosophy, politics, and life. (shrink)

Midwest Studies In Philosophy, Volume 44, Issue 1, Page 239-259, December 2019.

The Movement of Showing investigates the idea, shared by Derrida, Hegel and Heidegger, that the value of their thought is not found in its results or conclusions, but in its "movement." All three describe the heart of their work in terms of a pathway, development, or movement rather than in terms of its propositions or conclusions. This seems to deprive their thought of a solid ground, and indeed deconstruction in particular is often criticized in this way. Johan (...) de Jong argues that this is a structural vulnerability that is both its weakness and the source of its value, tracing Derrida's indirect method from his early to later works, and considering his engagements with Hegel and Heidegger. His analysis locates an affinity among Hegel, Heidegger and Derrida in a shared distrust of externality and, against the grain of some Levinasian commentaries, argues that Derrida's indirectness results in an ethics of complicity. The Movement of Showing answers a central question that many polemics about continental philosophy and postmodernism revolve around concerning how, methodologically, one can philosophize responsibly. It shows the difference between critique and polemics, and why simply taking up a position for or against is insufficient in order to think responsibly. (shrink)

This book covers the topic of history and the role that it played in the Austrio-British philosopher Ludwig Wittgenstein’s thought. The topic is explored from multiple angles, both chronologically and thematically. Reviewing Wittgenstein’s two magnum opera - the Tractatus Logico-Philosophicus (1921) and Philosophical Investigations (1952), this work is an investigation into an under-acknowledged element in Wittgenstein’s thought, one which in many cases acted as an impetus for that life-long process of novel philosophical reflection: History. This volume traces the evolution of (...) Wittgenstein’s thoughts on time and temporality from the Tractatus, through the Investigations, into some key post-Investigations remarks and also examines the motivations behind Wittgenstein’s post-Tractarian return to philosophy and, in particular, the unique methodology he developed in order to serve his renewed purpose. The final chapter seeks to answer the question, What was Wittgenstein trying to achieve with Philosophical Investigations? This book is of interest to philosophers. (shrink)

In order to understand ongoing activity, observers segment it into meaningful temporal parts. Segmentation can be based on bottom‐up processing of distinctive sensory characteristics, such as movement features. Segmentation may also be affected by top‐down effects of knowledge structures, including information about actors' intentions. Three experiments investigated the role of movement features and intentions in perceptual event segmentation, using simple animations. In all conditions, movement features significantly predicted where participants segmented. This relationship was stronger when participants identified (...) larger units than when they identified smaller units, and stronger when the animations were generated randomly than when they were generated by goal‐directed human activity. This pattern suggests that bottom‐up processing played an important role in segmentation of these stimuli, but that this was modulated by top‐down influence of knowledge structures. To describe accurately how observers perceive ongoing activity, one must account for the effects of distinctive sensory characteristics, the effects of knowledge structures, and their interactions. (shrink)

The Global Ethic is the set of basic principles of right and wrong which in fact are found in all the major, and not so major, religions and ethical systems of the world, past and present. It does not go beyond the existing commonalities. However, this de facto existing broad basic agreement on ethical principles, unfortunately, is largely unknown by most religious and ethical persons. If they were aware of this commonality, that would provide a broad basis for serious dialogue (...) and collaboration among the adherents of all the religions and ethical systems of the world. Lacking that awareness, far too often different religions and ethical systems foster destructive, rather than constructive, relations. Hence, it is vital to foster a conscious knowledge of the de facto existing Global Ethic. The Movement for a Global Ethic - drafting of a Universal Declaration of a Global Ethic and promoting knowledge and practice - was launched in 1991. Where did the idea of a movement for a Universal Declaration of a Global Ethic come from? New ideas, new movements, don't just appear out of thin air. When "integrating" forces pointing toward something "new" gradually gather below the conscious level, they slowly reach a critical point, and then suddenly a "new" idea will "precipitate," like the "quality of mercy, which droppeth as the gentle rain from heaven upon the place beneath." Thus, it also happened with the Movement for a Global Ethic. In this book, Dr. Leonard Swidler and 11 colleagues propose their perspectives on the Global Ethic from the vantage points of various religions. (shrink)

Prelude -- What moves as a body returns as a movement of thought -- Introduction: Events of relation : concepts in the making -- Incipient action : the dance of the not-yet -- The elasticity of the almost -- A mover's guide to standing still -- Taking the next step -- Dancing the technogenetic body -- Perceptions in folding -- Grace taking form : Marey's movement machines -- Animation's dance -- From biopolitics to the biogram, or, how Leni (...) Riefenstahl moves through fascism -- Of force fields and rhythm contours -- Relationscapes : how contemporary Aboriginal art moves beyond the map -- Constituting facts : Dorothy Napangardi dances the dreaming -- Cornering a beginning -- Conclusion: Propositions for thought in motion. (shrink)

Movements of the Mind is about what it is to be an agent. Focusing on mental agency, it integrates multiple approaches, from philosophical analysis of the metaphysics of agency to the activity of neurons in the brain. Philosophical and empirical work are combined to generate concrete explanations of key features of the mind. The book should be relevant and accessible to philosophers and scientists interested in mind and agency.

Bodily movement has become an interesting topic in recent philosophy, both in analytic and phenomenological versions. Philosophy from Descartes to Kant defined the human being as a mental subject in a material body. This mechanistic attitude toward the body still lingers on in many studies of motor learning and control. The article shows how alternative philosophical views can give a better understanding of bodily movement. The article starts with Heidegger's contribution to overcoming the subject-object dichotomy and his new (...) understanding of the primacy of the practical involvement with the surrounding world. Heidegger, however, in many ways neglected the role of the human body. Merleau-Ponty took a huge step forward when he focused on the bodily intentionality of our interaction with the world. The next step was taken by Samuel Todes who presented a better understanding of how we are bodily oriented in space. After having seen how the body is oriented outward towards the environment it is proper that the final part of this article goes inward toward the role of bodily awareness and the role of proprioception in human movement. The goal of the presentation is to contribute to a better understanding of what goes on in sport. The article therefore uses examples from sport, especially football, to show the relevance of the new insights for sport studies. (shrink)

Wittgenstein's diary from the 1930s contains the raw material for what could have been an incomparable spiritual autobiography. For the first time in an affordable edition, the volume includes updated and expanded editorial notes on Wittgenstein's many allusions, and an introduction by Ray Monk on the larger arc of Wittgenstein's life and work.

The key role that animals play in our aesthetic appreciation of the natural world has only gradually been highlighted in discussions in environmental aesthetics. In this article I make use of the phenomenological notion of 'perceptual sense' as developed by Merleau-Ponty to argue that open-ended expressive-responsive movement is the primary aesthetic ground for our appreciation of animals. It is through their movement that the array of qualities we admire in animals are manifest qua animal qualities. Against functionalist and (...) formalist accounts, I defend and develop an account of expressive-responsive movement as the primary perceptual sense of animals. I go on to suggest that the primacy of movement in the aesthetic appreciation of animals is also the primary sense of animal 'wildness', and that a key part of the rewilding paradigm should be the development of such appreciation. (shrink)

While the normative debate on European integration has addressed the importance of the construction of truly democratic institutions as well as the establishment of social rights at EU level, the role of progressive social movements has not been much debated. Building upon theorization and research in social movement studies, I argue that progressive social movements are indeed already contributing to the construction of European public spheres. Not one liberal (or bourgeois), public sphere but the proliferation of subaltern counterpublics could (...) allow for the participation of the excluded, giving them the possibility to make their political voice heard. Through different paths of Europeanization (in particular, domestication, externalization and transnationalization), progressive social movements have played an important role in the creation of a critical public sphere as, by contesting European institutions, they have contributed to make them (more) accountable, but have also developed collective identities at EU level and, with them, European public spheres. A main challenge is now to connect an emancipatory critical public to public institutions. (shrink)

In this paper I argue for the usefulness of the concept of ‘movement compression’ for understanding sport and games, and particularly the differences between traditional sport and eSport (as currently practised). I suggest that movement compression allows us to distinguish between different activities in terms of how movement quality (in the sense of the qualities the movement possesses, rather than that the movement is of ‘high quality’) affects outcome. While it applies widely, this concept can (...) in particular help us to understand the persistent idea that eSports are in some key way distinct from traditional sports. (shrink)

This article begins with a summary phenomenological analysis of movement in conjunction with the question of “quality” in movement. It then specifies the particular kind of memory involved in a dancer’s memorization of a dance. On the basis of the phenomenological analysis and specification of memory, it proceeds to a clarification of meaning in dance. Taking its clue from the preceding sections, the concluding section of the article sets forth reasons why present-day cognitive science is unable to provide (...) insights into dance, notably because being largely tethered to happenings in the brain, it lacks foundational grounding in experience, specifically, the actual experience of movement, which is to say in kinesthesia. (shrink)

Background Previous research mainly focuses on how to support nursing students in caring for the patient and on educators’ views of students’ development as professional caring nurses. Against this background, it is important to further investigate nursing students’ perspectives on what it means to become a professional caring nurse. Research aim This qualitative systematic review study aims to identify and synthesize nursing students’ perceptions on the meaning of becoming a caring nurse. Research design and data sources Systematic data searches were (...) conducted by using the electronic databases MEDLINE (Ovid), CINAHL (EBSCO), Academic Search Premiere (EBSCO), and Philosopher`s Index. In total, 13 studies met the inclusion and quality criteria. The articles were analyzed by a systematic review and a thematic synthesis according to Thomas and Harden. Ethical consideration The study followed good ethical practice guidelines outlined in the Northern Nurses’ Federation. Findings The analysis resulted in eight descriptive themes and finally in three analytical themes: Becoming is to get in touch with one’s inner ethic or ethos, Becoming is a movement between courage, understanding, and being touched, and Becoming is strengthened through caring role models and a learning culture. Conclusions Becoming a professional caring nurse is seen as an ongoing movement toward a deeper understanding of oneself and one’s being and bearing. This movement is enabled when nursing students have a sense of self-awareness, courage to stand in their vulnerability, and reflect on their responsibility, caring attitude, and inner values and ethics. The force of becoming is that the attention is directed beyond self to care for and feel empathy for others in a caring manner. Becoming is released through a caring relationship, external confirmation, and good role models. A lack of external support in the movement can potentially prevent the students from becoming a professional caring nurse. (shrink)

Group dynamics play an important role in the social interactions of both children and adults. A large amount of research has shown that merely being allocated to arbitrarily defined groups can evoke disproportionately positive attitudes toward one’s in-group and negative attitudes toward out-groups, and that these biases emerge in early childhood. This prompts important empirical questions with far-reaching theoretical and applied significance. How robust are these inter-group biases? Can biases be mitigated by behaviors known to bond individuals and groups together? (...) How can bonds be forged across existing group divides? To explore these questions, we examined the bonding effects of interpersonal synchrony on minimally constructed groups in a controlled experiment. In-group and out-group bonding were assessed using questionnaires administered before and after a task in which groups performed movements either synchronously or non-synchronously in a between-participants design. We also developed an implicit behavioral measure, the Island Game, in which physical proximity was used as an indirect measure of interpersonal closeness. Self-report and behavioral measures showed increased bonding between groups after synchronous movement. Bonding with the out-group was significantly higher in the condition in which movements were performed synchronously than when movements were performed non-synchronously between groups. The findings are discussed in terms of their importance for the developmental social psychology of group dynamics as well as their implications for applied intervention programs. (shrink)

How democratic progressive politics can happen and how it is happening in very different political arenas.

The effect of concurrent movement on incidental versus intentional statistical learning was examined in two experiments. In Experiment 1, participants learned the statistical regularities embedded within familiarization stimuli implicitly, whereas in Experiment 2 they were made aware of the embedded regularities and were instructed explicitly to learn these regularities. Experiment 1 demonstrated that while the control group were able to learn the statistical regularities, the resistance-free cycling group and the exercise group did not demonstrate learning. This is in contrast (...) with the findings of Experiment 2, where all three groups demonstrated significant levels of learning. The results suggest that the movement demands, rather than the physiological stress, interfered with statistical learning. We suggest movement activates the striatum, which is not only responsible for motor control but also plays a role in incidental learning. (shrink)

Although the body has been the focus of much contemporary cultural theory, the models that are typically applied neglect the most salient characteristics of embodied existence—movement, affect, and sensation—in favor of concepts derived from linguistic theory. In _Parables for the Virtual_ Brian Massumi views the body and media such as television, film, and the Internet, as cultural formations that operate on multiple registers of sensation beyond the reach of the reading techniques founded on the standard rhetorical and semiotic models. (...) Renewing and assessing William James’s radical empiricism and Henri Bergson’s philosophy of perception through the filter of the post-war French philosophy of Deleuze, Guattari, and Foucault, Massumi links a cultural logic of variation to questions of movement, affect, and sensation. If such concepts are as fundamental as signs and significations, he argues, then a new set of theoretical issues appear, and with them potential new paths for the wedding of scientific and cultural theory. Replacing the traditional opposition of literal and figural with new distinctions between stasis and motion and between actual and virtual, _Parables for the Virtual _tackles related theoretical issues by applying them to cultural mediums as diverse as architecture, body art, the digital art of Stelarc, and Ronald Reagan’s acting career. The result is an intriguing combination of cultural theory, science, and philosophy that asserts itself in a crystalline and multi-faceted argument. _Parables for the Virtual_ will interest students and scholars of continental and Anglo-American philosophy, cultural studies, cognitive science, electronic art, digital culture, and chaos theory, as well as those concerned with the “science wars” and the relation between the humanities and the sciences in general. (shrink)