This paper examines the way Charles Darwin applied his domestic breeding analogy to the practical workings of species evolution: that application, it is argued, centered on Darwin's distinction between methodical and unconscious selection. Methodical selection, which entailed pairing particular individuals for mating purposes, represented conditions of strict geographic isolation, obviously useful for species multiplication (speciation). By contrast, unconscious selection represented an open landmass with a large breeding population. Yet Darwin held that this latter scenario, which often would include multiple ecological (...) subdistricts and thus partial isolation, was better suited for speciation than were isolated conditions. At the same time, many passages in Darwin's writings that apparently portrayed phyletic evolution exclusively (these including references to unconscious selection), actually applied to speciation as well, for phyletic change in a single district could constitute a local manifestation of a larger common-descent pattern. This generic use of "phyletic" change was reflected in Darwin's deployment of the unconscious selection analogy in his published writings as well as in his dispute with Moritz Wagner over the necessity of geographic isolation for speciation. We can thus understand Darwin's otherwise puzzling declaration in The Origin of Species that unconscious selection was 'more important' than the methodical approach. (shrink)

The systematic examination of the visual depiction of nonhuman animals by humans, and the representation of nonhuman animal imagery is an opportunity to observe varying degrees of anthropocentrism in the manner in which the nonhuman animal is represented. The investigation we present ventures beyond the traditional scope of post-modern human alterity and suggests that an Otherness status should be extended to encompass both the human animal and the nonhuman animal. An important motivation for seriously considering nonhuman animal experience is (...) the biological similarities shared by human animals and nonhuman animals. Many perspectives toward the nonhuman animal have ignored such similarities, and this in turn results in the infliction of much trauma and injustice on nonhuman animals. We argue that the visual representation of nonhuman animals has the potential, to a substantial degree, to affect the general human understanding of and interactions with all nonhuman animals, and with positive, neutral, and negative implications for all involved. In other words, it really matters how we represent animals. (shrink)

The secondary literature on Rawls is vast, but little of it is historical. Relying on the archival materials he left to Harvard after his death, we look at the historical contexts that informed Rawls's understanding of political philosophy and the changes in his thinking up to A Theory of Justice. We argue that Rawls's classic work reveals positivist aspirations that were altered and frayed by various encounters with postanalytic naturalism. So, we begin in the 1940s, showing the influence of other (...) positivist projects, such as those of Popper and Ducasse. Thereafter, we explore how Rawls's encounter with Wittgenstein and Quine in the 1950s and 1960s led him to introduce the post-analytic features evident in A Theory of Justice. Our historical narrative challenges commonplace folk-understandings that portray Rawls as either wholly committed to positivism or as its principal slayer. (shrink)

The republication of David Bloor's Knowledge and Social Imagery is evidence of the continuing interest and importance of the work but also provides the clearest evidence of the shortcomings of the enterprise. The new Afterword of Bloor's second edition addresses criticisms of the Strong Programme, but the theses which Bloor now defends are substantially weaker claims than the iconoclastic tenets of the original manifesto. Moreover, in a related strategy, Bloor asserts that criticisms made since 1975 have given him no reason (...) to modify the original text, but there are judicious alterations which are revealing. These unacknowledged alterations are documented here. Bloor's Strong Programme was founded on the diametrical opposition between his causal sociological approach and the allegedly a?causal rationalist, psychologist or ?teleological? approach. However, once it was shown that the teleological position is not the straw?man he represented it to be, Bloor's diametrical opposition left him no retreat. Just as Bloor weakens the original claims of the Strong Programme to make them appear compatible with cognitive science, so he eradicates the suggestion that the opposing teleological position was ever as absurd as he had portrayed it. The common rationale of these independent tactics leaves little question about their purpose ? and their futility. (shrink)

Our fascination with artificial intelligence (AI), robots and sentient machines has a long history, and references to such humanoids are present even in ancient myths and folklore. The advancements in digital and computational technology have turned this fascination into apprehension, with the machines often being depicted as a binary to the human. However, the recent domains of academic enquiry such as transhumanism and posthumanism have produced many a literature in the genre of science fiction (SF) that endeavours to alter this (...) antagonistic notion of AI. In his novel Klara and the Sun, Kazuo Ishiguro explores this notion of AI as a caring machine capable of nursing an ailing young girl back to health. Through this portrayal of AI as a sentient being capable of empathy and cognition, Ishiguro is attempting to usher in a new perception of AI: a posthuman perception that challenges the conventional notions of AI as a machine devoid of emotions. The novel further expands on the idea of self, soul and human consciousness and ponders on the question, what makes humans human, and if it is possible to imbibe these qualities onto an AI. Owing to the novelty of this notion, an unexplored avenue that deserves further exploration, this paper examines the plausibility of this new notion of AI through a careful exegesis of the novel. The paper also attempts to chart the impact of SF in society and culture. The study reveals a positive shift in perception towards AI, and there seems to be much scope for interdisciplinary and transdisciplinary research. (shrink)

There has long been a curious fascination with eyes and mirrors as evident throughout art, film, and literature. From fantastical characters who shoot lasers from their eyes to those whose memories are altered visually, the way in which a story portrays the function of the eyes demonstrates the way the storyteller imagines the character's relationship to the world. Is the character powerful or powerless? Does she impact her world or is she impacted by that world? The storyteller's portrayal of (...) vision answers those questions and reveals deeper assumptions about the individual and her ability to move within and to know her world. While eyes are associated with interacting with this world, mirrors are distinctly associated with interacting with some other world. Mirrors function as portals to other worlds, windows that glimpse an alternate reality, or harmful traps that hide sinister intentions. How an author portrays eyes reveals how she understands the world, while how she portrays mirrors reveals how she imagines the unknown. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 10.2 (2003) 161-167 [Access article in PDF] Social, Cognitive, and Neural Constraints on Subjectivity and Agency:Implications for Dissociative Identity Disorder Peter Q. Deeley In this commentary, I consider Matthew's argument after making some general observations about dissociative identity disorder (DID). In contrast to Matthew's statement that "cases of DID, although not science fiction, are extraordinary" (p. 148), I believe that there are natural analogs of (...) the disorder that, when considered, make it seem less puzzling and exotic. After discussing these examples, I examine the relations between social, cognitive, and neural processes supporting subjectivity and agency, to identify sources of personal identity in cases of DID that can be used as a basis for assessing Matthew's points against Behnke and Sinnott-Armstrong. I am not proposing a comprehensive theory, but rather identifying what I believe are components of such a theory. I then outline an approach to determining criminal responsibility in DID, drawing on analogies with other psychiatric disorders. Dissociative Identity Disorder DID is a disorder described in DSM-IV, which "is characterised by the presence of two or more distinct identities or personality states that recurrently take control of the individual's behaviour accompanied by an inability to recall important personal information that is too extensive to be explained by ordinary forgetfulness" (American Psychiatric Association, p. 519). Recognizing Personal Identity How is personal identity recognized in normal cognition? If we take personhood to involve recognition of continuity of social, psychological, and physical identity for a given individual, then such judgments are routinely made rapidly and automatically as an aspect of what has come to be termed social cognition (Adolphs 2003). There is likely to be considerable redundancy in [End Page 161] the types of information used to make judgments about whether a person is the same as one who was previously encountered, or perhaps heard about—for example, facial features, movement patterns, speech prosody, dress, speech content, gender, ethnicity, social role, among other features, all provide information about individual identity, and hence personhood. When uncertainty exists, it is likely to reflect a loss or alteration of cues that would ordinarily be used in a rapid, automatic, unexamined way (Adolphs 2003). In such extreme cases (for example, severe mental illness or disfigurement), the problem of identification becomes the subject of explicit reasoning (and hence of potential disagreement, because we then engage in post hoc rationalizations to establish criteria for determining personhood, whereas normally we rely on essentially automatic, implicit abilities that work in most circumstances, some of which make little use of linguistic representations and formal reasoning—for example, individual facial identity recognition, which may occur as quickly as 170 ms after stimulus onset [Adolphs 2003]). Nevertheless, examining our judgments and intuitions in cases that force us to explicitly consider whether personal identity is preserved may provide analogies and clues for how we should proceed with DID. Let us consider, then, some natural analogs of DID. Natural Analogs of DID Method Acting I suggest that method acting is an analog of DID (Manderino 1985). Method acting refers to an approach to acting training and performance in which emphasis is placed on intensely imagining and identifying with the mental life of the character being portrayed. Training courses and manuals list many techniques and practices that can be used to facilitate absorption in a role, drawing on different kinds of memory—for example, experiential memories, memories of others, general knowledge (semantic memory), and memories of sensations and feelings, to creative a vivid sense of the subjective experience and actions of the character. Manderino, a method acting teacher, comments: "it is important to investigate the way in which your own mental makeup can improperly influence a character. Insecurities, self-consciousness, shyness or self-doubts can maintain a strong hold, and permitting any of these feelings to enter a performance is to remain the actor and not enter into the mental life of the character. For some, acting allows personal problems to be left behind, and they are thankful for the complete escape that... (shrink)

Given a few assumptions, the probability of a conjunction is raised, and the probability of its negation is lowered, by conditionalising upon one of the conjuncts. This simple result appears to bring Bayesian confirmation theory into tension with the prominent dogmatist view of perceptual justification – a tension often portrayed as a kind of ‘Bayesian objection’ to dogmatism. In a recent paper, David Jehle and Brian Weatherson observe that, while this crucial result holds within classical probability theory, it fails within (...) intuitionistic probability theory. They conclude that the dogmatist who is willing to take intuitionistic logic seriously can make a convincing reply to the Bayesian objection. In this paper, I argue that this conclusion is premature – the Bayesian objection can survive the transition from classical to intuitionistic probability, albeit in a slightly altered form. I shall conclude with some general thoughts about what the Bayesian objection to dogmatism does and doesn’t show. (shrink)

En 1934, pour justifier son silence face au nazisme, Stefan Zweig publie un essai historique sur Érasme qui est en même temps une apologie. Pour camper l’humaniste, son alter ego, il se fonde sur la biographie rédigée par Johan Huizinga. Par contre, Luther, l’irréductible opposant d’Érasme, disparaît presque entièrement sous la figure de Hitler, et n’a guère de consistance historique.In 1934 Stefan Zweig published, in order to justify his silence towards Nazism, an historical essay about Erasmus, which was at the (...) same time an apology. In order to portray the humanist, his alter ego, he based himself on the biography written by Johan Huizinga. Luther however, Erasmus’ implacable opponent, is swallowed up almost completely by the figure of Hitler, and has hardly any historical substance. (shrink)

Museum displays tend to black-box science, by displaying scientific facts without explanations of how those facts were made. A recent trend in exhibit design upends this omission by putting scientists, technicians, and volunteers to work in glass-walled laboratories, just a window away from visitors. How is science conceived, portrayed, and performed in glass-walled laboratories? Interviews and participant observation in several “fishbowl” paleontology laboratories reveal that glass walls alter lab workers’ typical tasks and behavior. However, despite glass-walled labs’ incomplete and edited (...) enactment of scientific work, displaying an active workplace valuably challenges visitors’ assumptions that science is passive and that museums are home only to facts and dead things. Thus, glass-walled labs do not destroy the black box that obscures scientific practice for nonscientists. Instead, they exemplify a glass box, a kind of black box that contains a performance of scientific work. Glass-boxing describes a common way in which museums present scientific practice—that is, by making it observable but incompletely so—by inviting the public to construct a rich understanding of science as human work. (shrink)

In his paper, Jakob Hohwy outlines a theory of the brain as an organ for prediction-error minimization, which he claims has the potential to profoundly alter our understanding of mind and cognition. One manner in which our understanding of the mind is altered, according to PEM, stems from the neurocentric conception of the mind that falls out of the framework, which portrays the mind as “inferentially-secluded” from its environment. This in turn leads Hohwy to reject certain theses of embodied cognition. (...) Focusing on this aspect of Hohwy’s argument, we first outline the key components of the PEM framework such as the “evidentiary boundary,” before looking at why this leads Hohwy to reject certain theses of embodied cognition. We will argue that although Hohwy may be correct to reject specific theses of embodied cognition, others are in fact implied by the PEM framework and may contribute to its development. We present the metaphor of the “body as a laboratory” in order to highlight wha... (shrink)

In this essay we investigate several moments in Simone de Beauvoir's philosophical and literary texts in which she refers to echoes and echoing. We notice that echoes help Beauvoir to figure and amplify the ethical character of her concept of ambiguity, which is so central to her thought. We argue that, for Beauvoir, literature has privileged access to the ambiguity of existence and therefore maintains a special status in exposing us to alterity and bringing us face to face with (...) ethical responsibility. Considering her literary portrayals of echoing helps to explain why, despite her life-long philosophical engagement, Beauvoir preferred not to call herself a philosopher. Finally, Beauvoir's phenomenological insight is that in order to carry ethical resonance, the form of a written work must mirror the fundamentally ambiguous or echolalic ontological structure of human existence. (shrink)

Various attempts have been made recently to bring Husserl into the contemporary analytic discussion on sensory illusion and hallucination. On the one hand, this has resulted in a renewed interest in what one might call a ‘phenomenology of sense-deception.’ On the other hand, it has generated contrasting—if not utterly incompatible—readings of Husserl’s own account of sense perception. The present study critically evaluates the contemporary discourse on illusion and hallucination, reassesses its proximity to Husserl’s reflection on sensory perception, and highlights the (...) philosophical limits and structural deficiencies of the current debate in light of some of Husserl’s insights. The analysis first provides a synopsis of the argumentative structures, aims, and assumptions informing the conjunctivism-disjunctivism debate. This assessment is then critically elaborated through the lens of Husserlian phenomenology in its historical and theoretical distance from the recent debate. Contrary to certain readings of Husserl, the reconstruction of some cardinal phenomenological themes provides all the elements necessary to dislocate his own account from the conjunctivism-disjunctivism dispute, by means of both a ‘global’ and a ‘local’ analysis, and both exegetically and theoretically. Most importantly, a ‘return’ to Husserl shows the philosophical untenability of the whole controversy as not only leaving untouched the core problem of perception but also altering some of its essential traits. This critique of the image of experience portrayed in the contemporary discussion is conducted through a phenomenological clarification of perception as a distinct ‘structure of rules’ of consciousness and, more specifically, by means of a descriptive analysis centered on the core notion of horizonal-intentionality. (shrink)

Arthur Schopenhauer ranked the several arts in a hierarchy, with literary and dramatic arts at the top, music soaring in a separate even higher heaven, and architecture sinking to the ground under the weight of beams and bricks and mortar.1 The governing principle seems to be some measure of spirituality, with architecture ranking lowest by vice of being grossly material.Nowadays such rankings are taken less seriously. Traditional ideologies and mythologies of the arts are undergoing deconstruction and disvaluation, making way for (...) a neutral comparative study that can reveal a good deal not only about relations among the several arts2 but also about the kinships and contrasts between the arts, the sciences, and other ways that symbols of various kinds participate in the advancement of the understanding.In comparing architecture with the other arts, what may first strike us, despite Schopenhauer, is a close affinity with music: architectural and musical works, unlike paintings or plays or novels, are seldom descriptive or representational. With some interesting exceptions, architectural works do not denote—that is, do not describe, recount, depict, or portray. They mean, if at all, in other ways.On the other hand, and architectural work contrasts with other works of art in scale. A building or park or city3 is not only bigger spatially and temporally than a musical performance or painting—it is bigger even than we are. We cannot take it all in from a single point of view; we must move around and within it to grasp the whole. Moreover, the architectural work is normally fixed in place. Unlike a painting that may be reframed and rehung or a concerto that may be heard in different halls, the architectural work is firmly set in physical and cultural environment that alters slowly. 1. See Bryan Magee, The Philosophy of Schopenhauer , pp. 176-78. Nelson Goodman, emeritus professor of philosophy at Harvard University, is the author of, among other works, The Structure of Appearance, Languages of Art, Ways of Worldmaking, and Of Mind and Other Matters. His previous contributions to Critical Inquiry are “The Status of Style” , “Metaphor as Moonlighting” , “Twisted Tales; or, Story, Study, and Symphony” , “The Telling and the Told” , and “Routes of Reference) Autumn 1981). (shrink)

Big History - an integral conception of the past since the Big Bang until today - is a novel subject of cross-disciplinary interest. The concept was construed in the 1980-1990s simultaneously in different countries, after relevant premises had matured in the sciences and humanities. Various versions and traditions of Big History are considered in the article. Particularly, most of the Western authors emphasize the idea of equilibrium, and thus reduce cosmic, biological, and social evolution to the mass-energy processes; the informational (...) parameter involving all mental and spiritual aspects are seen as epiphenomena of material structures' complication that do not play their own role in evolution. In Russian tradition ascending to A. Bogdanov, E. Bauer, I. Prigogine, and E. Jantsch, sustainable non-equilibrium patterns are used. This implies attention to the pan-material sources and evolution of mental capacities and spiritual culture (as basic anti-entropy instruments) and humans' growing intervention in the material processes on Earth and outside it. The non-equilibrium approach in the context of modern control and self-organization theories, alters the portrayal of the past, and still more dramatically, estimation of the civilization's potential perspectives. (shrink)

Drawing on texts in psychology, philosophy, and literature the paper argues that art avails us of a distance from ourselves. Art has a potential to change our perspective on monstrosity and to make us question our moral categories and presuppositions. The study focuses on a single painting by Paul Gavarni, Two Pierrots Looking into a Box (1852), which I have discovered holds two images in one representation. I turn to Gavarni's work in order to prompt a literal gestalt shift in (...) my readers. I direct the readers' viewing so that, at first, Gavarni's pierrots appear as handsome, albeit licentious youths, but then, through a shift in focus, I reveal their hideous, monstrous profiles. At this point, I argue that if we treat Gavarni's pierrots and the sorts of desires that they represent with single-minded opprobrium, then we run the risk of perpetuating the ugliness we scorn. There is, then, a double change in vision, which I seek to effect. The first one is the alteration of the visual, and the second, of the ethical perspective. The latter has to do with a realization that Gavarni's Pierrots can elicit from us — depending on how we see them — either complicity or reprehension, which is not so much a commentary on the drawing, as it is a reflection on ourselves (our biases, opinions, desires, values, etc.). The phenomenon that underlies the change in how we see what Gavarni portrays and how we, thereafter, relate to what we notice — the malleability of the human psyche — is what allows for and calls the many masking images we, ourselves, wear and perceive. The final question that I address in the paper is whether we can claim mastery over those images, which mask the monstrous or whether, if we do, then far from getting rid of the callous, the cruel, and the inhumane, we stand the risk of giving these expressions a freer playground? (shrink)

While influential works have been devoted to comparative studies of various Asian philosophies and continental philosophers such as Nietzsche, Heidegger, Merleau-Ponty, and Derrida, this collection is the first to fully treat the increased interest in intercultural and interdisciplinary studies related to the work of Emmanuel Levinas in such a context. Levinas and Asian Thought seeks to discover common ground between Levinas’s ethical project and various religious and philosophical traditions of Asia such as Mahāyāna Buddhism, Theravādic Buddhism, Vedism, Confucianism, Daoism, and (...) Islam. -/- In these 13 essays, contributors draw on resources as diverse as the self-sacrificial ethic of bushidō, Islamic jurisprudence, and contemporary research in cognitive science. The essays are organized around three primary themes of enduring ethical, political, and religious importance. The first set of essays considers a dialogue between Levinasian and Asian accounts of the self, others, and the intersubjective relationship. Through a conversation with a variety of non-Western traditions, the second group of essays addresses the question of Levinas’s extreme portrayal of the self’s responsibility to the other and its potential limits. Finally, the collection ends with essays that utilize Asian thought and culture to consider ways in which Levinas’s ethics of alterity might be put into practice in the sphere of politics, social norms, and institutions. -/- Levinas and Asian Thought is not only a comprehensive attempt to bring Levinas into conversation with the philosophies of Asia, but it also represents a focused effort to recognize, address, and overcome Levinas’s own Eurocentrism. Overall, the thoughtful investigations collected here chart new territory, pushing Levinas’s practice of philosophy outside its familiar European and Jewish contexts, expanding our understanding of key Levinasian terms, thus furthering the thinking necessary for ethics as first philosophy. This volume will be of interest to a wide range of scholars and students, as it builds connections among Levinas studies, Asian philosophy, comparative philosophy, continental philosophy, and ethics. (shrink)

Although oppressive social practices like capitalism are often portrayed as static, totalizing social 'structures' with 'logics' and 'imperatives' that must be accommodated politically and economically, such portrayals are problematic both theoretically and politically. They rest on determinist and essentialist conceptions of social practices, and they curtail the scope of politics, government regulation, and human action and creativity. Fortunately, social practices can instead be conceptualized as thoroughly social, historical, and contingent, and thus susceptible to political intervention and reworking, as many feminist, (...) post-structuralist, and anti-economistic Marxian theorists do. Attempting to build on such alternative conceptualizations, I argue that Judith Butler's concept of reiteration provides a particularly useful, in-depth theorization of power, the mechanisms enabling social practices to endure and change, and the role of the individual and collectivities in perpetuating and challenging social practices such as capitalism. In so doing, the concept of reiteration offers a compelling and detailed non-voluntaristic account of human agency. Butler's work is thus helpful in theorizing and empirically investigating both the obstacles to and the possibilities for resisting exploitation and altering unjust social practices. (shrink)

This paper identifies the ethical issues involved with women's advertising, and argues that ads can be successful in generating sales without portraying women as things or as mere sex objects, and without perpetuating various weakness stereotypes. A paradigm shift in advertising appears to be at hand. This new model replaces images of women as submissive or constantly in a need of alteration, with a move to reinstate beauty as a natural thing, not an unattainable ideal. This paper also reviews general (...) ethical issues of the advertising industry, including: (1) that advertising equates the pursuit of material gain with human happiness; (2) that advertising pushes its own values, artificial or false as they may be, as to what is "good" for the consumer; (3) that advertising plays on physical appetites and the body; (4) that advertising strives to bypass rational thinking, by desensitizing the viewer and playing on group dynamics. (shrink)

Although oppressive social practices like capitalism are often portrayed as static, totalizing social 'structures' with 'logics' and 'imperatives' that must be accommodated politically and economically, such portrayals are problematic both theoretically and politically. They rest on determinist and essentialist conceptions of social practices, and they curtail the scope of politics, government regulation, and human action and creativity. Fortunately, social practices can instead be conceptualized as thoroughly social, historical, and contingent, and thus susceptible to political intervention and reworking, as many feminist, (...) post-structuralist, and anti-economistic Marxian theorists do. Attempting to build on such alternative conceptualizations, I argue that Judith Butler's concept of reiteration provides a particularly useful, in-depth theorization of power, the mechanisms enabling social practices to endure and change, and the role of the individual and collectivities in perpetuating and challenging social practices such as capitalism. In so doing, the concept of reiteration offers a compelling and detailed non-voluntaristic account of human agency. Butler's work is thus helpful in theorizing and empirically investigating both the obstacles to and the possibilities for resisting exploitation and altering unjust social practices. (shrink)

The paper analyzes Jacques Derrida’s and Jean-Luc Nancy’s concept of the self-portrait. It is argued that Nancy builds on Derrida’s approach but introduces two decisive modifications. Firstly, he develops the emergence of the painter on the canvas as constitution of the self – an aspect Derrida does not consider. Secondly, Nancy understands portraying – and thus images – on the basis of touching. In contrast, Derrida conceives portraying as coming from the invisible and two forms of blindness. In doing so, (...) he remains ex negativo in a tradition which links images to vision, whereas Nancy tries to overcome it. Nancy’s alterations not only lead to a modified theory of the self-portrait but also refine Derrida’s influential concept of différance by highlighting its corporeal and ontological dimension. (shrink)

This research explores the impact of media engagement on the identity perceptions of the Aeta Ambala, an indigenous group in the Philippines, particularly after the 1991 Mt. Pinatubo eruption. This catastrophic event led to significant displacement and cultural shifts for the Aeta, who were forced to adapt to urban lifestyles. The study focuses on the differences in identity perceptions between the older and younger generations, with the former holding onto pre-eruption cultural norms and the latter aligning more with urban and (...) resettlement community cultures. Employing in-depth interviews and focus group discussions, the study finds that media representations often negatively portray the Aeta Ambala, leading to discrimination and altering self-perception. Despite this, the community maintains a strong sense of ethnic identity, viewing it as an immutable aspect of their heritage. Media engagement is seen as inevitable for staying informed, particularly in emergencies, but it also influences perceptions of the outside world and reshapes cultural and ethnic identity. Younger generations, more engaged with media, tend to adopt external beauty standards and lifestyles, leading to early marriages and cultural indifference. There is also a noted mistrust towards media organizations due to exploitation concerns. In conclusion, the study highlights the complex relationship between media interaction and self identification within the Aeta Ambala community, suggesting that while media engagement alters perceptions and behaviors, the core Aeta Ambala culture remains strong and resilient. (shrink)

Simone de Beauvoir incorporates a significantly altered form of the Hegelian master/slave dialectic into "The Ethics of Ambiguity." Her ethical theory explains and denounces extreme wrongdoing, such as the mass murder of millions of Jews at the hands of the Nazis. This essay demonstrates that, in the Beauvoirean dialectic, the Nazi value system (and Hitler) was the master, Adolf Eichmann was a slave, and Jews were denied human status. The analysis counters Robin May Schott's claims that "Beauvoir portrays the attitudes (...) of the oppressor as defined fundamentally in relation to the oppressed" and that her use of the dialectic is "inadequate to account for how human beings create extreme situations of evil, such as that of genocide.". (shrink)

In her article on ‘translating ngaka’ (diviner-healer), Musa Dube argues that in the writings of Robert Moffat and subsequently in his translation of the Bible into Setswana, the person of the ngaka, rather than being portrayed as occupying a central and positive role in Setswana culture, is relegated to a marginal position and is even depicted as evil and an imposter. The article seeks to argue that firstly, there is a fundamental connection between ngaka and bogwera in Setswana tradition. This (...) is because ngaka performed the rite of initiation and was a central figure in the circumcision (rupa) of those undergoing the rite of imitation. Secondly, in his 1857 English–Setswana Bible Moffat alters the word bogwera in Luke 2:21. In representing and translating bogwera as circumcision in Luke 2:21 Moffat rewrites and reorders the political, economic and religious beliefs of Batswana. It is in the transmogrification of bogwera in Luke 2:21 that an act of hybridisation and creolisation takes place through the ordering of the Batswana cosmology and culture. I would further argue that not only did this marginalisation colour the perceptions of the Batswana regarding bogwera, but also that the translated text was used as a tool to disrupt, marginalise, replace, subvert and colonise the spiritual spaces of the Batswana. Furthermore, the article attempts to critically engage with the translated text from an ideological criticism within postcolonial theory, engaging with the fundamental question: why did Moffat translate and alter bogwera as circumcision rather than using the proper word which is rupa (circumcision)? Selected letters published in the newspaper Mahoko a Becwana (Words of Batswana) are quoted and discussed, as it is in these letters that we are confronted with an act of hybridisation and creolisation. The letters also point to the effects of such a translation and transmogrification as a discursive tool to reorder and to pervert the Batswana cosmology and culture. In translating and altering circumcision as bogwera Moffat performs an act of mutation of meaning. It is in this morphing of bogwera into something that is charged with negativity in order to reorder and rewrite through an exercise of transmutation that Moffat attempts to subvert and to indoctrinate, resulting in the subversion of the spiritual spaces of Batswana. (shrink)

COVID-19 infects cities, here grasped as quasi-living functioning systems, and the changes inflicted can poetically open us to certain things. Drawing on ecological psychology, we maintain that this brings people into contact with different realities depending on their overall wellbeing, arguing that the aesthetic experience of cities accordingly varies. We then consider iterations of these ideas in dystopian cinema, which portrays global threats altering human relations with technology, art, and the world.

This article draws attention to the contemporary mantra of cosmopolitanism and how it carries altered symbolic representations, new social images and epistemic shifts. The background is the current cosmopolitan turn within the sciences, including within the discipline of education. How can we understand the contemporary makings of this new cosmopolitanism? And what could be the potential pitfalls and possibilities of a discourse that jeopardises the very representations of the social world? The first part of the article portrays the new cosmopolitanism (...) as a metaphor for a way of life, an ideal and an outlook. The second part, however, moves beyond an encyclopedic mapping of the discourse while pointing out how the new cosmopolitanism is a product of—and produces—a common sense, an alldoxa, and a symbolic universe representing and naming the world: It is here held that “cosmopolitanism” is a name carrying symbolic representations with more or less hidden epistemic functions. However, as the name and metaphor assume something which it is not, the new cosmopolitanism carries and inherent paradox. The third part of the article discusses the impossible possibilities of this paradox: In what ways may the inherent contradictions of the new cosmopolitanism affect its making? And what may be the potential pitfalls and possibilities of a discourse contributing to the remaking of the very vision of the social world? (shrink)

Hunter Vaughan interweaves phenomenology and semiotics to analyze cinema's ability to challenge conventional modes of thought. Merging Maurice Merleau-Ponty's phenomenology of perception with Gilles Deleuze's image-philosophy, Vaughan applies a rich theoretical framework to a comparative analysis of Jean-Luc Godard's films, which critique the audio-visual illusion of empirical observation (objectivity), and the cinema of Alain Resnais, in which the sound-image generates innovative portrayals of individual experience (subjectivity). Both filmmakers radically upend conventional film practices and challenge philosophical traditions to alter our understanding (...) of the self, the world, and the relationship between the two. Films discussed in detail include Godard's _Vivre sa vie_ (1962), _Contempt_ (1963), and _2 or 3 Things I Know About Her_ (1967); and Resnais's _Hiroshima, mon amour_ (1959), _Last Year at Marienbad_ (1961), and _The War Is Over_ (1966). Situating the formative works of these filmmakers within a broader philosophical context, Vaughan pioneers a phenomenological film semiotics linking two disparate methodologies to the mirrored achievements of two seemingly irreconcilable artists. (shrink)

Husserl famously retracted his early portrayal, in Logische Untersuchungen, of phenomenology as empirical psychology. Previous scholarship has typically understood this transcendental turn in light of the Ideen’s revised conception of the ἐποχή, and its distinction between noesa and noemata. This essay thematizes the evolution of the concept of mental acts in Husserl’s work as a way of understanding the shift. I show how the recognition of the pure ego in Ideen I and II enabled Husserl to radically alter his (...) conception of mental acts, coming to understand them all in terms of genuine acts in a way that had been essentially precluded for descriptive psychologists so long as the pure ego was denied. This reading challenges a widespread assumption in the secondary literature that “mental act” is a merely technical term or misnomer. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Confronting Addiction Across DisciplinesAllison Mitchell (bio)Keywords(Anglo-American) analytic philosophy, scientific method, hyper-rationality, autonomous agency, externality, AugustinePatricia Ross's detailed and thorough response to my paper exemplifies some of those strengths and weaknesses typically associated with contemporary Anglo-American analytic philosophy. The development of her position involves the following representative moves: In the first stage of her discussion, she highlights the possible presence of an implicit, untested, and potentially false proposition underlying my (...) general argument, namely, that proper theorizing about ourselves and the world may provoke changes in our beliefs and any behaviors based on them. In the second stage of her project, she expresses a paradigmatically analytic mode of skepticism; this doubt concerns a "chain of events" implicit in the development of my position, and it takes the form of a set of questions that bear a strong family resemblance. First, Ross questions the very possibility or intelligibility of using fictional discourse and philosophical theory to explore the ways in which addicts conceive of themselves and their circumstances. Next, Ross turns to a more psychological (and intellectually profitable) line of questioning: Do people struggling with drug abuse and addiction have similar self-conceptions that, moreover, are meaningfully distinct from those expressed by nonusers? How might such idiosyncratic and shared modes of self-understanding instruct us about the disease of addiction? Finally, in what sense (if any) might certain alterations in our conceptual schemas have practical rehabilitative value? Having voiced uncompromising doubt concerning my pragmatic appropriation of philosophy and literature, Ross proceeds to an unlikely third step in her argument: She insists that my project is entirely theoretical, in the sense that I focus exclusively on truth-evaluable claims (about addicts' conceptions of self and world) that are garnered from literary narratives. Relatedly, she takes issue with my strong Wittgenstenian intuition about the presence of some intimate connection between linguistic self-expression and an individual's conceptual framework, insisting that I neglect "the degree to which the narratives are [not] honest, veridical expressions of self-conceptions" (228). Ross urges me to recognize that the language employed in narratives of drug abuse and addiction "might be said to reflect the addict's observations concerning his or her self-hood, or, alternatively, what the addict cares to portray about this conception, however truthful" (228). From her analytic-philosophical perspective, these features of language, combined with sensible intuitions about the practical limitations of theorizing, motivate a critique of my overall project. [End Page 233]A standard analytic response to Ross' commentary would typically involve certain moves: One might question the truth value of her claims, challenge the soundness and validity of her arguments, or take issue with her particular use of philosophical terms and concepts. Instead, I clarify further my project and its intended results, in such a way that opens up space for her analytic voice within the context of an interdisciplinary discussion. Ross and I agree on two absolutely central concerns: First, her description of the proper significance of the language under study is perfectly apt, if ultimately irrelevant as a criticism of my work. Of course, I concede the obvious point that the narratives I consider are not perfectly veridical, reliable, or honest. Yet far from being a problem, these rhetorical features make the narratives appropriate and fruitful objects of study. Through the use of philosophical tools and literary-critical practice, I seek primarily to develop an understanding of the ways in which addicts portray their subjectively informed, culturally conditioned, and selectively edited self-observations. Second, I would like to underline Ross' helpful reminder about the contingency of the hypothetical claims I develop through close reading and philosophical references. Our agreement about these fundamental points may reflect my own failure to describe clearly my procedure and desired results. The overarching aim of my project is simply to highlight the possibility that addicts conceive of themselves in distinctive ways that are describable in philosophical terms. Moreover, I would like to initiate an ongoing interdisciplinary discussion in which the truth, aptness, and practical relevance of my method and its results may be evaluated. Ross's remarks highlight the need for further clarification on three points: First, I do... (shrink)

The paper analyzes Jacques Derrida’s and Jean-Luc Nancy’s concept of the self-portrait. It is argued that Nancy builds on Derrida’s approach but introduces two decisive modifications. Firstly, he develops the emergence of the painter on the canvas as constitution of the self – an aspect Derrida does not consider. Secondly, Nancy understands portraying – and thus images – on the basis of touching. In contrast, Derrida conceives portraying as coming from the invisible and two forms of blindness. In doing so, (...) he remains ex negativo in a tradition which links images to vision, whereas Nancy tries to overcome it. Nancy’s alterations not only lead to a modified theory of the self-portrait but also refine Derrida’s influential concept of différance by highlighting its corporeal and ontological dimension. (shrink)

This paper aims to explore an overlooked aspect of deep-fake technology, specifically its application as a protective tool for concealing the identities of targeted individuals or whistleblowers. Since its emergence in 2017, deep-fakes have been intertwined with various sociotechnical imaginaries. Traditionally, deep-fake technology has been portrayed as a potential threat to privacy and a weapon for disseminating false information, evident from its definitions which emphasize its deceptive nature and malicious use. Moreover, the origins of deepfakes, such as the creation and (...) online distribution of altered pornographic material with harmful intentions, further reinforce this perception. As a result of blurring the boundaries between reality and fiction, truth and falsehood, these synthetic media forms not only pose a risk of disinformation and deception but also offer unexplored avenues for creative expression. Thus, this study examines deep-fake technology as a form of ‘digital camouflage’ by analyzing its usage in David France’s documentary film _Welcome to Chechnya_ (2020). The argument presented in this paper suggests that this illustration challenges the dominant narrative surrounding deep-fakes and highlights an ethical and potentially positive application of this technology. (shrink)

This article analyzes selected short stories in Cecelia Ahern’s thirty-narrative collection Roar to see how the perspectives of posthuman and postfeminist critique can be incorporated via the common dystopic umbrella into the mainstream female readership of romance literature. The dystopic worlds created by Ahern in Roar portray inequality and power imbalances with regard to gender and sex. The protagonists are mostly middle-aged women whose family and personal lives are either regulated by dystopic realities or acquire a “dystopic” dimension, the solutions (...) to which are provided by, among other tropes, “posthuman” transformations. Roar introduces other-than-human elements, mostly corporeal alterations, in which the female bodies of Ahern’s characters become de-formed and re-formed beyond androcentric systems of value. The article raises the question of whether feminist and, to some extent, “posthuman” approaches, need to be popularized in such an abridged way as Ahern does in her volume. The answer depends upon the identification of the target audience and their expectations. Ahern’s Roar represents popular literature intended to be sold to as many readers as possible, regardless of their education, state of knowledge, etc. Viewed from that perspective, what some critics could perceive as the collection’s structural weaknesses constitutes its utmost marketing asset. The essay argues that despite not being a structurally innovative work of art, Ahern’s book fulfils the basic requirements of the popular fiction genre, intermittently providing some extra, literary gratification and popularizing rudimentary elements of the posthuman and postfeminist thought. (shrink)

Consecutive waves of paleolithic migrants crossing the Bering land bridge from Siberia to North America between 80,000 and 7,000 b.c. brought with them the shamanic way of harnessing supernatural powers. This way prevailed until the White intrusion 400 years ago, into the living space of the aboriginal peoples of North America. Wherever European political, religious, and economic dominance was established, shamanic institutions became the focus of negative attention. The shamanic practitioner was variously depicted by governmental and ecclesiastic authorities as a (...) charlatan and imposter or a purveyor of evil influence. Some well-known ethnological and medico-psychological experts have until very recently portrayed the shaman as a mentally deranged person whose “primitive” culture permits the acting-out of psychopathology in a prestigious role, a eurocentric and positivistic fallacy rooted in Western misinterpretations of learned behavior manifested during shamanic rituals involving altered states of consciousness. Legal measures to suppress shamanic ceremonials were taken in the United States, especially in the aftermath of the Ghost Dance. This shaman-inspired movement, originating in the Prophet Dance of the Pacific Northwest (Spier 1935), sent waves of hectic sacro-nativistic ceremonial activity through many Amerindian tribes, and finally culminated in the Sioux uprising of 1890 which ended in the tragedy of Wounded Knee (cf. Mooney 1896). (shrink)

Reality TV is immensely popular, and various shows in this media genre involve a storyline of infertility and infertility treatment. Feminists argue that normative and constructed realities about infertility and infertility treatment, like those in reality TV, are central to the emancipation of women. Such realities are able to steer viewers' perceptions of the world. This article examines the emancipatory significance of representations of women on 'infertility reality TV shows'. While the women in these shows all have 'abnormal' qualities, we (...) consider their portrayal as figurations of monstrosity. In the literature, monstrosity is understood as a way to challenge nonemancipatory norms by offering an alternative identity. Through a content analysis of seven reality TV shows, we identified four types of in/fertile monsters: the cyborg, the freak, the abject, and the childless. We show that these monsters are predominantly non-emancipatory as they all involve mechanisms of altering, excluding, or condemning infertility in relation to what is considered normal and acceptable womanhood. Therefore, at the end of this article, we make a plea for more diverse and emancipatory representations of infertile women in popular culture. (shrink)

Abstract This paper proposes a new phenomenological approach to social history by clarifying, critiquing and developing key insights from Husserl’s late work. First, it clarifies how Husserl began to refute phenomenology’s so-called solipsism and ahistoricality by advancing a concept of history that integrates subjective, intersubjective and communal organizations of experience. This concept, his “history of presence”, can be called a “temporal mode of oriented constitution”. Its value is to show how a single recursive series of determinations organizes a diverse set (...) of epistemic norms, personal memories, and intersubjective apperceptions. As we analyze each moment of this series, the history of presence emerges as highly relevant to social inquiry, inasmuch as it highlights the roles of intersubjective awareness and shared “world-time”. Second, however, the paper shows that Husserl grounded his history, not in this self-other-world triad, but in metaphysical foundations. By falling back on an atemporal principle of identity, Husserl’s thirst for Cartesian certainty obscured some of his insights. To develop these, the paper concludes with a new look at Les maîtres fous, a famous and controversial ethnographic film by Jean Rouch. Much of Rouch’s film echoes Husserl’s own problems, but Rouch’s use of montage replaces metaphysics with rhythm, identity with alterity, hegemony with mimicry, harmonious perception with dissonant yet generative apperception. Thus, Rouch dramatizes Husserl’s relevance to the phenomenology of social history. This paper’s internal critique and cross-cultural juxtaposition of Husserl’s late work portrays such relevance more accurately than Derrida’s uncharitable “metaphysics of presence” critique. (shrink)

In their depictions of scandalized politicians, journalists frequently use news images that highlight the isolation of politicians. To test how this way of portraying political actors affects a recipient’s attitudes and his/her guilt perception toward such a scandalized politician an experiment was conducted. All participants were exposed to the identical textual information. However, the visual information was systematically altered. A multivariate analysis of covariance showed that participants – exposed to a visual highlighting the isolation of the politician – evaluated the (...) politician in a significantly more negative way and rated other recipients’ perceptions of the politician’s level of guilt to be higher. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Live or TellDaniel BertholdTwo of the more notoriously elusive authors writing in the first half of the nineteenth century—a century noteworthy on the European continent for producing more than its fair share of elusive authors—are the German idealist Georg Hegel and his posthumous tormentor, the Christian existentialist Søren Kierkegaard. Their elusiveness is such that to read either of them is much like taking a Rorschach test: what we find (...) tells us as much about ourselves as it does about Kierkegaard or Hegel themselves. But to think through the relationship between the two is a yet more challenging task, perhaps like seeking to align the ink-blotted lenses of a Rorshachian kaleidoscope. Some commentators have found no alignment of the lenses to produce anything resembling a meaningful picture, and have concluded, as Niels Thulstrup puts it in his study of Kierkegaard's Relation to Hegel, that, "Hegel and Kierkegaard have in the main nothing in common." 1 With equal forthrightness, Richard Kroner suggests in his essay on "Kierkegaard's Understanding of Hegel" that "Hegel and Kierkegaard are separated from each other by an abyss which no agreement can ever succeed in bridging." 2Such a reading of the Kierkegaard-Hegel relation is in fact made tempting by Kierkegaard's own construction of the relation as one of radical difference. Hegel is the archetypal Other, the perpetual foil whose philosophic values and whole way of thinking and writing Kierkegaard devotes his own authorship to perfectly inverting. If Kierkegaard's Hegel is the philosopher of the "objective spirit" and the champion of reason, more interested in the logical relations between concepts than in the actual reality of existing individuals, Kierkegaard presents himself as the adherent of subjectivity, of faith, of existence.In what follows, I wish to explore one of the most recurring of [End Page 361] Kierkegaard's representations of his difference from Hegel, the contrast between action and thinking about action, existing and contemplating existence, living and philosophizing about living. "In the objective [Hegelian] sense," Kierkegaard's pseudonym Johannes Climacus writes, "thought is understood as being pure thought,... [and] this objective thought has no relation to the existing subject; and while [it is difficult to know] how the existing subject slips into this... pure abstraction,... it is certain that the existing subjectivity tends more and more to evaporate." 3As the contrast gets developed, we will come to focus on Kierkegaard's phrasing of the difference in terms of the role of language. Kierkegaard portrays himself as speaking (writing) in order to act: "to be an author is to act." 4 Hegel, on the other hand, is presented as writing so as to merely speak about acting; hence Hegel is a "mere scribbler" and his philosophy occurs "only on paper" (CUP, p. 176, 375f). In many ways, Kierkegaard understands his contest with Hegel in terms of the ultimatum of the tormented diarist of Jean-Paul Sartre's novella Nausea, Roquentin: "you have to choose: live or tell." 5 Roquentin is doubly cursed, first by a need to write so as to escape his sense of the nausea of existence by distancing himself from the cloying taste of reality, but second, by a recognition that his writing removes him from the possibility of truly existing. His ultimatum, "live or tell," is the constant reminder he carries with him of his inability to reconcile his fear of existence and his self-disgust at his escapism.The contrast between action and thinking leads to a question about the ethics of authorship: how is one to use words, to write, in such a way as to act—and to elicit action from one's reader? I will suggest that a readjustment of Kierkegaard's alignment of the kaleidoscope lenses which display the image of his relation to Hegel allows for a more rewarding dialogue between the two. In this altered image, there is as much telling as living in Kierkegaard as in Hegel (indeed, as we will see, in some respects more so), and as much a choice for living in Hegel as in Kierkegaard. Perhaps most importantly, this reorientation invites us to see the either/or construction of "living... (shrink)

Adopting Kantor’s Masochean turn within Levinas, this article challenges the anthropocentrically limited purview of Levinas’s ethical relation. Incorporating Kantor’s legalistic reading of Levinas, informed through his literary analysis of Sacher-Masoch’s ‘Venus in Furs’, the article details the inescapable, legalistic plight that is to be the Levinasian ethical subject. Extending upon Kantor’s introductory conceptualisation of the Levinasian subject through Masoch, reveals a subject for whom suffering and sacrifice must be embraced; necessary acts of penitence before an irrepressible Other who they adore. (...) The Other is presented through Masoch’s text as an insatiable, inescapable deity of Law who cannot be refused and demands subservience. A god manifest in Exteriority whose influence upon the subject extends beyond the frame of the interhuman relation and is a necessary component of the subject’s existence and, more broadly, their world. The Levinasian subject’s relation with alterity poetically portraying all the potency, affirmation and urgency of dear Severin’s with his Venus, a relation which destroys, haunts and affirms the subject completely as only Law can. (shrink)

Eric Williams's Capitalism and Slavery is a classic in the sense that it irreversyibly altered our most basic way of looking at an historical event. Writing the book in 1944, Williams broke with the century of histories portraying the British abolition of slavery as a humanist event, a moral victory. His account of slavery in the British colonies was innovative in introducing the notion that economic, rather than moral, factors were decisive in the motivation and success of the abolitionists. The (...) two farthest-reaching claims of Capitalism and Slavery are that British colonial slave production and the slave trade enabled the industrial revolution to take place in Britain, and that the abolition movement resulted solely from changes in the British imperial economy. Though few historians since Williams have agreed with him on the centrality of industrialization in the slave colonies and abolition, his work has resulted in the inclusion of economic factors in all recent accounts of slavery and its abolition. By writing a simplistic history with a global context, Williams made it impossible for subsequent historians to write about abolition as an isolated moral act of the British Empire. (shrink)

This essay examines the rhetoric of war in the second edition of Karl Barth's Der Römerbrief. It argues that such rhetoric serves awell-defined purpose, particularly with regard to Barth's theological anthropology. Specifically, the appropriation of language associable with war helps Barth to portray the human being as he or she is confronted – attacked, in fact – by God's majestic, self-sufficient alterity; redefined by Christ's vicarious death, which effects our translation into a new, redeemed condition; and called to a (...) new kind of ethical and political discipleship, pertinent to the challenges faced by Europeans in the aftermath of the Great War. The essay shows, in fact, that the rhetoric of war in Der Römerbrief is not merely symptomatic of the historical context in which Barth wrote. Instead of being controlled by his context, Barth hopes to intervene in it, and enlists the language of war to support a compelling theological proposal. (shrink)

Dr Caitríona L Cox’s recent article expounds the far-reaching implications of the ‘Healthcare Hero’ metaphor. She presents a detailed overview of heroism in the context of clinical care, revealing that healthcare workers, when portrayed as heroes, face challenges in reconciling unreasonable expectations of personal sacrifice without reciprocity or ample structural support from institutions and the general public. We use narrative medicine, a field primarily concerned with honouring the intersubjective narratives shared between patients and providers, in our attempt to deepen the (...) discussion about the ways Healthcare Heroes engenders military metaphor, antiscience discourse, and xenophobia in the USA. We argue that the militarised metaphor of Healthcare Heroes not only robs doctors and nurses of the ability to voice concerns for themselves and their patients, but effectively sacrifices them in a utilitarian bargain whereby human life is considered the expendable sacrifice necessary to ‘open the U.S. economy’. Militaristic metaphors in medicine can be dangerous to both doctors and patients, thus, teaching and advocating for the critical skills to analyse and alter this language prevents undue harm to providers and patients, as well as our national and global communities. (shrink)

Dr Caitríona L Cox’s recent article expounds the far-reaching implications of the ‘Healthcare Hero’ metaphor. She presents a detailed overview of heroism in the context of clinical care, revealing that healthcare workers, when portrayed as heroes, face challenges in reconciling unreasonable expectations of personal sacrifice without reciprocity or ample structural support from institutions and the general public. We use narrative medicine, a field primarily concerned with honouring the intersubjective narratives shared between patients and providers, in our attempt to deepen the (...) discussion about the ways Healthcare Heroes engenders military metaphor, antiscience discourse, and xenophobia in the USA. We argue that the militarised metaphor of Healthcare Heroes not only robs doctors and nurses of the ability to voice concerns for themselves and their patients, but effectively sacrifices them in a utilitarian bargain whereby human life is considered the expendable sacrifice necessary to ‘open the U.S. economy’. Militaristic metaphors in medicine can be dangerous to both doctors and patients, thus, teaching and advocating for the critical skills to analyse and alter this language prevents undue harm to providers and patients, as well as our national and global communities. (shrink)

This article approaches Ovid’s story of Echo and Narcissus in the Metamorphoses through some of Maurice Merleau-Ponty’s writings on expression and speech. Echo’s speech as portrayed by Ovid clearly illustrates how Merleau-Ponty describes speech in Phenomenology of Perception as a “paradoxical operation” through which we use words with already given sense and in that very process both stabilize and alter established meaning. Instead of reducing Echo to a moment of the identity and fate of Narcissus, I bring out Echo’s own (...) voice and the expression of her subjectivity through creative repetition. The short dialogue between Echo and Narcissus makes manifest that Echo’s words cannot be reduced to a simple repetition of a clear and distinct original. Rather, her speech emerges in relation to an original that is only made present as an original of a repetition in that very repetition. Echo’s voice is disruption of the words she repeats and each repetition is also its own origin. Echo’s own voice is only made present when we listen to it as something other than a simple repetition of the voice of Narcissus. The fragments she returns through her echo, lose their fragmented character through modifying and altering their already given meaning. What Echo lacks is not primarily a voice of her own but rather an unbound origin which by itself remains mute and thereby runs the risk of not expressing anything at all. Echo is repetition but it is precisely as repetition that she is also originating speech. (shrink)

Through an empirical approach of several conspiracy theories, I have noticed they develop six main characteristics. First, the conspiratorial myth points out scapegoats in a non-aleatory way. They usually belong to ethnical or religious minorities. Secondly, those scapegoats try to acquire an overwhelming power in all fields. Thirdly, to achieve this goal, they corrupt the whole society, especially on mores and sexuality. Fourthly, to set up their domination the scapegoats use the art of simulation and dissimulation. They yield a cult (...) of secrecy. Fifthly, the scapegoats are consistently portrayed through symbolic morphological types, frequently as animals. Finally, conspiratorial myths undergo a process of hybridization and creolization. They go through transformations, alterations and medleys. Every conspiracy theories mix up into one another. (shrink)

Through an empirical approach of several conspiracy theories, I have noticed they develop six main characteristics. First, the conspiratorial myth points out scapegoats in a non-aleatory way. They usually belong to ethnical or religious minorities. Secondly, those scapegoats try to acquire an overwhelming power in all fields. Thirdly, to achieve this goal, they corrupt the whole society, especially on mores and sexuality. Fourthly, to set up their domination the scapegoats use the art of simulation and dissimulation. They yield a cult (...) of secrecy. Fifthly, the scapegoats are consistently portrayed through symbolic morphological types, frequently as animals. Finally, conspiratorial myths undergo a process of hybridization and creolization. They go through transformations, alterations and medleys. Every conspiracy theories mix up into one another. (shrink)

Many are disturbed by acts of simulated violent portrayed in contemporary video games. In this essay, I ask if violent gameplay is meaningful or significant outside of the gaming context. Following a recent discussion of the meaning of actions by T.M. Scanlon, I argue for two interrelated theses. First, I claim that in-game actions are only meaningful when the considerations and reasons that drive in-game actions are the same as those that drive analogous actions outside of the game-world. Second, I (...) argue that this condition rarely holds because the gameworld creates a unique context in which the reasons and considerations that drive action are significantly altered. I conclude that violent video gameplay can be but is rarely meaningful outside of the gaming context. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:THE BODY AND THE BLOOD: SACRIFICIAL EXPULSION IN A UREVOIR LES ENFANTS Diana Culbertson Kent State University In Scene 6 ofthe screenplay ofAu Revoir Les Enfants the students are at morning Mass and Father Jean is reading the Gospel: "Truly, truly, I say unto you, unless you eat the flesh ofthe Son ofMan and drink his blood, you will have no life in you." A student with the curiously (...) ironic name of Boulanger ("baker") faints. François comments to his younger brother Julien, "There's nothing to eat... we can't have breakfast before communion." In the back of chapel sit three new students—Bonnet and two other Jewish boys disguised as Christians, protected from the Gestapo by the monks, but prohibited because of their religious identity from Eucharistie communion. Food as scarcity, as plenitude, and as life functions as the signifier ofvalue and of every victim in Louis Malle's unforgettable portrayal of the loss of innocence in the occupied France ofhis childhood. Access to food was access to life in community—both religious and political—and the exchange offood, for what could not be consumed, plunges the small school society into its death. The cause ofthe dissolution of the school society is a failed sacrifice. The farewell to childhood which the title ofthe film suggests is Julien's entry into the world ofviolence and victims, ofmimetic rivalry, ofsacrificial expulsion, and societal destruction. The angle ofperception (Julien Quentin is Malle's quasi-autobiographical alter-ego) lures viewers out their own innocence and shocks theater audiences once again with the implications of all Final Solutions. Three concentric levels identify the communities in dissolution represented in Malle's portrayal: France under the occupying military force, the school administrators and staff, and the pupils in their charge. At each level the Diana Culbertson47 mimetic conflict is at a different state ofsocietal crisis. At the highest level, the German occupation troops and their collaborators represent a moment of Violence Triumphant, a Monstrous divinity who can impose control over the group by terrorizing everyone. This persecutory violence, which has co-opted the judicial system, drives the community of French people into (at least outward) submission and passivity. When the Monster requires victims, the community must consent to offer them. The persecutor's need for victims in this film has its own demonic rationale: "... to rid France of strangers, of Jews," says Müller, the Gestapo officer in one of the final scenes. When persecutory violence is resisted, however, when someone refuses to offer the designatedvictim for expulsion, the unity ofthe submissive society dissolves. Those who will not conform may suffer the violence of those who find their private well being in an alliance with public persecution. Father Jean, director ofthe school where Malle's scenario takes place, is one ofthe instruments ofresistance. Only the other instructors and staff are aware ofhis activities in the French underground. The audience is admitted to his dangerous secret, even as it observes the contrasting immaturity of the students, especially Julien, who cannot bear to leave his mother and is still wetting his bed. When he asks his older brother, "What is a Jew?" he is given the alimentary explanation: "Someone who doesn't eat pork." In this cultural situation, the Jew is more frequently someone who doesn't eat. Quentin's half truth is only one side ofa more ominous reality. Father Jean, aware of that reality, first appears in the film to introduce Bonnet, the "new classmate" and to show the boy his dormitory bed. As the director leaves, the schoolboys display their own societal dynamics, resuming their customary internecine, frenzied battles and rivalries. They throw pillows; they mock the outsider, focusing their ridicule on his name. Later in a classroom scene, they will hiss, "Dubo, Dubon, Dubonnet...."—an apt thematic detail with its allusion to wine and its liturgical translation into blood. In the morning Boulanger leads the attack against the stranger, slipping an icicle behind Bonnet's shirt collar. At recess games disintegrate into private quarrels. Their small brutal society is a microcosm of the larger world of which the schoolboys are apparently innocent but which they are grooming themselves to live in without remorse... (shrink)

Plato’s statements on art have met with countless commentators and almost as many different interpretations. In most cases, comments and hints that are scattered through various dialogues are taken out of context and played off against each other – depending on whether the intention is to portray Plato as a modern art lover or as an ageing political reactionary. In the face of the confusing range of contending opinions, there is an urgent need to examine and clarify the textual basis (...) in Plato. For this purpose, a meticulous analysis of Book 10 of the Politeia is initially carried out – the only part of the corpus of Plato’s works that is concerned with art in detail and exclusively. The results are surprisingly clear. The corrupting and dangerous aspect of art is not attributed to individual artists or a specific artistic orientation, nor to the style of the depiction, nor to the content that is narrated or presented; instead, it is ascribed to its essential nature as the μίμησις of a μίμησις. Since even the objects of sense perception are imitations of the archetypal Ideas, which are ultimately accessible only to rational cognition, the artist is an imitator of something imitated. He merely touches on the appearance of a reality that is in turn already a defective, mutable and ephemeral imitation of the only true, immutable and eternal archetypal Ideas. As the imitation of an imitation, art is insurmountably distant from truth and knowledge, ontologically and therefore also epistemologically worthless and useless – and also damaging, because it attempts to shackle us and domesticate us at a level three steps below truth. However, it not only holds us captive, but also corrupts us even further by appealing not to reason, but to the lower part of the soul with its desires and affections. It is because of this that it is corrupting and dangerous, initially for the individual character and individual spiritual welfare, and ultimately – through the individual – also for human society as a whole. Art thus creates precisely the situation which for the philosopher represents the fundamentally distorted condition from which he is attempting to liberate people. Art is constantly re-fastening the shackles that the philosopher releases. This is why art has to be excluded from Plato’s ideal state, with philosophy alone taking its place. The condemnation of all forms of art could not be expressed more clearly. Despite this, repeated efforts have been made to weaken the condemnation or even disprove its existence, either in order to save art from Plato or, conversely, to save Plato from condemning art. To achieve this, alleged contradictions between Books 10 and 3 of the Politeia have been pointed out ; a differentiation or alteration in Plato’s understanding of the concept of μίμησις has been postulated; and reference has been made to passages in Plato’s works in which, it is claimed, the philosopher concedes that art has direct access to the world of the Ideas or in which he speaks of the artist’s divine inspiration , as well as the numerous passages that discuss Beauty . Finally, it is claimed that Plato did not condemn all art, but only a certain contemporary trend in art , or more generally, only illusionistic art in contrast to an abstract form of art – namely Egyptian art . In the second part of the study, these lines of argumentation are discussed individually and in detail and their content is tested. In each case, the findings obtained initially in the analysis of Book 10 of the Politeia are confirmed. The present study does not offer any new hypotheses; instead, its goal is to use a detailed and differentiated examination of the relevant texts to clearly distinguish Plato’s view of art from later neo-Platonic views, as well as from obfuscations created by modern interpreters, in order to obtain a secure basis for future investigations of Plato’s view of art in particular, as well as of ancient aesthetics in general. The extensive review of the secondary literature also documents part of the history of twentieth-century scholarship. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:ImagesSelected work, 2004–2017Goldschmied and Chiari Click for larger view View full resolutionIMAGE: Goldschmied & Chiari NYMPHEAS #37, 2011 Lambda print, 120 cm (diam.) Click for larger view View full resolutionIMAGE: Goldschmied & Chiari UNTITLED VIEW, 2017 Digital print on glass and glass mirror, 115 × 70 cm[End Page 49] Click for larger view View full resolutionGoldschmied & Chiari DUMP QUEEN #1 (triptych panels B and C), 2008 Diasec print, (...) 180 × 180 cm each[End Page 50] Click for larger view View full resolution[End Page 51] Click for larger view View full resolution[End Page 52] Click for larger view View full resolutionGoldschmied & Chiari GENEALOGY OF DAMNATIO MEMORIAE 1965–1981, 2009 Two carved living trees, 450 cm (height)Installation view (left); detail (right) Collection of MACRO (Museo d'Arte Contemporanea di Roma) Photo: Altrospazio[End Page 53] Click for larger view View full resolutionGoldschmied & Chiari NYMPHEAS #12, 2007 Lambda print, 125 × 333 cm Collection of Michele and Philippe Levy[End Page 55] Click for larger view View full resolutionIMAGE: Goldschmied & Chiari WELCOME, 2004 Sheetrock, plaster, cement, paint, 10 × 1.5 × 2.35 mt Collection Ugolini Photo: Gabriele Basilico[End Page 57]Sara Goldschmied and Eleonora Chiari are an artist duo from Italy, working with varied media: photography, video, performance, and installation. They work and live in Milan.Girls Just wanna have fun: Goldschmied & Chiari's Irreverent HumorHumor is not a trait for women, even less so for women artists in the Italian art world, where women's creativity has historically focused either on intimacy or on abstraction. In order to be taken into consideration by a male-dominated art scene, women artists working in the Italian peninsula have, since the '70s, consistently been obliged to be extremely serious about their work and its content. This trait can be traced all the way to the present with few exceptions, making Goldschmied & Chiari's (Sara Goldschmied and Eleonora Chiari) artistic practice exceptional in its constant employment of a peculiar, irreverent form of humor that functions as subliminal social critique.Humor used as a strategy to reconsider historical events in a post-ideological form of feminism develops in their work in witty installations that articulate a lucid critique of contemporary society and its relationship to history. Radically distancing themselves from the stereotype of authoritative and earnest feminism, Goldschmied & Chiari turn laughter into a metaphor for transformation. Their images trigger subtle political disruptions, allowing them to delve into the complex history of post-Cold War narratives, offering the public a new understanding of the relationships between the symbolic and the social.My first encounter with Goldschmied & Chiari's work (goldiechiari at the time) dates back to 2002 when I was working on a large survey show of emerging Italian art, exIT: Nuove geografie della creatività italiana, curated by Francesco Bonami. I was surprised by their work Senza titolo #17 that portrayed in a full-color photograph two girls dressed as if they were in boarding school, in plaid skirts and colored stockings, with long braids, sitting on the floor helping an elderly "grandmother" knitting in her armchair by making a hank of yarn. Looking closer, one sees that the girls were actually adolescents trapped in a parody that the artists further highlighted by installing in front of the photo what looked like a gigantic ball of yarn but was actually a sphere made of 1,500 cm of barbed wire (Sfera, 2002). The "tableau vivant" quality of the image made it both funny and critical, as visitors could relate as much to the stereotyped enactment of women's domestic roles as to the artists' rebellious desire. Instead of relegating their creativity to the domestic sphere, these "mischievous little girls" had wound a menacing barbed-wire ball that evoked Italy's recent past of social unrest and urban guerrillas. The assumption of ironic activist alter egos in one way referenced feminist practices of the '70s, yet at the same time seemed to mock the violence associated with protest and its success. [End Page 116]This type of atmosphere linked to city barricades and acts of protest is the inspiration for a large... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Some More Reflections on Emotions, Thoughts, and TherapyDemian Whiting (bio)Keywordsdepression, pedophilia, phenomenology, noncognitive, treatmentThe primary objective of my paper was to show that where a person's representations of the world are eliciting the wrong emotions then treatment of those problems in emotion cannot be about treating the eliciting representations. And it is worth clarifying two points about my claim here. First, although I take my claim to apply to (...) cases where accurate representations are eliciting the wrong emotions, the same point does, I believe, just as well apply to cases where distorted representations are eliciting the wrong emotion. So, for instance, even if the pedophile mistakenly took an adult to be a child and was aroused by that perception, I think that we would still want to claim that there is here—in addition to a possible disturbance in cognition—a problem in emotion. This is because representations of young children should not elicit feelings of sexual arousal, however distorted those representations may themselves be. Second, it is important to emphasize that the kinds of cases that I have in mind are not cases where a person's emotions contradict the thoughts that the person has about the world. The pedophile's arousal at the thought of young children does not contradict any thoughts that the pedophile has about children. Neither does the person who has a propensity to feel anxious have any thoughts that contradict his anxiety. In fact, I believe that emotions cannot contradict our thoughts, because that would require emotion to have the representational character of thought, and emotions being affective states, or types of feelings, do not have that character of thought. Problems in emotion then have to be described in other ways, such as in terms of an emotion's violation of a moral norm or in terms of an emotion's likely adverse effects on the person's behavior or rationality, and certainly it was in these other ways that I intended the cases that I described to be taken.Now, there are to be found in my paper three ways in which someone may reply to my argument (although only two of these ways take the form of actual responses in the paper). To begin with, it might be claimed that amending problems in emotion must be about altering cognitions, as emotions themselves consist of cognitions. I describe in a note to my paper a number of reasons why I think we should reject cognitive accounts of emotions. I also state in the introduction that a purely affective (and, thereby, noncognitive) account of emotion successfully describes the phenomenology, or experience [End Page 255], of emotion. And I would also want to (therefore) resist David Pugmire's suggestion that sometimes a "person's portrayal of an emotionally charged situation is actually prefigured in their emotion"—if by that Pugmire means that emotions sometimes consist of such thoughts. "Black thoughts" may be "despair's footholds," but I would argue that this means nothing more than the fact that such thoughts often act as a nonconstitutive cause of depression. Finally, I should remark that I do not intend my claim that to evaluate oneself negatively may just consist in feeling low about oneself to be a concession to the cognitive theorist of emotion. This is because the purpose of that claim is not to (confusingly) suggest that our cognitive evaluations may consist of noncognitive emotions, but rather to suggest that it is a mistake to think of our evaluations as being cognitive in nature. According to the noncognitivist project in meta-ethics our evaluations are properly seen as being expressions of our noncognitive attitudes.The second way of responding to my argument is to concede that emotions are noncognitive in nature, but to argue that each particular emotion is triggered by its own special kind of thought (e.g., fear might be thought to be necessarily triggered by perceived dangers, anger by perceived slights). On the face of it, however, the claim that our emotions are necessarily triggered by certain kinds of thoughts looks simply false. Our own observation of how emotions originate, together with the empirical studies that I... (shrink)