Macpherson (Nous 40(1):82–117, 2006) argues that the square/regular diamond figure threatens representationalism, construed as the theory which holds that the phenomenal character is explained by the nonconceptual content of experience. Her argument is the claim that representationalism is committed to the thesis that differences in the experience of ambiguous figures, the gestalt switch, should be explained by differences in the NCC of perception of these figures. However, with respect to the square/regular diamond and some other ambiguous (...) figure representationalism fails to offer a unified account of how representational content makes them ambiguous. In this paper, I aim, first, to offer a representationalist account of ambiguous figures and, second, to examine and rebut Macpherson’s arguments. My main point is that in each ambiguous figure Macpherson discusses there are differences in representational content that can explain differences in phenomenal character or content. The representational differences are due to the ways the Cartesian frame of reference in which perceptual content is always cast cuts the figure, underlying different properties of the figure with respect to the axes of the Cartesian frame of reference. (shrink)

Representationalism is the position that the phenomenal character of an experience is either identical with, or supervenes on, the content of that experience. Many representationalists hold that the relevant content of experience is nonconceptual. I propose a counterexample to this form of representationalism that arises from the phenomenon of Gestalt switching, which occurs when viewing ambiguous figures. First, I argue that one does not need to appeal to the conceptual content of experience or to judgements to account for (...) Gestalt switching. I then argue that experiences of certain ambiguous figures are problematic because they have different phenomenal characters but that no difference in the nonconceptual content of these experiences can be identified. I consider three solutions to this problem that have been proposed by both philosophers and psychologists and conclude that none can account for all the ambiguous figures that pose the problem. I conclude that the onus is on representationalists to specify the relevant difference in content or to abandon their position. (shrink)

Ambiguous figures pose a problem for representationalists, particularly for representationalists who believe that the content of perceptual experience is non-conceptual (MacPherson in Nous 40(1):82–117, 2006). This is because, in viewing ambiguous figures, subjects have perceptual experiences that differ in phenomenal properties without differing in non-conceptual content. In this paper, I argue that ambiguous figures pose no problem for non-conceptual representationalists. I argue that aspect shifts do not presuppose or require the possession of sophisticated conceptual (...) resources and that, although viewing ambiguous figures often causes a change in phenomenal properties, this change is accompanied by a change in non-conceptual content. I illustrate the case by considering specific examples. (shrink)

Representationalists hold that the phenomenal character of a perceptual experience is identical with, or supervenes on, an aspect of its representational content. As such, representationalism could be disproved by a counter-example consisting of two experiences that have the same representational content but differ in phenomenal character. In this paper, I discuss two recently proposed counter-examples to representationalism that involve ambiguous or reversible figures. I pursue two goals. My first, and most important, goal is to show that the representationalist (...) can offer plausible responses to both counter-examples. My second goal is to show the implications of these responses for the nature of the spatial representational contents of perceptual experiences. (shrink)

I argued in Nanay 2010 that we cannot characterize perceptual content without reference to attention. Here, I defend this account from three objections raised by Jagnow 2011. This mainly takes the form of clarifying some details not sufficiently elaborated in the original article and dispelling some potential misunderstandings.

Macpherson (2006) argues that the square/regular diamond figure threatens representationalism, which holds that the phenomenal character of experience is either identical, or supervenes on, the nonconceptual content of experience (NCC). Her argument is that representationalism is committed to the thesis that differences in the phenomenal experience of ambiguous figures, the gestalt switch, should be explained by differences in the NCC of perception of these figures. However, with respect to the square/regular diamond figure such differences in NCC do (...) not explain the gestalt switch. I examine Macpherson’s claims and argue that representationalism can account for the experience of ambiguous figures by explaining differences in the phenomenal content of experience by means of differences in the NCC of that same experience. The thrust of my argument is that Macpherson’s account of what happens when subjects, upon viewing a tilted A and an A, report their experience by using the concept-term “A”, mistakes seeph with seedox. If this confusion is cleared, then representationalism can offer a coherent account of the gestalt switch in the diamond/square figure on the basis of the NCC of that experience. (shrink)

We tested the hypothesis that perception of an alternative image in ambiguous figures would be manifest as high-frequency (gamma) components that become synchronized over multiple scalp sites as a ''cognitive binding'' process occurs. For 171 combinations of data from 19 electrodes, obtained from 17 subjects and 10 replicate stimuli, we calculated the difference in correlation between the response to first seeing an ambiguous figure and when the alternative percept for that figure became consciously realized (cognitively bound). Numerous (...) statistically significant correlation differences occurred in all frequency bands tested with ambiguous-figure stimulation, but not in two kinds of control data (a reaction-time test to sound stimuli and a no-task, mind-wandering test). Statistically significant correlation changes were widespread, involving frontal, parietal, central, and occipital regions of both hemispheres. Correlation changes were evident at each of five frequency bands, ranging up to 62.5 Hz. Most of the statistically significant correlation changes were not between adjacent sites but between sites relatively distant, both ipsilateral and contralateral. Typically, these correlation changes occurred in more than one frequency band. These results suggest that cognitive binding is a distinct mental state that is reliably induced by ambiguous-figure perception tasks. Coherent oscillations at multiple frequencies may reflect the mechanism by which such binding occurs. Moreover, different coherent frequencies may mediate different components of the total cognitive-binding process. (shrink)

Hannah Arendt’s Jewish writings were central to her thinking about the human condition and engaged with the dialectics of modernity, universalism and identity. Her concept of the ‘conscious pariah’ attempted both to define a role for the public intellectual and understand the relationship between Jews and modernity. Controversially she accused Jewish victims of lack of resistance to the Nazis and argued that their victimization resulted from apolitical ‘worldlessness’. We argue that although Arendt’s analysis was original and challenging, her characterization of (...) Jewish history as one of ‘powerlessness’ is exaggerated but, more importantly, her underdeveloped concept of ‘the social’ is insensitive to the complex modalities of resistance and consciousness among subaltern Jewish communities. Furthermore, her lack of interest in religious observance obscures the importance of Judaism as a resource for resistance. This is illustrated by the ‘hidden transcripts’ of Jewish resistance from the early modern period. (shrink)

If we compare it with the fellow notion of liberty, equality has an ambivalent place in modern political thinking. Whilst it counts as one of the fundamental norms, many think that equality is valuable only as a way to realise some features of liberty. I take a historical perspective on this issue, and try to identify some of the pre-modern roots of such an ambivalent attitude towards equality. I do this by using Jacques Rancière’s political model as an analytical framework (...) and by taking a visual route, focusing on classical iconographic representations in which equality was present in the images’ subtexts. Ambrogio Lorenzetti’s allegory of good government is one iconic exposition of equality as a positive condition of civil peace. Already there, however, the positive value of equality is counterposed to the figure of violent retributive justice. Similarly, in the Christian narrative, equality is endorsed as the original condition of creatures under God, but is also associated with violent death. This signals one pre-modern root behind the ambivalence towards equality, particularly when the latter is understood dynamically, as levelling. Such a reversal of value finds an apotheosis, I suggest, in the revolutionary icon of the guillotine, a dramatic representation of equalisation that had a strong influence on modern political thinking. In J. E. Millais’ first painting, of Jesus in the House of his Parents, I find a more positive legacy of Christian equality in modern political thinking. (shrink)

One of the key achievements of critical realism has been to expose the modernist myth of universal reason, which holds that authentic knowledge claims must be objectively ‘pure’, uncontaminated by the subjectivity of local place, specific time and particular culture. Wright aims to address the lack of any substantial and sustained engagement between critical realism and theological critical realism with particular regard to: (a) the distinctive ontological claims of Christianity; (b) their epistemic warrant and intellectual legitimacy; and (c) scrutiny of (...) the primary source of the ontological claims of Christianity, namely the historical figure of Jesus of Nazareth. As such, it functions as a prolegomena to a much needed wider debate, guided by the under-labouring services of critical realism, between Christianity and various other religious and secular worldviews. This important new text will help stimulate a debate that has yet to get out of first gear. This book will appeal to academics, graduate and post-graduate students especially, but also Christian clergy, ministers and informed laity, and members of the general public concerned with the nature of religion and its place in contemporary society. (shrink)

For Hannah Arendt, authority is the shape educational responsibility assumes. In our time, authority in Arendt’s sense is under pressure. The figure of Greta Thunberg shows the failure of adult generations, taken collectively, to take responsibility for the world and present and future generations of newcomers. However, in reflecting on Arendt’s use of authority, we argue that her account of authority also requires amendments. Arendt’s situating of educational authority in-between past and future adequately captures its temporal dimension. We make explicit (...) another, spatial, dimension: authority in-between world and earth. Arendt’s neglect of the material earth also has implications for the relational dimension of authority. Arendt’s authority depends on a dichotomy between the private and the public sphere. This is problematic. First, we agree with Arendt’s feminist critics that the personal can be made into the site of the political. Second, we point once more to Thunberg, the child, taking the public stage, thereby contesting the division between public and private. In response, we situate the relational dimension of authority in-between private and public. The three dimensions of educational authority taken together imply that it is situated in-between domains that cannot be reduced to each other or taken as absolutes: past and future, world and earth, and the private and public sphere. This brings us to our concept of ambiguous authority, which expresses the Arendtian nature of our reflections and the ways in which we seek to renew her original insights on educational authority. (shrink)

The general attitude towards Arthur Schopenhauer’s metaphysics is rather fiercely critical and at times even tendentious. It seems that the figure of Schopenhauer as an irredeemably flawed, stubborn, and contradictory philosopher serves as a leitmotiv among scholars. Schopenhauer’s identification of the thing-in-itself with the will continues to be a thorny puzzle in the secondary literature, and it presents perhaps the greatest challenge to Schopenhauer scholars. Schopenhauer borrows the term ‘thing-in-itself’ from Immanuel Kant, who uses it to refer to a reality (...) that is distinct from what appears to us, and hence unknowable. Despite the fact that several interpretations have been offered to make sense of Schopenhauer’s identification of the thing-in-itself with the will, there appears to be no consensus about how to interpret this identification as well as his understanding of the term ‘thing-in-itself’. Unlike the other interpretations, the interpretation that I offer here distinguishes between three distinct and mutually incompatible views that Schopenhauer formulates about the thing-in-itself. I argue that it is not only difficult to give a coherent, consistent account of Schopenhauer’s position, but also not worth trying, because such an endeavor comes at the cost of ignoring the textual richness and depth of thought that Schopenhauer’s works offer. (shrink)

This article analyses the ambiguous intimacies generated by the competition that permeates desire in Lisa Aschan’s She Monkeys (2011). The article argues that in a new corpus of films about adolescence, the queerness of lesbian desire is evoked as a series of affects outside of figurative norms. Desire meets and is confused with other affects such as envy and disgust, all of which attach, sometimes simultaneously, to objects that do not always seem to recognise or permit them. Slow and (...) languid scenes reveal desire’s potential but rarely its achievement. The article explores the erotic potential of those intimacies that reside in the spaces between bodies, asking what happens to that potential when it is generated but immediately contained by the negotiations of control. In dialogue with psychoanalytic work on the ambivalent relations between desire, envy, attachment and idealisation, the article advances a reading of an affective mode of filmmaking that is saturated with desire but not defined by desire’s labelling. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 65.1 (2004) 1-13 [Access article in PDF] Ambiguities of the Prisca Sapientia in Late Renaissance Humanism Martin Mulsow University of Munich The wisdom of the ancients, says Marsilio Ficino, was a pious philosophy.1 Born among the Egyptians with Hermes Trismegistus—and, according to Ficino's later writings, concurrently among the Persians with Zoroaster—it was raised by the Thracians under Orpheus and Aglaophemus. It later matured (...) under Pythagoras among the Greeks and Italians and culminated in Plato. As is well known, this genealogy was not merely a historical thesis for Ficino and his followers but also a program for revival, a utopia achieved through restoration. For the assertion of a concordance between these early philosophies and their accordance with Christianity—in the sense of a Christian Platonism—implied the synthesis of fragementary philosophemes into a fully developed doctrine in the service of a uniform and timely philosophia pia.This program was formulated in a variety of ways during the sixteenth and seventeenth centuries with differing protagonists and with diverse aims. Thus one could supplement the genealogy in a cabalist vein, introduce biblical characters such as Solomon or Moses, or (as was done by Bruno) use it to contest Christian doctrine. The genealogy could be read as culminating in various notable modern figures such as for example, Paracelsus. Aristotle could be included or excluded from it, depending on whether one wanted to assimilate the Aristotelian tradition or to distance oneself from it; and one could leave the end [End Page 1] of this genealogical lineage open in order to exhort the necessity of a scientific and moral reform.Here, however, we shall be occupied with the question of what became of this program during the late Renaissance, when two developments took place simultaneously: on the one hand, the utopia of the prisca sapientia set about to conquer the field formerly reserved to the Aristotelians, namely, natural philosophy; on the other hand, the first doubts arose about the overall validity of the historical-philological foundation of the program, especially the dating of the works of Hermes Trismegistus. The latter began with the publication of the first part of Patrizi's Discussiones peripateticae in 1571,which aimed to rehabilitate, contrary to Aristotle's critique, old presocratic natural philosophies, and in so doing it cleared the way for interpreting the latest advancements in non-Aristotelian natural sciences as resumptions of these very philosophies.2 This initiated a period of complex interaction between late humanist philology, innovative natural science, and speculative metaphysics.This phase, however, not only entailed the grand synthesizing endeavors that one finds in Patrizi's Nova de universis philosophia;it also introduced historical critique—no doubt provoked by Patrizi—of the Hermetic prisca sapientia, understood in Frances Yates's sense, which was performed in careful detail long before Casaubon at the end of the Renaissance.3 Further, it was a phase characterized by an attempt to reevaluate Aristotelian philosophy against its opponents, which paradoxically was also motivated by Patrizi yet which managed to keep the venture open to "esoteric" depths. All of these developments were intertwined, and each effected the articulation of encyclopedic projects at the beginning of the seventeenth century. On the basis of manuscripts, letters, and some neglected texts, I want to introduce two such countercurrents, which illustrate how the migration of arguments from one cultural context to another can lead to wholly divergent and unexpected results. Moreover, these results show the diverse consequences that a prisca sapientia-utopia could have for different visions of encyclopedic scholarship.I. In the bookshop of Paolo Meietti in Padua, Teodoro Angelucci and Antonio Persio met accidentally on an autumn day in 1558. Meietti was the publisher of Angelucci's medical textbook as well as of texts by Patrizi and his [End Page 2] colleague Giannini, and it is possible that Persio was out to discuss publishing possibilities for his forthcoming manuscript De natura ignis. In any case, they were there for business-related matters, so it was quite natural for Persio to... (shrink)

Aristotle's illustrations of the fallacy of Figure of Speech (or Form of Expression) are none too convincing. They are tied to Aristotle's theory of categories and to peculiarities of Greek grammar that fail to hold appeal for a contemporary readership. Yet, upon closer inspection, Figure of Speech shows many points of contact with views and problems that inhabit 20th-century analytical philosophy. In the paper, some Aristotelian examples will be analyzed to gain a better understanding of this fallacy. The case of (...) the Third Man argument and some modern cases lend plausibility to the claim that Figure of Speech is of more interest as a type of fallacy than has generally been assumed. Finally, a case is made for the view that Figure of Speech, though listed among the fallacies dependent upon language, is not properly classified as a fallacy of ambiguity. More likely, it should be looked upon as a type of non sequitur. This has important consequences for the profile of dialogue associated with this fallacy. (shrink)

The Mona Lisa is probably the most celebrated example of ambiguous expression in art. Soranzo and Newberry demonstrated that a similar ambiguity can be perceived also in La Bella Principessa, another portrait credited to Leonardo da Vinci by many. The paper aims to show that an ambiguous expression can be perceived in a further painting attributed to Leonardo: The Lady with Dishevelled Hair, or La Scapigliata. An experiment was conducted whereby participants rated on a 7-point Likert scale the (...) perceived level of contentment of La Scapigliata and that of a comparable painting created by Andrea di Cione, alias Il Verrocchio. The two artworks were presented in random order to two groups of participants. One group could see the artworks from Close whilst the other group from Far from a Close or Far condition. Results show that the change of distance affected the perceived level of contentment of Leonardo’s figure but not that of Verrocchio’s. Specifically, whilst both artworks received similar ratings of contentment from the close-up condition, La Scapigliata was perceived to be more content from afar. It is concluded that La Scapigliata exhibits an ambiguous expression, and that this ambiguity is similar to the one observed in the Mona Lisa and La Bella Principessa. This result can be only partially interpreted within the spatial frequency hypothesis advanced by Livingstone and shows that a phenomenological account of Leonardo’s work might be more suited to capture the full extent of the phenomenon. Specifically, it is suggested that the principles of perceptual belongingness may need to be considered to fully capture the extent of the ambiguity depicted by Leonardo. (shrink)

Correspondence should be addressed to David A. Leopold [email protected] the viewing of certain patterns, widely known as ambiguous or puzzle figures, perception lapses into a sequence of spontaneous alternations, switching every few seconds between two or more visual interpretations of the stimulus. Although their nature and origin remain topics of debate, these stochastic switches are generally thought to be the automatic and inevitable consequence of viewing a pattern without a unique solution. We report here that in humans such (...) perceptual alternations can be slowed, and even brought to a standstill, if the visual stimulus is periodically removed from view. We also show, with a visual illusion, that this stabilizing effect hinges on perceptual disappearance rather than on actual removal of the stimulus. These findings indicate that uninterrupted subjective perception of an ambiguous pattern is required for the initiation of the brain-state changes underlying multistable vision.Visual perception involves coordination between sensory sampling of the world and active interpretation of the sensory data. Human perception of objects and scenes is normally stable and robust, but it falters when one is presented with patterns that are inherently ambiguous or contradictory. Under such conditions, vision lapses into a chain of continually alternating percepts, whereby a viable visual interpretation dominates for a few seconds and is then replaced by a rival interpretation. This multistable vision, or 'multistability', is thought to result from destabilization of fundamental visual mechanisms, and has offered valuable insights into how sensory patterns are actively organized and interpreted in the brain1, 2. Despite a great deal of recent research and interest in multistable perception, however, its neurophysiological underpinnings remain poorly understood. Physiological studies have suggested that disambiguation of ambiguous patterns. (shrink)

The Necker cube and the productive class of related stimuli involving multiple depth interpretations driven by corner-like line junctions are often taken to be ambiguous. This idea is normally taken to be as little in need of defense as the claim that the Necker cube gives rise to multiple distinct percepts. In the philosophy of language, it is taken to be a substantive question whether a stimulus that affords multiple interpretations is a case of ambiguity. If we take into (...) account what have been identified as hallmark features of ambiguity and look at the empirical record, it appears that the Necker cube and related stimuli are not ambiguous. I argue that this raises problems for extant models of multistable perception in cognitive neuroscience insofar as they are purported to apply to these stimuli. Helpfully, similar considerations also yield reasons to suggest that the relevant models are well motivated for other instances of multistable perception. However, a different breed of model seems to be required for the Necker cube and related stimuli. I end with a sketch how one may go about designing such a model relying on oscillatory patters in neural firing. I suggest that distinctions normally confined to the philosophy of language are important for the study of perception, a perspective with a growing number of adherents. (shrink)

Homi Bhabha brings attention to the figure of the postcolonial metropolitan subject—a third world subject who resides in the first world. Bhabha describes the experiences of the “colonial” subject as ambivalently split. As much as his work is insightful, Bhabha's descriptions of the daily life of postcolonial metropolitan subjects as split and doubled is problematic. His analysis lends only to the possibility of these splittings/doublings as schizophrenically wholly arising. His analysis cannot account for the agonistic moments when the colonial subject (...) is caught in not knowing, and in developing understanding about present circumstances. A framework with an account of context and horizons, such as in phenomenology, can better depict the experiences of the postcolonial metropolitan subject. Maurice Merleau-Ponty follows a gestaltian contact with the world, which advances that the “most basic unit of experience is that of figure-on-a-background.” One perceives the figure/theme because of and within the background/horizon. In this horizonal framework, human experiences are ambiguously open. The openness in the horizon of the gestaltian framework better accounts for the conditions Bhabha refers to as splitting. The ambivalence can be understood not simply as conundrums that defy understanding but as ambiguous moments for expanding, developing, and growing. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Figurative Language and the “Face” in Levinas’s PhilosophyDiane PerpichThe value of images for philosophy lies in their position between two times and their ambiguity.—Levinas, "Reality and Its Shadow"Imagery... occupies the place of theory's impossible.—Le Doeuff, The Philosophical ImaginaryFor many readers, and perhaps above all for Levinas himself, there is something deeply dissatisfying about the account of the "face of the other" in Totality and Infinity and yet the importance (...) of this figure for the major ethical claims of the book can hardly be overstated. The fundamental thesis broached through the notion of the face is the difference between the way in which things are given to consciousness (the order of ontology) and the way in which human beings are encountered (the order of ethics). Whereas things are given to consciousness in sensible experience through the mediation of forms or concepts, the face is present, according to Levinas, in its "refusal to be contained" in a form (Levinas 1969, 194). A passage early in Totality and Infinity defines the face as follows: "The way in which the other presents himself, exceeding the idea of the other in me, we here name face. This mode does not consist in figuring as a theme under my gaze, in spreading itself forth as a set of qualities forming an image. The face of the Other at each moment destroys and overflows the plastic image it leaves me" (50–51, italics in original). A face is thus a very peculiar sort of "phenomenon." In effect, it is non-phenomenal; it does not appear as such and remains exterior to concepts.1 Rhetorically, the face is an image that represents the inadequacy of every image for representing alterity. That is, it represents the impossibility of its own representation and so the problems begin. [End Page 103]In "Violence and Metaphysics," Derrida suggests that Levinas's claim that the absolute alterity of the other refuses conceptualization is undermined from the outset since in order to have meaning as an other, to be recognized and respected as an other, the other must first of all appear: "it is impossible to encounter the alter ego..., impossible to respect it in experience and in language, if this other, in its alterity, does not appear for an ego (in general). One could neither speak, nor have any sense of the totally other, if there was not a phenomenon of the totally other, or evidence of the totally other as such" (Derrida 1978, 123). In what sense can we think or represent absolute alterity if, strictly speaking, it is unthinkable and unrepresentable? And, further, what are we to make of the performative contradiction insofar as Levinas's discourse doesprecisely what it says it is impossible to do? As Derrida notes, even if one cannot thematize the other, "this impossibility and this imperative themselves can be thematized" (123). The difficulty here is that if there "is" an alterity of the type that interests Levinas, then there is no way to represent or speak about it literally—in which case the question arises, in what sense is it? And if one can speak about it, then it is not unrepresentable and thus is not absolute in the sense Levinas says it is.A further contradiction in the notion of the absolute alterity of the face arises owing to the fact that insofar as Levinas's notion of an absolute other forbids us from assigning to the other any determinate predicate, it seems as if all unique, singular faces are the same. As Jean-Luc Marion formulates this problem: "how can one assign an identity to the origin of the appeal such that one can specify which face is involved each time, but without thereby reducing it to a visible phenomenon in the mode of a spectacle?" (Marion 2000, 226). Marion makes a virtue of this feature of Levinas's account, suggesting that "it belongs to the very sense of the appeal that it remain essentially anonymous, and not by default but by excess—the excess of alterity over what it alters" (240). Anonymity, on this view, belongs to the formal structure of interpellation and Marion therein... (shrink)

At the end of the fifth century B.C.E., the character of Odysseus was scorned by most of the Athenians: he illustrated the archetype of the demagogic, unscrupulous and ambitious politicians that had led Athens to its doom. Against this common doxa, the most important disciples of Socrates (Antisthenes, Plato, Xenophon) rehabilitate the hero and admire his temperance and his courage. But it is most surprising to see that, in spite of Odysseus' lies and deceit, these philosophers, who condemn steadfastly the (...) sophists' deceptions, praise his rhetorical ability, his polutropia. The word polutropia is ambiguous: for Antisthenes, it means either "diversity of styles and discourses" or "diversity of dispositions, characters, or souls". It is argued that the same distinction is implicitly at work in Plato's Hippias Minor, where Socrates defends Odysseus' polutropia against the pseudo "simplicity" of Hippias' favourite hero, Achilles. However, whereas Antisthenes tries to clarify these different meanings, Plato's Socrates exploits the ambiguity to confuse his interlocutor. Such a distinction sheds a new light on the Hippias Minor: Odysseus is polutropos in the first (positive) sense, while the simplicity of Achilles should be understood as a bad kind of polutropia. It provides an explanation for the first paradoxical thesis of the dialogue which many commentators do not admit as an expression of the true Socratic view, on the ground of its supposed immorality: that he who voluntary deceives is better than he who errs, for falsehood is, in one case, only in words, while in the other, it is falsehood in the soul itself. It is thus proposed that Odysseus' skill in adapting his logos to his hearers was probably a model for Socrates himself. The analogy between the hero and Socrates is especially clear in Plato's dialogues, which show the philosopher in an Odyssey for knowledge. (shrink)

In this essay Luc Van den Berge and Stefan Ramaekers take the idea of “scientific parenting” as an example of ambiguities that are typical of our late-modern condition. On the one hand, parenting seems like a natural thing to do, which makes “scientific parenting” sound like an oxymoron; on the other hand, a disengaged stance informed by the latest scientific findings is uncritically demanded of parents, as such an approach is conceived of as a panacea. Instead of taking sides in (...) this discussion, the authors seek a way to make sense of it, drawing upon the work of Charles Taylor, who offers a striking account of our contingent modern condition as well as of our ontological human constitution. They focus particularly on two examples Taylor gives where the contingent self-understanding does not coincide with our timeless human features. This opens a space for what might be considered paradoxes in our late-modern Western culture. This essay thus confronts Taylor's philosophy with the new parenting discourse to reveal how our moral horizons have evolved. Following this approach, the authors both expand on Taylor's thinking about our late modernity and at the same time try to assess the new scientific parenting discourse. (shrink)

At the end of the fifth century B.C.E., the character of Odysseus was scorned by most of the Athenians: he illustrated the archetype of the demagogic, unscrupulous and ambitious politicians that had led Athens to its doom. Against this common doxa, the most important disciples of Socrates (Antisthenes, Plato, Xenophon) rehabilitate the hero and admire his temperance and his courage. But it is most surprising to see that, in spite of Odysseus' lies and deceit, these philosophers, who condemn steadfastly the (...) sophists' deceptions, praise his rhetorical ability, his polutropia. The word polutropia is ambiguous: for Antisthenes, it means either "diversity of styles and discourses" or "diversity of dispositions, characters, or souls". It is argued that the same distinction is implicitly at work in Plato's Hippias Minor, where Socrates defends Odysseus' polutropia against the pseudo "simplicity" of Hippias' favourite hero, Achilles. However, whereas Antisthenes tries to clarify these different meanings, Plato's Socrates exploits the ambiguity to confuse his interlocutor. Such a distinction sheds a new light on the Hippias Minor: Odysseus is polutropos in the first (positive) sense, while the simplicity of Achilles should be understood as a bad kind of polutropia. It provides an explanation for the first paradoxical thesis of the dialogue which many commentators do not admit as an expression of the true Socratic view, on the ground of its supposed immorality: that he who voluntary deceives is better than he who errs, for falsehood is, in one case, only in words, while in the other, it is falsehood in the soul itself. It is thus proposed that Odysseus' skill in adapting his logos to his hearers was probably a model for Socrates himself. The analogy between the hero and Socrates is especially clear in Plato's dialogues, which show the philosopher in an Odyssey for knowledge. (shrink)

At the end of the fifth century B.C.E., the character of Odysseus was scorned by most of the Athenians: he illustrated the archetype of the demagogic, unscrupulous and ambitious politicians that had led Athens to its doom. Against this common doxa, the most important disciples of Socrates (Antisthenes, Plato, Xenophon) rehabilitate the hero and admire his temperance and his courage. But it is most surprising to see that, in spite of Odysseus' lies and deceit, these philosophers, who condemn steadfastly the (...) sophists' deceptions, praise his rhetorical ability, his polutropia. The word polutropia is ambiguous: for Antisthenes, it means either "diversity of styles and discourses" or "diversity of dispositions, characters, or souls". It is argued that the same distinction is implicitly at work in Plato's Hippias Minor, where Socrates defends Odysseus' polutropia against the pseudo "simplicity" of Hippias' favourite hero, Achilles. However, whereas Antisthenes tries to clarify these different meanings, Plato's Socrates exploits the ambiguity to confuse his interlocutor. Such a distinction sheds a new light on the Hippias Minor: Odysseus is polutropos in the first (positive) sense, while the sim- plicity of Achilles should be understood as a bad kind of polutropia. It provides an explanation for the first paradoxical thesis of the dialogue which many commentators do not admit as an expression of the true Socratic view, on the ground of its supposed immorality: that he who voluntary deceives is better than he who errs, for falsehood is, in one case, only in words, while in the other, it is falsehood in the soul itself. It is thus proposed that Odysseus' skill in adapting his logos to his hearers was probably a model for Socrates himself. The analogy between the hero and Socrates is especially clear in Plato's dialogues, which show the philosopher in an Odyssey for knowledge. (shrink)

ABSTRACT The phrase “ambiguous utopia” was coined by Ursula K. Le Guin in the subtitle of her novel, The Dispossessed: An Ambiguous Utopia. That work appeared when utopian narratives had been displaced by dystopian imaginaries. This article embarks on a comparative analysis of three short stories: Ursula K. Le Guin’s “The Ones Who Walk Away from Omelas”, Angélica Gorodischer’s “Of Navigators”, and N. K. Jemisin’s “The Ones Who Stay and Fight”. Each author installs ambiguity at the center of (...) their open-ended utopian imaginaries as a way to challenge dogma, pessimism, and complacency. Le Guin interrogates the boundary between belief and knowledge to hold the threat of authoritarianism at bay. Gorodischer, a friend and contemporary of Le Guin, is considered a central figure of Argentine science fiction and fantasy. Her story imagines the discovery of a second Earth set in 1492 and highlights the need for utopianism to challenge the legacy of colonization. Finally, Jemisin’s story is a critical homage to “Omelas.” Jemisin shares the decolonial impetus of Gorodischer’s fiction, and she constructs Um-Helat on an explicitly antiracist foundation. Instead of walking away, her characters actively fight the creeping threat of intolerance while working toward that better place. (shrink)

Simone de Beauvoir and the Politics of Ambiguity is the first full-length study of Beauvoir's political thinking. Best known as the author of The Second Sex, Beauvoir also wrote an array of other political and philosophical texts that together, constitute an original contribution to political theory and philosophy. Sonia Kruks here locates Beauvoir in her own intellectual and political context and demonstrates her continuing significance. Beauvoir still speaks, in a unique voice, to many pressing questions concerning politics: the values and (...) dangers of liberal humanism; how oppressed groups become complicit in their own oppression; how social identities are perpetuated; the limits to rationalism; and the place of emotions, such as the desire for revenge, in politics. In discussing such matters Kruks puts Beauvoir's ideas into conversation with those of many contemporary thinkers, including feminist and race theorists, as well as with historical figures in the liberal, Hegelian, and Marxist traditions. Beauvoir's political thinking emerges from her fundamental insights into the ambiguity of human existence. Combining phenomenological descriptions with structural analyses, she focuses on the tensions of human action as both free and constrained. To be human is to be a paradoxical being, at once capable of free choice and yet, because embodied, vulnerable to injury from others. Politics is thus a domain of complexly interwoven, multiple, human interactions that is rife with ambiguity, and where freedom and violence too often closely intertwine. Beauvoir accordingly argues that failure is a necessary part of political action. However, she also insists that, while acknowledging this, we should assume responsibility for the outcomes of what we do. (shrink)

How baroque was Spinoza in his treatment of the prophets? I examine this question by comparing the pictorial treatments of Moses from the Netherlands to Spinoza’s treatment of Moses at the beginning of the Theological Political Treatise. I concentrate on two representations of Moses descending from mount Sinai, one by Ferdinand Bol and the other by Rembrandt. Of particular importance is the idea of hierarchy. I will argue that Spinoza takes an ambiguous position in relation to baroque, on the (...) one hand following the baroque’s drastic spatiotemporal condensation that questions hierarchies, but on the other refusing the baroque’s representation of unmediated or unjustified sovereign violence. (shrink)

Although Thomas More is an exemplary figure of both personal and moral integrity, his Utopia is not straightforwardly ‘integer’ in another meaning of the term, i.e., it does not unequivocally describe a ‘whole, intact or pure’ conception of the ideal society. Rather, Utopia is patently ambiguous and challenges the reader to disambiguate the narrative and to make up his own mind on how to construct the ideal society. In this paper, I analyze utopias and dystopias in general as evaluative (...) thought experiments that appeal to our imagination and deploy possible worlds. Subsequently, I argue that More’s Utopia is a successful evaluative thought experiment that actually underscores More’s integrity, because by means of its exacerbated ambiguity, it both triggers and properly respects the deliberation and evaluation of the reader in his capacity as thought experimenter. (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)

The spaces provided by biotechnologies of sex selection are rich with epistemological, ontological, and ethical considerations that speak to broadly held social values and epistemic frameworks. In much of the discourse about sex selection that is not medically indicated, the figure of the “naturally” conceived child is treated as a problem for parents who want to select the sex of their child. As unknown, that child is ambiguous in terms of sex—“it” is both and neither, and might be the (...) “wrong” sex. Drawing on Beauvoirean thinking about ambiguity and desire, I cast part of the desire to select the sex of a child as bound to an ethic and epistemology of disambiguation, and urge that the space of being-unknown is one to which each person is entitled. (shrink)

It is not rare to meet in scientific literature with a figure made of three circles, intersecting in such a way as to delineate all the combinations of the components that they stand for. This figure is commonly known as a ‘Venn diagram’ or ‘Venn’s three circles’. In this paper, we argue that many so-called Venn diagrams found in modern scientific literature do not truly depict intersections, and hence, are not true Venn diagrams.

In this essay, Sharon Subreenduth explores how social justice policies have both global–local and historical dynamics and maintains that, as a result, dominant Western models of social justice limit engagement with alternative modes of understanding social justice in non-Western locations. She uses the South African experience as a case study for examining the complexities of social justice policy in the context of the decolonizing efforts that undergird national policy in South Africa as it simultaneously negotiates neoliberal globalizing dynamics. The essay (...) specifically analyzes the neoliberal concept of choice and how it figures within the discourse and practice of race and education within society. Moving beyond binaries, Subreenduth highlights the murky areas of social justice and articulates what they tell us about meta-analysis, narrative, resistance, complicities, infiltration, and the neoliberal il/logic of local–global histories. (shrink)

The aim was to verify the potential of holistic approaches towards the evaluation of human figure drawing. Groht-Marnat, Tharinger, Stark favour this approach, and findings seem to legitimize considerations about its diagnostic productivity. Yama, Dans-Lopez and Tarroja have identified bizarre and artistic quality criteria for drawing that have a relevant interpretative meaning. Within the study involving 525 normal adult subjects, the hypothesis of differences in personality traits and performance level produced by authors of selected types of drawings, was verified. The (...) criterium of bizarre drawing proved to be an important indicator of intellectual abilities monitored by subtests of the ISA-S test, the non-verbal CF 2A test, Decision-making test. They achieved the lowest scores in all parameters, with significance in relation to more detailed drawings. Results from IHAVEZ and DOPEN questionnaires suggest that bizarre character producers are more emotionally instable, less emotionally resilient, less anticipating, and less self-controlling, less rational, responding more intensely to problems and are less orientated towards their solution. They are more neurotic and present more psychotic experience. The main limitation is the chosen approach. Holistically evaluated drawing is rare in terms of its occurrence in a normal population. Even within the files involving several hundred participiants, it is possible to clearly classify drawing in the maximum number of tens. Diversity of the terminology and methodological ambiguity constitutes another limitation. The bizarreness itself is not interpreted clearly, rather the contrary. (shrink)

Although symmetry has been discussed in terms of a major law of perceptual organization since the early conceptual efforts of the Gestalt school (Wertheimer, Metzger, Koffka and others), the first quantitative measurements testing for effects of symmetry on processes of Gestalt formation have seen the day only recently. In this study, a psychophysical rating study and a “foreground”-“background” choice response time experiment were run with human observers to test for effects of bilateral symmetry on the perceived strength of figure-ground in (...) triangular Kanizsa configurations. Displays with and without bilateral symmetry, identical physically-specified-to-total contour ratio, and constant local contrast intensity within and across conditions, but variable local contrast polarity and variable orientation in the plane, were presented in a random order to human observers. Configurations with bilateral symmetry produced significantly stronger figure-ground percepts reflected by greater subjective magnitudes and consistently higher percentages of “foreground” judgments accompanied by significantly shorter response times. These effects of symmetry depend neither on the orientation of the axis of symmetry, nor on the contrast polarity of the physical inducers. It is concluded that bilateral symmetry, irrespective of orientation, significantly contributes to the, largely sign-invariant, visual mechanisms of figure-ground segregation that determine the salience of figure-ground in perceptually ambiguous configurations. (shrink)

In his account of visual perception, Thomas Reid describes visible figure as both ‘real and external’ to the eye and as the ‘immediate object of sight’. These claims appear to conflict with Reid's direct realism, since if the ‘immediate’ object of vision is also its direct object, then sight would be perceptually indirect due to the role of visible figure as a perceptual intermediary. I argue that this apparent threat to Reid's direct realism may be resolved by understanding visible figure (...) as the set of geometrical properties that holds between an object's visible surfaces and some particular perspective or point of view. On this relational interpretation of visible figure, and once an ambiguity over the use of the term ‘object’ is resolved, Reid's account of vision is both epistemically and perceptually direct, as well as consistent with his account of the other senses and doctrine of signs. (shrink)

The segregation of image parts into foreground and background is an important aspect of the neural computation of 3D scene perception. To achieve such segregation, the brain needs information about border ownership; that is, the belongingness of a contour to a specific surface represented in the image. This article presents psychophysical data derived from 3D percepts of figure and ground that were generated by presenting 2D images composed of spatially disjoint shapes that pointed inward or outward relative to the continuous (...) boundaries that they induced along their collinear edges. The shapes in some images had the same contrast (black or white) with respect to the background gray. Other images included opposite contrasts along each induced continuous boundary. Psychophysical results demonstrate conditions under which figure-ground judgment probabilities in response to these ambiguous displays are determined by the orientation of contrasts only, not by their relative contrasts, despite the fact that many border ownership cells in cortical area V2 respond to a preferred relative contrast. Studies are also reviewed in which both polarity-specific and polarity-invariant properties obtain perceptual figure-ground grouping results. The FACADE and 3D LAMINART models are used to explain these data. Keywords: figure-ground separation, border ownership, perceptual grouping, surface filling-in, V2, V4, FACADE Theory. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:diacritics 35.1 (2005) 136-146MuseSearchJournalsThis JournalContents[Access article in PDF]The Christian Bain de Diane, or the Stakes of an Ambiguous ParatextPatrick AmstutzTranslated by Gerald MooreUpon its publication, Le bain de Diane elicited few reactions on the part of criticism. Klossowski's name was still a secret and, despite its note among writers such as Bataille, Beauvoir, Camus, Parain, and Sartre and their public following, the number of readers to have read (...) this fifth work remained confined to those already familiar with Klossow-ski the essayist (Sade mon prochain, Méditations bibliques de Hamann), or the novelist (La vocation suspendue, Roberte, ce soir). The discreet silence that characterized the first reception of Le bain de Diane would last until the end of the seventies, despite a reedition in 1972 by the same publisher. During this time three important moments made Le bain de Diane resurface at the heart of the literary world: first, in fictional form, thanks to a subtle but explicit homage paid by Henri Thomas [Le promontoire]; second, in the form of a penetrating commentary article by Michel Foucault ["La prose d'Actéon"], and finally, at the hands of René Micha and Catherine Backès-Clément, key contributors to the issue that the review L'Arc dedicated to the writer. The reedition of Le bain de Diane by Gallimard1 would significantly relaunch interest in this work which, one comes increasingly to realize, is a major text in the Klossowskian oeuvre: offering a reflection on the image and writing, it was Gilles Quinsat who would open this new period of critical reception.An Uncertain IdentityQuinsat emphasizes the "series of 'tableaux' that glazes Le Bain de Diane" in accordance with a "circular" descriptive movement, he says, "from vision to commentary, attributed to the deferral without end of signs, and which feeds the entire work of Pierre Klossowski" [95]. And if he borrows the term "exegesis" from Foucault to describe the genre of the work, he immediately associates it with that of "narrative." A quarter of a century earlier, a commentary in the new Nouvelle revue française had already underlined the "disconcerting" character of Klossowski's book, by accentuating not only the strangeness of its thematic, but also the difficulties posed by the uncertainty of its generic belonging (which is echoed by the absent mention of a paratext): the critic, hesitating, suggested somewhat confusedly a typological kinship with philosophical commentary, theological scholasticism, prose poetry, series of paintings, historical narrative and even the analysis of myths [Amer 144]. In fact, this mythological "reverie," neither an essay nor a narrative, is, from this point of view, a typically Klossowskian [End Page 136] book, as Ian James has more recently reminded us [143]. Le bain de Diane mixes erudite commentary and narrative discourse so well that it entices its commentators into the traps of scholarly, historical, and philological annotation. Yet this would be to forget, as Maurice Blanchot has observed [92–94], that the written oeuvre of Klossowski belongs fully to the field of literature, even more so than to those of philosophy, theology, or psychoanalysis.When it comes to discerning the literariness of this literary object, which the different paratextual and intertextual stakes and levels underline, the principal difficulty consists in not losing oneself in a mythological labyrinth and innumerable variants of the cult of Artemis, which was one of the most significant, oldest, and popular cults of the Greco-Roman era and which plunges into a world on whose complexity historians and philologists have insisted on many occasions. The study of Klossowski's sources could lead one through multiple disciplines (philology, mythography, psychoanalysis, the history of religions, history of art, French literature—all centuries cobbled together, and so on) to overly vast inquiries: the goddess "of a thousand names" assumes a properly vertiginous semiotic richness, and the cult of Artemis, before being linked to that of Apollo, stretches back to time immemorial where, behind Artemis, can be glimpsed the Asiatic figure of a Great Mother Goddess, whose... (shrink)