As Macnamara (1978) once asked, how can we talk about what we see? We report on a study manipulating realistic dynamic scenes and sentences aiming to understand the interaction between linguistic and visual representations in real-world situations. Specifically, we monitored participants’ eye movements as they watched video clips of everyday scenes while listening to sentences describing these scenes. We manipulated two main variables. The first was the semantic class of the verb in the sentence and the second was the action/motion (...) of the agent in the unfolding event. The sentences employed two verb classes—causatives (e.g., break) and perception/psychological (e.g., notice)—which impose different constraints on the nouns that serve as their grammatical complements. The scenes depicted events in which agents either moved towards a target object (always the referent of the verb-complement noun), away from it, or remained neutral performing a given activity (such as cooking). Scenes and sentences were synchronized such that the verb onset corresponded to the first video frame of the agent motion towards or away from the object. Results show effects of agent motion but weak verb-semantic restrictions: causatives draw more attention to potential referents of their grammatical complements than perception verbs only when the agent moves towards the target object. Crucially, we found no anticipatory verb-driven eye movements toward the target object, contrary to studies using non-naturalistic and static scenes. We propose a model in which linguistic and visual computations in real-world situations occur largely independent of each other during the early moments of perceptual input, but rapidly interact at a central, conceptual system using a common, propositional code. Implications for language use in real world contexts are discussed. (shrink)

According to Hector-Neri Castañeda, indexical reference is our most basic means of identifying the objects and events we experience and think about. Its tokens reveal our own part in the process by denoting what are "referred to as items present in experience" (Castañeda 1981, 285-6). If you hear me say, "Take that box over there and set it next to this box here," you learn something about my orientation towards the referents in a way that is not conveyed by, (...) "Take the red box and set it next to the blue box." My indexical tokens express what they do not only because they issue from a unique spatio-temporal perspective that I happen to occupy, but also because they reflect my encounter with referents that are differently situated in that perspective. From your perspective, my here might be your there, my you your she, and within my own, a this differs from a that and one this diverges from another. Encounter and orientation within a perspective are the essential ingredients in indexical identification without which particular 'this's, 'that's, 'then's, 'here's, and 'beyond's would be denuded of individuating powess.1 There are several consequences of this description. First, indexical reference is ephemeral because perspective is constantly changing, rendering the indexical status of an entity relative to a given perspective temporary: 1 A this quickly turns into a that, and soon enough it is lost to experience and is not even a remote that; a you goes away and is replaced by another . . . Nothing is really an enduring you -- except God perhaps for the abiding mystic. (Castañeda 1989a, 69) Second, indexical reference is irreducible since non-indexical mechanisms of reference fail to express the subject's involvement or encounter with the referents that indexicals convey. Nor can the various indexicals be reduced to each other.2 Third, because each perspective is unique, indexical reference is essentially subjective.. (shrink)

A productive way to think about imagistic mental models of physical systems is as though they were sources of quasi‐empirical evidence. People depict or imagine events at those points in time when they would experiment with the world if possible. Moreover, just as they would do when observing the world, people induce patterns of behavior from the results depicted in their imaginations. These resulting patterns of behavior can then be cast into symbolic rules to simplify thinking about future (...) problems and to reveal higher order relationships. Using simple gear problems, three experiments explored the occasions of use for, and the inductive transitions between, depictive models and number‐based rules. The first two experiments used the convergent evidence of problem‐solving latencies, hand motions, referential language and error data to document the initial use of a model, the induction of rules from the modeling results, and the fallback to a model when a rule fails. The third experiment explored the intermediate representations that facilitate the induction of rules from depictive models. The strengths and weaknesses of depictive modeling and more analytic systems of reasoning are delineated to motivate the reasons for these transitions. (shrink)

Like the Theory of Event Coding (TEC), theories of executive functions depict cognition as a flexible and goal-directed system rather than a reflex-like one. Research on task-switching, a dominant paradigm in executive control, has revealed complex and some apparently counterintuitive results. Many of these are readily explained by assuming, like TEC, that cognitive control is based on selecting information from commensurate representations of stimuli and actions.

This study considers the short list of Nature of Science features frequently published and widely known in the science education discourse. It is argued that these features were oversimplified and a refinement of the claims may enrich or sometimes reverse them. The analysis shows the need to address the range of variation in each particular aspect of NOS and to illustrate these variations with actual events from the history of science in order to adequately present the subject. Another implication (...) of the proposal is the highlighting of the central role of science educators who, facing various strong claims of researchers in education and philosophy of science, often have difficulty in making a choice of what to teach about NOS. It is suggested that a representative variation with regard to the traditional NOS claims may be appropriate for a genuine understanding of the subject. In that, using the discipline-culture structure of the fundamental theories of physics and addressing the plurality of scientific methods may be helpful in the actual teaching and learning of NOS. (shrink)

Questions such as ‘What if such small companies as Hewletts and the Varians had not been established in Santa Clara County in California?’ or ‘What if Q-type keyboards had not been invented?’ are well known among economists. The questions point at a phenomenon called path dependence: ‘small events’, the argument goes, may cause the evolution of institutions to lock in to specific paths that may produce undesirable consequences. How about applying such skeptical views in economics to human ideas and (...) thought in general? That is to say, what if we ask such questions as: what if Greek philosophy had not been interested in ‘essences’ and ‘foundations’? What if Kant had not invented the ‘thing-in-itself?’ Nature and society, according to such Platonic philosophers, can be known only if it can be shown that events are governed, regulated and characterised by ‘forms’, which are immutable, complete, and perfect in their nature. But is there an ‘essence’ that makes a man 100 per cent male? Was there really a ‘foundation’ in history that caused a proletarian revolution in Russia? What if we had pushed aside the rhetoric of utopian ideality? What if we had a worldview different than the one depicted by Thomas More in his Utopia? The essay points at the possibility of such skepticism in human ideas and thought. (shrink)

Static depiction of motion, particularly lines trailing behind a mover, has long been of interest in the psychology literature. Empirical research has demonstrated that these “motion lines” benefited motion comprehension in static images by disambiguating the direction of movement. Yet, there is no consensus on how those lines derive their meaning. In this article, we review three accounts suggesting different interpretations of what motion lines represent. While a perceptual account considers motion lines originating from motion streaks in the primary visual (...) cortex, metaphorical and lexical accounts propose them as graphical conventions that should be learned—either through resemblance to sensory experiences (e.g., natural path marks) or directly being mapped to a conceptual category of paths. To contrast these three accounts, we integrate empirical research on motion lines and their understanding. Overall, developmental, proficiency, and cross-cultural variances indicate that the understanding of motion lines is neither innate nor universal, thus providing less support for lines having a purely perceptual origin. Rather, we argue the empirical findings suggest that motion lines are not iconic depictions of visual percepts but are graphical conventions indexing conceptual path information, which need to be learned and encoded in a visual lexicon. (shrink)

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

Photography has often been scrutinized regarding its relationship to reality or historical truth. This includes not only the indexicality of photography, but also the question of how structures and processes that comprise history and historical events can be depicted. In this context, the Holocaust provides a particular challenge to photography. As has been discussed in numerous publications, this historic event marks the “limits of representation.” Nevertheless there are many photographs “showing” the Holocaust that have been produced in different (...) contexts that bespeak the photographers’ gaze and the circumstances of the photographs’ production. Some of the pictures have become very well known due to their frequent reproduction, even though they often do not show the annihilation itself, but situations different from that; their interpretation as Holocaust pictures results rather from a metonymic deferral. When these pictures are frequently reproduced they are transformed into symbolic images, that is, images that can be removed from their specific context, and in this way they come to signify abstract concepts such as “evil.” Despite being removed from their specific context these images can, as this essay argues, refer to historical truth. First, I explore the arguments of some key theorists of photography to investigate the relationship between photography and reality in general, looking at their different concepts of reality, history, and historical truth, as well as the question of the meaning of images. Second, I describe the individual circumstances in which some famous Holocaust pictures were taken in order to analyze, by means of three examples, the question what makes these specific pictures so particularly suitable to becoming symbolic images and why they may—despite their abstract meaning—be able to depict historical truth. (shrink)

This paper draws on an in-depth phenomenological analysis of some interviews taken from volunteers, inviting them to reflect on their lived experiences of meaningfulness in the context of volunteering and citizenship. It is found that while some testimonies reinforce the standard conceptions of meaningfulness, other testimonies vary from it. The main challenge of this contribution consists in phenomenologically describing this alternative picture of meaningfulness, depicted as the event of witnessing. In a final part, the authors consider how volunteering is (...) at times especially prone to further experiences of witnessing. (shrink)

This experiment used event-related potentials to study the tactile-visual information conflict processing in a tactile-visual pairing task and its modulation by tactile-induced emotional states. Eighteen participants were asked to indicate whether the tactile sensation on their body matched or did not match the expected tactile sensation associated with the object depicted in an image. The type of tactile-visual stimuli and the valence of tactile-induced emotional states were manipulated following a 2 × 2 factorial design. Electrophysiological analyses revealed a mismatched (...) minus matched negative difference component between 420 and 620 ms after stimulus onset in the negative tactile-induced emotional state condition. This ND420-620 component was considered as a sign of the cross-modal conflict processing during the processing of incongruent tactile-visual information. In contrast, no significant mismatched minus matched negative difference component was found in the positive tactile-induced emotional state condition. Together, these results support the hypothesis that a positive emotional state induced by a positive tactile stimulation improves tactile-visual conflict processing abilities. (shrink)

In teaching statistics in secondary schools and at university, two visualizations are primarily used when situations with two dichotomous characteristics are represented: 2×2 tables and tree diagrams. Both visualizations can be depicted either with probabilities or with frequencies. Visualizations with frequencies have been shown to help students significantly more in Bayesian reasoning problems than probability visualizations do. Because tree diagrams or double-trees (which are largely unknown in school) are node-branch-structures, these two visualizations (compared to the 2×2 table) can even (...) simultaneously display probabilities on branches and frequencies inside the nodes. This is a teaching advantage as it allows the frequency concept to be used to better understand probabilities. However, 2×2 tables and (double-) trees have a decisive disadvantage: While joint probabilities (e.g., P(AB)) are represented in 2×2 tables but no conditional probabilities (e.g., P(A|B)), it is exactly the other way around with (double-) trees. Therefore, a visualization that is equally suitable for the representation of joint probabilities and conditional probabilities is desirable. In this article, we present a new visualization—the frequency net—in which all absolute frequencies and all types of probabilities can be depicted. In addition to a detailed theoretical analysis of the frequency net, we report the results of a study with 249 university students that shows that “net diagrams” can improve reasoning without previous instruction to a similar extent as 2×2 tables and double-trees. Regarding questions about conditional probabilities, frequency visualizations (2×2 table, double-tree, or net diagram with natural frequencies) are consistently superior to probability visualizations. The frequency net performs as well as the frequency double-tree. Only the 2×2 table with frequencies—the only visualization that participants were already familiar with —led to higher performance rates. If, on the other hand, a question about a joint probability had to be answered, all implemented visualizations clearly supported participants’ performance, and no uniform format effect becomes visible. Participants reached the highest performance in the versions with probability 2×2 tables and probability net diagrams. Furthermore, after conducting a detailed error analysis, we report interesting error shifts between the two information formats and the different visualizations and give recommendations for teaching probability. (shrink)

This paper draws on an in-depth phenomenological analysis of some interviews taken from volunteers, inviting them to reflect on their lived experiences of meaningfulness in the context of volunteering and citizenship. It is found that while some testimonies reinforce the standard conceptions of meaningfulness, other testimonies vary from it. The main challenge of this contribution consists in phenomenologically describing this alternative picture of meaningfulness, depicted as the event of wit(h)nessing. In a final part, the authors consider how volunteering is (...) at times especially prone to further experiences of wit(h)nessing. (shrink)

Humans perceive time with millisecond precision. However, when experiencing negative or fearful events, time appears to slow down and aversive events are judged to last longer than neutral or positive events of equal duration. Feelings of control have been shown to attenuate increases in arousal triggered by anxiety-provoking events. Here, we tested whether feelings of control can go as far as influencing people’s perception of the world, by modulating the perceived duration of aversive events. Observers (...) judged the duration of images depicting positive or negative content, and we manipulated the amount of control experienced by participants. Crucially, participants never had any real control over events. All control was illusory. Results showed that when participants experienced low levels of control, negative images were judged as lasting longer than positive images. However, when participants illusorily experienced high levels of control, they no longer experienced aversive negative images as lasting longer than positive images. (shrink)

The investigation is devoted to the problem of formal representation of logical structure and ontological commitments of natural language event sentences. The specificity of ontological commitments problem with regard to natural and formal languages is shown. The alternative approaches to the formal representation of event sentences (argument approach, davidsonian and neodavidsonian approaches, operator approach) are characterized with respect to their key features from formal logical and ontological points of view. The difference in the logical structure of sentences expressing events (...) by verb phrases and by nominalization is depicted. The role of a paraphrase in formal representation of natural language phenomena is discussed, as well as the notions of “hermeneutic" and “revolutionary" approaches in logic-semantical analysis introduced by J. Burgess and G. Rosen. It is shown that the neodavidsonian approach with regard to verb phrases is an example of “revolutionary" approach because it changes the original logical structure of natural language sentences. The analysis of ontological commitments shows that there is no bound event variable in the logical structure of verb phrases at sentence level but it's included in the internal semantic structure of a verb. The possible ways to the logical interpretation of the natural language mechanism of the dynamic shift between verb-based and nomi- nalized sentences are outlined. (shrink)

The puzzle that concerns me is whether it is possible to establish a substantive difference between photographic images and other kinds of visual image, which can explain the special epistemic and aesthetic qualities of photographs, without giving way to scepticism about photographic art. In this essay I offer a philosophical account of the photographic process which is able to resolve this tension. I use this account to argue that, while some photographs are mind independent, mind independence is not a defining (...) feature of all photographs. My account is substantive because it distinctively distinguishes the photographic process from other image-making processes and is able to explain the special qualities of photographs. It is also schematic, because it covers the fullest range of photographic technologies across a comprehensive range of applications. Finally, it is clarificatory because it is able to clear up misunderstandings and resolve philosophical problems. Beyond these theoretical aims, my broader purpose is to provide an account that has applicability for a wide range of art history cases and, furthermore, is acceptable to photographic practitioners. The paper was first presented at the Stockholm Museum of Modern Art, in an interdisciplinary symposium. (shrink)

ABSTRACTThe social content of affective stimuli has been proposed as having an influence on cognitive processing and behaviour. This research was aimed, therefore, at studying whether automatic exogenous attention demanded by affective pictures was related to their social value. We hypothesised that affective social pictures would capture attention to a greater extent than non-social affective stimuli. For this purpose, we recorded event-related potentials in a sample of 24 participants engaged in a digit categorisation task. Distracters were affective pictures varying in (...) social content, in addition to affective valence and arousal, which appeared in the background during the task. Our data revealed that pictures depicting high social content captured greater automatic attention than other pictures, as reflected by the greater amplitude and shorter latency of anterior P2, and anterior and posterior N2 components of the ERPs. In addition, social content also provoked greater allocation of processing resour... (shrink)

EVENTAL AESTHETICS RETROSPECTIVE 1. LOOKING BACK AT 10 ISSUES OF EVENTAL AESTHETICS.

Our contributors explore a rich variety of aesthetic problems that bring about the self-reflexive re-evaluation of ideas.

Is aesthetics a product of evolution? Are human aesthetic behaviors in fact evolutionary adaptations? The creation of artistic objects and experiences is an important aesthetic behavior. But so is the perception of aesthetic phenomena qua aesthetic. The question of evolutionary aesthetics is whether humans have evolved the capacity not only to make beautiful things but also to appreciate the aesthetic qualities in things. Are our near-universal love of music and cute baby animals essential to our species’ evolutionary development, which took (...) place over thousands of years? In other words, do aesthetic practice and appreciation help people to survive or reproduce? Do aesthetic behaviors help to propel natural selection? If so, what does that tell us about ourselves as human beings? What does it tell us about art, our other aesthetic practices, and aesthetic experience? (shrink)

In her book, Vibrant Matter, Jane Bennett thinks through what ontological, political, and ecological questions would look like if humans could admit that matter and nonhuman things are living, creative agents; the contributors to this issue of Evental Aesthetics begin to think through what aesthetic questions would look like.

This issue is dedicated to thinking about art and current aesthetic perspectives through Hegelianism.

In this special issue on animals and aesthetics, contributors explore encounters with animals in art and thought.

In this issue, our contributors demonstrate how art in the city, art “about” the city, art compared to the city, can bring to attention the insidious forces underlying every city’s gleaming, wide-awake veneer.

In "Aesthetic Histories" our contributors’ shared concern is the inspiring and confounding, healthy and uncomfortable and above all inevitable relationship between history and aesthetic praxis.

A hijacking is a violent takeover, a misappropriation of something for a purpose other than its intended one, by parties other than those for whom the thing was meant. This issue explores the aesthetic practices and consequences of unauthorized repurposing.

This issue profiles various attempts, both successful and fraught, to engage the divide between asceticism and opulence, between materialism and poverty.

Evidence from numerous studies using the visual world paradigm has revealed both that spoken language can rapidly guide attention in a related visual scene and that scene information can immediately influence comprehension processes. These findings motivated the coordinated interplay account (Knoeferle & Crocker, 2006) of situated comprehension, which claims that utterance‐mediated attention crucially underlies this closely coordinated interaction of language and scene processing. We present a recurrent sigma‐pi neural network that models the rapid use of scene information, exploiting an utterance‐mediated (...) attentional mechanism that directly instantiates the CIA. The model is shown to achieve high levels of performance (both with and without scene contexts), while also exhibiting hallmark behaviors of situated comprehension, such as incremental processing, anticipation of appropriate role fillers, as well as the immediate use, and priority, of depicted event information through the coordinated use of utterance‐mediated attention to the scene. (shrink)

Craig, Barry M Today's gospel reading includes one of the eleven parables unique to Luke; it is also one of the most well known, and is often said to be misnamed in its common designation as the Prodigal Son. Many parables are similarly named in ways that appear to miss the point of their telling, but this tendency actually points to how we engage with all stories, and the power of Christ's storytelling. We need to realise that the mind does (...) not distinguish between reality and fiction, for all viewing and understanding of the world takes place in our heads. Thus we respond emotionally and even physically in the same way to what we see unfolding, be it real-time events in the world or depicted events, historical or fictional, as mediated by actors and machinery at the movies. In the same way, we do not distinguish between reports of actual happenings and fictional stories. Should there be any doubt about this, ask yourself: Have I ever cried at a movie, or laughed, or grown angry, or felt anything, or ducked, jumped or reacted in any way at all? At a recent viewing of Les Miserables someone at the end of the row was overcome with uncontrollable sobbing as the movie drew to an end. This distraction provided suitable cover for not a few people to sneak hankies out of pockets and return them before lights returned. If we did not respond to movies there would be no point in seeing them. Similarly with novels. They are also fodder for our imaginations, where we in a sense try on the experiences of others, imaginatively inhabiting the bodies and feelings of others. This is the basis of empathy, and the source of the power of storytelling. (shrink)

This article explores the role of photography in the global work of justice by way of a case study. It focuses on the publication, in December 2001, of a set of photographs by the Mexican newsweekly Proceso, depicting events that occurred in Mexico City on 2 October 1968. Taken at the culmination of a summer of student activism, when the military opened fire on student demonstrators and bystanders, the published photographs showed previously hidden scenes of detention and torture. Locating (...) the publication of these photographs in relation to the historical processes of democratic reform in Mexico, the article aims to contribute to debates regarding the agency of photographic images in the visual politics of humanitarianism, shifting the emphasis away from questions of whether photographs work, to explore instead how they work. In particular, it focuses on the circumstances that authorized the simultaneous entry of the photographs of 1968 into the Mexican and international media spheres, and seeks to illuminate broader questions regarding their specifically photographic mode of address and the intersection between the national settings in which human rights abuses take place and testimonial appeals addressed to a global imagined community. (shrink)

Sometimes form-meaning mappings in language are not arbitrary, but iconic: they depict what they represent. Incorporating iconic elements of language into a compositional semantics faces a number of challenges in formal frameworks as evidenced by the lengthy literature in linguistics and philosophy on quotation/direct speech, which iconically portrays the words of another in the form that they were used. This paper compares the well-studied type of iconicity found with verbs of quotation with another form of iconicity common in sign languages: (...) classifier predicates. I argue that these two types of verbal iconicity can, and should, incorporate their iconic elements in the same way using event modification via the notion of a context dependent demonstration. This unified formal account of quotation and classifier predicates predicts that a language might use the same strategy for conveying both, and I argue that this is the case with role shift in American Sign Language. Role shift is used to report others’ language and thoughts as well as their actions, and recently has been argued to provide evidence in favor of Kaplanian “monstrous” indexical expressions. By reimagining role shift as involving either quotation for language demonstrations or “body classifier” predicates for action demonstrations, the proposed account eliminates one major argument for these monsters coming from sign languages. Throughout this paper, sign languages provide a fruitful perspective for studying quotation and other forms of iconicity in natural language due to their lack of a commonly used writing system which is otherwise often mistaken as primary data instead of speech, the rich existing literature on iconicity within sign language linguistics, and the ability of role shift to overtly mark the scope of a language report. In this view, written language is merely a special case of a more general phenomenon of sign and speech demonstration, which accounts more accurately for natural language data by permitting more strict or loose verbatim interpretations of demonstrations through the context dependent pragmatics. (shrink)

What is it about art that can be so captivating? How is it that we find value in the often odd and abstract objects and events we call artworks? William P. Seeley proposes that artworks are attentional engines. They are artifacts that have been intentionally designed to direct attention to critical stylistic features that reveal their point, purpose, or meaning. In developing this view, Seeley argues that there is a lot we can learn about the value of art from (...) interdisciplinary research focused on our perceptual engagement with artworks. Recent breakthroughs in cognitive science and behavioral science can explain how we recognize artworks and how we differentiate them from more quotidian artifacts. Seeley pushes this line of reasoning, showing how cognitive science can help reveal the way artworks function as a unique source of value. Cognitive systems integrate this information into our experience of art, guiding attention and shaping what we perceive. Our understanding and appreciation of artworks is therefore carried in our perceptual experience of them. -/- Attentional Engines explores the pitfalls and potential of this interdisciplinary strategy for understanding art. It articulates a cognitivist theory of art grounded in perceptual psychology and neuroscience and demonstrates its application to a range of puzzles in the philosophy of the arts. This includes questions about the nature of depiction, the role played by metakinesis in dance appreciation, the nature of musical expression, and the power of movies. The provocative interdisciplinary theories Seeley presents will appeal to scholars and students interested in aesthetics, philosophy of mind, philosophy of art, cognitive science, and anyone with a burning curiosity about how artworks work. (shrink)

A language is a system of signs used for communication, and linguists are tasked with, among other things, uncovering the syntax and semantics of such systems. In this paper I explore to what extent pictures fit this characterization of a language and hence would fall within the domain of linguistics. I conclude that at the very least there are well-defined systems of depiction for which we can give a precise semantics, in a familiar possible worlds framework, although pictorial propositions are (...) not derived via the linguistically familiar lexicon and recursive composition rules, but via geometric projection. I then show how sequences of pictures, like sequences of utterances, can be used to form coherent discourses. I explore in some detail extensions of the formal discourse semantics of Segmented Discourse Representation Theory to deal with comics, i.e. storytelling through picture sequences. I focus specifically on the representation of events in comics, and the integration of both symbolic and iconic elements. (shrink)

Friedrich Nietzsche is often depicted in popular and scholarly discourse as a lonely philosopher dealing with abstract concerns unconnected to the intellectual debates of his time and place. Robert C. Holub counters this narrative, arguing that Nietzsche was very well attuned to the events and issues of his era and responded to them frequently in his writings. Organized around nine important questions circulating in Europe at the time in the realms of politics, society, and science, Nietzsche in the (...) Nineteenth Century presents a thorough investigation of Nietzsche's familiarity with contemporary life, his contact with and comments on these various questions, and the sources from which he gathered his knowledge. Holub begins his analysis with Nietzsche's views on education, nationhood, and the working-class movement, turns to questions of women and women's emancipation, colonialism, and Jews and Judaism, and looks at Nietzsche's dealings with evolutionary biology, cosmological theories, and the new "science" of eugenics. He shows how Nietzsche, although infrequently read during his lifetime, formulated his thought in an ongoing dialogue with the concerns of his contemporaries, and how his philosophy can be conceived as a contribution to the debates taking place in the nineteenth century. Throughout his examination, Holub finds that, against conventional wisdom, Nietzsche was only indirectly in conversation with the modern philosophical tradition from Descartes through German idealism, and that the books and individuals central to his development were more obscure writers, most of whom have long since been forgotten. This book thus sheds light on Nietzsche's thought as enmeshed in a web of nineteenth-century discourses and offers new insights into his interactive method of engaging with the philosophical universe of his time. (shrink)

The human experience is shaped by information from different perceptual channels, but it is still debated whether and how differential experience influences language use. To address this, we compared congenitally blind, blindfolded, and sighted people's descriptions of the same motion events experienced auditorily by all participants (i.e., via sound alone) and conveyed in speech and gesture. Comparison of blind and sighted participants to blindfolded participants helped us disentangle the effects of a lifetime experience of being blind versus the task-specific (...) effects of experiencing a motion event by sound alone. Compared to sighted people, blind people's speech focused more on path and less on manner of motion, and encoded paths in a more segmented fashion using more landmarks and path verbs. Gestures followed the speech, such that blind people pointed to landmarks more and depicted manner less than sighted people. This suggests that visual experience affects how people express spatial events in the multimodal language and that blindness may enhance sensitivity to paths of motion due to changes in event construal. These findings have implications for the claims that language processes are deeply rooted in our sensory experiences. (shrink)

Television medical dramas frequently depict the practice of medicine and bioethical issues in a strikingly realistic but sometimes inaccurate fashion. Because these shows depict medicine so vividly and are so relevant to the career interests of medical and nursing students, they may affect these students' beliefs, attitudes, and perceptions regarding the practice of medicine and bioethical issues. We conducted a web-based survey of medical and nursing students to determine the medical drama viewing habits and impressions of bioethical issues depicted (...) in them. More than 80% of medical and nursing students watch television medical dramas. Students with more clinical experience tended to have impressions that were more negative than those of students without clinical experience. Furthermore, viewing of television medical dramas is a social event and many students discuss the bioethical issues they observe with friends and family. Television medical dramas may stimulate students to think about and discuss bioethical issues. (shrink)

Television medical dramas frequently depict the practice of medicine and bioethical issues in a strikingly realistic but sometimes inaccurate fashion. Because these shows depict medicine so vividly and are so relevant to the career interests of medical and nursing students, they may affect these students' beliefs, attitudes, and perceptions regarding the practice of medicine and bioethical issues. We conducted a web-based survey of medical and nursing students to determine the medical drama viewing habits and impressions of bioethical issues depicted (...) in them. More than 80% of medical and nursing students watch television medical dramas. Students with more clinical experience tended to have impressions that were more negative than those of students without clinical experience. Furthermore, viewing of television medical dramas is a social event and many students discuss the bioethical issues they observe with friends and family. Television medical dramas may stimulate students to think about and discuss bioethical issues. (shrink)

American History X (hereafter AHX) has been accused by numerous critics of a morally dangerous cinematic seduction: using stylish cinematography, editing, and sound, the film manipulates the viewer through glamorizing an immoral and hate-filled neo-nazi protagonist. In addition, there’s the disturbing fact that the film seems to accomplish this manipulation through methods commonly grouped under the category of “fascist aesthetics.” More specifically, AHX promotes its neo-nazi hero through the use of several filmic techniques made famous by Nazi propagandist Leni Riefenstahl. (...) Now most critics admit that, in the end, the film claims to denounce racism and attempts to show us the conversion of the protagonist to the path of righteousness, but they complain that nonetheless the film (perhaps unintentionally) ends up implicitly promoting the immoral worldview it rather superficially professes to reject in its final act. This charge of hypocrisy is connected to another worry: the moral conversion in the film is said to fall flat because the intellectual resources on display to support the character’s racism are not counterbalanced by equally explicit (but superior) arguments for the anti-racist position ultimately embraced by the character. In other words, just as the devil is said to get all the good lines in Milton’s Paradise Lost, in AHX the racists get all the arguments. This has been taken to be a morally problematic flaw of the film. Critics lament that Derek’s conversion seems to result not from relevant logical inferences and valid rational argumentation but from overly simplistic and arguably egoistic insights (e.g., “has anything you've done made your life better?”) combined, perhaps, with a hackneyed cliché (in prison, one of his best friends is a black person!) In this paper I’ll attempt to rebut these charges and defend the film as a powerful, and powerfully moral, work of art. I’ll be suggesting that the seductive techniques employed allow for many viewers a degree of sympathy towards the protagonist that is crucial, both for making that character’s more horrific actions especially unsettling, and also for making his eventual conversion plausible and ultimately compelling. I’ll also argue that the manner in which his conversion is presented is in fact subtler than many critics have allowed: Derek’s transformation is not artificial or implausible but is depicted as resulting from a cumulative series of emotionally powerful life events and personal engagements. It is certainly true that it is not represented in the way some would seemingly have preferred, i.e. as straightforwardly resulting from a process of gradual intellectual improvement in Derek’s reasoning on questions of race and politics. However, I’ll argue that the decidedly emotional basis of his moral evolution is both refreshingly realistic and no hindrance to accepting his conversion as rational. Finally, properly understanding the legitimacy of the emotional foundations of much moral thought will also allow us to appreciate the ways in which our initial worries about this film’s (not insignificant) ability to persuade viewers through the engagement of emotions need not, in itself, be seen as a barrier to endorsing the film as a morally praiseworthy work. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Priming and Narrative Habits in the Phenomenological InterviewReflections on a Study of Tourette SyndromeThe author reports no conflicts of interest.In "Dimensions, Not Types: On the Phenomenology of Premonitory Urges in Tourette Syndrome," Lisa Curtis-Wendlandt and Jack Reynolds provide new insights into some of the experiences characteristic of Tourette syndrome (TS). Their study is an excellent example of applied phenomenology (Burch, 2021), combining philosophy and qualitative research methods to illuminate (...) experiences that have often been mischaracterized in the existing literature. In their study, they focus on what is commonly referred to as a "premonitory urge" (PU): the "anticipatory urge that is often thought to precede the onset of the motor and phonic tics that are part of Tourette Syndrome" (Curtis-Wendlandt & Reynolds, 2024, p. 26). They ask not only whether PU is a necessary feature of TS, but also whether the very concept of PU accurately portrays the experiences and behaviors that it's intended to refer to. They point out that existing scales used to assess PU, for example, seem to implicitly narrow the relevant experiences by assuming that they are a) always negative and b) always internal, or inwardly focused (Curtis-Wendlandt & Reynolds, 2024, 26). Curtis-Wendlandt and Reynolds question these in-built assumptions about PU, suggesting that they may provide an overly narrow depiction that misses the genuine diversity of experiences that precede the onset of a motor or phonic tic.To explore these phenomena in more detail, they conducted a study intended to elicit fresh descriptions of these experiences. They interviewed 12 teenagers with a diagnosis of TS about their experiences of ticcing and tic suppression. Using the micro-phenomenological method (Petitmengin, 2006), they asked participants to reflect on a specific tic or tic suppression event and to recall the event in detail. Throughout the interview, [End Page 43] they asked open-ended questions about sensory, cognitive, or affective experiences surrounding the event. Through these interviews, they were able to generate rich descriptions of these experiences and investigate how these descriptions differed from standard accounts in the existing literature.Curtis-Wendlandt and Reynolds provide a detailed account of how they designed their phenomenological study, both philosophically and empirically. However, there is an important aspect of their method that they discuss only in a cursory or implicit way, which is what I want to focus on here. Throughout their study, they were concerned that participants might simply parrot back well-worn medicalized characterizations of PU. Such characterizations risk simplifying or even occluding key aspects of the participants' experiences that might be difficult to reflect upon or describe. However, despite stressing the importance of eliciting fresh descriptions, Curtis-Wendlandt and Reynolds provide only glimpses of how the interviews actually unfolded and what kinds of techniques they used to elicit these descriptions.In my experience, it is quite common to hear phenomenological psychologists and psychiatrists express concern that people may simply repeat common psychiatric or medicalized characterizations of their condition, rather than genuinely reflect upon and describe their first-person experiences. The philosophical assumption is that we all fall back on culturally sedimented language and terminology when describing our experiences. Someone who has spent extended periods of time interacting with psychiatrists and other healthcare professionals, for example, is likely to have picked up common ways of describing their condition—ways that may have helped them receive a diagnosis or obtain treatment. There is nothing inherently wrong with falling into these culturally sedimented characterizations. They facilitate everyday communication through a shared language and terminology. But phenomenologists are often concerned that this kind of culturally sedimented language covers over or obscures the phenomenon or experience they are trying to investigate. For example, if a psychiatrist has often described their patient's depressed mood as "sadness," then that patient may be likely to self-describe their mood as sadness in an interview setting. It might, in fact, be the case that their mood is best described as sadness. But it could also be the case that their mood would be more accurately described as, for instance, a sense of emptiness or feeling deep despair. The challenge is therefore to know whether someone's self-description is... (shrink)

Drugged bodies are commonly depicted as passive, suffering and abject, which makes it hard for them to be known in other ways. Wanting to get closer to these alternative bodies and their resourcefulness for living, I turned to body-mapping as an inventive method for telling different kinds of drug-using stories. Drawing on a research project with people who inject heroin and crack cocaine in London, UK, I employed body-mapping as a way of studying drugged bodies in their relation to (...) others, human and non-human, in the injecting event. I invited participants to draw their bodies in describing these otherwise hard-to-articulate experiences. Following Donna Haraway, I conceptualise body-mapping as a more-than-human mode of storytelling where different kinds of bodies can be known. Here, I look at three such bodies – sensing-bodies, temporal-bodies and environment-bodies – and argue that it is through being able to respond to such bodies that more hospitable ways of living with drugs can become possible. (shrink)

The events in the introduction to 2 Maccabees undoubtedly centre round the Jerusalem Temple. It is depicted as world-renowned, holy and just. Many scholars have therefore highlighted the theme of the Temple in 2 Maccabees, introduced by 2 Maccabees 3. Yet, the reason for the Temple’s centrality is not traditionally seen as more than a mere link to the rest of the narrative. This article, however, asks the question: Why is the author incorporating the Temple in such a (...) specific manner? What is the impact on the implicit reader of this specific depiction of the Temple? In other words, how is the implicit reader’s experience throughout the rest of the narrative influenced by the events in this introduction? To answer these questions, the article identifies six scenes in 2 Maccabees 3 and applies a rhetorical analysis in order to establish the communicative strategy and its possible impact on the implicit reader. (shrink)

Evil remains a primary source of inquiry in contemporary literature of French expression, even among its most secular writers. In considering French-speaking authors from France, Belgium, the United States, the Maghreb, and Sub-Saharan Africa, this collection delineates a rich international perspective on some of the most disturbing events of our time. Each essay testifies to the urgency expressed in works of fiction to give an account of human catastrophes, from the Shoah and the Rwandan genocide to the terrorist attacks (...) of September 11, and the ongoing oppression of women in Islamic nations. Themes underlying this volume include an investigation into the origins of evil, its representations in writing, and the ethical responsibilities of authors who write on human suffering. Contemporary fiction on evil confronts us with fundamental questions: Can evil be attributed to intentionality, is evil "subconscious," or is it the result of impersonal forces? Which styles of writing are ethically appropriate or effective for depicting evil? Can we speak of a veritable "poetics of evil" shared by contemporary authors? When does a literary text on evil become "evil"? In providing informed and nuanced answers to these important questions, the scholars engage in crucial theories of psychoanalysis, post-structuralism, and post-modernism, address a number of issues raised by trauma and genocide studies, and draw from critical frameworks in literary theory on testimony, the limits of representing the extreme, and "transgressive" writing. (shrink)

O escopo central do artigo converge na análise e problematização das relações entre colonialismo e masculinidade na produção literário-intelectual do romancista H. Rider Haggard, com destaque para seu romance Marie. A narrativa literária cinge elementos da ficção e realidade ao narrar eventos do passado sul-africano, em especial o Great Trek, período de migrações e deslocamentos de colonos bôeres na década de 1830. No cerne de um contexto imaginado com as marcas da violência e do martírio, Haggard retrata a formação de (...) seu protagonista, o caçador Allan Quatermain, de modo a promover figurações de virilidade e heroísmo que atuam como respostas ao que muitos de seus contemporâneos sentem e ressentem como crises da masculinidade no fin-de-siècle.The South African Question: Literature, Colonialism and Masculinities in H. Rider Haggard’s Marie The central scope of the article converges in the analysis and problematization of relations between colonialism and masculinity in H. Rider Haggard’s literary and intellectual production, with emphasis in his romance Marie. The literary narrative deals with elements of fiction and reality by narrating events from South African past, especially the Great Trek, a period of migrations and displacements of Boer colonists during the 1830s. At the heart of a context imagined with violence and martyrdom, Haggard depicts the formation of his protagonist, the hunter Allan Quatermain, in order to promote virility and heroism, which act as answers to what many of his contemporaries feel and resent as crises of masculinity in the fin-de-siècle. Resumen La cuestión sudafricana: literatura, colonialismo y masculinidades en Marie, de H. Rider Haggard La meta central del artículo converge en la análisis y problematización de las relaciones entre colonialismo y masculinidad en la producción literario-intelectual del novelista H. Rider Haggard, con destaque para su romance Marie. La narrativa literaria establece una relación entre elementos de ficción y realidad al narrar eventos del pasado sudafricano, en especial el Great Trek, período de migraciones y desplazamientos de colonos bôeres en la década de 1830. En el corazón de un contexto imaginado con las marcas de la violencia y el el martirio, Haggard retrata la formación de su protagonista, el cazador Allan Quatermain, para promover imágenes de virilidad y heroísmo que actúan como respuestas a lo que muchos de sus contemporáneos sienten y resienten como crisis de la masculinidad en el fin-de-siècle. (shrink)

The Zhuangzi 莊子 depicts persons as surviving their deaths through the natural transformations of the world into very different forms—such as roosters, cart-wheels, rat livers, and so on. It is common to interpret these passages metaphorically. In this essay, however, I suggest employing a “Conventionalist” view of persons that says whether a person survives some event is not merely determined by the world, but is partly determined by our own attitudes. On this reading, Zhuangzi’s many teachings urging us to embrace (...) transformation are not merely a psychological aid for dealing with death, but also serve as a tool for literally surviving it. (shrink)