We know, since Descartes (1641), that exercises of sensory imagining (S-imagining) are not purely imagistic: they possess multiple aspects. This much is agreed upon among philosophers but, when the question of the intentionality of S-imaginings arises, agreement seems to unravel. -/- According to the Two Content View (TCV), S-imagining “has two kinds of content, qualitative content and assigned content” (Kung, 2010:632) – e.g., my image of an apple is about both (i) shapes and colors and (ii) about the fact that (...) it is an apple, rather than a perfect imitation thereof. Advocates of TCV claim that the imagistic content does represent something, but it is not enough to individuate the imagining of an A rather than a B (Kung, 2010; Langland-Hassan, 2015; Martin, 2002; Noordhof, 2002; Peacocke, 1985; Tooming, 2018; White, 1990). -/- Some, however, have expressed skepticism about TCV. As Sartre claims, “despite some prejudices […] when I produce in myself the image of Pierre, it is Pierre who is the object of my current consciousness.” (1940/2010:4) The intentional object of our S-imaginings is exhausted by a single content treated in a specific way (Currie & Ravenscroft, 2002; Goldman, 2006; Hutto, 2015; Mulligan, 1999; Soteriou, 2013; Stock, n.d.; Wiltsher, 2016,2019). -/- In the following, (1) I sketch one of the most efficient pleas for the TCV by Peter Langland-Hassan, (2) I give two reasons to doubt the decisiveness of his arguments, and (3) suggest that S-imagining can be captured by the attitude/content distinction. (shrink)

The Cistercian Humbert de Preuilly played an important role as an early intellectual guide for the members of his Order. He delivered his lectures on the Sentences at Paris around 1290, from which we have the first Cistercian commentary on the Sentences in the form of Conclusiones that summarize the views of Giles of Rome in Book I and of Thomas Aquinas in Books II-IV. Preserved in some 46 manuscripts, Humbert's Conclusiones super librum Sententiarum clearly served as an (...) introduction to systematic theology for the White Monks. This article presents a new catalogue of manuscripts, a transcription of the Prologue and the tabula questionum. (shrink)

Dans cette entrée, après une introduction qui servira de cadre à notre discussion (section 1.), nous allons présenter et analyser des définitions du concept « Art ». Nous discuterons brièvement les définitions classiques les plus influentes puis nous nous concentrerons sur les principales définitions contemporaines. -/- Nous verrons pourquoi les définitions classiques sont aujourd’hui considérées comme insatisfaisantes (2.a.), et comment les philosophes, à partir de la seconde moitié du XXème siècle ont tenté de pallier leurs défauts. Dans les grandes lignes, (...) le problème principal soulevé à l’encontre des théories classiques est qu’elles cherchent toutes l’essence de l’art dans un trait caractéristique qui serait reconnaissable dans les œuvres elles-mêmes. Les théories contemporaines répondent à ce problème principalement de quatre façons, comme on le verra dans les sections 2.b à 2.d. Les théories sceptiques (2.b.) défendent qu’il est dès lors impossible de définir l’art – qu’on peut au mieux en donner certains caractères typiques, des airs de famille. Les théories relationnalistes (2.c.) défendent que ce qui fait qu’une chose est de l’art est à trouver en dehors de celle-ci, notamment dans les relations qu’elle entretient avec son contexte de création ou de présentation. Les théories néo-classiques (2.d.) continuent à chercher l’essence de l’art dans un trait caractéristique reconnaissable dans les œuvres elles-mêmes tout en prenant en compte les réactions sceptiques ou relationnalistes. Enfin, la théorie du ‘renvoi de la balle’ (2.e.) défend que l’on ne peut pas définir l’art mais seulement des sous-catégories comme la musique, la sculpture, les installations, les performances, etc. -/- Nous présenterons les avantages et les inconvénients principaux des théories contemporaines. Nous verrons qu’aucune n’est dénuée de problèmes, expliquant pourquoi il n’existe pas de consensus sur une définition de l’art aujourd’hui. Nous verrons également que – à l’exception d’un certain scepticisme qui jette, semble-t-il, trop vite l’éponge – chacune de ces théories amène, par son originalité, à une compréhension nouvelle et plus profonde de cette notion extrêmement complexe qu’est le concept « Art ». (shrink)

Pierre Bourdieu is arguably one of the twentieth century’s greatest socio-philosophical thinkers and his writings have much to offer anyone interested in the ways that people value, consume and produce architecture. Bourdieu spent much of his life attempting to understand cultural consumption and production through detailed empirical research that included studies of dwellings, art, museums, photography and aesthetics. This book introduces the architectural reader to Bourdieu’s key writings on culture and outlines the ways in which they offer powerful practical (...) tools and novel conceptual frameworks for understanding architectural value, taste, and practice. (shrink)

Ce compte rendu a déjà paru dans la Revue d'histoire de la pharmacie, 1934, vol. 22, n° 85, p. 316-317. - Biologie – Nouvel article.

Past research on folk aesthetics has suggested that most people are subjectivists when it comes to aesthetic judgment. However, most people also make a distinction between good and bad aesthetic taste. To understand the extent to which these two observations conflict with one another, we need a better understanding of people's everyday concept of aesthetic taste. In this paper, we present the results of a study in which participants drawn from a representative sample of the US population were asked whether (...) they usually distinguish between good and bad taste, how they define them, and whether aesthetic taste can be improved. Those who answered positively to the first question were asked to provide their definition of good and bad taste, while those who answered positively to the third question were asked to detail by what means taste can be improved. Our results suggest that most people distinguish between good and bad taste, and think taste can be improved. People's definitions of good and bad taste were varied, and were torn between very subjectivist conceptions of taste and others that lent themselves to a more objectivist interpretation. Overall, our results suggest that the tension Hume observed in conceptions of aesthetic taste is still present today. (shrink)

Contrary to the emotions we feel in everyday contexts, the emotions we feel for fictional characters do not seem to require a belief in the existence of their object. This observation has given birth to a famous philosophical paradox (the ‘paradox of fiction’), and has led some philosophers to claim that the emotions we feel for fictional characters are not genuine emotions but rather “quasi-emotions”. Since then, the existence of quasi-emotions has been a hotly debated issue. Recently, philosophers and psychologists (...) have proposed to solve this debate by using empirical methods and experimentally studying differences between ‘real’ and ‘fictional’ emotions. In this paper, our goal is to assess the success of these attempts. We begin by surveying the existing empirical literature and stressing the methodological problems that plague most studies that might seem relevant to the debate, before focusing on recent studies that avoid this pitfall. We then argue that, due to conceptual problems, these studies fail to be relevant to the philosophical debate and emphasize new directions for future empirical research on the topic. (shrink)

This paper critically interrogates the usefulness of the concept of violence regimes for social politics, social analysis, and social theory. In the first case, violence regimes address and inform politics and policy, that is, social politics, both around various forms of violence, such as gender-based violence, violence against women, anti-lesbian, gay and transgender violence, intimate partner violence, and more widely in terms of social and related policies and practices on violence and anti-violence. In the second case, violence regimes assist social (...) analysis of the interconnections of different forms and aspects of violence, and relative autonomy from welfare regimes and gender regimes. Third, the violence regime concept engages a wider range of issues in social theory, including the exclusion of the knowledges of the violated, most obviously, but not only, when the voices and experiences of those killed are unheard. The concept directs attention to assumptions made in social theory as incorporating or neglecting violence. More specifically, it highlights the significance of: social effects beyond agency; autotelic ontology, that is, violence as a means and end in itself, and an inequality in itself; the relations of violence, sociality and social relations; violence and power, and the contested boundary between them; and materiality-discursivity in violence and what is to count as violence. These are key issues for both violence studies and social theory more generally. (shrink)

Synthesizing forty years' work by France's leading sociologist, this book exemplifies Bourdieu's unique ability to link sociological theory, historical information, and philosophical thought. It makes explicit the presuppositions of a state of 'scholasticism', a certain leisure liberated from the urgencies of the world. Philosophers have brought these presuppositions into the order of discourse, more to legitimate than analyze them, and this is the primary systematic, epistemological, ethical, and aesthetic error that Bourdieu subjects to methodological critique. Pascalian because he, too, was (...) concerned with symbolic power, he refused the temptation of foundationalist thinking, attended to 'ordinary people', and was determined to seek the reason for seemingly illogical behavior rather than simply condemning it. Bourdieu charts a negative philosophy, whose intellectual debt to such other 'heretical' philosophers as Wittgenstein, Austin, Dewey, and Peirce, renews traditional questioning of concepts of violence, power, time, history, the universal, and the purpose and direction of existence. (shrink)

The authors develop an analysis of education. They show how education carries an essentially arbitrary cultural scheme which is actually based on power. More widely, the reproduction of culture through education is shown to play a key part in the reproduction of the whole social system.

Both lay people and philosophers assume that hoping for something implies imagining it. According to contemporary philosophical accounts of hope, hope involves an element of imagination as input, part, or output of hope. However, there is no systematic view of the interaction between hope and the different processes constituting imagination. In this paper we put forward a view of (i) the kind of imaginings typically triggered by hopeful states, (ii) the nature of the interaction between hope and hopeful imaginings, and (...) (iii) the epistemic value of imagining out of hope. We argue that a paradigmatic output of hope is an immersive kind of cognitive imagination. Additionally, justified hopes constrain our immersive imaginings in such a way as to provide them with a specific epistemic value. Hopeful imaginings are not mere fantasies or wishful thinking; they constitute valuable experiences we can learn from and rely on in planning our future. (shrink)

Cambrai, Bibl. munic. 940, ff. 1-59 [integralement reproduit]--Bibl. Vatic. Reg. Lat. 689 A, ff. 334-353.--Bibl. Vatic. Reg. Lat. 1653, ff, 1v-2v (feuilles de garde), ff. 3r, 29r-35r.--Pièces justificatives.

In Kant and the Demands of Self-Consciousness, Pierre Keller examines Kant's theory of self-consciousness and argues that it succeeds in explaining how both subjective and objective experience are possible. Previous interpretations of Kant's theory have held that he treats all self-consciousness as knowledge of objective states of affairs, and also that self-consciousness can be interpreted as knowledge of personal identity. By developing this striking new interpretation Keller is able to argue that transcendental self-consciousness underwrites a general theory of objectivity (...) and subjectivity at the same time. (shrink)

On compte, parmi les nombreux ennemis de Kevin Mulligan, une foule de personnes bigarrées et (selon notre professeur) profondément vicieuses : les philosophes continentaux, les pharisiens, les amis de l’Europe, des Droits de l’Homme, du politiquement correct, des lettres, des études genres et bien sûr, les gauchistes. On peut faire remonter le terme "gauchiste" à Lénine (1920) qui en usait pour designer cette gauche (communiste) qui, pour rester fidèle à son idéologie, refusait de participer aux élections et, par conséquent, était (...) condamnée à rester éternellement un groupuscule. Pour Vladimir Illich, le vice des gauchistes est prudentiel : parce qu’ils sont focalisés sur leur idéologie, les gauchistes n’agissent pas pour prendre le pouvoir. Ce vice est doublé d’une faute épistémique : en s’arc-boutant (comme des enfants) sur leurs principes – quitte à ne jamais voir leurs idées aboutir –, les gauchistes sont bêtes. Le reproche de Lénine n’est pas très éloigné de celui que l’on fait habituellement à la gauche : elle a de grands rêves irréalisables qu’elle ne cherche jamais à concrétiser – ou de manière magistralement infantile. Cette vision du gauchiste comme un brave hippie un peu benêt sous-estime largement, à mon sens, les vices instanciés par les personnes atteintes de cette maladie politique. -/- Dans cet article, je vous propose d’explorer avec moi tous les vices du gauchisme en regardant, pour commencer, (I) ce que sont la gauche et la droite, puis en avançant pas à pas, (II) une définition en conditions nécessaires et suffisantes du gauchisme. Il conviendra également de ne pas oublier son opposé, tout aussi dangereux (et trop méconnu), le droitisme. C’est pourquoi, une fois que nous aurons caractérisé le gauchisme, je proposerai (III) une définition du droitisme en détaillant ses vices les plus inavouables. Nous pourrons alors (IV) identifier ce qu’est, en général, cette maladie infantile de la politique, suite à quoi (V) je vous prescrirai un vaccin pour vous en prémunir. Avant de débuter, il convient de préciser que si nous parlons ici de gauchisme et de droitisme, nous ne faisons aucune assomption concernant la gauche et la droite ; une personne de gauche n’est pas nécessairement un gauchiste ; de même, tout homme ou femme de droite qui se respecte cherche à tout prix à éviter les droitistes (et vice versa). (shrink)

Lorsque nous avons affaire à des objets ou des états de choses complexes, il est difficile de réduire ces objets, ces états de choses, à la somme de leurs parties. Le holisme est la thèse selon laquelle un objet ou un état de choses ne se réduit pas à la somme de ses parties. On retrouve ce phénomène partout : en sciences (les états mentaux ne semblent pas se réduire à des activations de neurones même s’ ils surviennent sur eux), (...) en sociologie (l’ OM est plus que la somme des joueurs, c’ est pourquoi l’ OM existe même après un changement de joueur), en ontologie (le tout constitué par une moto est plus que l’ ensemble de ses parties, encore faut-il qu’ elles soient assemblées correctement) et en gastronomie (dans une fondue les parties et le tout sont indistinguables). -/- Dans cet article, je vais considérer une forme particulière de holisme, peut-être la plus mystérieuse puisqu’ il s’ agit d’ un holisme de valeurs. Soit la thèse suivante : la valeur d’ un tout n’ est pas égale à la somme des valeurs de ses parties. (shrink)

Judith Jarvis Thomson (1929-2020), philosophe américaine parmi les figures les plus marquantes dans l’étude de la normativité et de l’éthique, s’est éteinte ce 20 novembre à l’âge de 91 ans. Professeure émérite au MIT, sa carrière s’est étendue sur cinq décennies consacrées à la recherche, à l’enseignement et à la publication de plusieurs articles et ouvrages sur la nature des valeurs, des normes et des droits. Parmi ses ouvrages les plus importants, nous rappelons The Realm of Rights (1990), Goodness and (...) Advice (2001) et Normativity (2008). (shrink)

"Philosophie" fait partie de ces mots dont tout le monde, ou presque, connaît l’étymon tant il est populaire d’ expliquer ce que cela veut dire « faire de la philosophie» en arguant que le terme prend ses racines dans φιλεῖν (aimer) et σοφία (la sagesse), donc philosophie : acte d’ aimer la sagesse… Édifiant n’ est-ce pas ?

Recognized as a masterpiece of Nietzsche scholarship, NIETZSCHE AND THE VICIOUS CIRCLE is available here for the first time in English. Author Pierre Klossowski suggests that Nietzsche's ideas and beliefs did not stem from his personal pathology, but rather were applied in a pathological manner. Thereby Nietzsche's beliefs resonated dynamically and intellectually with his alternating lucidity and delirium.

We study one way in which stable phenomena can exist in an NIP theory. We start by defining a notion of ‘pure instability’ that we call ‘distality’ in which no such phenomenon occurs. O-minimal theories and the p-adics for example are distal. Next, we try to understand what happens when distality fails. Given a type p over a sufficiently saturated model, we extract, in some sense, the stable part of p and define a notion of stable independence which is implied (...) by non-forking and has bounded weight. (shrink)

French translation of Dretske's article "Epistemic Operators", The Journal of Philosophy, 67 (24): 1007-23.

In his influential book After Virtue, Alasdair MacIntyre identifies Kierkegaard's view of ethics with that of Kant. Both Kant and Kierkegaard, according to MacIntyre, accept the modern paradigm of moral activity for which freedom of the will is the ultimate basis. Ronald M. Green, in Kierkegaard and Kant: The Hidden Debt, accepts and deepens this alignment between the two thinkers. Green argues that Kierkegaard deliberately obscured his debt to Kant by a systematic “misattribution” of his ideas to other thinkers, and (...) to classical philosophy in particular. This essay argues that MacIntyre and Green are mistaken in identifying Kierkegaard with the Kantian tradition of moral autonomy and that they overlook his debt to the classical conception of virtue. In casting Kierkegaard in the role of the quintessential exponent of a modern conception of freedom, they have perhaps overlooked one of the greatest critics of moral autonomy who has ever lived. (shrink)

Testimonies about aphantasia are still surprisingly rare, more than a century after Galton. It is therefore difficult to understand how a person devoid of (a kind of) imagination actually thinks. In order to outline "what it is like" to be aphantasic, I will start by compiling two qualitative interviews with aphantasics that I will then compare with other testimonies collected in literature and online. The fact that aphantasia is poorly documented may also explain why few philosophers (with the notable exception (...) of Phillips 2014) seem to take this phenomenon seriously – contrary to others phenomena such as blindsight for instance. To redress the balance, the second part of this paper will consider three debates to which aphantasia could contribute. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Desire and Monstrosity in the Disaster Film:Alfred Hitchcock's The BirdsDavid Humbert (bio)The theme of the relationship between desire and violence appears regularly in modern film criticism, and studies of this issue range in theoretical orientation from the Lacanian to the feminist.1 Though René Girard's view of this relationship is also regularly mentioned in studies of film violence, it is often with less than full appreciation of the way (...) in which it contradicts central features of structuralist and psychoanalytic approaches to film, approaches that, until recently, have dominated film theory. Furthermore, cinema is mentioned only in passing by Girard himself, sometimes derogatorily, while Girardian studies of films and film makers are relatively few and far between.2 One of the yardsticks by which René Girard demonstrates the validity of his theory of violence is the degree to which it illuminates key aspects of great literature that previously remained unexplained or were passed over in silence. The fundamental concepts of the scapegoat, the double, the rival, and triangular desire can be shown to illuminate similar interpretive lacunae in a wide variety of films of many genres.Alfred Hitchcock's The Birds3 is a case in point. I intend to argue the relevance of the mimetic theory of violence to this film largely as Girard does [End Page 87] himself in relation to works of literature, and hence with no pretense to originality. The theory of the scapegoat and triangular desire persuades because of the particular way it brings to view, and explains, previously unnoticed features of Hitchcock's films, notably The Birds. One must bear in mind, however, that, previous to The Birds, Hitchcock produced a remarkable body of work that is consistently (some would say obsessively) built upon the cluster of themes that Girard identifies with the scapegoat problem. For those who are familiar only with Hitchcock's later, more sensational work, like Psycho4 and The Birds, it may come as a surprise to discover that the director earlier produced films like I Confess5 or The Wrong Man,6 or Vertigo,7 in which the suspense is largely psychological, and in which themes of faith, romantic obsession, or moral conflict take center stage. The Birds is a variation on the works of the 1950s, rather than a completely new point of departure. It is an apocalyptic crystallization of the themes that had always preoccupied Hitchcock.The Birds is perhaps the only film by Hitchcock that envisions total societal breakdown, a disaster of the proportions of a medieval plague. Generally, Hitchcock's films are set in stable, if modern and troubled, societies in which there are at least more or less unquestioned social and economic orders. Flaws in these social orders, however, are evident in the small-scale disasters that happen to individuals in many of Hitchcock's scenarios. The Wrong Man focuses on the story of Manny Balestreros, who is wrongly identified as a criminal and has his life destroyed by a morally blind justice system. In Rope, the practitioners of a nihilistic thrill-kill are shown to be symptomatic of a pervasive moral and intellectual vacuum in contemporary society. Both these films and others by Hitchcock underline the need for morality and social order to withstand the irrational tendencies of human nature. Psycho, in particular, stresses the ambivalence of man in modern civilization. Norman Bates, it seems, is both the product of and yet the immoveable obstacle to the drive for civilization and order.In contrast to these films, The Birds is a film in which civilizational disaster is abrupt, all-consuming, and catastrophic. For no reason, out of the blue, birds collectively mass to attack human beings. The film is nothing more, some would argue, than one more film in the "revenge of nature" genre. But the attack of the birds is not a response called forth by a moral transgression. It is not a reciprocal act of violence, as the "revenge of nature" mode of interpretation would imply. In fact, the very randomness, irrationality, and suddenness of the attack is the key to understanding the film. The preeminent question is, as Slavoj Žižek puts it, "the stupid and... (shrink)

In this 1999 book Pierre Keller examines the distinctive contributions, and the respective limitations, of Husserl's and Heidegger's approach to fundamental elements of human experience. He shows how their accounts of time, meaning, and personal identity are embedded in important alternative conceptions of how experience may be significant for us, and discusses both how these conceptions are related to each other and how they fit into a wider philosophical context. His sophisticated and accessible account of the phenomenological philosophy of (...) Husserl and the existential phenomenology of Heidegger will be of wide interest to students and specialists in these areas, while analytic philosophers of mind will be interested by the detailed parallels which he draws with a number of concerns of the analytic philosophical tradition. (shrink)

According to contemporary philosophical accounts of hope, a hopeful emotion involves an element of imagination as input, part, or output of hope. A typical description of a hopeful episode often goes with mental imagery or immersion into the hoped-for scenario: as Ariel is hoping to win the dance competition on Saturday night, he projects himself in the scenario where he visualizes his name appearing on the screen display, quasi-hears the crowd cheering, feels proud, and starts thinking about the national dance (...) competition. This raises the question: how does hope exactly interact with the processes required to produce a mental image or even an immersive exploration of the desired reality? This is the question we tackle in our paper. Rather than putting forward a new account of the nature of hope, we explore the interactions between hope and the different kinds of imagination. (shrink)