Inventing Peace' revolves around the question of how we look at the world, but do not see it when there is so much war, injustice, suffering and violence. What are the ethical and moral consequences of looking, but not seeing, and, most of all, what has become of the notion of peace in all this? In the form of a written dialogue, Wim Wenders and Mary Zournazi consider this question as one of the fundamental issues of our times as well (...) as the need to reinvent a visual and moral language for peace. Inspired by various cinematic, philosophical, literary and artistic examples, Wenders and Zournazi reflect on the need for a change of perception in the everyday as well as in the creation of images. In its unique style and method, 'Inventing Peace' demonstrates an approach to peace through sacred, ethical and spiritual means, to provide an alternative to the inhumanity of war and violence. (shrink)

ExcerptTimothy Stacey, Saving Liberalism from Itself: The Spirit of Political Participation. Bristol: Bristol University Press, 2022. Pp. vii + 196. Timothy Stacey, an interdisciplinary scholar with a penchant for the transformative possibilities of activism, presents a compelling story about how liberalism’s much-critiqued modernist malady of disenchantment might be ameliorated through “myths, rituals, magic and traditions that can help … people … rediscover the spirit of political participation” (7). Stacey does so by showcasing the admittedly small canvas of the Metro Vancouver (...) Alliance, “a grassroots coalition of community, faith, labour, and non-profit organizations” working toward “a world where communities of all kinds come together united by common goals.”1. (shrink)

Book reviewed in this article: Mystical Bedlam: Madness, Anxiety, and Healing in Seventeenth Century England. By Michael MacDonald. Making It Crazy: An Ethnography of Psychiatric Clients in an American Community. By Sue E. Estroff. Mind, Mood, and Medicine: A Guide to the New Biopsychiatry. By Paul H. Wender, M.D. and Donald F. Klein, M.D.

In “Some Remarks on Extending and Interpreting Theories with a Partial Truth Predicate”, Reinhardt [21] famously proposed an instrumentalist interpretation of the truth theory Kripke–Feferman ( $\mathrm {KF}$ ) in analogy to Hilbert’s program. Reinhardt suggested to view $\mathrm {KF}$ as a tool for generating “the significant part of $\mathrm {KF}$ ”, that is, as a tool for deriving sentences of the form $\mathrm{Tr}\ulcorner {\varphi }\urcorner $. The constitutive question of Reinhardt’s program was whether it was possible “to justify the (...) use of nonsignificant sentences entirely within the framework of significant sentences”. This question was answered negatively by Halbach & Horsten [10] but we argue that under a more careful interpretation the question may receive a positive answer. To this end, we propose to shift attention from $\mathrm {KF}$ -provably true sentences to $\mathrm {KF}$ -provably true inferences, that is, we shall identify the significant part of $\mathrm {KF}$ with the set of pairs $\langle {\Gamma, \Delta }\rangle $, such that $\mathrm {KF}$ proves that if all members of $\Gamma $ are true, at least one member of $\Delta $ is true. In way of addressing Reinhardt’s question we show that the provably true inferences of suitable $\mathrm {KF}$ -like theories coincide with the provable sequents of matching versions of the theory Partial Kripke–Feferman ( $\mathrm {PKF}$ ). (shrink)

on The Films of Wim Wenders by Kolker & Beicken.

Wim Wenders' film Wings of Desire tells the story of an angel who wishes to become mortal in order to know the simple joy of human life. Told from the angel's point of view, the film is shot in black and white. But at the very instant the angel perceives the realities of human experience, the film blossoms into colour. In this article, I use this film to illustrate and explore Peirce's notion of experience and his claim that ‘experience is (...) our great and only teacher’. In his 1903 Harvard lectures, Peirce placed phenomenology at the heart of his philosophy, while outlining a notion of ‘experience’ that clearly integrates his semiotics, phenomenology and pragmatism. To Peirce, experience is a ‘brutally produced conscious effect’ that comes ‘out of practice’ and is a ‘forcible modification of our ways of thinking’. But as this modification is generated by the actions and flows of signs, it is pertinent to read Peirce's notion of experience in relation to his notion of semiosis. Consequently, a Peircean reading of Wings of Desire not only helps to explore how experience teaches, but also the ways in which the rudeness of experience cannot be fully understood without considering the sign's action. (shrink)

Journal of Philosophy of Education, EarlyView.

Introduction. Observing the production and consumer area of modern cinematography makes it possible to draw conclusions about the value dominants of modern society, to conduct its sociocultural analysis. Cinema, both auteur and mass, is a way of reflecting and modeling the society spiritual state and its analysis makes it possible to draw quite serious and justified philosophical and social conclusions. The film in a philosophical sense is ontologized by the dominant intention of the era. Such a dominant intention of modernity (...) is hedonism. Pleasure, enjoyment, happiness, according to the humanities, is the basic values of the 21st century society. Cinema is the most comprehensive reaction to the needs of hedonism, since hedonistic prerequisites are to some degree laid down in its technical (movement, photographic phenomenology) and social nature (art and entertainment). In this regard, it seems relevant to conduct a philosophical analysis of the ontological level of modern cinema. The aim of the study is to conduct a philosophical analysis of the ontological level of modern cinema; identify ontological models, variations and combinations of which provide its artistic diversity. Methods: the authors use the general scientific methods of analysis and synthesis, the phenomenological method, since they identify the sensory intentions that underlie modern cinema. The authors also use the hermeneutic method, since they reveal the hidden meanings of the film, determined by the time and conditions of its creation, as well as the semiotic approach, which makes it possible to analyze the structural-semiotic whole of the film. The scientific novelty of the study lies in the fact that the authors analyze films from philosophical aspects, and not just cultural studies, as is customary. In modern cinema, the authors look for a reflection of the “social soul”, identify those intentions that underlie modern cinema, both auteur and mass. This makes it possible to deduce a typology of film models that have not previously been applied to the analysis of the film process. Results. During the analysis, the authors developed a hedonistic-ontological typology of cinematic models, identified five generative models of cinema, four of which have a hedonistic orientation: an alimentary model that pleases the recipient by intensively stimulating his perceptual sphere; a parkour model that gives pleasure to light and unhindered movement, minimizing the severity and resistance of the environment; an arcade model that provides the viewer the pleasure of victory through virtual immersion in the ups and downs of the “action film”; a detective model that gives the viewer pleasure through the removal of cognitive uncertainty. The fifth model, tentatively called existential, should lead the viewer into a complex philosophical state of being-with-self-self, an experience of one’s own fulfillment, associated with the experience of suffering. However, due to the hedonistic orientations of modern culture, this model is not relevant in the first decades of the 21st century. Conclusions. Philosophical analysis of modern cinema has revealed that at the ontological level it is based on the philosophy of hedonism. Modern cinema delivers the following types of pleasures to the recipient: enjoyment of the flesh of the world, enjoyment of bodily freedom in motion, enjoyment of peace, cognitive enjoyment. (shrink)

Alexander Graf _The Cinema of Wim Wenders: The Celluloid Highway_ London: Wallflower Press, 2002 ISBN 1-903364-29-9 ix + 179pp.

What follows is the elaboration of a series of discussions held by the two authors at a seminar during which we tried to “read” Wim Wenders's Lisbon Story starting from Gregory Bateson's double bind theory. These discussions then developed into writings that were intertwined, hybridized, corrected, extended, and cut. We experimented directly with the game of relationships, the “mess that works” of the difficult distinction between map and territory, between epistemology and cinematography. Emerging from general considerations on cinema is the (...) double bind of the “crisis” of images, a prelude to a renewed faith in the creative and constructive possibilities of art: image not as a replica but as the experience of a relationship. (shrink)

Journal of Philosophy of Education, EarlyView.

Journal of Philosophy of Education, EarlyView.

Journal of Philosophy of Education, EarlyView.

In this paper I give an interpretation of the Wim Wenders film, Paris, Texas, that brings to bear Talbot Brewer’s notion of “dialectical activity.” According to Brewer, dialectical activity is an a...

The uniform reflection principle for the theory of uniform T-sentences is added to PA. The resulting system is justified on the basis of a disquotationalist theory of truth where the provability predicate is conceived as a special kind of analyticity. The system is equivalent to the system ACA of arithmetical comprehension. If the truth predicate is also allowed to occur in the sentences that are inserted in the T-sentences, yet not in the scope of negation, the system with the reflection (...) schema for these T-sentences assumes the strength of the Kripke-Feferman theory KF, and thus of ramified analysis up to go. (shrink)

Journal of Philosophy of Education, EarlyView.

Journal of Philosophy of Education, EarlyView.

The logic Kf of the modalities of finite, devised to capture the notion of 'there exists a finite number of accessible worlds such that . . . is true', was introduced and axiomatized by Fattorosi. In this paper we enrich the logical framework of Kf: we give consistency properties and a tableau system (which yields the decidability) explicitly designed for Kf, and we introduce a shorter and more natural axiomatization. Moreover, we show the strong and suggestive relationship between Kf and (...) the much older logic of the physical modalities of Burks. (shrink)