God revealed to man during the history of his salvation in two ways: through word and through image. In other words, the divine message was addressed to the hearing and seeing of man. In the second case, revelation was achieved in a complete form. Man was part of a theophanic act, he was enveloped by the divine light and with the help of his spiritual eyes he was able to see, as much as it was permitted, God who is light. (...) This light was not completely strange to man, even though he could not see it with his physical eyes. The uncreated light that God made even from the first day of creation did not disappear when the great light were put in the sky. It had the purpose to arrange creation and to be the environment within which man could meet God and talk to Him face to face. Even though the fall took man out of sight, God established that from time to time this bright environment should be revealed to man in order to call him back to the life within light. These presentations of the Lord in the light of His glory continued after His incarnation. The mystical experiences of the Fathers of the Church constitute a testimony to this respect. But seeing this divine light is not reserved exclusively to the mystics, but may be experienced, partly, by the faithful nowadays. The present study endeavours to provide contemporary man with the necessary premises to experience the sight of the deifying light by means of religious imagery. Whether we have in view icons painted on wood or walls or stained glass imagery, they all contain, hidden within, the kind of light which, once experienced, illuminates man and fills him with light. (shrink)

Prologue 1. To begin with, the first principle from Whom all illumination descends as from the Father of Light, by Whom are given all the best and perfect gifts, the eternal Father do I call upon through His Son, our Lord Jesus Christ, that by the intercession of the most holy Virgin Mary, mother of God Himself and of our Lord, Jesus Christ, and of the blessed Francis, our father and leader, He may enlighten the eyes of our mind to (...) guide our feet into the way of that peace "which surpasses all understanding", which peace our Lord Jesus Christ has announced and given to us; which lesson our father Francis always taught, in all of whose preaching was the annunciation of peace both in the beginning and in the end, wishing for peace in every greeting, yearning for ecstatic peace in every moment of contemplation, as a citizen of that Jerusalem of which that man of peace said, with those that hated peace he was peaceable, "Pray ye for the things that are for the peace of Jerusalem". For he knew that the throne of Solomon was nowise save in peace, since it is written, "His place is in peace and His abode in Sion". 2. Since, then, following the example of the most blessed father Francis, I breathlessly sought this peace, I, a sinner, who have succeeded to the place of that most blessed father after his death, the seventh Minister General of the brothers, though in all ways unworthy--it happened that by the divine will in the thirty-third year after the death of that blessed man I ascended to Mount Alverna as to a quiet place, with the desire of seeking spiritual peace; and staying there, while I meditated on the ascent of the mind to God, amongst other things there occurred that miracle which happened in the same place to the blessed Francis himself, the vision namely of the winged Seraph in the likeness of the Crucified. While looking upon this vision, I immediately saw that it signified the suspension of our father himself in contemplation and the way by which he came to it. 3. For by those six wings are rightly to be understood the six stages of illumination by which the soul, as if by steps or progressive movements, was disposed to pass into peace by ecstatic elevations of Christian wisdom. The way, however, is only through the most burning love of the Crucified, Who so transformed Paul, "caught up into the third heaven", into Christ, that he said, "With Christ I am nailed to the cross, yet I live, now not I, but Christ liveth in me" ; who therefore so absorbed the mind of Francis that his soul was manifest in his flesh and he bore the most holy stigmata of the Passion in his body for two years before his death. Therefore the symbol of the six-winged Seraph signifies the six stages of illumination, which begin with God's creatures and lead up to God, to Whom no one can enter properly save through the Crucified. For he who does not enter by the door but otherwise, he is a thief and a robber. But if anyone does enter by this door, he shall go in and go out and shall find pastures. Because of this John says in his Apocalypse, "Blessed are they that wash their robes in the blood of the Lamb, that they may have a right to the Tree of Life and may enter in by the gates into the City"; as if he were to say that one cannot enter into the heavenly Jerusalem through contemplation unless one enter through the blood of the Lamb as through a gate. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Inspiration/Expiration (Completion)Grégory Chatonsky (bio)This text was co-written with an artificial intelligence (AI). This so-called author wrote a sentence, then the software continued, and so on, each influencing the other, completing each other. Another AI summarized this text in a few keywords that allowed it to automatically generate an image from a stock of 14 million documents. Click for larger view View full resolutionThe organism was still breathing, in the (...) belief that it would survive this other life. It became a larva. It breathed and its form faded; a face appeared that was not its own. His lungs had filled with air of barely breathable density. He was dying. He was dying. He was still dying. The red, pale, hard surfaces of that face turned blue. His inert body became a brownish powder of decaying matter and gave birth to two new organisms.After a minute of silence, the other organism developed. It barely had a face. I watched as this new element emerged from the cranial surface. I looked at a pair of teeth. I thought I saw two sets of tongues, perhaps a beak. I also thought I saw eyes, but it was without eyes. [End Page 153]I started to choke. I felt my body give out on me. I tried to voluntarily get up from my bed. I couldn't. I couldn't and I was exactly aware at that moment of where my body was. I looked at the machine right next to the bed that was breathing for me. I tried to lift it, but I couldn't hold it between my arms. It was too wide and too heavy.My body was shaking with cold, but I didn't feel the cold, I felt the exact opposite. The machine was still working, slowly, now it was useless. I kept it on the bed and kept coughing, I was afraid I would die if I kept doing this... Finally, I got up from the bed. I was ready to die. I was about to take my last breath. I felt this great relief at the idea of disappearing to myself, and also of subsisting in this existence in an insensible form. I was still spitting, and I knew that I was going to die. I was sure that if I continued to cough, I would die again.When he tried to breathe again, the first body closed its jaw with its two legs running outside of me, and he turned on his side to feel the waves invading him and the corals embedding themselves in his organs. The second body continued to fill the mouth of the first machine with air. The second machine exhaled on its own. I can hardly say how long it took for both parties to breathe in again in unison. After that, they got their feet back on the floor and closed their mouths with their tongues, just like in the configuration they were in before.In the room, one of the machines opened and closed to breathe with a slow, muffled sound. It was like a metal accordion that unfolded and seemed to take over the atmosphere of the whole room. I knew that my breathing was following the exact same rhythm. It was a very profound experience in which I felt extreme terror and almost strange excitement all over my body, but I kept my thoughts under control. I remained focused by staring at points of light somewhere behind my skull.The pain of being forced to think is an unhappy pain that is exerted from within, but is felt as from without. I am going to take a last breath. I am going to die. Not now, you are not going to die. Just a moment more. The machine continues to breathe and the pipes vibrate with this breath. I am locked in this hospital room. Nothing changes from one day to the next, the same mechanical breathing. I've probably been poisoned, but without the will to do so. We'll get it over with by ourselves and I'll disappear in a few minutes.I can barely speak... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Formless SelfNewman Robert GlassThe Formless Self. By Joan Stambaugh. Albany: State University of New York Press, 1999. 174 pp.For the past seven years I have been deeply involved in a worldwide experiment in global education. Students in the Comparative Religion and Culture (CRC) Program study the world's great religions for ten-week terms in each of East Asia, South Asia, and the Middle East, totaling one academic year (...) in all. Recent programming has taken place in Taiwan, Thailand, India, Nepal, and Turkey, with stops in Rome and Athens. Students have met with Buddhist and Christian teachers in Kyoto, Sojiji, Eiheiji, Taiwan, Bangkok, Chiang Mai, Bylakuppe, Dharmsala, Jerusalem, Rome, Athens, Ankara, and Istanbul. As part of their academic work, students write responses to each encounter and engage in term-end and year-end reflections on their own work. The program brings to light, in a very powerful way, some of the fundamental questions in cross-cultural study and interreligious dialogue. How do we come to understand a religion or culture other than our own? In analyzing their own work, students find themselves using terms from a Jain teacher's talk in Sravanabelagola to frame their response to the Dalai Lama's talk in New Delhi, and terms from the Dalai Lama's talk to understand and respond to the audience with the Pope in Rome. As the students become more sophisticated in understanding issues in interpretation, new questions are posed: How many people (other than ourselves) do we unknowingly bring to understanding an encounter with an other? When we use the Dalai Lama's talk in interpreting the Pope, does this enlarge our understanding of Catholicism, diminish or distort the Pope's message, or create something new altogether? What do we gain and what do we lose?Joan Stambaugh's The Formless Self is "an attempt to present Eastern ideas, or at least oneWestern interpretation of Eastern ideas, toWestern readers in a meaningful way" (p. x). The most referenced names in the index are Heidegger, Nietzsche, Plato, Keirkegaard, Descartes, and Meister Eckhart. These, then, are the key figures Stambaugh brings with her as she enters into conversation with the three Buddhist thinkers Dogen, Hisamatsu, and Nishitani. The latter two figures are themselves well known for their conversations withWestern thinkers. Stambaugh's book is best located within the larger body of work within and about the Kyoto School, that school of Japanese philosophy identified primarily with Nishida Kitaro, Tanabe Hajime, and Nishitani Keiji, and more recently with Abe Masao. In the United States, this school of philosophy reached its zenith of popularity in the late 1980s, culminating in an American Academy of Religion (AAR) award to Abe Masao's Zen and Western Thought and a series of annual AAR dialogues between Abe and John Cobb. Abe's presence hovers over Stambaugh's book as well, from an acknowledgment in the preface (p. x) to a reference in the index that seems to encompass the whole book. The Formless Self is a good short introduction to key beginning texts [End Page 300] in this larger field: Dogen's Genjokoan, the Hisamatsu-Tillich dialogues, and Nishitani's Religion and Nothingness.Stambaugh has in print translations of a substantial number of Heidegger's texts, including a recent translation of Being and Time. As might be expected, she seems to have a special affinity for Dogen's Uji (Being-Time; see especially pp. 31-40), and makes a creative contribution to the different understandings of these difficult concepts. Stambaugh also makes a brave attempt to work with Dogen's discussions of fire turning to ashes, fish in water, and mountains walking/ranging (pp. 39-48) in a productive way. Stambaugh's middle section on Hisamatsu may be the best place to begin, centering as it does on the dialogues with the Protestant theologian Paul Tillich. In 1957, the Zen Buddhist teacher and scholar Shin'inchi Hisamatsu was a visiting professor at Harvard lecturing on his recently published book Zen and the Fine Arts. Though Tillich's aesthetic approach to "ultimacy" made for a fine series of dialogues with Hisamatsu, the numerous difficulties in the dialogue serve as a warning... (shrink)

[Late draft.] The paper examines the roles that may be played by sensory images in relation to the contents of sensory memories. It argues that the images may serve either simply to characterise putative past states of the world or to capture putative past sensory experiences of the subject. It uses the resulting account to shed light on various phenomena involving sensory memories, such as the status of 'observer memories'.

The expression "post-secular" has emerged in the context of contemporary culture. But it is especially due to the Radical Orthodoxy movement, especially its extension of the thematic concerns advanced by La nouvelle théologie about how to best conceive the supernatural in our times, that two important possibilities have come to the fore: firstly, the rethinking of the relationship between philosophy and theology; secondly, the reconsidering of Christian orthodoxy's potential to resituate the human experience in regard to orthodoxy's most daring proposal: (...) theosis. In the spirit of this reconsideration, the thinking of Maurice Blondel and St. Gregory Palamas in relation to theosis is explored against the background of postsecularity and its interest in explicating the riches of immanence and corporality. A expressão "pós-secular" tem emergido no contexto da cultura contemporânea. Mas é sobretudo devido ao movimento Ortodoxia Radical, especialmente como estende a preocupação temática da Nouvelle théologie quanto ao modo de conceber o sobrenatural nos nossos tempos, que duas possibilidades importantes se têm apresentado: primeiramente, o repensar da relação entre a filosofia e a teologia; em segundo lugar, o reconsiderar da capacidade da ortodoxia cristã de situar de novo a experiência humana na perspectiva da proposta mais audaz da ortodoxia: theosis. No espírito desta reconsideração, os pensamentos de Maurice Blondel e de São Gregório Palamas em relação a theosis são vistos no horizonte da pós-secularidade e o interesse que esta tem em explicitar a riqueza da imanência e da corporalidade. (shrink)

In this paper, we examine the concepts ‘destination’, ‘revelation’, ‘foreknowledge’, ‘will’, ‘transmission’, ‘motion’, and ‘grace’, as they appear in Gregory Palamas’ treatise De opera-tionibus divinis. According to the Christian theologian, these terms correspond to specific ways of God’s manifestation, i.e. His natural and supernatural revelation. Since they illuminate God’s energies, but not His essence, they are participated by the beings of the natural world. The first two terms mainly refer to a general version of the revelation, while the (...) third contains epistemological elements as well and the fourth contains elements referring also to the divine will. The fifth term condenses the content of the afore-mentioned terms seen as an ad extra bestowment. By means of these concepts, Palamas preserves the ontological difference between the supernatural and the natural, while, at the same time, he defines the exact way of their communion, which excludes pantheism. He introduces into the divine realm the state of distinction, which, however, does not restrict its unity at all. He accepts the development of a metaphysical multitude, which is regulated by the divine uniqueness. What emerges is not a kind of Neoplatonic polytheism, but the infinite richness of the divine existence. Thus, Palamas steadily moves within the tradition founded by Ps.-Dionysius the Areopagite, Maximus the Confessor, John Damascene, and George Pachymeres, the main characteristic of which is ontological monism. This is a tradition which formulated common places as to the content, the concepts and the relevant methodology, while the distinction between negative and affirmative theology is dominant. (shrink)

In light of new historical evidence regarding ethnomycologist R. Gordon Wasson’s correspondence with art historian Erwin Panofsky, this article provides an in-depth analysis of the presence of entheogenic mushroom images in Christian art within the context of the controversy between Wasson and philologist John Marco Allegro over the identification of a Garden of Eden fresco in the 12th century Chapel of Plaincourault in France. It reveals a compelling financial motive for Wasson’s refusal to acknowledge that this fresco represents Amanita muscaria, (...) as well as for Wasson’s reluctance to pursue his hypothesis regarding the entheogenic origins of religion into Christian art and artifacts. While Wasson’s view – that the presence of psychoactive mushrooms in the Near and Middle East ended around 1000 BCE – prevailed and stymied research on entheogens in Christianity for decades, a new generation of 21st century researchers has documented growing evidence of A. muscaria and psilocybin-containing mushrooms in Christian art, consistent with ethnobotanist Giorgio Samorini’s typology of mushroom trees. This article presents original photographs, taken during fieldwork at churches and cathedrals throughout Europe and the Middle East, that confirm the presence of entheogenic mushrooms in Christian art: in frescoes, illuminated manuscripts, mosaics, sculptures, and stained glass windows. Based on this iconic evidence, the article proposes a psychedelic gospels theory and addresses critiques of this theory by art historians, ardent advocates, medieval historians, and conservative Catholics. It calls for the establishment of an Interdisciplinary Committee on the Psychedelic Gospels to independently evaluate the growing body of evidence of entheogenic mushrooms in Christian art in order to resolve a controversial question regarding the possible role of entheogens in the history and origins of Christianity. (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

Although implicit tests of positive and negative affect exist, implicit measures of distinct emotional states are scarce. Three experiments examined whether a novel implicit emotion-assessment task, the rating of emotion expressed in abstract images, would reveal distinct emotional states. In Experiment 1, participants exposed to a sadness-inducing story inferred more sadness, and less happiness, in abstract images. In Experiment 2, an anger-provoking interaction increased anger ratings. In Experiment 3, compared to neutral images, spider images increased fear ratings in spider-fearful participants (...) but not in controls. In each experiment, the implicit task indicated elevated levels of the target emotion and did not indicate elevated levels of non-target negative emotions; the task thus differentiated among emotional states of the same valence. Correlations also supported the convergent and discriminant validity of the implicit task. Supporting the possibility that heuristic processes underlie the ratings, group differences were stronger among those who responded relatively quickly. (shrink)

One of the iconographic trends that became especially articulated in the XII century is the strengthening of the role of typological logic in the selection and organization of subjects within the iconographic program of monuments of decorative and applied art, book illumination and stained glass. Interest in this kind of visual exegesis, based on the symbolic parallelism of the Old and New Testaments, generates experiments in the field of iconographic programs, which leads to the appearance in the late XII (...) – early XIII centuries a number of monuments in which detailed typological cycles are used (the Klosterneuburg altar, typological stained glass windows of French and English cathedrals). The subject of the research in this article is the connection of the described iconographic trend with texts of a theological, theosophical and liturgical nature. Despite the fact that some of the mentioned texts have already been involved by researchers of Christian iconography for the interpretation of pictorial programs, a special study of the sources of "typological iconography" in the XII century has not been implemented yet. Based on the analysis of a number of texts and iconographic analysis of fine art monuments, an attempt is made to identify a group of sources that could be familiar to the compilers of iconographic programs. Among the monuments of fine art, works created in the Rheno-mosan region (as well as derivatives of this tradition) are of particular interest in the XII century. In this group of works of art (including processional and altar crosses, phylacteries, portable altars, works of stained glass and book illumination), searches in the field of typological iconography are consistently realized. (shrink)

‘Morgan's canon’ is a rule for making inferences from animal behaviour about animal minds, proposed in 1892 by the Bristol geologist and zoologist C. Lloyd Morgan, and celebrated for promoting scepticism about the reasoning powers of animals. Here I offer a new account of the origins and early career of the canon. Built into the canon, I argue, is the doctrine of the Oxford philologist F. Max Müller that animals, lacking language, necessarily lack reason. Restoring the Müllerian origins of the (...) canon in turn illuminates a number of changes in Morgan's position between 1892 and 1894. I explain these changes as responses to the work of the American naturalist R. L. Garner. Where Morgan had a rule for interpreting experiments with animals, Garner had an instrument for doing them: the Edison cylinder phonograph. Using the phonograph, Garner claimed to provide experimental proof that animals indeed spoke and reasoned. (shrink)

Mythopoetry, the imagistic voice of the muses which manifests in myth and natural poetry, has been invoked as an impression of ideal curriculum with which to cherish intimate, vital experience (and to oppose its exile from educational life). In this statement, I intend to see through the pleasant surface of the label, mythopoetry, to see what image may lie just out of sight, beyond the "inspired writing" that mythopoetry implies. Beyond words themselves, meaning is found in sound and in expressive (...) representation. “Music, when soft voices die, / Vibrates in the memory” (Shelley). (shrink)

Edward Harold Fulcher Swain (1883?1970) developed a unique idea about the importance of forests, advocating the creation of a new society based upon forests, and he pursued policies to implement his unique vision of forestry when he served as the Director of Queensland's Forestry Board from 1918 to 1924 and the Forestry Commissioner for New South Wales from 1935 to 1948. Swain's beliefs developed out of a combination of his Australian experiences and connections with foresters in the British Empire and (...) America. When he could not convince Australian elites about the need to create a forest-based society, he asked foresters at the 1947 Empire Forestry Conference in London to assert the primacy of forestry in land management in the British Empire. Many foresters positively received parts of Swain's argument, but his ideas could never be fully implemented in the British Empire because of the dominance of agrarian doctrines of development in post-Second World War colonial planning and the rapid process of decolonization. Swain's life sheds light onto current debates among historians about the origin and legacy of forestry in Australia and the British Empire. His ideas, many that parallel the basic tenets of modern environmentalism, require historians to rethink the relationship between Empire forestry and environmentalism. (shrink)

The Philosophy of Forgiveness, Volume IV: Christian Perspectives on Forgiveness is a collection of essays that explores different Christian views on forgiveness. Each essay takes up a different topic, such as the nature of divine forgiveness, the basis for forgiving our enemies, and the limits of forgiveness. In some chapters, the views of different philosophers and theologians are explored, figures such as St. John Climacus, Bonaventure, and Nietzsche. In other chapters, the concept of forgiveness is analyzed in light of historical (...) events, such as the Nickel Mines shooting, the Charleston shooting, and the Armenian genocide. The contributors to the volume come from different backgrounds, including philosophy, theology, and psychology. The essays are written for scholars in the humanities, social sciences, and theology, as well as graduate students and upper-division undergraduate students. (shrink)

This collection of essays examines urban communities and societies in Asia and the West to shed much-needed light on issues that have emerged as the world experiences its new urban turn. An urbanized world should be an improving place, one that is better to live in, one where humans can flourish. This book examines contemporary practices of care of the self in cities in Asia and the West, including challenges to citizenship and even the right to the city itself. Written (...) by a range of academics from different backgrounds (from architecture and urbanism, anthropology, social science, psychology, gender studies, history, and philosophy) their trans- and multidisciplinary approaches shed valuable light on what are sometimes quite old problems, leading to fresh perspectives and news ways of dealing with them. One thing that unites all of these papers is their people-centred approach, because, after all, a city is its people. (shrink)

Husserl and Sartre’s analyses of mental imagery and some of the latest cognitive research on vision provide a framework for understanding a number of films by Hitchcock (Psycho and Rear Window) and Buñuel (Un Chien Andalou), films which similarly probe the subtleties and uses of mental imagery. One of the many ways to enjoy these films is to see them as explorations of visual phenomenology; they allow us to enact, as well as reflect upon, mental images as part of the (...) film experience.<br><br><br><br><br><br>. (shrink)

In The Contemplative Self after Michel Henry: A Phenomenological Theology, Joseph Rivera provides a close and critical reconstruction of the philosophical anthropology of Michel Henry (1922-2002) while also addressing the question of how theology contributes to Henry's phenomenology. In conversation with other French figures such as Derrida, Marion, Lacoste, and Barbaras, Rivera undertakes a global thematic study of Henry's work. He shows how, for Henry, the theological debate is shifted onto a phenomenological problem, with a coincident will to pursue the (...) epistemological efforts of Husserl and Heidegger. The chapters tackle some of the most pressing debates in contemporary Continental philosophy, such as the "modern ego," the nature and experience of temporality, and the constitution of the body and otherness, and how a theological discourse may illumine those anthropological structures. The book expands on the modern narrative of the self from Descartes to Nietzsche, opens up the particular lines of inquiry Henry advances in dialogue with those figures and phenomenology in particular, and highlights the surprising theological turns in Henry's late work on Christianity. Because Henry's work is difficult, it is often misunderstood; Rivera's own vision of the self, one that is shaped by Henry but not in full agreement with him, advances insights internal to Henry but also brings into sharp focus many problematic points in Henry's phenomenological theology. An array of classical theological voices appear in the final chapters, such as St. Augustine, Tertullian, Irenaeus, Pseudo-Dionysius, and Gregory of Nyssa, all of whom are set in dialogue with Henry. A fresh and creative articulation of contemplation and selfhood, the volume is a valuable addition to the continuing conversation that seeks to build bridges between phenomenology and theology. (shrink)

The ArgumentThe last two plates of Aby Warburg's unpublished picture-atlasMnemosyne, which is thought today to be among Warburg's most innovative contributions to the study of art history, are here analyzed in detail. These plates were assembled in the summer before his death in 1929; they reflect experiences of the time he spent in Rome during 1928 and 1929 and are here understood as Warburg's attempt to visualize his theory of the symbol.TheBilderatlaswas to have a two-fold function: Warburg planned it to (...) be a summary of his life's work; he also wanted its plates to reflect his theory of pictures and images. I argue here that particularly plate 79 is indeed an attempt tovisualizethe theoretical foundation of Warburg's view of the representational function of pictures. It refers to the origin of the power of images in sacrificial rituals and to the limits of this power. Warburg singles out the Eucharist and the doctrine of transsubstantiation to illustrate the role of the symbol in rituals.With this emphasis on ritual as a necessary complement for the functioning of the symbol, Warburg reaffirms his theory of the image to include the social act. This inclusion can be shown to be motivated by contemporary political concerns. (shrink)

Psychophysical scaling models of the form R = f, with R the response and I some intensity of an attribute, all assume that people judge the amounts of an attribute. With simple biases excepted, most also assume that judgments are independent of space, time, and features of the situation other than the one being judged. Many data support these ideas: Magnitude estimations of brightness increase with luminance. Nevertheless, I argue that the general model is wrong. The stabilized retinal image literature (...) shows that nothing is seen if light does not change over time. The classification literature shows that dimensions often combine to produce emergent properties that cannot be described by the elements in the stimulus. These and other effects cannot be adjusted for by simply adding variables to the general model because some factors do not combine linearly. The proposed alternative is that people initially judge the entire stimulus – the object in terms of its environment. This agrees with the constancy literature that shows that objects and their attributes are identified through their relations to other aspects of the scene. That the environment determines judgments is masked in scaling studies where the standard procedure is to hold context constant. In a typical brightness study the essential stimulus might be the intensity of the light or a difference between the light and the background. The two are perfectly confounded. This issue is examined in the case of audition. Judgments of the loudness of a tone depend on how much that tone differs from the previous tone in both pitch and loudness. To judge loudness people first seem to process the stimulus object in terms of differences between it and other aspects in the situation; only then do they assess the feature of interest. Psychophysical judgments will therefore be better interpreted by theories of attention that are based in biology or psychology than those that are based in classical physics. (shrink)

Motor imagery typically involves an experience as of moving a body part. Recent studies reveal close parallels between the constraints on motor imagery and those on actual motor performance. How are these parallels to be explained? We advance a simulative theory of motor imagery, modeled on the idea that we predict and explain the decisions of others by simulating their decision-making processes. By proposing that motor imagery is essentially off-line motor action, we explain the tendency of motor imagery to mimic (...) motor performance. We close by arguing that a simulative theory of motor imagery gives (modest) support to and illumination of the simulative theory of decision-prediction. (shrink)

Analyzing geometric properties of high-dimensional loss functions, such as local curvature and the existence of other optima around a certain point in loss space, can help provide a better understanding of the interplay between neural network structure, implementation attributes, and learning performance. In this work, we combine concepts from high-dimensional probability and differential geometry to study how curvature properties in lower-dimensional loss representations depend on those in the original loss space. We show that saddle points in the original space are (...) rarely correctly identified as such in expected lower-dimensional representations if random projections are used. The principal curvature in the expected lower-dimensional representation is proportional to the mean curvature in the original loss space. Hence, the mean curvature in the original loss space determines if saddle points appear, on average, as either minima, maxima, or almost flat regions. We use the connection between expected curvature in random projections and mean curvature in the original space (i.e., the normalized Hessian trace) to compute Hutchinson-type trace estimates without calculating Hessian-vector products as in the original Hutchinson method. Because random projections are not suitable to correctly identify saddle information, we propose to study projections along dominant Hessian directions that are associated with the largest and smallest principal curvatures. We connect our findings to the ongoing debate on loss landscape flatness and generalizability. Finally, for different common image classifiers and a function approximator, we show and compare random and Hessian projections of loss landscapes with up to about 7×10^6 parameters. (shrink)

Models of both speech perception and speech production typically postulate a processing level that involves some form of phonological processing. There is disagreement, however, on the question of whether there are separate phonological systems for speech input versus speech output. We review a range of neuroscientific data that indicate that input and output phonological systems partially overlap. An important anatomical site of overlap appears to be the left posterior superior temporal gyrus. We then present the results of a new event‐related (...) functional magnetic resonance imaging (fMRI) experiment in which participants were asked to listen to and then (covertly) produce speech. In each participant, we found two regions in the left posterior superior temporal gyrus that responded both to the perception and production components of the task, suggesting that there is overlap in the neural systems that participate in phonological aspects of speech perception and speech production. The implications for neural models of verbal working memory are also discussed in connection with our findings. (shrink)

Theology and philosophy have traditionally assumed a radical split between human beings and the rest of creation. Philosophically, the split is usually justified in terms of a locus humanus, some one cognitive trait that human beings possess and nonhuman animals do not. Theologically, this trait is usually identified as that which makes us in the image of God. Research in animal cognition, however, suggests that we are not unique in as many respects as we think we are. This suggests that (...) we rethink the idea of the image of God. In light of this, I propose that we think of nature itself as being in the image of God, with humankind as part of the broader natural and theological process. (shrink)

Few texts summarize and at the same time compound the challenges of their author's philosophy so sharply as Hermann Cohen's Das Prinzip der Infinitesimalmethode und seine Geschichte . The book's meaning and style are greatly illuminated by placing it in the scientific, political, and academic context of late-nineteenth century Germany. As this context changed, so did both the reception of the philosophy of the infinitesimal and of the Marburg school more generally. A study of this transformation casts significant light on (...) the political relevance of the philosophy of science in theWilhelmine era. As a means of following this development across time, Cohen's text is read through its changing reception in the philosophy of his closest disciple, Ernst Cassirer. (shrink)

: Few texts summarize and at the same time compound the challenges of their author's philosophy so sharply as Hermann Cohen's Das Prinzip der Infinitesimalmethode und seine Geschichte (1883). The book's meaning and style are greatly illuminated by placing it in the scientific, political, and academic context of late-nineteenth century Germany. As this context changed, so did both the reception of the philosophy of the infinitesimal and of the Marburg school more generally. A study of this transformation casts significant light (...) on the political relevance of the philosophy of science in theWilhelmine era. As a means of following this development across time, Cohen's text is read through its changing reception in the philosophy of his closest disciple, Ernst Cassirer. (shrink)

My paper highlights one Personalist aspect of St. Anselm's Platonic perspective, namely the ontological priority and interpenetration of persons. The paper first discusses Anselm's metaphysical Platonism, then charts the Anselmian path towards God, through participation in the divine attributes. It then focuses on images of persons, and their degree of being. I argue that, at least for certain human relationships marked by strong love or friendship, Anselm regards the image of the person as mediating the being of the person imaged.

Time’s arrow is necessary for progress from a past that has already happened to a future that is only potential until creatively determined in the present. But time’s arrow is unnecessary in Einstein’s so-called block universe, so there is no creative unfolding in an actual present. How can there be an actual present when there is no universal moment of simultaneity? Events in various places will have different presents according to the position, velocity, and nature of the perceiver. Standing against (...) this view is traditional common sense since we normally experience time’s arrow as reality and the present as our place in the stream of consciousness, but we err to imagine we are living in the actual present. The present of our daily experience is actually a specious present, according to E. Robert Kelly (later popularized by William James), or duration, according to Henri Bergson, an habitus, as elucidated by Kerby (1991), or, simply, the psychological present (Adams, 2010) – all terms indicating that our experienced present so consists of the past overlapping into the future that any potential for acting from the creative moment is crowded out. Yet, for philosophers of process from Herakleitos onward, it is the philosophies of change or process that treat time’s arrow and the creative fire of the actual present as realities. In this essay, I examine the most well known but possibly least understood process cosmology of Alfred North Whitehead to seek out this elusive but actual present. In doing so, I will also ask if process philosophy is itself an example of the creative imagination and if this relates to doing science. I conclude Whitehead's process philosophy falls short of allowing for the actual creative spontaneity of a dynamic (eternal) present. (shrink)

In his Tractatus, Wittgenstein sets out what he calls his N-operator notation which can be used to calculate whether an expression is a tautology. In his Laws of Form, George Spencer Brown offers what he calls a “primary algebra” for such calculation. Both systems are perplexing. But comparing two blurry images can reduce noise, producing a focus. This paper reveals that Spencer Brown independently rediscovered the quantifier-free part of the N-operator calculus. The comparison sheds a flood light on each and (...) from the letters of correspondence we shall find that Russell, as one might have surmised, was a catalyst for both. (shrink)

What happens to the inner light of consciousness with the death of the individual body and brain? Reductive materialism assumes it simply fades to black. Others think of consciousness as indicating a continuation of self, a transformation, an awakening or even alternatives based on the quality of life experience. In this issue, speculation drawn from theoretic research are presented. -/- Table of Contents Epigraph: From “The Immortal”, Jorge Luis Borges iii Editor’s Introduction: I Killed a Squirrel the Other Day, (...) class='Hi'>Gregory M. Nixon iv-xi Research Essays The Tilde Fallacy and Reincarnation: Variations on a "Skeptical" Argument Teed Rockwell 862-881 Death, Consciousness, and Phenomenology, Steve Bindeman 882-899 The Idealist View of Consciousness After Death, Bernardo Kastrup 900-909 Consciousness, a Cosmic Phenomenon—A Hypothesis, Eva Déli 910-930 The Theory of a Natural Afterlife: A Newfound, Real Possibility for What Awaits Us at Death, Bryon K. Ehlmann 931-950 Near-Death Cases Desegregating Non-Locality/Disembodiment via Quantum Mediated Consciousness: An Extended Version of the Cell-Soul Pathway, Contzen Pereira & J Shashi Kiran Reddy 951-968 On the Possible Existence of Quantum Consciousness After Brain Death, Massimo Pregnolato & Alfredo Pereira Jr. 969-991 Science and Postmortem Survival, Edward F. Kelly 992-1011 Explorations ISS Theory: Cosmic Consciousness, Self, and Life Beyond Death in a Hyperdimensional Physics, Chris H. Hardy 1012-1035 Does the Consciousness End, Remain Awake, or Transform After Death? Radivoj Stankovich (with Micho Durdevich) 1036-1050 Big Bang Spirituality, Life, and Death, Ken Bausch 1051-1063 Death, Consciousness and the Quantum Paradigm, Ronald Peter Glasberg 1064-1077 Living With Limits: The Continuum of Consciousness, Donald Brackett 1078-1098 Mysticism, Consciousness, Death, Mike Sosteric 1099-1118 What Dies? Eternalism and the Afterlife in William James, Jonathan Bricklin 1119-1140 Theories of Consciousness and Death: Does Consciousness End, Continue, Awaken, or Transform When the Body Dies? Roger Cook 1141-1153 It’s the Other Way Around: Matter is a Form of Consciousness and Death is the End of the Illusion of Life in the World, James P. Kowall & Pradeep B. Deshpande 1154-1208 Statements A Feminine Vision for the World Consciousness, & a New Outrageous Ontology, Lorna Green 1209-1217 The Mask of Eternity: The Quest for Immortality and the Afterlife, Iona Miller 1218-1228 Are We Really “such stuff as dreams are made on”? Chris Nunn 1229-1225 Is the Afterlife a Non-Question? (Let's Hope Not), Deepak Chopra 1226-1230 Life After Death? An Improbable Essay, Stuart Kauffman 1231-1236. (shrink)

Searching for God draws upon the traditional categories of systematic theology as it guides readers through the Catholic theological thought process involved in the search for God. At each step we examine the work of a past thinker from the time of the early church up to the early twentieth century, and a present thinker whose works are often required reading in theology courses. Not only do readers have the opportunity to critically evaluate several important theological works in the Catholic (...) tradition, they can also enter into dialogue with those works as they engage in their own search for God. Among the ten categories represented are: Bible: Hearing God--Past: Hugh of St. Victor, Noah's Ark (ca. 1130) Present: Sandra Schneiders, The Revelatory Text (1999) Christ II: Understanding God (Dogmatic Approach)--Past: Cyril of Alexandria, On the Unity of Christ (429) Present: Roger Haight, Jesus: Symbol of God (1999) Religions of the World: Listening for God Past: Jean Daniélou, The Salvation of the Nations (1946) Present: Raimon Panikkar, The Experience of God (2006) +. (shrink)

Michelle’s thesis explores the extent to which a researcher could contribute to change by engaging leaders in conversations that might intensify commitment to or the direction of their actions around socio-environmental decline in Bermuda as a country historically organised in the tradition of an entrepreneurial for-profit enterprise. The framing of a space to reflect on highlighted the significance of time that led to the bricolage design of a heuristic device called a moon gate. Time, the keystone of the moon gate, (...) created a prism lighting up the twists and turns of kaleidoscopic images of the chaos of the markets and the creative diversity of human and nonhuman participants. She undertook a philosophical approach with her study of the contested space of time around sensitivity to maintaining a fulcrum point based on the wellbeing of people and planet. (shrink)

When a rainbow spans the sky the eye may rest with simple rapture on the arch of colours, or the mind may interpret it as an interplay between raindrops and light. This perceptibly separates the aesthetic relish of the colours from the scientific understanding of the bow. Archbishop Temple distinguished the restfulness of art from the restlessness of science. This applies to the wider aesthetic which includes natural products, such as snow-scenes or daffodils or rainbows, with the pictures, statues, buildings, (...) poems, and other products of man-made art. The rainbow clearly separates the understanding sought by science from the immediate contemplative aesthetic satisfaction with the colours. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Scholars of Bonaventure's thought labor under the difficulty that the Seraphic Doctor is more widely admired than read. Yet there is one advantage they may claim: the immense popularity down through the centuries of his magnum opus: the Itinerarium mentis in Deum, "The Journey of the Mind to God." The text is poetic, concise, and dense. It summarizes many points in Bonaventure's philosophy, theology, and spirituality – indeed, it (...) has sometimes been called a summa of his spiritual theology.In the present essay, I offer a proposal for reading the Itinerarium. I do so with two types of readers in mind. One is the Bonaventure scholar, for whom I make certain arguments concerning the logic of the text and its relationship to other works of Bonaventure. The other is the non-specialist who wishes to teach the Itinerarium as a significant part of the Christian theological patrimony. To the latter, I offer a schematic to understand the different elements of the text in their relationship to each other. This guided reading will, I hope, help the teacher to present the scientific power of Bonaventure's theology.I. Preliminary NoteMy preliminary claim is that the Itinerarium is best understood as divided into two trajectories: one involves the three stages of seeing God through the visible world, the soul, and what is above the soul; the other involves the three stages of seeing God in the visible world, the soul, and what is above the soul. This claim might be criticized by readers of the text. Bonaventure gives several possibilities for understanding the structure of the text in the first part of chapter 1, and does not state that one should be privileged above the others. However, as he goes on to explain each stage, the division that keeps reappearing is that of seeing God through and in the visible world, the soul, and what is above the soul. I therefore regard that division as the most significant. In what follows, I first examine certain antecedents to the Itinerarium's structural argument in earlier works of Bonaventure. I then outline the first trajectory, highlighting its similarities and differences with those earlier works, and then the second trajectory, highlighting its uniqueness and proposing a key by which it may be understood. I close with a brief statement of the significance of my reading in light of some recent scholarship.For reference, one may use the following chart, delineating the trajectories.Knowing God through Knowing God inwhat is below the soul chap. 1: the consideration of God through his vestiges in the universe chap. 2: the consideration of God in his vestiges in this visible worldthe soul chap. 3: the consideration of God through his image imprinted on our natural powers chap. 4: the consideration of God in his image reformed through the gifts of gracewhat is above the soul chap. 5: the consideration of the divine unity through its primary name which is Being chap. 6: the consideration of the most blessed Trinity in its name which is the GoodII. Antecedents to This Kind of Consideration of GodA) Knowing God through and inThe distinction between seeing God through and in is not unique to the Itinerarium. It occurs earlier, in the Commentary on the Sentences, in two places. Though the contexts and the language are slightly different, the content of the distinction is the same. To know God through creatures is "to be raised from the knowledge of the creature to the knowledge of God as by way of a intermediate ladder." To know God in creatures is rather to know "his presence and influence in the creature." Bonaventure says further that knowing God through creatures is characteristic of wayfarers, and is a knowledge that is.. (shrink)

continent. 1.2 (2011): 145-147. Here I accoutred myself in my new habiliments; and, having em- ployed the same precautions as before, retired from my lodging at a time least exposed to observation. It is unnecessary to des- cribe the particulars of my new equipage; suffice it to say, that one of my cares was to discolour my complexion, and give it the dun and sallow hue which is in most instances characteristic of the tribe to which I assumed to belong; (...) and that when my metamorphosis was finished, I could not, upon the strictest ex- amination, conceive that any one could have traced out the per- son of Caleb Williams in this new disguise. William Godwin Caleb Williams (352). Giorgio Agamben. Nudities . Trans. David Kishik and Stefan Pedatella. Stanford: Stanford University Press, 2011. 144 pp. | 10 illustrations. | ISBN: 9780804769501 | $16.95 A. The Protective Overcoat. The most pervasive, resilient, robust, sneaky, and significant concept in all of Giorgio Agamben’s essays is that of separation. This is not the same as alienation. Separation is more nostalgic, for Agamben valorizes an ancient world in which human society and its beings were not subject to such separation. He implies that these separations are damaging to human beings, crippling them at the very level of their identities. $4.99 B. The Handsome Gloves. Giorgio Agamben’s Nudities , like Profanations before it, employs a wide range of subjects in order to establish separation as a metaphor, in much the same way that interdisciplinary scholars have adopted Michel Foucault’s concepts in order to rethink societies and texts. The longest essay from Profanations, entitled “In Praise of Profanation,” laments humankind’s inability to profane as the result of what Walter Benjamin has called “the capitalist religion.” Likewise, “Nudity” adopts a pessimistic stance on the Christian theological tradition’s perverse asphyxiation of the unclothed body. $2.50 C. The Hoop Earrings. Religion separates humans from things by procuring for itself items as “sacred,” thus taking them out of common use. In this state, human beings are unable to play with them, unable to change their use-value. They become off-limits, museified. $1,499.00 D. The Uncomfortable Shoes. Biometrics polices identity, replacing meaningful metrics of identity. It is a deplorable situation that leaves human beings in danger of, and indeed already victims of, mass persecution. $111.75 E. The Prince Albert. One could characterize Giorgio Agamben’s desire to catalogue a history of ignorance as a recognition that human beings are separated from knowledge by language. Where then is the prophet, and how shall we be saved? $49.50 + tip F. The Corset. Franz Kafka’s character of Joseph K. has put himself on trial, as in Roman trials when the Kalumniator was marked with the letter K. The torture he undergoes is meant to elicit a confession of the truth. It is possible that Giorgio Agamben perceives his role as a philosopher to be confined to self-trial, and that with every passage he flays the unclothed page with prophetic intent. $27.00 G. The Derby. Giorgio Agamben himself tries to bridge various separations through exploratory play. He is not a performative writer semantically, but his exploratory style is rooted in the play spirit. His strategy of numbering points is almost comical, yet it is not misleading. It is play, after all, not ruse. He denudes with pecks, like carrion on a tattered corpse. $11.00 H. The Trousers. Although Giorgio Agamben is elsewhere concerned with the profanation of religion’s apparatuses, in essay nine he would like to consider what is consumed during days of inoperativity, how religion governs these, and how to account for our binges and purges. Inoperativity is inextricably bound to feasting, to the festival. $24.50 I. The Stylish Belt. The only essay in Nudities to contain photographs is the essay entitled, “Nudity.” All of these photographs project human bodies. $.01 I The aim here is not to tap into an original state prior to the separation but to comprehend and neutralize the apparatus that produced this separation. (66) II The contemporary is he who firmly holds his gaze on his own time so as to perceive not its light but rather its darkness. (13) III We can therefore only experience nudity as a denudation and a baring, never as a form and a stable possession. (65) IV Just as genius and talent originally distinct and even opposite—are nevertheless united in the work of the poet, so the work of creation and the work of salvation, inasmuch as they represent the two powers of a single God, remain in some way secretly conjoined. (6) V In our culture, the face-body relationship is marked by a fundamental asymmetry, in that our faces remain for the most part naked, while our bodies are normally covered. (88) VI Every man initiates a slanderous trial against himself. (21) VII The glorious body is not some other body, more agile and beautiful, more luminous and spiritual; it is the body itself, at the moment when inoperativity removes the spell from it and opens it up to a new possible common use. (103) VIII As Kleist understood so well, the relationship with a zone of nonknowledge is a dance. (114) IX The deactivation of this apparatus retroactively operates, therefore, as much on nature as on grace, as much on nudity as on clothing, liberating them from their theological signature. (90) X At any rate, whether festive inoperativity precedes religion or results from the profanation of its apparatuses, what is essential here is a dimension of praxis in which simple, quotidian human activities are neither negated nor abolished but suspended and rendered inoperative in order to be exhibited, as such, in a festive manner. (112) XI This is just how much [of] the land [the] surveyor is allowed to catch a glimpse. (36). (shrink)

E n e s t e e n s a y o a r g u me n t o q u e l ametafilosofía de los pragmatistas es lacontribución más importante de estosf i l ós of os a l a hi s t or i a de l a f i l os of í ay es t ambi én l o que l os di st i ngue deot ros f i l ósof os. Los f i (...) l ósof os cl ási cosamericanos y losfilósofos pragmatistas hispanos, Ortegay Gasset y Risieri Frondizi, propusieronque l a f i l osof í a debe de part i r desdel a experi enci a, es deci r, un punt o departida práctico. Despues de explicar quésignifica sostener que la experiencia es elpunto de partida, examino las razonesque tienen estos filósofos para sostenerque la experiencia es el punto de partidaapropiado si se quiere que la filosofía seaempírica y relevante. In this paper the metaphilosophy of pragmatists is the most important contribution of these philosophers to the history of philosophyand is also what distinguishes them fromother philosophers. The classic Americanphilosophers and the Hispanic philosophers, Ortega yGasset and Risieri Frondizi, proposed thatphilosophy must start from experience.After explaining what it means to takeexperience as the starting point, I examinethe reasons that pragmatists philosophershave for holding the view that experienceshould be the starting point if philosophyis to be empirical and relevant. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Aquinas on Faith, Reason, and Charity by Roberto Di CeglieGregory StaceyDI CEGLIE, Roberto. Aquinas on Faith, Reason, and Charity. New York: Routledge, 2022. x + 196 pp. Cloth, $160.00Suppose one wishes to argue that Christian faith (that is, supernatural belief in propositions insofar as they are divinely revealed) is compatible with the proper exercise of reason (that is, forming beliefs through natural cognitive processes). Two strategies suggest themselves. (...) First, one could argue that faith is itself a natural cognitive process or else meets criteria by which natural beliefs are considered rational or appropriate. Alternatively, one might contend that faith can meet its own, independent criteria for rationality or propriety. Thomas Aquinas, whose natural theology and discussion of public evidence that God has revealed himself in Christ are famously robust, may appear to be an exponent of the former strategy. Yet in this volume, Roberto Di Ceglie advances a reading of Thomas that illustrates how faith can support rational enquiry, while remaining independent of it. On this view, faith is "caused mainly by God" and is therefore "at least partly unresponsive to rational criteria."Part 1 begins Di Ceglie's case obliquely, by criticizing both efforts to argue (following Gilson and Maritain) that philosophy can be influenced by Christian faith and recent attempts to explain Aquinas's account of faith and reason. Reviewing the work of commentators including Anthony Kenny, Richard Swinburne, and Eleonore Stump, the author objects that many philosophers hold that for Thomas, faith is primarily a form of propositional belief that should be evaluated for propriety in the same way as natural beliefs. He alleges that this understanding of faith is inherited from Locke, who endorsed "methodological naturalism": the view that appropriate "religious belief can only be taken as the outcome, if any, of a rational exploration of our experience." While this material usefully outlines views which Di Ceglie means to oppose, readers unfamiliar with scholarship on Aquinas and Locke may find these initial chapters difficult to follow.The argument becomes easier to follow in part 2, which provides Di Ceglie's own interpretation of Aquinas. The key third chapter explores Aquinas's definition of faith as "an act of the intellect assenting to the Divine Truth at the command of the will moved by the grace of God" (ST II-II, q. 2, a. 9). It demonstrates that while for Aquinas faith involves firm propositional belief, its certitude derives not from believers' assessment of signs that God has revealed the articles of faith but from their free choice—itself a gift of grace—to embrace those articles. More precisely, in cases of "formed" faith, this choice is motivated by supernatural love for God (charity). Charity's role in Aquinas's religious epistemology is [End Page 547] highlighted in two subsequent chapters. Inter alia, Di Ceglie charges that faith is meritorious principally due to its grounds in charity rather than because the articles of faith are not evidently true. He further claims that Aquinas understood "unformed" faith as merely "faith commonly so called"—that is, natural belief in propositions because one judges that they are testified to by a competent authority. Accordingly, unformed faith lacks perfect confidence because it is merely based on probabilistic evidence that God has revealed the articles of faith, rather than on a strong, loving will to trust God. More generally, the certitude of one's faith is proportionate to the perfection of one's charity.Having developed a reading of Aquinas's religious epistemology that stresses the distinction between faith and reason, in part 3 Di Ceglie considers their positive relationship. First, he attempts to reconcile the apparently opposing views that Aquinas's philosophy is purely an exercise of natural reason, and that his philosophical work was influenced by his Christian faith. Broadly, the charity that grounds formed faith also inspires and enhances rational investigation, although philosophical arguments cannot presume faith's truth. Believers with formed faith, however, should reject positions that contradict faith and seek to revise their philosophical reasoning accordingly. The final chapter argues that Christian faith affords a better position from which to engage in rational reflection than atheism or agnosticism. Among other advantages, faith... (shrink)

Guillaume St-Laurent | : Le projet philosophique central de Charles Taylor se présente comme une critique de l’« image épistémologique » (epistemological picture) de la raison, critique qui se déploie au nom d’une compréhension de la rationalité humaine plus sensible à sa finitude transcendantale et historique. L’objectif du présent essai consiste à présenter une brève analyse comparative de cette image épistémologique (ou post-cartésienne) ainsi que de la perspective herméneutique que lui oppose notre auteur. En ce sens, nous comparerons tour à (...) tour six aspects déterminants de ces deux conceptions : le caractère « apodictique », « médiationnel », « désengagé », « désignatif », « dépassionné » et « procédural » de la première et le caractère « ad hominem », « immergé », « situé », « expressif », « passionné » et « substantiel » de la seconde. Nous éclairerons en outre les enjeux complexes de cette critique par quelques remarques introductives et conclusives. | : Charles Taylor’s main philosophical project presents itself as a critique of the “epistemological picture” of rationality. This critique is put forward in the name of a new understanding of reason, more sensitive to its transcendental and historical finitude. We herein propose a short comparative analysis of this epistemological (or post-cartesian) picture and Taylor’s hermeneutical perspective. To this effect, we will compare six essential aspects of these two conceptions : the “apodictic”, “mediational”, “disengaged”, “designative”, “dispassionate”, and “procedural” character of the former, and the “ad hominem”, “immerged”, “situated”, “expressive”, “passionate”, and “substantial” character of the latter. We will also try to shed light on these complex issues by some introductive and conclusive remarks. (shrink)

The aesthetics of everyday life, originally developed by Henri Lefebvre and other modernist theorists, is an extension of traditional aesthetics, usually confined to works of art. It is not limited to the study of humble objects but is rather concerned with all of the undeniably aesthetic experiences that arise when one contemplates objects or performs acts that are outside the traditional realm of aesthetics. It is concerned with the nature of the relationship between subject and object. One significant aspect of (...) everyday aesthetics is environmental aesthetics, whether constructed, as a building, or manipulated, as a landscape. Others, also discussed in the book, include sport, weather, smell and taste, and food. (shrink)

This article addresses the issue of the interface between public health and clinical health within the context of the search for networking approaches geared to a more integrated delivery of health services. The articulation of an operative interface is complicated by the fact that the definition of networking modalities involves complex intra- and interdisciplinary and intra- and interorganizational systems across which a new transversal dynamics of intervention practices and exchanges between service structures must be established. A better understanding of the (...) situation is reached by shedding light on the rationale underlying the organizational methods that form the bases of the interface between these two sectors of activity. The Quebec experience demonstrates that neither the structural-functionalist approach, which emphasizes remodelling establishment structures and functions as determinants of integration, nor the structural-constructivist approach, which prioritizes distinct fields of practice in public health and clinical health, adequately serves the purpose of networking and integration. Consequently, a theoretical reframing is imperative. In this regard, structuration theory, which fosters the simultaneous study of methods of inter-structure coordination and inter-actor cooperation, paves the way for a better understanding of the situation and, in turn, to the emergence of new integration possibilities. (shrink)

This book's subtitle, as well as its inclusion in Yale University Press's philosophy catalog, creates the expectation of a philosophical match between, in one corner, the ideas of Michael Oakeshott and Leo Strauss and, in the other, the ideas of such "postmodernist" thinkers as Michel Foucault, Jean-Francois Lyotard, Jacques Derrida, and Richard Rorty, and behind them such gray eminences as Heidegger and Kojève. One soon discovers, however, that Devigne deals not with philosophical responses to postmodernism, but with political responses to (...) postmodernity--a sociological category described only in the most superficial terms. Devigne's account of these political responses is further constricted by his method of treating Strauss's ideas in the context of American conservatism and Oakeshott's ideas in the context of British conservatism. Thus, instead of illuminating the meaning of Strauss's work in the light of Plato, Farabi, and Maimonides, Devigne places him in the company of such writers as Daniel Bell, James Q. Wilson, and Michael Novak. In his chapter on Oakeshott, Devigne only superficially connects Oakeshott to Hobbes, Hegel, and Bradley, while failing to mention Augustine and Montaigne, but he does manage to devote a third of a page to the arcana of the British budget between 1971 and 1977. Recasting Conservatism is, in short, less a work of political philosophy than a work of political science or sociology. (shrink)

The problem of dream skepticism – i.e., the problem of what can justify one’s belief that they are not dreaming – is one of the most famous problems in philosophy. I propose a way of responding to the problem which is available if one subscribes to the theory that the sensory experiences that we have in dreams consist of images (as opposed to false percepts). The response exploits a particular feature of imagination, viz., that it is not possible to simultaneously (...) have two separate imagistic experiences in the same modality. (shrink)

Gregory Palamas (1296–1357) was a prominent Byzantine monk and theologian. He is best known for his writings in defence of the hesychasts, monks of Mount Athos.

It is clear that visual imagery is somehow significantly visual. Some theorists, like Kosslyn, claim that the visual nature of visualisations derives from features of the neural processes which underlie those episodes. Pylyshyn claims, however, that it may merely reflect special features of the contents which we grasp when we visualise things. This paper discusses and rejects Pylyshyn's own attempts to identify the respects in which the contents of visualisations are notably visual. It then offers a novel and very different (...) account of what is distinctively sensory about the contents of sensory images. The paper's alternative account is used in explaining various pieces of phenomenological and behavioural data concerning visualisation. Finally, it is tentatively suggested that the proposed account of the contents of sensory images may also shed light upon some of the neurological data involving visualisation and sensory imagery more generally. (shrink)

Women educators played an essential role in transforming public museums that had been focused on collections and research into effective educational and informational sites that engaged broad publics. Three significant innovators were Delia Griffin of St. Johnsbury Museum in Vermont who emphasized hands-on learning, Anna Billings Gallup who shaped a distinctive model museum for children in Brooklyn and Laura Bragg of the Charleston Museum who established strong collaboration with the local public schools. Joining museum curatorial staffs and professional associations that (...) were largely male, these women educators and their peers typically provided pedagogical insights and teaching skills that enabled them to work effectively with school systems, teachers, pupils and parents. Genuinely interested in natural science, they shaped careers which included opportunities to engage with science, provided a considerable degree of autonomy and enabled them to experiment with hands-on learning. They built networks of museum educators and influenced the young American Association of Museums. Women museum educators created a bridge between semi-public natural history establishments for collection, preservation and scientific research and an active audience of teachers, pupils, visitors and patrons. Their efforts transformed museums into sites for education and broad public access to science in the early 20th century. (shrink)

Analyzing geometric properties of high-dimensional loss functions, such as local curvature and the existence of other optima around a certain point in loss space, can help provide a better understanding of the interplay between neural network structure, implementation attributes, and learning performance. In this work, we combine concepts from high-dimensional probability and differential geometry to study how curvature properties in lower-dimensional loss representations depend on those in the original loss space. We show that saddle points in the original space are (...) rarely correctly identified as such in lower-dimensional representations if random projections are used. In such projections, the expected curvature in a lower-dimensional representation is proportional to the mean curvature in the original loss space. Hence, the mean curvature in the original loss space determines if saddle points appear, on average, as either minima, maxima, or almost flat regions. We use the connection between expected curvature and mean curvature (i.e., the normalized Hessian trace) to estimate the trace of Hessians without calculating the Hessian or Hessian-vector products as in Hutchinson’s method. Because random projections are not able to correctly identify saddle information, we propose to study projections along Hessian directions that are associated with the largest and smallest principal curvatures. We connect our findings to the ongoing debate on loss landscape flatness and generalizability. Finally, we illustrate our method in numerical experiments on different image classifiers with up to about 7 × 10^6 parameters. (shrink)

In what follows, I examine the views of Metropolitan Amfilohije’s views on St Gregory Palamas and Orthodoxy, primarily focusing on his PhD thesis, which was defended at the University of Athens, Faculty of Theology in 1973, and published in Thessaloniki in the same year. I claim that his views there not only show him defending Palamas, but also highlight the need for a strengthening of Palamism in Greece and abroad. Some of the problems, which he identified in (...) 1973, exist in Orthodoxy today and his suggestion that all contemporary Orthodox intellectuals should persist in the Philosophy and Theology of Palamism seems to be the only way to solve these problems, even today. (shrink)

The scholarly contributions gathered together in this volume discuss themes related to the cultural, social and ethical dimension of St Gregory Palamas’ works. They relate his mystical philosophy and theology to contemporary debates in metaphysics, philosophy of language, ethics, philosophy of culture, political philosophy, epistemology, and philosophy of religion and theology, among others. The book considers a variety of topics of special interest to Christian theologians, philosophers and art historians including church and state relations, similarities and differences between (...) Palamas, contemporary phenomenologists and philosophers of language, and hesychast influences on late Byzantine iconography. (shrink)