The very concept of the ‘birth’ or ‘origin’ of art may seem inappropriate, since humans are by nature artists and the history of art begins with that of humanity. In their artistic impulses and achievements humans express their vitality, their ability to establish a beneficial and positive relationship with their environment, to humanize nature; their behaviour as artists is one of the characteristics for selection favourable to the evolution of the human species. Evidence from a huge analysis of rock art (...) and cave paintings and engravings shows that, from their origins, humans have also been Homo aestheticus. (shrink)

The very concept of the ‘birth’ or ‘origin’ of art may seem inappropriate, since humans are by nature artists and the history of art begins with that of humanity. In their artistic impulses and achievements humans express their vitality, their ability to establish a beneficial and positive relationship with their environment, to humanize nature; their behaviour as artists is one of the characteristics for selection favourable to the evolution of the human species. Evidence from a huge analysis of rock art (...) and cave paintings and engravings shows that, from their origins, humans have also been Homo aestheticus. (shrink)

Sex, Gender, Ethics, and the Darwinian Evolution of Humanity examines the impact of Darwin's 'Descent of Man' on contemporary biology and the humanities. Its publication in 1871 was a founding event in anthropology. Its content was primarily concerned with the development of sexual life, social life, and intellectual life, not only as outcomes of evolution, but as components that have actively intermixed over time with the evolutionary mechanism of natural selection. The stamp of Darwinism on modern thought is still very (...) important and brings novelties to academic studies. Several fields influenced by Darwinian anthropology developed in recent decades, including evolutionary ethics, the evolution of sociality and sexual communication in animal and plant species. Sociobiology and evolutionary psychology are topics that draw heavily on Darwin's 'Descent of Man'. The understanding of Darwin's thought has also progressed greatly in recent decades, following the systematic study of Darwin's correspondence and notebooks, leading to a reassessment of the development of his thought on humans, social groups, and heredity, and how they come together in his theory of evolution. The book combines a historical perspective on Darwin's achievement and his legacy. It will be of interest to students and scholars in a variety of fields, from experimental biology to the social and historical sciences. (shrink)

Souvent, la science est associée à l'idée de progrès et d'émancipation des peuples. Il en fut ainsi au temps des Lumières, puis sous la Révolution française. Elle est parfois aussi contestée en raison même du progrès et de ses conséquences: destruction de la nature, productivisme à outrance... Les scientifiques sont alors considérés comme indifférents aux valeurs humanistes, acteurs d'une " science sans conscience " au service des pires projets, totalitaires, racistes, brutalement colonisateurs. A quelles conditions la science peut-elle aujourd'hui avancer (...) et faire avancer l'homme? Faut-il généraliser le principe de précaution? Dans un monde où la science est financée, organisée ou stimulée d'une part par la puissance publique et d'autre part par le marché, qui décide in fine? Comment faire vivre le lien entre liberté des scientifiques et progrès social? Quels sont les rapports entre démocratie et science? Et, si la science a encore un avenir, quel est-il? (shrink)

Johnny Hallyday was France's first rock and roll star and was honored as a national hero at his funeral, which was attended by nearly a million people. The funeral of Pierre Boulez, on the other hand received little fanfare. This book attempts to resolve this discrepancy.

Philosophy & Social Criticism, Volume 48, Issue 4, Page 631-641, May 2022. Academic freedom is currently threatened not only in dictatorial or authoritarian regimes but in democracies as well. Thus, this analysis of the contemporary French experience, in which we observe a destructive climate maintained by intellectuals and political actors on both the right and the left. The extremization, intolerance, and radicalization of debates have increased since the election of Emmanuel Macron in 2017. At the same time, university institutions often (...) appear overwhelmed or powerless in the face of both internal and external dangers. (shrink)

Art historians and philosophers often talk about the interpretive significance of titles, but few have bothered with their historical origins. This omission has led to the assumption that an artwork's title is its proper name, since names and titles share the essential function of facilitating reference to their bearers. But a closer look at the development of our titling practices shows a significant point of divergence from standard analyses of proper names: the semantic content of a title is often crucial (...) to the identification, individuation, and interpretation of its associated artwork. This paper represents a first step towards an empirically centred study of our titling practices. I argue that, in order to accept titles as proper names, we must first recognize the social, rather than the referential, function of naming. (shrink)

It is often thought that the boundaries and properties of art-kinds are determined by the things we say and think about them. More recently, this tendency has manifested itself as concept-descriptivism, the view that the reference of art-kind terms is fixed by the ontological properties explicitly or implicitly ascribed to art and art-kinds by competent users of those terms. Competent users are therefore immune from radical error in their ascriptions; the result is that the ontology of art must begin and (...) end with conceptual analysis. Against this tendency towards concept-driven ontology, I offer a trio of objections derived from: the cultural and temporal variability of concepts of art, the systematic tendency, on the part of would-be ontological assessors, to err on the side of familiar categories or, conversely, to exaggerate minor differences between familiar and unfamiliar practices, and the influence artworld precedents exert over expert and folk concepts alike. These considerations, I argue, mandate an epistemic humility that is simply unavailable to the concept-descriptivist. (shrink)

In this contribution, we look – both historically and in the present – at how children are objectified in data and how it is assumed that this objectivation is a way to dismiss ideology, or at least to separate the ideological from the scientific. We argue, however, that the separation of data from ideology is itself a highly ideological choice. As Freire points out: education never was and never can be objective. The objectivation of the child and, more generally, of (...) pedagogy means that the agenda that this serves remains veiled. A closer look at what data are put forward as the means to objectify education reveals that this agenda is deeply individualistic and fit to serve a competitive capitalist society. We argue that if this is the case, it ought to be the result of democratic debate and, therefore, we need more, not less, ideologies in pedagogy, because facts and data are always embedded in ideologies. And so they should be. (shrink)

La 4e de couv. indique: "Dans un contexte de massification des élèves et de réforme de l'enseignement philosophique en France, cet ouvrage, qui s'adresse aux étudiants et professeurs de philosophie, à leurs formateurs et plus généralement à tous eux qui s'intéressent aux Nouvelles Pratiques Philosophiques (NPP), voudrait rendre compte des recherches menées ces trente dernières années sur la question de la didactique de la philosophie, et proposer un certain nombre de pistes pratiques pour développer l'apprentissage du philosopher tant chez les (...) élèves que chez les adultes.". (shrink)

Comment repenser la sexualité et le « genre »? Relire la Genèse et le Prologue de l'évangile de Jean à partir de prémisses féministes donne une idée très vive de la chape idéologique et conceptuelle qui a été coulée sur l’inconscient collectif par les monothéismes, finalement assistés par les catégories philosophiques platoniciennes.

Il y a la mémoire, au féminin, personnelle ou collective, et les mémoires, masculin pluriel, livrés par un personnage, célèbre ou inconnu. Entre les deux quels rapports? Les seconds se nourrissent de la première... mais l'arrangent à leur façon. L'authenticité de la mémoire est altérée par l'oubli, alors que, pour sa part, le mémorialiste peut enjoliver à sa guise. Mémoire vraie contre mémoires faux? Pour en juger, cet essai prélude par un récit personnel dans lequel l'auteur tente de restituer une (...) vérité sur ce qu'a représenté dans sa vie l'empreinte des guerres qu'il a traversées. En contrepoint, il interroge à partir d'un cas exceptionnel les "vrais faux" mémoires de Fouché, la partie adverse. Suit la mémoire bien menacée de la Révolution française, enchaînant sur celle des villes, Aix ou Arles, ou la fortune historique d'un opéra de Mozart, pour finir ou presque sur le rapport de la mémoire à la mort en passant par l'oubli, mais pourquoi pas aussi à l'amour? (shrink)

Aesthetics: 50 Puzzles, Paradoxes, and Thought Experiments is a teaching-focused resource, which highlights the contributions that imaginative scenarios—paradoxes, puzzles, and thought experiments alike—have made to the development of contemporary analytic aesthetics. The book is divided into sections pertaining to art-making, ontology, aesthetic judgements, appreciation and interpretation, and ethics and value, and offers an accessible summary of ten debates falling under each section. -/- Each entry also features a detailed annotated bibliography, making it an ideal companion for courses surveying a broad (...) collection of topics and readings in aesthetics. (shrink)

This seminal, multidisciplinary book shows how mathematics can be used to study the first principles of DNA. Most importantly, it enriches the so-called "Chargaff's grammar of biology" by providing the conceptual theoretical framework necessary to generalize Chargaff's rules. Starting with a simple example of DNA mathematical modeling where human nucleotide frequencies are associated to the Fibonacci sequence and the Golden Ratio through an optimization problem, its breakthrough is showing that the reverse, complement and reverse-complement operators defined over oligonucleotides induce a (...) natural set partition of DNA words of fixed-size. These equivalence classes, when organized into a matrix form, reveal hidden patterns within the DNA sequence of every living organism. Intended for undergraduate and graduate students both in mathematics and in life sciences, it is also a valuable resource for researchers interested in studying invariant genomic properties. (shrink)

Les Leçons d'histoire de la philosophie du droit sont un jalon fondamental de la philosophie du droit de Michel Villey. Elles ambitionnent de construire une synthèse des apports nécessaires et successifs de l'histoire de la philosophie : " Il ne suffit plus de s'installer dans le sillage du seul Thomas, celui de Kant ou celui de Comte ; mais toutes ces doctrines ensemble sont les données de notre problème. Seule aura chance d'être acceptée par le corps social, seule pourra (...) devenir efficace, seule sera vraie la philosophie qui aura su réunir et réconcilier, sans en sacrifier aucun, ces aspects encore dispersés de la tradition. " A l'heure en particulier où les juges retrouvent progressivement leur rôle social fondamental, les juristes doivent relire ces développements qui leur confèrent collectivement le lourd privilège de réaliser la Justice, non pas idéale, mais simplement possible et concrète. (shrink)

This book is the final outcome of two projects. My first project was to publish a set of texts written by Schrodinger at the beginning of the 1950's for his seminars and lectures at the Dublin Institute for Advanced Studies. These almost completely forgotten texts contained important insights into the interpretation of quantum mechanics, and they provided several ideas which were missing or elusively expressed in SchrOdinger's published papers and books of the same period. However, they were likely to be (...) misinterpreted out of their context. The problem was that current scholarship could not help very much the reader of these writings to figure out their significance. The few available studies about SchrOdinger's interpretation of quantum mechanics are generally excellent, but almost entirely restricted to the initial period 1925-1927. Very little work has been done on Schrodinger's late views on the theory he contributed to create and develop. The generally accepted view is that he never really recovered from his interpretative failure of 1926-1927, and that his late reflections are little more than an expression of his rising nostalgia for the lost ideal of picturing the world, not to say for some favourite traditional picture. But the content and style of Schrodinger's texts of the 1950's do not agree at all with this melancholic appraisal; they rather set the stage for a thorough renewal of accepted representations. In order to elucidate this paradox, I adopted several strategies. (shrink)

Chi biasima la pittura, biasima la natura . . . . Stephen Newton is a 53 year old professional artist with a doctorate from the Centre for Psychotherapeutic Studies at the University of Sheffield. He is therefore one of a niche academic fraternity working the disputed borderlands between empirical cognitive science, psychoanalysis as a school of neurophilosophy, psychoanalysis as a clinical professionalism, and the philosophy of art. This is his first high profile book, and it stands proudly in a series (...) which goes back to Freud's 'Leonardo' and which includes Ehrenzweig's 'The Psychoanalysis of Artistic Vision and Hearing' , Kuhn's 'Psychoanalytic Theory of Art' , Gedo's 'The Artist and the Emotional World' , Glover's 'Psychoanalytic Aesthetics' , and a host of anthropological input from the likes of Andr? Leroi-Gourhan, Michel Lorblanchet, Georges Sauvet, Jean Clottes, and Howard Morphy. The book's seven chapters fall into two neat sections, namely an early theoretical statement on the psychodynamics of artistic creation, followed by an erudite application and extension of that theory. (shrink)

Annoncé à grand fracas, le décryptage do génome humain devait nous révéler le secret ultime de la vie et ouvrir la voie à de nouvelles thérapies miracles. Espoirs déçus : à l'ère de la post-génomique, les secrets du vivant sont maintenant recherchés dans les théories de la complexité, dans la convergence des efforts des biologistes, des physiciens et des mathématiciens. Comment comprendre la signification de cette succession rapide d'objectifs apparemment différents, de cette alternance d'espoirs et de désillusions? Dans ce livre (...) novateur, Michel Morange propose une clé pour rendre compte de ces difficultés, et de beaucoup d'autres analogues touchant toutes les branches de la biologie. Les annonces sensationnelles reflètent l'espoir toujours déçu qu'une explication unique pourrait suffire. Or les faits biologiques - comme ceux relevant de bien d'autres disciplines scientifiques -ne peuvent être expliqués par un principe d'intelligibilité unique. Exemples à l'appui et de façon très pédagogique, Michel Morange montre pourquoi des explications différentes doivent être articulées pour décrire le fonctionnement des macromolécules aussi bien que l'évolution humaine ou le développement des cancers. Admettre une idée aussi simple n'est pas évident, car tout scientifique a été formé à privilégier un principe d'intelligibilité particulier. L'articulation entre explications différentes est pourtant indispensable pour le progrès des connaissances ; elle est aussi une exigence éthique ; elle est requise pour que la science conserve sa place dans nos sociétés. (shrink)

Emergence is interpreted in a non-dualist framework of thought. No metaphysical distinction between the higher and basic levels of organization is supposed, but only a duality of modes of access. Moreover, these modes of access are not construed as mere ways of revealing intrinsic patterns of organization: They are supposed to be constitutive of them, in Kant’s sense. The emergent levels of organization, and the inter-level causations as well, are therefore neither illusory nor ontologically real: They are objective in the (...) sense of transcendental epistemology. This neo-Kantian approach defuses several paradoxes associated with the concept of downward causation, and enables one to make good sense of it independently of any prejudice about the existence (or inexistence) of a hierarchy of levels of being. (shrink)

Contient le résumé du cours publié dans l'"Annuaire du Collège de France", 76e année, Histoire des systèmes de pensée, année 1974-1975.

Attempting art: an essay on intention-dependenceIt is a truism among philosophers that art is intention-dependent—that is to say, art-making is an activity that depends in some way on the maker's intentions. Not much thought has been given to just what this entails, however. For instance, most philosophers of art assume that intention-dependence entails concept-dependence—i.e. possessing a concept of art is necessary for art-making, so that what prospective artists must intend is to make art. And yet, a mounting body of anthropological (...) and art-historical evidence and philosophical argument suggests that not only is such a criterion unsatisfied by most of the art-historical canon, but it also rests on a false premise: concepts of 'art' are not shared between cultures, nor even in the same culture across time. My dissertation aims to rectify this error by first exploring what our commitment to art's intention-dependence actually entails, and then showing that, properly understood, intention-dependence sets a number of important constraints on theories of art with respect to explanatory desiderata such as the success- and failure-conditions of art-attempts, the cross-cultural identification of art, and the reference of 'art' and art-kind terms. I begin by situating art's intention-dependence in the philosophical literature on intentional action, arguing that, properly conceived, intention-dependence is a weak criterion which can be satisfied either directly or indirectly. It therefore does not necessarily entail concept-dependence. I then use this distinction to motivate a new treatment of the success- and failure-conditions for art-attempts, arguing that the extant model's emphasis on compliance with 'the manner intended' is far too restrictive to capture actual artistic practices. I go on to show that Ruth Millikan's model of linguistic conventions supplies an independently plausible explanation of art's concept-independent origins in terms of the development of a system of indirectly intention-dependent conventions called an 'artworld'. I argue that this account of artworld development supplies us with the tools we need to distinguish art-kinds from other artifactual kinds. Finally, I turn my attention to methodological issues, arguing that even though 'art' is a social kind with its roots in arbitrary and historically-contingent networks of conventions, the philosophy of art is not merely an exercise in bare conceptual analysis. In fact, there is now a great deal of evidence to show that the ways we think about 'art' are inconsistent, incomplete, imperialistic, and largely unprincipled. Yet I argue that this does not mean that the artworld data have no bearing on theories of art. Instead, I argue that our best reflective understanding of our artworld practices sets the constraints on the reference of 'art' and art-kind terms. I argue that we have no privileged epistemic access to the ontology of social kinds; our only privilege lies in our ability to determine the proper subject of our inquiries. (shrink)

The two major options on which the current debate on the interpretation of quantum mechanics relies, namely realism and empiricism, are far from being exhaustive. There is at least one more position available, which is metaphysically as agnostic as empiricism, but which shares with realism a committment to considering the structure of theories as highly significant. The latter position has been named transcendentalism after Kant. In this paper, a generalized version of Kant's method is used. This yields a reasoning that (...) one is entitled to call a transcendental deduction of some major formal features of quantum mechanics. (shrink)

... PREFACE Paul Gochet (Liege) "[...] une entite physique ne peut etre envisagee que comme une sorte de concretisation, de consolidation locale dans un ...

With this profound final work, completed in the days leading up to his death, Michel Serres presents a vivid picture of his thinking about religion—a constant preoccupation since childhood—thereby completing Le Grand Récit, the comprehensive explanation of the world and of humanity to which he devoted the last twenty years of his life. Themes from Serres's earlier writings—energy and information, the role of the media in modern society, the anthropological function of sacrifice, the role of scientific knowledge, the problem (...) of evil—are reinterpreted here in the light of the Old Testament accounts of Isaac and Jonah and a variety of Gospel episodes, including the Three Wise Men of the Epiphany, the Transfiguration, Peter's denying Christ, the Crucifixion, Emmaus, and the Pentecost. Monotheistic religion, Serres argues, resembles mathematical abstraction in its dazzling power to bring together the real and the virtual, the natural and the transcendent; but only in its Christian embodiment is it capable of binding together human beings in such a way that partisan attachments are dissolved and a new era of history, free for once of the lethal repetition of collective violence, can be entered into. (shrink)