Performing Difference is a compilation of seventeen essays from some of the leading scholars in history, criticism, film, and theater studies. Each author examines the portrayal of groups and individuals that have been traditionally marginalized or excluded from dominant historical narratives. As a meeting point of several fields of study, this book is organized around three meta-themes: race, gender, and genocide. Included are analyses of films and theatrical productions from the United States, as well as essays on cinema from Southern (...) and Central America, Europe, and the Middle East. Topically, the contributing authors write about the depiction of race, ethnicities, gender and sexual orientation, and genocides. This volume assesses how the performing arts have aided in the social construction of the "other" in differing contexts. Its fundamental premise is that performance is powerful, and its unifying thesis is that the arts remain a major forum for advancing a more nuanced and humane vision of social outcasts, not only in the realm of national imaginations, but in social relations as well."--Jacket. (shrink)

This collection fills a gap in the current literature in philosophy and film by focusing on the question: How would thinking in philosophy and film be transformed if race were formally incorporated moved from its margins to the center? The collection’s contributors anchor their discussions of race through considerations of specific films and television series, which serve as illustrative examples from which the essays’ theorizations are drawn. Inclusive and current in its selection of films and genres, the collection incorporates dramas, (...) comedies, horror, and science fiction films into its discussions, as well as recent and popular titles of interest, such as _Twilight_, _Avatar_, _Machete_, _True Blood_, and _The Matrix _and _The Help_. The essays compel readers to think more deeply about the films they have seen and their experiences of these narratives. (shrink)

This book is about film's encounter with love throughout the medium's history. It is also about the philosophy of love... [it] outlines a new metaphysics and ontology of love as a reciprocal erotic relationship. This study argues that film's special narrative language is particularly well suited to depicting love in this way. It begins with early silent directors, such as Joseph von Sternberg, and concludes with contemporary filmmakers, such as Sophia Coppola; it also compares classical French and American love films (...) of the 1940s with modernist films by Luis Buñuel, François Truffaut, and Wong Kar Wai, amongst many others"--Page [4] of cover. (shrink)

Designed for classroom use, this authoritative anthology presents key selections from the best contemporary work in philosophy of film. The featured essays have been specially chosen for their clarity, philosophical depth, and consonance with the current move towards cognitive film theory Eight sections with introductions cover topics such as the nature of film, film as art, documentary cinema, narration and emotion in film, film criticism, and film's relation to knowledge and morality Issues addressed include the objectivity of documentary films, fear (...) of movie monsters, and moral questions surrounding the viewing of pornography Replete with examples and discussion of moving pictures throughout. (shrink)

Designed for classroom use, this authoritative anthology presentskey selections from the best contemporary work in philosophy offilm. The featured essays have been specially chosen for theirclarity, philosophical depth, and consonance with the current movetowards cognitive film theory Eight sections with introductions cover topics such as thenature of film, film as art, documentary cinema, narration andemotion in film, film criticism, and film's relation to knowledgeand morality Issues addressed include the objectivity of documentary films,fear of movie monsters, and moral questions surrounding the (...) viewingof pornography Replete with examples and discussion of moving picturesthroughout. (shrink)

The paper sketches the place of dynamic semantics within a broader picture of developments in philosophical and linguistic theories of meaning. Some basic concepts of dynamic semantics are illustrated by means of a detailed analysis of anaphoric definite and indefinite descriptions, which are treated as contextually dependent quantificational expressions. It is shown how a dynamic view sheds new light on the contextual nature of interpretation, on the difference between monologue and dialogue, and on the interplay between direct and indirect information.

Tractatus Logico-Pilosophicus, the only book published during Ludwig Wittgenstein's lifetime , has since attracted the imagination of generations of philosophers as a work of great philosophical genius. Nonetheless, even today, more than eighty years later, philosophers are struggling to reconcile its diverse themes within a single, coherent picture. The present work is an attempt to meet this challenge. ;Wittgenstein considered the single proposition as a concrete model for the fact. The challenge is to show how a system of propositions can (...) serve as a model of reality. My work concentrates on three pillars of the logic of the Tractatus: the picture theory, negation as "reversal of sense," the independence of elementary propositions. Using a simple scenario of the ordering of objects or letters on a line, I examine the conflict generated by the attempt to adequately accommodate all three themes and offer my own solution. My solution brings implications to the problem of negation and to the Tractatus's thesis that the possibilities of logical space are spanned by the possible configurations of the ultimately simple objects. One such implication, which stands in contrast to the common reading, is that in atomic facts we have 'complex objects' as constituents. ;The resolution offered, furthermore, exposes an intrinsic difficulty in the Tractatus, for which I have reserved the term arbitrary choice. The difficulty is manifested in the lack of assurance---from the perspective of logic---that a concept-word will preserve its 'standard' meaning when it is reapplied or when its scope of application varies. In this I uncover the seed of central themes in Wittgenstein's later philosophy, e.g. the rule-following argument, as present already in the Tractatus. ;In the concluding chapter, I suggest a new account for the nature of the proposition by connecting the analysis offered in the Tractatus with the subject of time and motion. The picture with which the work concludes then considers language not as corresponding to reality, but as engaged or synchronized with reality---if you will, it is a picture of language and reality in a dance. (shrink)

A COMPANION TO MOTION PICTURES AND PUBLIC VALUE A Companion to Motion Pictures and Public Value brings together original essays by world-renowned scholars investigating the varied intersections of the moving image and the public good. Covering a wide range of types and genres of cinema, this unprecedented volume explores the past, present, and possible future contributions of motion pictures to public value. With a cross-disciplinary approach, the text presents original conceptual work, global perspectives, philosophical arguments, historical discussion, (...) empirical research, and specific case studies of the direct and indirect public value developed through motion pictures. Organized into seven thematic sections, this Companion identifies and discusses the various kinds of values that motion pictures can deliver, including artistic and aesthetic, ethical and moral, spiritual and religious, cultural, environmental, political, and cognitive. Throughout the text, readers are provided with deep insight into the issue of public value as it relates to cinema and its positive impact on human life and society. A Companion to Motion Pictures and Public Value is an ideal textbook for advanced undergraduate and graduate courses in Film, Media, and Cultural Studies, and is a valuable resource for scholars across a variety of disciplines. (shrink)

Syntactic templates serve as schemas, allowing speakers to describe complex events in a systematic fashion. Motion events have long served as a prime example of how different languages favor different syntactic frames, in turn biasing their speakers toward different event conceptualizations. However, there is also variability in how motion events are syntactically framed within languages. Here, we measure the consistency in event encoding in two languages, Spanish and Swedish. We test a dominant account in the literature, namely that (...) variability within a language can be explained by specific properties of the events. This event-properties account predicts that descriptions of one and the same event should be consistent within a language, even in languages where there is overall variability in the use of syntactic frames. Spanish and Swedish speakers (N= 84) described 32 caused motion events. While the most frequent syntactic framing in each language was as expected based on typology (Spanish: verb-framed, Swedish: satellite-framed, cf. Talmy,2000), Swedish descriptions were substantially more consistent than Spanish descriptions. Swedish speakers almost invariably encoded all events with a single syntactic frame and systematically conveyed manner of motion. Spanish descriptions, in contrast, varied much more regarding syntactic framing and expression of manner. Crucially, variability in Spanish descriptions was not mainly a function of differences between events, as predicted by the event-properties account. Rather, Spanish variability in syntactic framing was driven by speaker biases. A similar picture arose for whether Spanish descriptions expressed manner information or not: Even after accounting for the effect of syntactic choice, a large portion of the variance in Spanish manner encoding remained attributable to differences among speakers. The results show that consistency in motion event encoding starkly differs across languages: Some languages (like Swedish) bias their speakers toward a particular linguistic event schema much more than others (like Spanish). Implications of these findings are discussed with respect to the typology of event framing, theories on the relationship between language and thought, and speech planning. In addition, the tools employed here to quantify variability can be applied to other domains of language. (shrink)

Emotions play at least three key roles in cinema. First, many motion pictures present highly emotional situations, involving characters who fall in love, who endure unbearable loss, and who become hell-bent on revenge. To make sense of movies, we must identify the emotions that drive their characters. Second, motion pictures seem to arouse emotions. We go to tearjerkers that make us cry, splatter films that make us writhe, and action films that keep us at the edges of our (...) seats. Third, these emotional experiences are, ostensibly, part of cinema’s allure; we value movies that evoke strong feelings. One might summarize these three observations by saying that movie-going involves emotion attribution, arousal, and motivation. Each of these has been a domain of philosophical contestation. How are emotions attributed when experiencing a cinematic fiction? Are genuine emotions really aroused? And do emotional experiences really bring us to the box office? This discussion explores controversies along these three dimensions. (shrink)

The success of movies like The Artist and Hugo recreated the wonder and magic of silent film for modern audiences, many of whom might never have experienced a movie without sound. But while the American silent movie was one of the most significant popular art forms of the modern age, it is also one that is largely lost to us, as more than eighty percent of silent films have disappeared, the victims of age, disaster, and neglect. We now know about (...) many of these cinematic masterpieces only from the collections of still portraits and production photographs that were originally created for publicity and reference. Capturing the beauty, horror, and moodiness of silent motion pictures, these images are remarkable pieces of art in their own right. In the first history of still camera work generated by the American silent motion picture industry, David S. Shields chronicles the evolution of silent film aesthetics, glamour, and publicity, and provides unparalleled insight into this influential body of popular imagery. Exploring the work of over sixty camera artists, Still recovers the stories of the photographers who descended on early Hollywood and the stars and starlets who sat for them between 1908 and 1928. Focusing on the most culturally influential types of photographs—the performer portrait and the scene still—Shields follows photographers such as Albert Witzel and W. F. Seely as they devised the poses that newspapers and magazines would bring to Americans, who mimicked the sultry stares and dangerous glances of silent stars. He uncovers scene shots of unprecedented splendor—visions that would ignite the popular imagination. And he details how still photographs changed the film industry, whose growing preoccupation with artistry in imagery caused directors and stars to hire celebrated stage photographers and transformed cameramen into bankable names. Reproducing over one hundred and fifty of these gorgeous black-and-white photographs, Still brings to life an entire long-lost visual culture that a century later still has the power to enchant. (shrink)

This article sets up a neurophenomenological approach to understanding cinema spectatorship in order to investigate how embodied engagement with technologies of sound and motion can foster a sense of experiential realism. It takes as a starting point the idea that the empirical study of emotive, perceptual, motor, and cognitive processes involved in film spectatorship is impoverished without a phenomenological account of the lived experience under investigation. Correspondingly, engaging with neuroscientific studies enriches the scope of phenomenological inquiry and offers new (...) insights into the film experience. Analysis of diverse films including Interstellar, Leviathan, San Andreas and The Thin Red Line reveals how technological innovations dating from Hale’s Tours to contemporary D-BOX and Dolby Atmos systems have enhanced the audience’s sense of immersion and corporeal investment in the film experience. Building on the research of Vivian Sobchack and Vittorio Gallese, I argue that aesthetic techniques including the use of low frequency sound effects and wearable cameras facilitate shared affective engagement and a form of embodied simulation associated with kinaesthetic empathy and augmented narrative involvement. (shrink)

This chapter surveys foundational concepts in the history of phenomenology for the purpose of highlighting their relevance for key contemporary issues in the philosophy of film. A central argument concerns phenomenology’s capacity for unraveling the ontology of film, given phenomenology’s emphasis on accounting for the ontology of phenomena through description based in first-person experience. On this ground, the chapter defends the claim that film’s ontology stems from the projective intentionality of the film viewer, where the communicative nature of embodied vision (...) also figures into play. The principal phenomenological frameworks taken up are those of Edmund Husserl, Martin Heidegger, and Maurice Merleau-Ponty, as well as the work of contemporary film scholar Vivian Sobchack. (shrink)

The paper sketches the place of dynamic semantics within a broader picture of developments in philosophical and linguistic theories of meaning. Some basic concepts of dynamic semantics are illustrated by means of a detailed analysis of anaphoric definite and indefinite descriptions, which are treated as contextually dependent quantificational expressions. It is shown how a dynamic view sheds new light on the contextual nature of interpretation, on the difference between monologue and dialogue, and on the interplay between direct and indirect information.

James A. Diefenbeck, Wayward Reflections on the History ofPhilosophyThomas R. Flynn Sartre, Foucault and Historical Reason. Volume 1:Toward an Existential Theory of HistoryMark Golden and Peter Toohey Inventing Ancient Culture:Historicism, Periodization and the Ancient WorldZenonas Norkus Istorika: Istorinis IvadasEverett Zimmerman The Boundaries of Fiction: History and theEighteenth‐Century British Novel.

This handbook brings together essays in the philosophy of film and motion pictures from authorities across the spectrum. It boasts contributions from philosophers and film theorists alike, with many essays employing pluralist approaches to this interdisciplinary subject. Core areas treated include film ontology, film structure, psychology, authorship, narrative, and viewer emotion. Emerging areas of interest, including virtual reality, video games, and nonfictional and autobiographical film also have dedicated chapters. Other areas of focus include the film medium’s intersection with contemporary (...) social issues, film’s kinship to other art forms, and the influence of historically seminal schools of thought in the philosophy of film. Of emphasis in many of the essays is the relationship and overlap of analytic and continental perspectives in this subject. (shrink)

The Philosopher at the End of the Universe demonstrates how anyone can grasp the basic concepts of philosophy while still holding a bucket of popcorn. Mark Rowlands makes philosophy utterly relevant to our everyday lives and reveals its most potent messages using nothing more than a little humor and the plotlines of some of the most spectacular, expensive, high-octane films on the planet. Learn about: The Nature of Reality from The Matrix, Good and Evil from Star Wars, Morality from Aliens, (...) Personal Identity from Total Recall, The Mind-Body dilemma from Terminator, Free Will from Minority Report, Death and the Meaning of Life from Blade Runner, and much more. A search for knowledge about ourselves and the world around us with a star-studded cast that includes: Tom Cruise, Plato, Harrison Ford, Immanuel Kant, Arnold Schwarzenegger, Friedrich Nietzsche, Sigourney Weaver, René Descartes, and Keanu Reeves. Rowlands anchors his discussions in easily understood everyday terms and relates them in a manner easy to identify with. Interspersed with a ready joke or two, he wonderfully explains why those SciFi movies we love so much are much deeper than they appear to be on the surface. Mark Rowlands's entertaining and stimulating guide is perfect for anyone searching for knowledge of the world around us. If Keanu can understand Descartes surely everyone can. (shrink)

Pack includes 2 titles from the popular Blackwell Philosophy Anthologies Series: Philosophy of Literature: Contemporary and Classic Readings - An Anthology Edited by Eileen John and Dominic McIver Lopes ISBN: 9781405112086 Essential readings in the philosophy of literature are brought together for the first time in this anthology. Contains forty-five substantial and carefully chosen essays and extracts Provides a balanced and coherent overview of developments in the field during the past thirty years, including influential work on fiction, interpretation, metaphor, literary (...) value, and the definition and ontology of literature Includes an additional historical section featuring generous selections of the writings of early pioneers such as Plato, Aristotle, Nietzsche, and Hume Serves as an ideal introduction to the philosophy of literature or the philosophy of art, as well as a handy compilation of contributions to the field by its leading figures Philosophy of Film and Motion Pictures: An Anthology Edited by Noël Carroll and Jinhee Choi ISBN: 9781405120272 Designed for classroom use, this authoritative anthology presents key selections from the best contemporary work in philosophy of film. The featured essays have been specially chosen for their clarity, philosophical depth, and consonance with the current move towards cognitive film theory Eight sections with introductions cover topics such as the nature of film, film as art, documentary cinema, narration and emotion in film, film criticism, and film's relation to knowledge and morality Issues addressed include the objectivity of documentary films, fear of movie monsters, and moral questions surrounding the viewing of pornography Replete with examples and discussion of moving pictures throughout. (shrink)

This paper focuses on whether static images can depict motion. It is natural to say that pictures depicting objects caught in the middle of a dynamic action—such as Henri Cartier-Bresson’s (1932) Behind the Gare St. Lazare—are pictures of movement, but, given that pictures themselves do not move, can we make sense of such an idea? Drawing on results from experimental psychology and cognitive sciences, I show that we can. Psychological studies on implicit motion and representational momentum indicate that (...) motion is really perceived in some static images: our visual system is built in order to detect motion, even where it is only implied, and to anticipate the probable outcomes of others’ actions—even when the ‘others’ are only the subject matters of pictures’. I argue that, consequently, a range of popular depiction theories—perceptualist theories of depiction—can accommodate depicted motion. (shrink)

How do we identify the "queer auteur" and their queer imaginings? Is it possible to account for such a figure when the very terms "queer" and "auteur" invoke aesthetic surprises and disorientations, disconcerting ironies and paradoxes, and biographical deceits and ambiguities? David A. Gerstner traces a history of ideas that spotlight an ever-shifting terrain associated with auteur theory and, in particular, queer-auteur theory. Engaging with the likes of Oscar Wilde, Walter Benjamin, James Baldwin, Jean Louis Baudry, Linda Nochlin, Jane Gallop, (...) Cáel Keegan, Luce Irigaray, and other prominent critical thinkers, Gerstner contemplates how the queer auteur in film theory might open us to the work of desire. Ultimately, Queer Imaginings is a journey in shared pleasures in which writing for and about cinema makes way for unanticipated cinematic friendships."--Page 4 of cover. (shrink)

Some of the world’s best-loved films can be used as springboards for examining enduring philosophical questions. _Philosophy Through Film_ provides guidance in how to watch films with an eye for their philosophical content, helping students become familiar with key topics in all of the major areas in Western philosophy, and helping them master the techniques of philosophical argumentation. The perfect size and scope for a first course in philosophy, _Philosophy Through Film_ assumes no prior knowledge of philosophy. It is an (...) excellent teaching resource and learning tool, introducing students to key topics and figures in philosophy through thematic chapters, each of which is linked to one or more "focus films" that illustrate a philosophical problem or topic. Revised and expanded, the Second Edition features a new chapter on political philosophy, an introductory chapter explaining how to watch films philosophically, an appendix with primary readings, and the addition of five new focus films. Films examined in depth include: _The Matrix_ _Vanilla Sky_ _Hilary and Jackie_ _Memento_ _I, Robot_ _Minority Report_ _Crimes and Misdemeanors_ _Antz_ _Equilibrium_ _The Seventh Seal_ _The Rapture_ _Leaving Las Vegas_. (shrink)

In this book, Richard Dien Winfield builds upon Hegel’s Aesthetics to provide a comprehensive and systematic analysis of the individual fine arts, which remedies Hegel's inconsistencies and major omissions. In addition to conceiving the general aesthetics and particular stylistic forms of architecture, sculpture, painting, music, and literature, Winfield determines the fundamental character of the new arts of photography and cinema that the master thinkers of aesthetics never had the opportunity to consider. Winfield’s analysis covers a wide-ranging array of artistic creations (...) from diverse periods and cultures, while engaging in debate with the most important aesthetic theorists of the past and present. (shrink)

The present collection of essays brings into dialogue Pier Paolo Pasolini (1922-1975) and Rainer Werner Fassbinder (1945-1982) by comparing their cultural and intellectual legacy. Pasolini and Fassbinder are amongst the last radical filmmakers to have emerged in Europe. Born in Italy and Germany, they inherited a traumatic social and political past which is reflected in their works through a number of similarly articulated and unresolved tensions: high and popular cultures, theatre, literature and cinema, ideology and narration, major and minor codes (...) of expression. The essays in this book examine the uncompromising character of Pasolini's and Fassbinder's films. Constantly oscillating between utopia and nihilism, these works invite us to reconsider subjective and collective questions which from today's perspective seem lost forever. (shrink)

Karen Barad develops a view she calls ‘posthumanism,’ or ‘agential realism,’ where the human is reconfigured away from the central place of explanation, interpretation, intelligibility, and objectivity to make room for the epistemic importance of other material agents. Barad is not alone in this kind of endeavor, but her posthumanism offers a unique epistemological position. Her aim is to take a performative rather than a representationalist approach to analyzing ‘socialnatural’ practices and challenge methodological assumptions that may go unnoticed in some (...) disciplinary fields. Yet for all the good of the challenge, Barad must support it with sound epistemological theorizing, theorizing that would apply to any methodology, whether that be sociological, historical, anthropological, or philosophical. Thus, where one might critique Barad on her assessments of sociological, historical, or anthropological incorporations of humans and the nonhuman, I critique Barad’s epistemology on its sense of objectivity and dismissal of the centrality of the human. I argue that Barad’s epistemology must retain a particular form of humanism, a humanism that stakes human subjectivity as the locus of rationality and objectivity, without which it creates intractable problems. To recuperate Barad’s challenge to contest assumptive distinctions while avoiding her epistemological problems, I offer some parting reflections. (shrink)

(1984). Showing Movement in Children's Pictures: a study of the effectiveness of some non‐mimetic representations of motion. Educational Studies: Vol. 10, No. 3, pp. 255-261.

Reproductive tourism is the travelling by candidate service recipients from one institution, jurisdiction, or country where treatment is not available to another institution, jurisdiction, or country where they can obtain the kind of medically assisted reproduction they desire. The more widespread this phenomenon, the louder the call for international measures to stop these movements. Three possible solutions are discussed: internal moral pluralism, coerced conformity, and international harmonisation. The position is defended that allowing reproductive tourism is a form of tolerance that (...) prevents the frontal clash between the majority who imposes its view and the minority who claim to have a moral right to some medical service. Reproductive tourism is moral pluralism realised by moving across legal borders. As such, this pragmatic solution presupposes legal diversity. (shrink)

Atension exists in Foucault’s writings concerning his alleged antihumanism. While his early archaeological period is taken to sediment his post-structuralist, anti-humanist methodology, Foucault still lets humanism creep into his writing, particularly in his later work. In the spirit of charity, I consider two ways of reading Foucault to overcome this tension: either emphasize his post-structuralism over his humanist leanings or take his humanism seriously and minimize his post-structuralism. After analysis, neither reading is adequate. I conclude that Foucault’s oeuvre is best (...) understood simply as incongruent, contrary to his own remarks to unify his writings and methodologies. (shrink)

Realism about the external world enjoys little philosophical support these days. I rectify this predicament by taking a relatively pragmatist line of thought to defend commonsense realism; I support commonsense realism through an interpretation and application of Donald Davidson’s notion of triangulation, the triangle composed of two communicators coordinating and correcting their responses with a shared causal stimulus. This argument is important because it has a crucial advantage over the often used abductive argument for realism. My argument avoids unwarranted conclusions, (...) whereas the abductive argument is “inflationary” because it reaches beyond the limits of evidence for its realist conclusion. To illustrate the problems of the abductive argument and motivate my Davidsonian approach, I take a brief look at the abductive argument for realism in Frederick Will’s work. (shrink)

There is a tendency, a bad tendency, to make epistemic agency the central focus of epistemology. In brief, epistemologists have traditionally elevated epistemic agency as the crucial issue to be addressed, and ask all other epistemological questions in light of that issue. This is not surprising given the Cartesian influence on epistemology, but I argue that epistemic agency should not always be the central focus of epistemology. There are times when giving central place to epistemic agency gets in the way (...) of good epistemology. In this paper, I show how one approach to a communitarian epistemology falters precisely because of the primacy given to epistemic agency. Specifically, I take a close look at Lynn Hankinson Nelson?s notion of epistemological communities in terms of epistemic agency and analyze both its merits and its shortcomings. This is an important analysis for general consideration given the trend in non-traditional epistemologies to look towards social complexes as the real seats of knowledge. But this is also important because my analysis pushes one to consider an alternative framing concept for epistemology?that of epistemic practises instead of epistemic agency. (shrink)

While some film theorists and philosophers have seen motion as a necessary element of cinema, this view is challenged by a body of avant-garde films which offer little or no movement. These experiments—by film-makers such as Andy Warhol, Larry Gottheim, and Michael Snow—challenge essentialist definitions of film, while simultaneously foregrounding the crucial role played by duration in cinema’s ontology.

Second Life is a free, three-dimensional, multi-user, online virtual world program created in 2003 by Linden Research Inc. In this paper, I recount the Introduction to Philosophy course I taught in Second Life for the University of Wisconsin-Whitewater and address five areas of interest: (1) traditional vs. non-traditional learning environments, (2) communication, (3) illustrative props, (4) student feedback, and (5) and potential concerns. My conclusion is that philosophy courses can be taught online in Second Life effectively and that philosophy instructors (...) need to be more aware of the educational possibilities of Second Life as education becomes increasingly more digital. (shrink)

Sri Aurobindo Ghose , the Indian Nationalist and yogi, developed in the period of his life at Pondicherry in Southeast India a system of thought, practice and experience which he called ‘Integral Yoga’. The title indicated, he said, that ‘it takes up the essence and many processes of the old Yogas — its newness is in its aim, standpoint and the totality of its method’. In the development of Integral Yoga Aurobindo believed he was speaking and acting as a ‘realized (...) yogi’ or, better still, a yogi who was in the process of realization. He had not attained a final experience of jñāna , but he believed he had experienced levels of supra-mental consciousness which would lead to the higher level of Supermind itself. (shrink)

ABSTRACT This paper deals with two cases of acquisition and construction of Van de Graaff accelerators in 1950s Latin America, at the National Autonomous University of Mexico and the University of São Paulo, respectively. A comparative approach allows us to appreciate the significance of this particular technology within scientific, cultural, commercial, and political processes. Van de Graaff accelerators appeared as an affordable technology to engage in experimental nuclear physics and to be part of the atomic age. The circumstances that motivated (...) physics communities in Brazil and Mexico to choose this specific technology took shape in close interactions with US institutions and scientists. These inter-American alliances involved precisely the main companies and groups that competed for the market of this technology around the world. These accelerators also intertwined with the building of campuses for two major Latin American universities, occupying then a singular place (physically and symbolically) within their execution. This paper engages with comparison for the common goal of going beyond frameworks and methodologies tied to the nation, while integrating the study of connections and interactions, as well as the interplay of multiple scales. (shrink)

In 1942, American Nobel Prize-winning physicist Arthur Compton pointed out that, “Because in this field of cosmic ray studies certain unique advantages are given by their geographical position, this field of physics has been especially emphasized in South America.” This paper seeks to interrogate the making of Latin America's uniqueness with respect to cosmic-ray research through an analysis that considers Compton's geographical argument, but also goes beyond it, referring to the interactions of nature, knowledge, practices, scientific communities, and diplomacy. To (...) begin with, it highlights the place-based strategies and practices associated with cosmic-ray research. Once research in the field at different altitudes demonstrated that cosmic rays traveled from outer space to the Earth surface, their nature was scrutinized by expeditions that covered broad vertical and horizontal expanses. The study of cosmic rays in Latin America displayed the mobilization of that strategy, which reinforced the reliability of certain sites located at high altitudes and close to the geomagnetic equator in projected investigations. Moreover, such analysis of cosmic rays involved research practices in the field, the emergence of (local, regional, or international) research traditions, and the creation of spaces of knowledge at different scales. By centering on the interaction of knowledge and place, this paper shows that an exploration of the “up-and-down journeys” of cosmic-ray research in Latin America expands our understanding of the geographies and practices of 20th-century physics. (shrink)

In Heidi Grasswick?s response to ??Epistemological communities? and the problem of epistemic agency,? she criticizes my move to reconceptualize epistemology as an affair primarily centered on epistemic practises instead of epistemic agency. In this paper, I address some of Grasswick?s counterpoints, and I restate my argument for why epistemology should be centered on practises instead of epistemic agency. However, to advance the discussion, I urge that a more fruitful dialogue would engage looking at what consequences and advantages might follow from (...) reframing epistemology around practises. Therefore, I entertain an additional advantage this turn to practises makes regarding the danger of apriorism, the prior construction and application of theoretical structures upon groups of people and their practises without consideration for the actuality of these people and their practises. I argue that reorientating one?s epistemology around practises gives adequate grounds to avoid aprioristic tendencies, whereas an epistemology primarily centered on epistemic agency can fall into trouble. (shrink)

Humanism is blurry. It can have some clarity, but it is mainly blurry. To say anything otherwise is to fool oneself. Yes, we can construct reasonable humanistic theories that attempt to organize our understanding, such as methodologicalhumanism where one unifies discourses or practices according to human subjects or substantivehumanism that touts the importance of humanity via some shared attribute or substance. But to suggest that one can delineate and define the full salience of humanity, whether great or small, in the (...) world we live and understand is to suppose a divine clarity that eludes our possession. Theorists use terms like ‘social causes,’ ‘matter,’ ‘construction,’ and ‘interpretation’ to help us figure out how our cognition and rationality work, and yet they woefully fail to capture the richness of our experiences, which blur distinctions between society and matter all the time. Every account of humanism should take stock of this difficulty, being careful to say only what one. (shrink)

Jean-Paul Sartre is known for his analysis of human consciousness. Surprisingly, however, he never takes seriously what it might mean to theorize God’s existence through that same understanding of consciousness. In this paper, I endeavor that analysis and outline the Sartrean conscious God, where nothingness haunts God’s own being. My argument is not to prove God’s existence through a Sartrean theology. My argument is only that a Sartrean theology centered on the conscious God is fully consistent within Sartre’s existentialism and (...) that such a conception of God should appeal to the Christian. (shrink)

Many work on flushing out what our consciousness means in cognitive and phenomenological terms, but no one has yet connected the dots on how consciousness and truth intersect, much less how our phenomenal consciousness can form the ground for most of our models of truth. Here, I connect those dots and argue that the basic structure of our phenomenal consciousness grounds the nature of truth as concordance, to harmonize in agreement, and that most extant theories on truth are well explained (...) in that grounding. Said another way, the unifying and bifurcating intentional structure of phenomenal consciousness is the non-epistemic ground of truth, such that most theories of truth can be explained as particular expressions of concordance based upon the differing aspects of that ground. (shrink)