The present study pursues three objectives. First, to expose and discuss the contributions of the philosopher José Ortega y Gasset to the phenomenological study of gestures and emotive gesture. Secondly, to critically review one of the central theses defended by Ortega, according to which “every expressive phenomenon”—including, therefore, the emotive gesture—involves “a transposition, that is to say, an essential metaphor.” This thesis invites us, in the third objective, to establish a dialogue between phenomenology and cognitive linguistics (as developed by Lakoff, (...) Langacker and Talmy), assuming an experientialist position vis‐à‐vis human reason and language, in opposition to the objectivist and formalist position of Chomsky's generative linguistics. In this interdisciplinary context, we will study the phenomenon of emotive gesture, in particular the expression of the emotion of anger, as analyzed phenomenologically by Ortega y Gasset. (shrink)

En este estudio introductorio presentamos la traducción castellana del artículo de Edmund Husserl “La idea de una cultura filosófica. Su primera germinación en la filosofía griega” publicado originalmente en 1923 en la Japanisch-deutsche Zeitschrift für Wissenschaft und Technik. Asimismo, ofrecemos una contextualización histórico-filosófica del artículo que presentamos, situándolo en el conjunto de la obra de Husserl, y prestando especial atención a su estrecha relación con los artículos que Husserl publicó sobre esta misma temática en la revista japonesa Kaizo entre 1923 (...) y 1924, recopilados y traducidos al castellano bajo el título de "Renovación del hombre y de la cultura".The present paper offers an introduction to the Spanish translation of "The Idea of a Philosophical Culture: Its First Germination in Greek Philosophy" by Edmund Husserl, first published in 1923 in Japanisch-deutsche Zeit-schrift für Wissenschaft und Technik. It contextualizes it historically and philosophically within Husserlian work. We pay special attention to the link between the afore mentioned article and other publications from 1923-1924, that appeared in Japanese journal Kaizo, and which focus on similar issues. The latter were published in Spanish translation under joint title "Renovación del hombre y de la cultura". (shrink)

En el contexto del homenaje filosófico que rendimos a Lester Embree, este trabajo intenta ofrecer un análisis genético del Análisis reflexivo del filósofo norteamericano, tomando como hilo conductor el debate público y privado entre Lester Embree y Javier San Martín, e intentando profundizar en los problemas que nos plantean. Para ello me remitiré, en un segundo momento, a dos ensayos de Ludwig Landgrebe publicados en Faktizität und Individuation. Finalmente, como cierre de este escrito, añado un breve “Epílogo para orteguianos. Lester (...) Embree in memoriam”.As a part of the philosophical tribute we render to Lester Embree, this essay aims at presenting a genetic analysis of the Reflective Analysis of the American philosopher, by focusing on the public and private debate between Lester Embree and Javier San Martín, and trying to deepen the problems that they pose to us. For this I will refer, in a second part, to two essays of Ludwig Landgrebe published in Faktizität und Individuation. Finally, as conclusion of this paper, I add a brief "Epilogue for Orteguian. Lester Embree in memoriam". (shrink)

En este artículo continuamos el debate con Graham Harman en torno a la filosofía de Ortega, la fenomenología de Husserl y la re-lación entre fenomenología y realismo especulativo. Tras exponer los antecedentes y los temas centrales del debate en un apartado introductorio, dividimos nuestro trabajo en tres grandes apartados. En el primero se exponen algunos conceptos fundamentales de la fenomenología, sobre todo el sentido del idealismo trascendental; la peculiaridad fenomenológica del concepto de inmanencia, y en consecuencia los conceptos de reducción (...) y epojé. En el siguiente apartado se clarifica la vinculación de Ortega y Gasset con el movimiento fenomenológico, que se da hasta mitades de 1929 sin ninguna reticencia, y expo-niendo la crítica orteguiana a partir de ese momento, pero relativizándola. En el apartado último y tercero, al hilo de la discusión crítica de la interpretación que Harman mantiene de am-bas cuestiones, ampliamos el debate a la relación entre fenomenología y realismo especulativo, respondiendo a las objeciones que nos plantea el filósofo norteamericano en su escrito anterior.In this essay we continue the debate with Graham Harman around Ortega's philosophy, Husserl's phenomenology, and the relationship between phenomenology and speculative realism. After presenting the background and the central themes of the debate in an introductory section, we divide our paper into three main sections. In the first one, some fundamental concepts of phenomenology are exposed, especially the meaning of transcendental idealism; the phenomenological peculiarity of the concept of immanence, and consequently the concepts of reduction and epoché. In the following section, the link between Ortega y Gasset and the phenomenological movement is clarified, which runs until the middle of 1929 without any reluctance, then the Ortega criticism is exposed from that moment, but relativizing it. In the last and third section, following the critical discussion of Harman's interpretation of both questions, we extend the debate to the relationship between phenomenology and speculative realism, responding to the objections raised by the American philosopher in his previous writing. (shrink)

Este artículo es una respuesta a la crítica de Noé Expósito Ropero —que se basa en gran medida en la visión de Javier San Martín— a mi interpretación de la filosofía de José Ortega y Gasset. El resultado del argumento de Expósito Ropero es que Ortega es más fenomenólogo de lo que yo considero, que me equivoco al pen-sar que existen los “objetos reales” más allá de los objetos intencionales de Edmund Husserl, y que ningún objeto inanimado puede (...) ser tratado como un “yo”. Como réplica, respondo a cada una de estas acusaciones.This article is a response to Noé Expósito Ropero’s critique—which draws heavily on the views of Javier San Martín—of my interpretation of the philosophy of José Ortega y Gasset. The upshot of Expósito Ropero’s argument is that Ortega is more of a phenomenologist than I realize, that I am wrong to think there is any such thing as “real objects” beyond Edmund Husserl’s intentional objects, and that no inanimate object can be treated as an “I.” In response, I answer each of these charges. (shrink)

Opposing Viewpoints is the leading source for libraries and classrooms in need of current-issue materials. The viewpoints are selected from a wide range of highly respected sources and publications.

"Perception is not something that happens to us, or in us," writes Alva Noe. "It is something we do." In Action in Perception, Noe argues that perception and perceptual consciousness depend on capacities for action and thought — that ...

A noted philosopher and member of the Institute for Cognitive and Brain Science examines flaws in current understandings about consciousness while proposing a radical solution that argues that consciousness must not be limited to the confines of the brain.

In The Entanglement, philosopher Alva Noë explores the inseparability of life, art, and philosophy, and argues that we have radically underestimated the significance of this long recognized but underappreciated reality, what he refers to as the "entanglement." The core of The Entanglement is the idea that human existence is inextricably aesthetic and philosophical. In the first half of the book, Noë offers a detailed examination of pictures and seeing, writing and speech, and choreography and dancing, which serve as case studies (...) and the base in which the phenomenon of entanglement is set. In later chapters, Noë deepens this analysis by exploring the nature of the aesthetic itself, and its place in our lives, examining what the entanglement can teach us about science, and, in particular, the project of applying science in the domain of the human. In these later chapters he covers a range of topics, including sex, gender, and the body, psychology and AI, the problem of style, and the nature of 'nature.' Drawing on his work in perception, consciousness, and the philosophy of art, Noë offers a new model for thinking about the nature of the human, the limits to what a natural science of the human can do on its own, and the irreplaceable importance of art and philosophy for the larger project of studying and understanding ourselves. (shrink)

There is a traditional scepticism about whether the world "out there" really is as we perceive it. A new breed of hyper-sceptics now challenges whether we even have the perceptual experience we think we have. According to these writers, perceptual consciousness is a kind of false consciousness. This view grows out of the discovery of such phenomena as change blindness and inattentional blindness, which show that we can all be quite blind to changes taking place before our very eyes. Such (...) radical scepticism has acute and widespread implications for the study of perception and consciousness. The writings collected in this volume explore these implications. The contributors are scientists and philosophers at the forefront of this research, and include well-known authors such as psychologists Susan Blackmore and Arien Mack, and philosophers Andy Clark and Daniel Dennett. They have an gift for bringing these paradoxical issues to life and sharing their excitement with the non-specialist. (shrink)

Surfing Uncertainty: Prediction, Action and The Embodied Mind, by ClarkAndy. Oxford and New York: Oxford University Press, 2016.

Introduction: free presence -- Conscious reference -- Fragile styles -- Real presence -- Experience of the world in time -- Presence in pictures -- On over-intellectualizing the intellect -- Ideology and the third realm.

_Philosophy of Art_ is a textbook for undergraduate students interested in the topic of philosophical aesthetics. It introduces the techniques of analytic philosophy as well as key topics such as the representational theory of art, formalism, neo-formalism, aesthetic theories of art, neo-Wittgensteinism, the Institutional Theory of Art. as well as historical approaches to the nature of art. Throughout, abstract philosophical theories are illustrated by examples of both traditional and contemporary art including frequent reference to the avant-garde in this way enriching (...) the readers understanding of art theory as well as the appreciation of art. Unique features of the textbook are: * chapter summaries * summaries of major theories of art and suggested analyses of the important categories used when talking and thinking of art * annotated suggested readings at the ends of chapters. Also available in this series: _Epistemology_ Pb: 0-415-13043-3: £12.99 _Ethics_ Pb: 0-415-15625-4: £11.99 _Metaphysics_ Pb: 0-415-14034-X: £12.99 _Philosophy of Mind_ Pb: 0-415-13060-3: £11.99 _Philosophy of Religion_ Pb: 0-415-13214-2: £12.99. (shrink)

Some cognitive states — e.g. states of thinking, calculating, navigating — may be partially external because, at least sometimes, these states depend on the use of symbols and artifacts that are outside the body. Maps, signs, writing implements may sometimes be as inextricably bound up with the workings of cognition as neural structures or internally realized symbols (if there are any). According to what Clark and Chalmers [1998] call active externalism, the environment can drive and so partially constitute cognitive processes. (...) Where does the mind stop and the rest of the world begin? If active externalism is right, then the boundary cannot be drawn at the skull. The mind reaches – or at least can reach --- beyond the limits of the body out into the world. (shrink)

Thi Nguyen develops the view that games are, at least potentially, works of art that afford players the opportunity to experiment with agency and have aesthetically significant experiences. In this paper, I critically discuss this proposal. You can make art out of games, I argue, but only at the price of making bad games. I explore the significance of this rivalry between games and art.

A selection of essays written by one of the leading critics of film over the last two decades, this volume examines theoretical aspects of film and television through penetrating analyses of such genres as soap opera, documentary, comedy, and such topics as 'sight gags', film metaphor, point-of-view editing, and movie music. Throughout, individual films are considered in depth. Carroll's essays, moreover, represent the cognitivist turn in film studies, containing in-depth criticism of existing approaches to film theory, and heralding a new (...) approach. (shrink)

In this short paper I propose that the sensorimotor approach to perception is a tree yielding two distinct theoretical fruits. One fruit is sensorimotor reductionism. The other is sensorimotor integrationism. In this paper I try to explain what makes these fruits different.

Experiments on scene perception and change blindness suggest that the visual system does not construct detailed internal models of a scene. These experiments therefore call into doubt the traditional view that vision is a process in which detailed representations of the environment must be constructed. The non-existence of such detailed representations, however, does not entail that we do not perceive the detailed environment. The “grand illusion hypothesis” that our visual world is an illusion rests on (1) a problematic “reconstructionist” conception (...) of vision, and (2) a misconception about the character of perceptual experience. (shrink)

_The Routledge Companion to Philosophy of Literature_ is an in-depth examination of literature through a philosophical lens, written by distinguished figures across the major divisions of philosophy. Its 40 newly-commissioned essays are divided into six sections: historical foundations what is literature? aesthetics & appreciation meaning & interpretation metaphysics & epistemology ethics & political theory _The Companion_ opens with a comprehensive historical overview of the philosophy of literature, including chapters on the study’s ancient origins up to the 18 th -20 th (...) centuries. The second part defines literature and its different categories. The third part covers the aesthetics of literature. The fourth and fifth sections discuss the meaning and consequences of philosophical interpretation of literature, as well as epistemological and metaphysical issues such as literary cognitivism and imaginative resistance. The sixth section contextualizes the place of philosophy of literature in the "real world" with essays on topics such as morality, politics, race and gender. Fully indexed, with helpful further reading sections at the end of each chapter, this Companion is an ideal starting point for those coming to philosophy of literature for the first time as well as a valuable reference for readers more familiar with the subject. (shrink)

ABSTRACT Dance and music serve in this essay to exemplify both the looping entanglement of art and life as well as the account of art and philosophy developed in Strange Tools. This essay replies to criticisms of Carrie Noland, Nancy S. Struever, and Thomas Rickert and also offers a briefer restatement of the general approach.

_Philosophy of Motion Pictures_ is a first-of-its-kind, bottom-up introduction to this bourgeoning field of study. Topics include film as art, medium specificity, defining motion pictures, representation, editing, narrative, emotion and evaluation. Clearly written and supported with a wealth of examples Explores characterizations of key elements of motion pictures –the shot, the sequence, the erotetic narrative, and its modes of affective address.

In this paper I explore a brand of scepticism about perceptual experience that takes its start from recent work in psychology and philosophy of mind on change blindness and related phenomena. I argue that the new scepticism rests on a problematic phenomenology of perceptual experience. I then consider a strengthened version of the sceptical challenge that seems to be immune to this criticism. This strengthened sceptical challenge formulates what I call the problem of perceptual presence. I show how this problem (...) can be addressed by drawing on an enactive or sensorimotor approach to perceptual consciousness. Our experience of environmental detail consists in our access to that detail thanks to our possession of practical knowledge of the way in which what we do and sensory stimulation depend on each other. (shrink)

Resumen El presente artículo se ocupa de analizar las estrategias comunicativas de la prensa digital española destinadas a amenazar la imagen de la mujer política. Metodológicamente nos situamos en la Lingüística pragmática, en los estudios de la (des)cortesía y en el Análisis del Discurso. La hipótesis que se plantea es que los medios de comunicación que se examinan no participan en el progreso que experimenta la sociedad en materia de igualdad de género, aunque en apariencia lo hacen mediante lo políticamente (...) correcto. Sin embargo, se advierten estrategias comunicativas orientadas a la agresión. El objetivo del artículo, por tanto, se centra en comprobar si efectivamente existen estrategias comunicativas en los periódicos destinadas a agredir la imagen de la mujer política, en cuanto mujer, con la finalidad de desvirtuar y desautorizar su ejercicio político. Para dicho fin se analiza un corpus de textos periodísticos diferentes géneros recogidos en cuatro rotativos digitales españoles de distinto perfil ideológico-político. Los resultados muestran que la aplicación de la corrección política, el eufemismo o pseudo-eufemismo en el lenguaje del periódico junto a otras estrategias de comunicación ligadas al lector, son aprovechadas por el medio para encubrir posibles ataques dirigidos a la imagen de la mujer política. (shrink)

In the past decade, the notion of a neural correlate of consciousness (or NCC) has become a focal point for scientific research on consciousness (Metzinger, 2000a). A growing number of investigators believe that the first step toward a science of consciousness is to discover the neural correlates of consciousness. Indeed, Francis Crick has gone so far as to proclaim that ‘we … need to discover the neural correlates of consciousness.… For this task the primate visual system seems especially attractive.… No (...) longer need one spend time attempting … to endure the tedium of philosophers perpetually disagreeing with each other. Con- sciousness is now largely a scientific problem’ (Crick, 1996, p. 486).2 Yet the question of what it means to be a neural correlate of consciousness is actually far from straightforward, for it involves fundamental empirical, methodological, and _philosophical _issues about the nature of consciousness and its relationship to the brain. Even if one assumes, as we do, that states of consciousness causally depend on states of the brain, one can nevertheless wonder in what sense there is, or could be, such a thing as a neural correlate of consciousness. (shrink)

In the past decade, the notion of a neural correlate of consciousness has become a focal point for scientific research on consciousness. A growing number of investigators believe that the first step toward a science of consciousness is to discover the neural correlates of consciousness. Indeed, Francis Crick has gone so far as to proclaim that ‘we need to discover the neural correlates of consciousness. For this task the primate visual system seems especially attractive. No longer need one spend time (...) attempting to endure the tedium of philosophers perpetually disagreeing with each other. Consciousness is now largely a scientific problem’. Yet the question of what it means to be a neural correlate of consciousness is actually far from straightforward, for it involves fundamental empirical, methodological, and philosophical issues about the nature of consciousness and its relationship to the brain. Even if one assumes, as we do, that states of consciousness causally depend on states of the brain, one can nevertheless wonder in what sense there is, or could be, such a thing as a neural correlate of consciousness. (shrink)

"Works of art sometimes leave us speechless. But they almost never shut us up. They can't. There's just too much to say. Talking about art doesn't leave things as they are; it changes everything. To look, to think, to say what you see, or why you respond as you do, this changes what you see and it changes your response. The effort and the caring remake us. They remake us, in real time, as we listen to the song, or examine (...) the painting, or watch the movie. This is not unique to art, of course. What I have just outlined goes for all experience and is really life's first principle: life is a process of growth and reorganization, a process that commences right then when we first act, for we reorganize ourselves and develop in response to the ways what we do changes what we undergo, as Dewey might have said. But art aims at this; there is art so that we may remake ourselves, and also, so that we may catch ourselves in the act of this remaking. Art requires creation, even from its beholder. Yogi Berra was right: you can see a lot by observing. But observation - the effort and the caring - this requires thought, attention, focus. It can be play, but it is also work-like. Art always proposes a task, and the task is neither easy nor quite well-enough defined. The task, though, is only this: try to perceive, try to bring what is there into focus. If you do this, you will find yourself unveiled and, to whatever little extent, put together anew. The crucial thing to accept is that we don't get all this - the wow, the pleasure, the unveiling, and the reorganization - just for the price of admission. We have to join in, turn on, throw thoughts and reactions at the works themselves, position ourselves to catch them on the rebound, and allow room for emotions, not always positive. This is something we typically do with other people, and in the field cast by their responses and their words and argument. Works of art are always strange provocations; sometimes they offend us; more often they leave us untouched, unaffected, even bored. And this is where their value lies. Each of the short writings collected here is an exercise in giving art and myself the time to let something happen; I try to do this work so that art may do its work. Some of them were written while I was working on my 2015 book Strange Tools: Art and Human Nature, and they flow from the same well of curiosity that nourished that project. The title is borrowed from Joshua C Taylor's famous Learning To Look, which was the first book about art that I ever read"--. (shrink)

Correspondence: Alva Noë, Department of Philosophy, University of California, Berkeley CA 94720-2390, USA. _Email: [email protected]_ Evan Thompson, Philosophy Department, York University, 4700 Keele Street, North York, Ontario, M3J 1P3, Canada. _Email: [email protected]_.

Cet article s’attache à décrire l’évolution dans l’amitié entre Chŏng Yakyong et Yi Kigyŏng. Beaucoup de choses les rapprochaient, objectivement. Tous deux étaient de brillants lauréats du concours du doctorat de 1789, tous deux étaient membres de la même faction politique, les Namin (les ''Sudistes''), tous deux étaient fonctionnaires civils à la cour du roi Chŏngjo ( r. 1776-1800) dans la Corée de l'ère Chosŏn (1392-1897), et tous deux jouèrent un rôle important dans cette période de grands changements, à la (...) fois socio-politiques, religieux, culturels et intellectuels, que vécut alors la Corée. Chŏng Yakyong s’intéressa à de nombreuses branches différentes du savoir occidental qui parvenait alors à la Corée, et il embrassa même, brièvement après sa confession, la foi chrétienne en 1784. Se sentant critiqué et calomnié, il la renia publiquement en 1797, mais son ami Yi Kigyŏng, auteur du Pyŏgwip’yŏn 闢衛編 ( Compilation de documents pour le rejet de l’hétérodoxie et la défense de l’orthodoxie ), ne voulut jamais y croire. Cet ami devint même un ennemi au point qu’il l’attaqua violemment, en 1801, ce qui valut à Chong Yakyong un long et douloureux bannissement jusqu’en 1818. À travers la lecture des textes dont nous disposons, officiels et personnels, nous tentons de comprendre ce qui s'est joué alors et d'analyser l’évolution de leur amitié face à ce qui les divisa – ces événements qui furent tragiques pour beaucoup de monde. (shrink)

Music is a cultural Ideological State Apparatus. In such a lens, this paper proceeds in the manner of Althusser’s argument, and the critique applies to popular music in the Philippines vis-à-vis Gramsci’s cultural hegemony. With such a framework, this paper looks into the albums of Musikang Bayan from 2001 to 2019 and employs qualitative content analysis. In doing so, the themes are dealt with vis-à-vis the Philippine socio-politico-economic condition. The country’s socio-cultural atmosphere in the mainstream music industry is “not so” (...) critical since social institutions are part of the relations of class domination. Only if music is oriented with the people’s struggle will it become scientific and carry forward emancipatory politics transforming society. Musikang Bayan encapsulates the militant-materialist-progressive-nationalist music against the ‘fetish-character’ of today’s neoliberal capitalist ideology; hence, it articulates the collective consciousness through music. (shrink)

Comment comprendre phénoménologiquement la crise? Pour Husserl et Henry, la crise revêt un aspect négatif, de mise à l'écart et de rejet. Heidegger a une position paradoxale parce qu'il en va de notre condition d'être en crise. Tous les trois phénoménologues sont d'avis que Galilée est le précurseur de la crise non seulement de la science elle-même mais aussi à travers la science et la technique de la crise du sujet et de l'être. La crise de la subjectivité (Husserl) va (...) alors coïncider avec le sujet qui n'est plus à même de constituer le sens de sa vie ; celle de l'être (Heidegger) avec la fuite de la vérité et du sens de l'être lui-même, celle de la vie (Michel Henry) avec le rejet de la sensibilité. Comment alors sortir de ces crises? Il s'agit de retrouver le monde-de-la-vie, la différence ontologique entre l'être et l'étant et une phénoménologie radicale qui rend compte de la vie. Tout ceci doit offrir un déplacement vers l'éthique. (shrink)