This paper is a background study. It gives an overview of the institutions, decisive trends and major achievements of Hungarian philosophy at the beginning of the 20th century. Thus light is shed on the philosophical scenery which forms the background to the Lukács Circle. The paper discusses the relation of the Lukács Circle at the turn of the century to "official" Hungarian philosophy. First, the introduction portrays the various phases of the evolution of Hungarian institutions of philosophy. Then it (...) sketches the institutional scene at the turn of the century. Thirdly, it attempts to determine the relation of the Lukács Circle to the official academic philosophy, and also sketches some of its aspects after 1919-1920. (shrink)

This paper is a background study. It gives an overview of the institutions, decisive trends and major achievements of Hungarian philosophy at the beginning of the 20th century. Thus light is shed on the philosophical scenery which forms the background to the Lukács Circle. The paper discusses the relation of the Lukács Circle at the turn of the century to "official" Hungarian philosophy. First, the introduction portrays the various phases of the evolution of Hungarian institutions of philosophy. Then it (...) sketches the institutional scene at the turn of the century. Thirdly, it attempts to determine the relation of the Lukács Circle to the official academic philosophy, and also sketches some of its aspects after 1919-1920. (shrink)

In this essay, I discuss the philosophical significance of three features of the Phaedrus’s dramatic scenery: the myth of Boreas, the two trees Socrates singles out upon arriving at the grove, and the grove itself. I argue that attention to these three features of the dramatic scenery helps us better understand the Phaedrus’s account of erōs.

Previous research suggests that exposure to nature may reduce delay discounting and thereby facilitate healthier dietary intake. This pre-registered study examined the impact of online exposure to images of natural scenes on delay discounting and food preferences. It was predicted that exposure to images of natural scenes would be associated with: lower delay discounting; higher desirability for fruits and vegetables ; and delay discounting would mediate the effect of nature-image exposure on food desirability. Adult participants were recruited to an online (...) between-subjects experiment in which they viewed a timed sequence of six images either showing natural landscape scenes or urban scenes. They then completed measures of mood, delay discounting and rated their momentary desire to eat four fruits and vegetables, and four energy-dense foods. There was no statistically significant effect of experimental condition on delay discounting or food desirability. Bayes factors supported the null hypothesis for discounting, and energy-dense food desirability, but provided no strong evidence for either hypothesis for F&V desirability. These findings indicate that brief online exposure to images of nature does not affect momentary impulsivity or energy-dense food preference, whereas for preference for less-energy dense foods, the evidence was inconclusive. (shrink)

Il segreto della commedia dell’arte è stato nel paradosso di Maschera e Improvvisazione, Tipo Fisso e Testo Variabile, Conservazione e Innovazione. Per questo è stato nei secoli esaltata o denigrata: considerata reazionaria dalla Rivoluzione francese e esaltata come rivoluzionaria dai Romantici. Nel Novecento, Copeau, Mejerchol’d, Mnouchkine e Fo hanno dovuto fare i conti con questa ambivalenza. Dunque ciò che oggi si chiama commedia dell’arte è “reazionario” o “rivoluzionario”? “Popolare”o “populista”?

Bangladesh emerged as an independent country in the South Asia in 1971 after being separated from Pakistan. In 1971 it was a very poor country. The general people had a hope and dream that the political parties will develop the country and will eradicate poverty gradually, will provide jobs to the 50% unemployed people, will educate the 60% illiterate people; but their holy hope and dream have not been fulfilled due to frequent hostile political culture, beating, killing among the political (...) party members, no patriotism among the political leaders, massive corruption, unnecessary frequent strike, unnecessary opposition to the government policy etc. This paper has narrated the past and current social and political situation in Bangladesh briefly with the help of data collected from newspapers and statements given by intellectuals and political leaders. Descriptive and analytical research methodology has been applied in this paper to narrate the situation. (shrink)

A reviewer of the original edition in 1970 of "The Perfectibility of Man" well summarizes the scope and significance of this renowned work by one of the leading philosophers of the twentieth century: "Beginning with an analytic discussion of the various ways in which perfectibility has been interpreted, Professor Passmore traces its long history from the Greeks to the present day, by way of Christianity, orthodox and heterodox, the Renaissance, the Enlightenment, anarchism, utopias, communism, psychoanalysis, and evolutionary theories of man (...) and society. Both in its broad sweep and in countless supporting reflections, it is a journey through spiritual scenery of the most majestic and exhilarating kind." Thoroughly and elegantly, Passmore explores the history of the idea of perfectibility--manifest in the ideology of perfectibilism--and its consequences, which have invariably been catastrophic for individual liberty and responsibility in private, social, economic, and political life.John Passmore served for many years as a Professor of Philosophy at Australian National University. (shrink)

The purpose of this study is to analyse the teachings of religious moderation contained in the Wawacan Babad Walangsungsang script. This research employs a qualitative method with philology as the main analysis of the data, namely manuscript inventory, script description, script transfer, and language translation. The script shows the story of Prince Walangsungsang’s journey in search of spirituality, specifically Islam. Interestingly, he learned his spirituality through many non-Muslim teachers until he finally met Sheik Datuk Kahfi in Bukit Amparan Jati. The (...) result of this study shows that upon his spiritual journey while gaining knowledge he experienced magical scenery. The conclusion is the willingness of prince Walangsungsang to learn knowledge and ajimat from Budhaprawa teachers, the openness and support of Budhaprawa teachers about the Prophet’s shari’a and the explanation of Sheikh Datuk Kahfi (Muslim) for the religious search conducted by Prince Walangsungsang shows the beauty of speech that is rich with nuances of religious moderation. Contribution: This research is important as a basic reference for religious moderation, which is rooted in the local wisdom of the Sundanese culture and tradition and can be adopted to spread those in our interaction with other religions. (shrink)

It is not uncommon to read the Moomin tales through existentialist lenses. Although there might be natural reasons for focusing on and privileging the nine classical Moomin books, it would, however, be a mistake to overlook Jansson’s comic strips. This is so, not only because of the quality of Jansson’s drawings and because of the way she innovatively worked with and developed that graphic medium, but certainly also because of the stories they contain. When read alongside the books, the comic (...) strips add important aspects and nuances to Jansson’s portrayal of human existence. By allowing herself the freedom to radically change the setting and scenery of the stories, Jansson was able to explore quite different topics than was possible in the novels, and in particular to offer a somewhat different account of the role of customs, normality and tradition. (shrink)

When my family discusses how we should spend a summer holiday, we start from certain common understandings about our preferences. We prefer self-catering accommodation to hotels, and hotels to campsites. We prefer walking and looking at scenery and wildlife to big-city sightseeing and shopping. When it comes to walks, we prefer walks of six miles or so to ones which are much shorter or much longer, and prefer well-marked but uncrowded paths to ones which are either more rugged or (...) more popular. And so on. These common understandings greatly simplify the task of choosing between holiday destinations and activities, by allowing us quickly to eliminate many options. But what does it mean to say that we prefer one thing to another? (shrink)

This paper presents a pilot study that explores instances of objectless awareness during sleep: conscious experiences had during sleep that prima facie lack an object of awareness. This state of objectless awareness during sleep has been widely described by Indian contemplative traditions and has been characterised as a state of consciousness-as-such; while in it, there is nothing to be aware of, one is _merely_ conscious (cf. Evans-Wentz, 1960 ; Fremantle, 2001 ; Ponlop, 2006 ). While this phenomenon has received different (...) names in the literature, such as ‘witnessing-sleep’ and ‘clear light sleep’ among others, the specific phenomenological profile of this state has not yet been rigorously studied. This paper aims at presenting a preliminary investigation of objectless consciousness during sleep using a novel tool in qualitative research that can guide future research. Five participants experiencing objectless consciousness during sleep were interviewed following the _Micro-phenomenological Interview_ technique (MPI; Petitmengin, 2005, 2006 ). All participants reported an experience they had during sleep in which there was no scenery and no dream. This period labelled as ‘No Scenery/Void’ was either preceded by the dissolution of a lucid dream or by other forms of conscious mentation. The analysis of the results advances four experiential dimensions during this state of void, namely (1) Perception of absence, (2) Self-perception, (3) Perception of emotions, and (4) Perception of awareness. While the results are primarily explorative, they refer to themes found in the literature to describe objectless sleep and point at potential avenues of research. The results from this study are taken as indications to guide future operationalisations of this phenomenon. (shrink)

Since aesthetic experience is vital for the protection of nature, I address the relationship between environmental aesthetics and environmentalism. I first review two traditional positions, the picturesque approach and formalism. Some environmentalists fault the modes of aesthetic appreciation associated with these views, charging they are anthropocentric, scenery-obsessed, superficial, subjective, and/or morally vacuous. In light of these apparent failings of traditional aesthetics of nature, I suggest five requirements of environmentalism: that aesthetic appreciation of nature should be acentric, environment-focused, serious, objective (...) and morally engaged. I then examine two contemporary positions concerning appropriate aesthetic appreciation of nature, the aesthetics of engagement and scientific cognitivism, assessing each in terms of the requirements of environmentalism. (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Philosophers' Walks by Bruce BaughTim IngoldBaugh, Bruce. Philosophers' Walks. Routledge, 2022. 252pp.Yesterday evening, much to my satisfaction, I finished reading Bruce Baugh's Philosophers' Walks. The author ends by putting down his pen. It is time, he declares, "to put my boots on and walk out into the world" (236). For me, it was bedtime, but knowing that I was to write this review, I resolved to sleep on (...) it. On waking, I set out, as is my wont, for the short walk I take every morning before breakfast. The walk itself is nothing special: it takes in the streets of my neighborhood and a nearby park. Yet every day is different as the weather changes, trees come in and out of leaf, blooms flourish and wilt in front gardens, children on their way to school throng the streets in term-time only to vanish in vacations. Lately, a nineteenth-century fountain in the park has been lovingly restored, and every morning I am refreshed by its water-jets and tinkly sound. Most days I am writing in my head, on whatever I have on the go at the time. Walking briskly and on my own, I find that words that had tied me in knots the day before miraculously straighten themselves out with a rhythm and fluency matching my pace. I cannot, however, walk and write at the same time. It is physically impossible. So as the words come, I have to keep repeating them to myself, until I make it home. With no time to lose, I seize notebook, pencil, and spectacles to jot them down. Only when I have done so can I finally sit down to breakfast. And that's exactly what happened this morning. With my hastily scribbled notes, some good words, and the odd finished sentence, I am ready to write this review.I am not, of course, the first to have discovered the benefits of thinking-while-walking. Countless predecessors have done so before me, including some of the most celebrated figures of the past four centuries of European intellectual history. And so has Baugh. The idea behind his book is that if by walking, philosophers have arrived at many of their most cherished insights, then perhaps we could better take the measure of these insights not merely by reading their words but by retracing their steps, walking the same paths as they did. And this, precisely, is what [End Page 131] Baugh, often accompanied by his wife Diane Lindsay, set out to do. Each chapter, barring the introduction and conclusion, is devoted to one or sometimes two characters, and each blends reflection on their ideas and life-histories of walking with the author's recollection of attempting to follow in their footsteps, and of the experience and even self-knowledge gained from doing so. Some walks are in verdant countryside, or more spectacular Alpine scenery, others are in big cities like London and Paris. Baugh does not pretend that the walks of his chosen characters can be replicated exactly when so much has changed, in both rural areas and the urban fabric, since their heydays. Nor can we ever know exactly what was going through their heads at the time. It is nevertheless surprising how many echoes you can pick up from the past, so long as you keep your ears to the ground, and Baugh is an astute listener. For us, his readers, the book is an invitation to join in his travels, albeit at a distance, and by doing so, to enrich our understanding not only of his characters and of how they thought, but of ourselves as well.Though the book is called Philosophers' Walks, Baugh has cast his net wide to include characters for whom the epithet "poet," "artist," or "writer" might sooner come to mind than "philosopher." No matter: all such labels are a touch arbitrary, and it's the thought that counts. So here they are, in chronological order (not the order in which they appear in the book): Pierre Grassendi, Jean-Jacques Rousseau, Samuel Taylor Coleridge, Søren Kierkegaard, Friedrich Nietzsche, Virginia Woolf, André Breton, Jean-Paul Sartre, Simone de... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Selected Letters by William, Henry JamesWilliam James EarleWilliam and Henry James. Selected Letters. Edited by Ignas K. Skrupskelis and Elizabeth M. Berkeley. Introduction by John J. McDermott. Charlottesville VA: University Press of Virginia, 1997. Pp. xxxi + 570. $ 39.95.Almost fifty years of letters to and from the very diversely brilliant James brothers: in this volume a generous, and probably ample, selection of 216 from a total of (...) 740 surviving letters or postcards, from an original total, according to the present editors, of twice as many. This volume of correspondence reflects the deep, unquestioned, unshakable familial (and virtually statutory) closeness of William and Henry who happened, as adults, to be seldom in the same place. There is, it must be said, very little explicit philosophy, narrowly or broadly defined, in these letters, but the philosophical reader will—or ought to—find much raw material for philosophical reflection. For example, a reasonable historicist thesis of how brotherhood, or family connection generally, plays itself out is supported by these documents. The nineteenth century is not the same as the twentieth. For example, here is William’s comment on the will of his sister, Alice, who left more to her companion and care-giver, Katherine Loring, a [End Page 479] women of extraordinary virtue and burden, than to her brother Robertson: “I can well sympathize with Alice’s desire to leave her something handsome; but I must say that her own consent (being apparently privy to the will) strikes me as tant soit peu lacking in delicacy. Surely no one of us would like to be in such a position in her family or any other” (271). This would be, in 1998, a rather unenlightened and ungenerous attitude, but is natural enough in 1892, even if not quite inevitable, not being shared by Alice herself. There is, incidentally, much discussion of wills and bequests, for the Jameses were of the genteel class, people with small family money and modest private incomes for whom the wherewithal to maintain homes with servants and to provide themselves with country houses and recuperative European vacations was always a faintly embarrassing, and occasionally a pressing, problem.It is probably also true that the much-discussed question of Henry’s homosexuality has, somehow, to be recast in historically relative terms. Here is an early report—1869—of Henry’s from Oxford: “As I walked along the river I saw hundreds of the mighty lads of England, clad in white flannel & blue, immense, fair-haired, magnificent in their youth, lounging down the stream in their punts or pulling in straining crews & rejoicing in their godlike strength” (41). This could not, the point is, be said by anyone, gay or straight, in 1998. Yet Henry is neither generally naive nor uncritically anglophile. He says of the Warwickshire scenery, which in a way he likes, that it is “too monotonously sweet & smooth—too comfortable, too ovine, too bovine, too English in a word.” And he adds, a little surprisingly: “It seems like a vast show region kept up at the expense of the poor” (41). This is only one of many appealing comments not sparsely scattered, but unpredictably, in letters of more ordinary news. Here’s one I liked occasioned by seeing theater in Paris: “We talk about it & write about it & criticize & dogmatize & analyse to the end of time: but those brave players stand forth & exemplify it & act—create—produce!” (66).Of course the “wit and wisdom” are not the monopoly of Henry. Here is William being wise: “We all learn sooner or later that we must gather ourselves up and more or less arbitrarily concentrate our interests, throw much overboard to save any” (55–56). Again: “It is a sweet world, in the interstices of its bedevilment & brutality” (321). And William being funny: “Boils are surely the most slowly evolving things in nature—Christian doctrine is nothing to them” (393). He is talking about his own boils and was subject, at every period, to ailments and infirmities: “Since writing to you, I have been swimming in deep seas of influenza, gout and Erysipelas of the face” (443). Or as he, in 1900, sums it up: “My... (shrink)

Abstract:This article is contextualised by the ideological implications surrounding the notion of landscape, including the relationship between its genre in painting and the development of European capitalism. It proposes the idea of the landscape fragment derived from the background scenery of early Italian painting, which stands in counterpoint to assumptions about the genre. These early landscape spaces are pertinent because they are not considered ‘landscape’ as such and are not constructed by entrenched Cartesian dualisms. I argue it is possible (...) to re-evaluate restrictive assumptions about perspective and landscape, in order to raise questions of translatability and difference so as to replace the dominating norms habitually associated with these terms. (shrink)

My paper draws on examples from molecular biology, the details of which I have developed elsewhere (Rheinberger 1992, 1993, 1995, 1997). Here, I can give only a brief outline of my argument. Reduction of complexity is a prerequisite for experimental research. To make sense of the universe of living beings, the modern biologist is bound to divide his world into fragments in which parameters can be defined, quantities measured, qualities identified. Such is the nature of any "experimental system." Ontic complexity (...) has to be reduced in order to make experimental research possible. The complexity of the research object, however, is epistemically retained in the rich context of an experimental landscape, where the eruption of "volcanic systems" can change the scenery dramatically as the result of particular, unprecedented findings. (shrink)

Our investigation on Hilary Putnam’s internal realist perspective(internalism) traces parallels and identifies differences between Putnam’s ideasand their antipodes: metaphysical realist (externalism) and radical relativist. Ourresearch has focused upon the contemporary debate in which it is inserted, par-ticularly, upon the challenge that radical relativism to impose on contemporaryepistemology. Such challenge will not be surmounted through classical project tofind absolute certainties. The history of science to point out that theories are notnets that to catch the reality as it is in itself. But (...) this do not to imply that our viewof knowledge are only determined for contingent aspects. In this scenery are hard enterprise but it is worthy-while to take into account efforts of philosophersas Putnam to propose a via media. (shrink)

PurposeTo investigate how search engine users manipulate the rankings of search results. Search engines employ different ranking methods in order to display the “best” results first. One of the ranking methods is PageRank, where the number of links pointing to the page influences its rank. The “anchor text,” the clickable text of the hypertext link is another “ingredient” in the ranking method. There are a number of cases where the public challenged the Google's ranking, by creating a so‐called “Google bomb” (...) – creating links to pages they wanted to be highly ranked for given query. Google is chosen as the search engine, because it is currently by far the most popular search engine.Design/methodology/approachPageRank, one of the major parameters of Google's ranking algorithm is described, and the author explains how this algorithm is exploited by communities of users to promote a certain web page for a specific query. This process is called “Google bombing.” Recent reaction of Google to this phenomenon is also described.FindingsSpecific examples of “accomplished Google bombs” show that the public is able to manipulate search results.Originality/valueGoogle, instead of being an unobtrusive information retrieval tool has become highly influential in the web scenery. Some users pay for search engine optimization, while others utilize the power of the crowd to influence Google's rankings. This paper supports the claims of Introna and Nissenbaum regarding the power of search engines. (shrink)

Human aesthetic experiences are pervasive; they are triggered by faces, art, natural scenery, foods, ideas, theories, and decision-making situations, among many sources, and seem to be a distinctive trait of our species. Our moral sense, understood as our capacity to judge events, actions, or people as good or bad, appropriate or inappropriate, also seems to be an exclusively human endowment (Ayala 2010). As part of the scientific efforts to characterize the biological foundations of our human uniqueness, recently there has (...) been interest in the brain’s underpinnings of aesthetic reactions to art on the one hand, and in the neural correlates of moral judgment and decision-making on the other (Greene and Paxton .. (shrink)

This article introduces the unique Asian film technique of the “empty shot” from the perspective of Chinese philosophical thought and aesthetics. In Chinese cinema, the “empty shot” is understood as a shot comprised of nonhuman subjects, distinct from both the establishing shot and the cutaway. Perhaps due to the lack of understanding of its philosophical grounding, the “empty shot” has not received much attention in Anglophone film studies, and has been criticized as an overgeneralised concept. This article first relates the (...) “empty shot” to the more widely accepted “pillow shot” in Anglophone studies of Japanese cinema. This article aims to make visible a non-anthropocentric worldview conveyed through the “empty shot”, and to make space for the potentialities of this film device, which may also be found in non-Chinese cinemas. It explains the “empty shot”’s central features: firstly, its visible scenes are imbued with invisible emotion, leaving space for the audience to feel what the characters are feeling. Second, it facilitates the generation of qi or “air” in a film, indicating the circulation of qi in a process of dynamic transformation between “actual” and “virtual”. Thirdly, the “empty shot” communicates with the audience, allowing them to more fully experience natural scenery and to encounter other beings while suspending everyday experiences, existing biases, and the separation between self and other. (shrink)

The subject of analysis in the article is The Metamorphosis of Franz Kafka. The author attempts to capture various aspects of the Kafka space phenomenon in the context of the functioning of the wall / ceiling motif in this probably the most famous narrative of world literature. At the same time, the researcher treats Kafka’s work as an unsurpassed pattern of artistic scenery shaping: namely, which plasticity and concrete motifs and spatial relations make a kind of residuum of sublime, (...) symbolic meanings, realizing fully only through the imagination of the recipient, in the course of contemplative reading and accompanying it aesthetic experience. The argument leads to the conclusion that in his parabolic, absurd, full of understatement piece of work, Kafka does not reveal the sense of the story of a hero transformed into an arthropod, but allows us to experience this sense and presage it – as the content of our own lives. (shrink)

The standing screens on the title is the oldest work extant of KANO Motonobu's work as folding screens of thick colored flowers and birds with golden background. This thesis designates that the scenery and the motif of the work are in correspondence with both descriptions of the scenery of Pure Land in several Buddhist scriptures and the design of actual gardens. Firstly, a peacock on the right hand screen is focused to indicate the bird connotes the elements of (...) auspicious birds in Buddhism, such as Mahamayuri and Kalavinka.Secondly, the elements of the scenery in the work, such as the four seasons at the same time ∼ the depiction of perpetuity ∼ and the existence of a pond, are identified with the description of Pure Land in Kwan-mu-liang-shou-ching and Ta-wuliang-shou-ching. These elements of the garden in the work are placed similarly to the Pure Land style gardens, which are illustrated in "Center and Surrounds of Kyoto" 's. In consideration of the above factors, the conclusion that, in the work, KANO Motonobu succeeded to portray the ideal garden by combining the scenery of Pure Land and that of actual gardens, is drawn. (shrink)

Advances in technology might seem to help to temper belief in the supernatural, but it turned out that they served, for example, to prove the existence of the otherworldly. The appearance of photography was perceived by spiritualists as a possible way to demonstrate the existence of spirits. The reusing of stacked plates, the duration of the exposure, illumination, etc. often added details to the new photograph, so unintentionally additional images fell into the photograph, causing confusion. The article considers cases of (...) falsification of collisions of people with supernatural forces, imprinted on photos of XIX, XX and XXI centuries. as well as videos from the 20th and 21st centuries. Only 37% of the photos and 63% of the videos were falsified intentionally – exposure, editing, counterfeiting, scenery or acting actors, while 53% of the photos and 29% of the videos were unintentionally. It was an accident, a game of light and shadow, spoiled photo/video. Presented as supernatural can have a resemblance to a human figure, or be a spot, a shadow. Most of the evidence of encounters is unintentional, in the daytime, outside. The article examines the progress of technologies through which you can create fake pictures. Especially in modern times, the development of digital technologies had reached a level where it was impossible to distinguish between real and edited images. (shrink)

This book collects sixteen theses written by Professor Tang Yijie, one of the most prominent scholars of traditional Chinese philosophy. He argues that a general understanding of traditional Chinese philosophy can be achieved by a concise elaboration of its truth, goodness and beauty. He also asserts that goodness and beauty in Chinese philosophy, combined with the integration of man and heaven, knowledge and practice, scenery and feeling, reflect a pursuit of an ideal goal in traditional Chinese philosophy characterized by (...) the thought mode uniting man and nature. He also discusses the anti-traditionalism of the May Fourth Movement, explaining that the true value of "sagacity theory" in traditional Chinese philosophy, especially in Neo-Confucianism in the Song and Ming dynasties, lies in its insights into universal life. In addition, he stresses that existing ideas, issues, terminologies, concepts, and logic of Chinese philosophical thought were shaped by Western philosophy. It is necessary to be alienated from traditional status for the creation of a viable "Chinese philosophy." "Modern Chinese philosophy" in the 1930s and 1940s was comprised of scholarly work that characteristically continued rather than followed the traditional discourse of Chinese philosophy. That is to say, in the process of studying and adapting Western philosophy, Chinese philosophers transformed Chinese philosophy from traditional to modern. In Chapter 13, he puts forward the idea of a "New Axial Age." He emphasizes that the rejuvenation of Chinese culture we endeavor to pursue has to be deeply rooted in our mainstream culture with universal values incorporating cultures of other nations, especially the cultural essence of the West. (shrink)

Much of the critical praise for the film concerns the first of these aims. Bigelow’s use of at least four film crews for every scene affords the sense of being present in the situation, continuously shifting perspective, alert to possible danger. The relative anonymity of the scenery, clearly somewhere in the Middle East but not clearly anywhere in particular, fosters this uneasy sense of immersion in an unfamiliar scenario where the sources of danger are unpredictable. Protracted periods of silence, (...) punctuated by incidental sounds that often turn out to be irrelevant, increase this tension. The occasional quiet ring of tinnitus imparts a sense of the incessant nature of the soldiers’ anxiety. Much of the negative criticism of the film, on the other hand, concerns the psychology of its central characters. Some veterans of the war in Iraq have claimed that it is a wildly inaccurate portrayal of the attitudes and behaviour of professional soldiers. (shrink)

Two essential components make up the semantic information that was used to pinpoint the video events. They consist of: (a) A spatial component of a video frame, such as the scenery, visible people, and visible objects. (b) A temporal component that is represented by a series of video frames across time, such as the actions of a character or the movements of an object. The video's audio, video, and text components are examined in order to provide the higher-level semantic (...) data. The semantic structure of the movie is discovered using a variety of cues from many modalities, such as auditory and visual elements, bridging the gap between high level semantic notions and low level qualities. A video contains three distinct modalities. The three are as follows: (1) Visual modality, which refers to the scene seen in the video; (2) Auditory modality, which refers to spoken words, background music, and other noises; and (3) Textual modality, which refers to written materials that describe the subject matter of the movie. There are numerous video databases and a sizable amount of video data in general. Even while there are tools for maintaining and exploring these collections, many decision-making applications increasingly require tools to extract the critical information hidden in the video data. (shrink)

This paper presents a pilot study that explores instances of objectless awareness during sleep: conscious experiences had during sleep that prima facie lack an object of awareness. This state of objectless awareness during sleep has been widely described by Indian contemplative traditions and has been characterised as a state of consciousness-as-such; while in it, there is nothing to be aware of, one is merely conscious (cf. Evans-Wentz, 1960; Fremantle, 2001; Ponlop, 2006). While this phenomenon has received diferent names in the (...) literature, such as ‘witnessing-sleep’ and ‘clear light sleep’ among others, the specifc phenomenological profle of this state has not yet been rigorously studied. This paper aims at presenting a preliminary investigation of objectless consciousness during sleep using a novel tool in qualitative research that can guide future research. Five participants experiencing objectless consciousness during sleep were interviewed following the Micro-phenomenological Interview technique (MPI; Petitmengin, 2005, 2006). All participants reported an experience they had during sleep in which there was no scenery and no dream. This period labelled as ‘No Scenery/Void’ was either preceded by the dissolution of a lucid dream or by other forms of conscious mentation. The analysis of the results advances four experiential dimensions during this state of void, namely (1) Perception of absence, (2) Self-perception, (3) Perception of emotions, and (4) Perception of awareness. While the results are primarily explorative, they refer to themes found in the literature to describe objectless sleep and point at potential avenues of research. The results from this study are taken as indications to guide future operationalisations of this phenomenon. (shrink)

Olmsted was an influential landscape architect whose works include many parks, recreation grounds and more. Inspired by Romantic and transcendentalist thinkers, he developed ‘pastoral transcendentalism’, a style of designing parks that mimicked natural spaces to reproduce their values within cities. Although environmental justice scholars have pointed out how these designs limit access to parks, I argue that environmental philosophers have not adequately discussed Olmsted, particularly his axiology of nature. Reflecting on it reveals how environmental injustice consists not only of restricting (...) access to nature to protect its essential value – for Olmsted, scenery that could induce a contemplative mindset – but in delimiting nature's value without consideration of how people actually appreciate it. (shrink)

This article reviews recent findings indicating some common brain processes during dissociative states and dreaming with the aim to outline a perspective that neural chaotic states during dreaming can be closely related to dissociative states that may manifest in dreams scenery. These data are in agreement with various clinical findings that dissociated states can be projected into the “dream scenery” in REM sleep periods and dreams may represent their specific interactions that may uncover unusual psychological potential of creativity (...) in psychotherapy, art and scientific discoveries. (shrink)

Growing evidence suggests that natural environments – whether in outdoor or indoor settings – foster psychological health and physiological relaxation, indicated by increased wellbeing, reduced stress levels, and increased parasympathetic activity. Greater insight into differential psychological aspects modulating psychophysiological responses to nature-based relaxation videos could help understand modes of action and develop personalized relaxation interventions. We investigated heart rate variability as an indicator of autonomic regulation, specifically parasympathetic activity, in response to a 10-min video intervention in two consecutive studies as (...) well as heart rate. We hypothesized that a nature-based relaxation video elicits HRV increase and HR decrease, with response magnitude being affected by aspects of early life adversity and trait mindfulness. In Study 1, N = 60 participants watched a relaxation video intervention depicting different natural scenery. We analyzed changes in HR and respiratory sinus arrhythmia as a standard HRV measure, both based on 3-min segments from the experimental session, in multiple growth curve models. We found a decrease in HR and increase of RSA during the video intervention. Higher paternal care and lower trait mindfulness observing skills were associated with higher RSA values before but not during video exposure. In Study 2, N = 90 participants were assigned to three video conditions: natural scenery from Study 1, meditation video, or short clip from “The Lord of the Rings.” Again, HR decreased, and RSA increased during video segments, yet without expected group differences across different video types. We found higher parental care and lower parental overprotection to predict higher RSA at different times during the experiment. Interestingly, lower paternal overprotection predicted overall higher RSA. These results suggest a generic relaxation effect of video interventions on autonomic regulation that we discuss in light of different theories mapping restorative effects of natural environments. Further, psychological characteristics like aspects of early life adversity and trait mindfulness could contribute to individual differences in autonomic regulation. This study contributes to a better understanding of autonomic and psychological responses to relaxation videos. (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)

Your digital camera is the perfect travel companion. You don't need to pack extra film, worry about airport scanners, budget for processing costs, or wait until you get home to learn whether you got that once-in-a-lifetime shot. Tuck this book in beside your Frommer's travel guide and you'll have everything you need for fantastic photos-how to watch for the right opportunity, compose the picture, work with lighting-even how to edit and upload from the road. * Learn what you must take (...) along and which accessories are nice to have * Capture the soul of a city, its people, and its sights * Include fellow travelers without shooting stereotypes * Take great shots even where flash is prohibited or your light sources are limited * Explore scenarios and expert tips for photographing scenery, wildlife, events, exhibits, and much more * Post your photos on the Web before you get home. (shrink)

Chinese painting is dominated by landscape painting, which is a unique form of artistic expression for Chinese people, while landscape generally refers to nature. Wild natural landscape can be called “wilderness,” which embodies the vitality and upward vitality of nature, and also contains unique cultural characteristics. “Wilderness” is the most important “original ecological” environment in the natural environment. Its existence has natural, ecological, and aesthetic significance. It is nature in its primitiveness and ecology in its wildness; the aesthetic lives on (...) in it. Compared with Western landscape painting, it pays particular attention to realism, good at depicting beautiful natural scenery and recording the reality of scenery. On the other hand, Chinese landscape painting pays more attention to the expression of connotation. Chinese landscape painting focuses on nature, takes meaning as its purpose and pursues culture. Chinese landscape painting is the outstanding expression of wilderness spirit, which is mainly manifested in three aspects: Chinese landscape painting is of the same origin as “Tao” ; the “wilderness” in landscape painting has a strong vitality; “wilderness” has a special cultural connotation. China’s wilderness is not ecological, but is vibrant; not in the dust, but out of the dust; not in nature, but in culture. (shrink)

Since 1961, the experimental exploration at the fundamental level of physical reality has surprised physists by revealing to them a highly geometric scenery. Like Einstein's (classical) theory of gravity, the “standard model,” describing the strong, weak, and electromagnetic interaction, testifies in favor of Plato's reported allegation.

In the works of Giovanni Boccaccio (1313–1375) we find various descriptions of Italian landscapes and gardens. They include arcadian and allegorical sceneries, well arranged gardens, beautiful landscape sceneries and even panoramas of wild nature. Unlike Petrarch Boccaccio shows himself capable of focussing on nature without any signifying intention or interpretation, thus placing himself, inspite of his medieval heritage, at the threshold of modernity.

La concepción de Derechos Humanos se ha desarrollado a lo largo de la historia con diferentes modalidades transformándose en un campo de acción con fundamentación propia. Este artículo analiza el fundamento de los Derechos Humanos como un accionar en sociedad conformado por un macroescenario institucional constituído para su ejercicio así como de los microescenarios donde variados actores desempeñan roles, defienden intereses distintos, engendrando ópticas que alcanzan finalmente soluciones concretas que inciden directamente en nuestra vida cotidiana.The conception of the human rights (...) has developed throughout history in different modes thus becoming an action field with its own foundations. This article analyses the foundations of the human rights as a way of acting in society, conformed by an institutional macro scenery constituted for its exercise, as well as by micro sceneries where a variety of actors perform roles, defend different interests, thus generating a number of perspectives that finally achieve concrete solutions that impact directly on our everyday life. (shrink)

O objetivo deste artigo é mostrar que a concepção de liberdade situa-se no rol da crítica levinasiana à ontologia ocidental e no cenário da ética como filosofia primeira. Levinas concebe, então, a liberdade como acolhimento do Outro. A liberdade deve cessar de manter-se na certeza solitária da supremacia do Mesmo sobre o Outro. Assim, Levinas distancia-se da ontologia e recorre à proximidade não como estado de consciência que conceitua, mas como relação proximal que clama por justiça e responsabilidade. PALAVRAS-CHAVE – (...) Levinas. Liberdade. Proximidade. Ética. Ontologia. Justiça. Outro. ABSTRACT The aim of this article is show that the conception of freedom lies in the roll of levinasian’s critique on the occidental ontology and on the scenery of ethics as first philosophy. Levinas conceives freedom as reception of Other. The freedom must cease maintaining on the solitary certainty of the Same’s supremacy above Other. Consequently Levinas distances himself from the ontology and runs over the proximity not as state of conscience that judges but as proximate relation that claims for justice and responsability. KEY WORDS – Levinas. Freedom. Proximity. Ethics. Ontology. Justice. Other. (shrink)

The European policies acknowledge greenways and “Green Infrastructure” as strategically planned and delivered networks comprising the broadest range of green spaces and other environmental features. The Aniene River, linking the eastern suburbs of Rome to the City of Tivoli, has been envisaged in a multi-level approach as a Green-Blue Infrastructure able to hinder land use fragmentation and provide new continuity to remainders of open space. In turn, landscape is taken into account as a biodiversity reservoir, the scenery of outstanding (...) cultural heritage and the relevant backdrop of ordinary life. (shrink)