Ahmet Hamdi Tanpınar feels the civilization crisis in his soul like the most of the intellectuals who witnessed the last days of the Ottoman State and the establishment of the Republic. This uneasy intellectual of the Republic tries to find peace with a reasonable synthesis, such as changing to continue and continuing to change. The soul of time and space pervades every line that comes out of Ahmet Hamdi Tanpınar's pen. In his poem Time in Bursa (Bursa’da Zaman), which (...) deals with Ottoman life manifestations, is written to Bursa, known for its profound influence on the Tanpınar, where the synthesis of culture is seen on each corner. To comprehend Tanpınar’s poetry, it is necessary to think about time, space, memory, history, dream and imagination. These concepts take place in the lines of the Tanpınar as a call to the forgotten social identity. It is certain that imaginative memory has a collective dimension. The cultural memory that transcends individual life and becomes historical re-establishes the past by way of recollection. At this point, memory holds on to time and space against forgetting. For this reason, Ahmet Hamdi Tanpınar looks at time and space with another perspective. The poet, aware of the interaction of time and space with memory, attributes a symbolic meaning to these concepts. In this study, time and space perception of Ahmet Hamdi Tanpınar will be sketched out from the poem of Time in Bursa and the world of feeling and thought that shapes his works will be tried to be determined. (shrink)

An edited collection of essays by leading scholars on the history of the concept of space in Western science and philosophy. Figures discussed include Euclid, Plato, Aristotle, Proclus, Ibn al-Haytham, Oresme, Kepler, Descartes, Newton, Leibniz, Berkeley and Kant. Contributors include Barbara Sattler, Marije Martijn, Edith Sylla, Andrew Janiak, Michael Friedman, Gary Hatfield, etc.

How space – mental, emotional, visual – is implicated in our constructions of reality and our art is the focus of this set of innovative essays. For the first time art theorists and historians, visual artists, literary critics and philosophers have come together to assay the problem of space both within conventional discipline boundaries and across them. What emerges is a stimulating discussion of the problem of embodied space and situated consciousness that will be of interest to (...) the general reader as well as specialists working in the fields of art history and art practice, literature, philosophy and education. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Time and History in Alois Riegl's Theory of PerceptionMichael GubserIn an early essay, the Austrian art historian Alois Riegl (1858–1905), a pioneer of the modern discipline of art history, linked the creation of the zodiac images in calendar art to the designation of constellations in the heavens.1 Ancient calendar artists observed the motion of stars across the night sky and attempted to map them into recognizable patterns (...) representing specific temporal periods. Their efforts inscribed the cyclical temporality of the heavens into the images of the ancient calendar. This inherent temporality came to characterize all art forms in Riegl's work; his choice of calendar art as his earliest research topic heralded a career-long interest in the connection between temporality and artistic form. Art objects, he believed, were temporal as well as spatial. Just as the light from constellations reflected a deep history, artworks illuminated the passage of time by visually re-presenting the perceptual world of past eras.Riegl's work has garnered attention in recent decades among art historians and non–art historians alike. This interest is due in part to the renewed concern for disciplinary origins that art history, like other fields, has experienced in the wake of poststructuralist critiques. Scholars outside of art history have taken note of his work because of its broad scope and relevance for the study of historiography and perception; Riegl's work provides models for linking the analysis of specific artworks with a history of perception, exploring the relationship between monuments and memory, and analyzing the nature of visual modernity. Interest in Riegl also stems from his acknowledged impact on such preeminent philosophers and historical theorists as Erwin Panofsky, Paul Feyerabend, Gilles Deleuze, Fèlix Guattari, and above all Walter [End Page 451] Benjamin.2 Figures as varied as Georg Lukács, Karl Mannheim, Walter Gropius, and Mikhail Bakhtin have cited his work favorably.3 Riegl is perhaps best known for his attempts to dismantle the hierarchy of high and low art, his attack on the preeminence of classical aesthetic ideals, and his effort to construct a universal history of style. The combination of these commitments led him to consider European and non-European craft genres that fell outside conventional definitions of art. In books such as Problems of Style, Late Roman Art Industry, and The Group Portraiture of Holland, Riegl examined the high arts, decorative arts, and manufactured artifacts alike, gleaning insights into the structure of an era's perception from close descriptive analyses of its artwork.4 In Problems of Style, Riegl traced the development of ancient vegetal decorative motifs toward their fulfillment in the naturalized tendrils and acanthus leaves of Greek ornament. A single, universal development encompassed seemingly distinct motivic forms, and creative innovation was driven by an inner formal logic. Similarly, Late Roman Art Industry, the [End Page 452] epoch-making work that Walter Benjamin described as a revolution in art historical method,5 traced the gradual development of space as an object of artistic concern in the late Roman Empire. In this volume, Riegl explored his controversial notion of the Kunstwollen, or artistic will, which asserted art's autonomy on the basis of a formal creative volition internal to artworks.6 Finally, The Group Portraiture of Holland documented the emergence and decline of a "typically Hollandish painting" emphasizing space and attention.7Riegl scholars have frequently attempted to situate his art history within a variety of philosophical traditions, an effort complicated by Riegl's limited citation of sources. Several scholars have linked Riegl's historical vision with the embattled tradition of Hegelian philosophy. Riegl's teleology; his stress on the unified, internal, and purposive development of art; his notion of art as mind overcoming material; and even his emphasis on the role of the viewer in art all have a distinctly Hegelian resonance. Wolfgang Kemp fits Riegl squarely within a late-nineteenth-century Hegelian revival,8 Michael Podro incorporates him within a Hegelian critical tradition of art history that spanned the nineteenth and early twentieth centuries,9 and Michael Ann Holly posits a clear trajectory, linking Kant and Hegel with Riegl and Panofsky.10Others, however, just as firmly reject this... (shrink)

This thesis is directed towards a philosophy of music by attention to conceptions and perceptions of space. I focus on melody and harmony, and do not emphasise rhythm, which, as far as I can tell, concerns time rather than space. I seek a metaphysical account of Western Classical music in the diatonic tradition. More specifically, my interest is in wordless, untitled music, often called 'absolute' music. My aim is to elucidate a spatial approach to the world combined with (...) a curiosity about the nature of the Pythagorean intervals. Thus one question I seek to answer is: What do the Pythagorean intervals import to music? In their original formulation by Pythagoras, and further, by Plato, their import seemed mystical and analogous to a 'harmony of the spheres.' In this spatial approach, the Pythagorean intervals are indicative of infinite depth. The faculty of hearing alone does not ordinarily spatially locate sources. Hearing is ordinarily combined with sight in order to spatially locate a sound. Yet we talk about music as if it were spatially located, that is, as if it were a visible object with a surface and themes or 'objects'. I explore the faculty of vision and consider in what ways the processes of vision might be similar to and distinct from audition. My source for this approach is David Marr's book 'Vision' and his theory of the 2 1/2-dimensional sketch. In a medium in which there is no spatial location, it is important to situate the listener. Newton solved the problem of location by demonstrating the effects of gravity. P. F. Strawson claims that an analogy of distance is required in hearing to situate the listener, that is, a sense of nearer to and further from a source or object that permits a perception of distance. I claim that in music, the key signature and the scalar relations of musical themes provide this analogy of distance. The works of Plato, Aristotle, Descartes, Leibniz, and Newton are studied for their accounts of motion, bodies, and space. From these metaphysicians can be gleaned elements of music that include form, motion, timbre, dynamics, and attraction. By incorporating motion, I aim to show that although we may not know the true nature of space, we can learn from hearing music that space is perceptible in other than three dimensions. (shrink)

The papers in this volume question how perceptions of space influenced understandings of the body and its functions, illness and treatment, and the surrounding natural and built environments in relation to health in the classical and ...

Representation and content in some (actual) theories of perception -- Representation in perception and cognition : task analysis, psychological functions, and rule instantiation -- Perception as unconscious inference -- Representation and constraints : the inverse problem and the structure of visual space -- On perceptual constancy -- Getting objects for free (or not) : the philosophy and psychology of object perception -- Color perception and neural encoding : does metameric matching entail a loss of (...) information? -- Objectivity and subjectivity revisited : color as a psychobiological property -- Sense data and the mind body problem -- The reality of qualia -- The sensory core and the medieval foundations of early modern perceptual theory -- Postscript (2008) on Ibn al-Haytham's (Alhacen's) theory of vision -- Attention in early scientific psychology -- Psychology, philosophy, and cognitive science : reflections on the history and philosophy of experimental psychology -- What can the mind tell us about the brain? : psychology, neurophysiology, and constraint -- Introspective evidence in psychology. (shrink)

Joseph Margolis, known for his considerable contributions to the philosophy of art and aesthetics, pragmatism, and American philosophy, has focused primarily on the troublesome concepts of culture, history, language, agency, art, interpretation, and the human person or self. For Margolis, the signal problem has always been the same: how can we distinguish between physical nature and human culture? How do these realms relate? _The Cultural Space of the Arts and the Infelicities of Reductionism_ identifies a conceptual tendency that (...) can be drawn from the work of the twentieth century's best-known analytic philosophers of art: Arthur Danto, Richard Wollheim, Kendall Walton, Nelson Goodman, Monroe Beardsley, Noël Carroll, and Jerrold Levinson, among others. This trend threatens to impoverish our grasp and appreciation of the arts by failing to do justice to the culturally informed nature of the arts themselves. Through his analysis, Margolis sets out to retrieve an adequate picture of the essential differences between physical nature and human culture—particularly through language, history, meaning, significance, the emergence of the human self or person, and the essential features of human life—all to explain how such difference bears on our perception of paintings and literature. Clearly argued and provocatively engaging, Margolis's work reestablishes what is essential to a productive encounter with art. (shrink)

Action is a means of acquiring perceptual information about the environment. Turning around, for example, alters your spatial relations to surrounding objects and, hence, which of their properties you visually perceive. Moving your hand over an object’s surface enables you to feel its shape, temperature, and texture. Sniffing and walking around a room enables you to track down the source of an unpleasant smell. Active or passive movements of the body can also generate useful sources of perceptual information (Gibson 1966, (...) 1979). The pattern of optic flow in the retinal image produced by forward locomotion, for example, contains information about the direction in which you are heading, while motion parallax is a “cue” used by the visual system to estimate the relative distances of objects in your field of view. In these uncontroversial ways and others, perception is instrumentally dependent on action. According to an explanatory framework that Susan Hurley (1998) dubs the “Input-Output Picture”, the dependence of perception on action is purely instrumental: "Movement can alter sensory inputs and so result in different perceptions… changes in output are merely a means to changes in input, on which perception depends directly" (1998: 342). -/- The action-based theories of perception, reviewed in this entry, challenge the Input-Output Picture. They maintain that perception can also depend in a noninstrumental or constitutive way on action (or, more generally, on capacities for object-directed motor control). This position has taken many different forms in the history of philosophy and psychology. Most action-based theories of perception in the last 300 years, however, have looked to action in order to explain how vision, in particular, acquires either all or some of its spatial representational content. Accordingly, these are the theories on which we shall focus here. -/- We begin in Section 1 by discussing George Berkeley’s Towards a New Theory of Vision (1709), the historical locus classicus of action-based theories of perception, and one of the most influential texts on vision ever written. Berkeley argues that the basic or “proper” deliverance of vision is not an arrangement of voluminous objects in three-dimensional space, but rather a two-dimensional manifold of light and color. We then turn to a discussion of Lotze, Helmholtz, and the local sign doctrine. The “local signs” were felt cues for the mind to know what sort of spatial content to imbue visual experience with. For Lotze, these cues were “inflowing” kinaesthetic feelings that result from actually moving the eyes, while, for Helmholtz, they were “outflowing” motor commands sent to move the eyes. -/- In Section 2, we discuss sensorimotor contingency theories, which became prominent in the 20thcentury. These views maintain that an ability to predict the sensory consequences of self-initiated actions is necessary for perception. Among the motivations for this family of theories is the problem of visual direction constancy—why do objects appear to be stationary even though the locations on the retina to which they reflect light change with every eye movement?—as well as experiments on adaptation to optical rearrangement devices (ORDs) and sensory substitution. -/- Section 3 examines two other important 20th century theories. According to what we shall call the motor component theory, efference copies generated in the oculomotor system and/or proprioceptive feedback from eye-movements are used together with incoming sensory inputs to determine the spatial attributes of perceived objects. Efferent readiness theories, by contrast, look to the particular ways in which perceptual states prepare the observer to move and act in relation to the environment. The modest readiness theory, as we shall call it, claims that the way an object’s spatial attributes are represented in visual experience can be modulated by one or another form of covert action planning. The bold readiness theory argues for the stronger claim that perception just is covert readiness for action. -/- In Section 4, we move to the disposition theory, most influentially articulated by Gareth Evans (1982, 1985), but more recently defended by Rick Grush (2000, 2007). Evans’ theory is, at its core, very similar to the bold efferent readiness theory. There are some notable differences, though. Evans’ account is more finely articulated in some philosophical respects. It also does not posit a reduction of perception to behavioral dispositions, but rather posits that certain complicated relations between perceptual input and behavioral provide spatial content. Grush proposes a very specific theory that is like Evans’ in that it does not posit a reduction, but unlike Evans’ view, does not put behavioral dispositions and sensory input on an undifferentiated footing. (shrink)

Hermann von Helmholtz’s geometrical papers have been typically deemed to provide an implicitly group-theoretical analysis of space, as articulated later by Felix Klein, Sophus Lie, and Henri Poincaré. However, there is less agreement as to what properties exactly in such a view would pertain to space, as opposed to abstract mathematical structures, on the one hand, and empirical contents, on the other. According to Moritz Schlick, the puzzle can be resolved only by clearly distinguishing the empirical qualities of (...) spatial perception from those describable in terms of axiomatic geometry. This paper offers a partial defense of the group-theoretical reading of Helmholtz along the lines of Ernst Cassirer in the fourth volume of The Problem of Knowledge of 1940. In order to avoid the problem raised by Schlick, Cassirer relied on a Kantian view of space not so much as an object of geometry, but as a precondition for the possibility of measurement. Although the concept of group does not provide a description of space, the modern way to articulate the concept of space in terms of transformation groups reveals something about the structure and the transformation of spatial concepts in mathematical and natural sciences. (shrink)

Perceptions of Medieval Manuscripts takes as its starting point an understanding that a medieval book is a whole object at every point of its long history. As such, medieval books can be studied most profitably in a holistic manner as objects-in-the-world. This means readers might profitably account for all aspects of the manuscript in their observations, from the main texts that dominate the codex to the marginal notes, glosses, names, and interventions made through time. This holistic approach allows us (...) to tell the story of the book's life from the moment of its production to its use, collection, breaking-up, and digitization--all aspects of what can be termed 'dynamic architextuality'. The ten chapters include detailed readings of texts that explain the processes of manuscript manufacture and writing, taking in invisible components of the book that show the joy and delight clearly felt by producers and consumers. Chapters investigate the filling of manuscripts' blank spaces, presenting some texts never examined before, and assessing how books were conceived and understood to function. Manuscripts' heft and solidness can be seen, too, in the depictions of miniature books in medieval illustrations. Early manuscripts thus become archives and witnesses to individual and collective memories, best read as 'relics of existence', as Maurice Merleau-Ponty describes things. As such, it is urgent that practices fragmenting the manuscript through book-breaking or digital display are understood in the context of the book's wholeness. Readers of this study will find chapters on multiple aspects of medieval bookness in the distant past, the present, and in the assurance of the future continuity of this most fascinating of cultural artefacts. (shrink)

We can experience music as sad, as exuberant, as sombre. We can experience it as expressing immensity, identification with the rest of humanity, or gratitude. The foundational question of what it is for music to express these or anything else is easily asked; and it has proved extraordinarily difficult to answer satisfactorily. The question of what it is for emotion or other states to be heard in music is not the causal or computational question of how it comes to be (...) heard. It is not the question of the social influences on how we hear music. Nor is it the question of the evolutionary explanation, if such there be, of the existence of such perceptions. It is the constitutive question, the ‘what-is-it?’ question, that is my concern here. It is a question unaddressed by purely syntactic analyses of music. A correct answer to this constitutive question constrains all those other, equally challenging, empirical questions about music. I am going to propose an answer to the constitutive question, drawing on the resources of our current philosophy of perception and cognition within contemporary philosophy of mind. In the very tight space available to me, I will not survey the extant competing proposals, but simply offer my own suggestion straight out, while noting some points of contrast with other approaches. My account is built from three components, or more strictly, from two components together with a certain conception of the way they are related to each other in the perception of music. My plan is to expound these components; to formulate the account built from them; to give some examples of what the account can explain; and to discuss very briefly its bearing on some classical issues about the perception of music. (shrink)

How have figures of speech configured new concepts of time, space, and mind throughout history? Brian J. McVeigh answers this question in A Psychohistory of Metaphors: Envisioning Time, Space, and Self through the Centuries by exploring “meta-framing:” our ever-increasing capability to “step back” from the environment, search out its familiar features to explain the unfamiliar, and generate “as if” forms of knowledge and metaphors of location and vision. This book demonstrates how analogizing and abstracting have altered spatio-visual (...) perceptions, expanding our introspective capabilities and allowing us to adapt to changing social circumstances. (shrink)

Although imagination is not one of the subjects treated extensively in Husserl's phenomenology, it is one of its most important 'instruments'. In his phenomenology as a work of imagination, imagination even acquires for Husserl primacy over perception. But in his phenomenology of imagination as its subject matter, Husserl seems to repeat the old distinction between original and image in his differentiation between perception as the reaIization of full bodily presence and imagination as referring to inferior modes of presence. (...) -/- The author criticaIly analyses Husserl's distinction (within imagination) between phantasy and image-consciousness. The fact that Husserl describes the image-object in image-consciousness as a "mere image" which appears only as "a nothing" on the scene of actual presence, and the fact that Husserl distinguishes phantasy from image-consciousness by its lacking any representational consciousness, leads one to suspect greatly that Husserl reverts to a contentbased approach which was to have been excluded by his theory of intentionaIity. -/- In the last section the author outlines a reorientation according to which imagination is thought of not in reference to presence (as has been done in the history of metaphysics), but in reference to an appearing, an imaging, a showing, that would never be a matter simply of presence, but rather of spacings that would fracture presence. This conception of imagination could explain the power of imagination to open up phenomenology. (shrink)

One of the dominant characteristics of Western philosophical and literary history of the last two centuries is that the object of desire (in the novel) and the object of perception (in epistemology) have been made to reveal aspects which are more complex than the classical age had suspected. With Descartes, everything was clear: the object is but a portion of extension. But with Kant things already become more complicated: the object has a mysterious. en-soi (an sich-in itself) which (...) escapes us. And the object of desire, in literature, acquires such a mystic character that it loses its status of creature. “For what the romantic lover seeks is not really the beloved”, writes Eric Heller. “Intermingled with his erotic craving, inarticulate, diffuse, and yet dominating it, is the desire for spiritual salvation.” It is no longer the object (the creature) which one wishes to embrace, but the invisible reality mirrored in it. Desire does not tend so much toward objects as toward what lies beyond these objects where, it believes, it will find its salvation. (shrink)

Through an atmospherological approach, primarily inspired by the Aisthetik and the New Phenomenology, the paper investigates the relationship between atmosphere and lived space, defines what kind of perception the atmospheric one is and examines the space we experience in the lifeworld and to which plane geometry turns out to be completely blind. Sketching briefly the history of lived space, we assume that atmospheres function as affordances that permeate the lived space, i.e. as ecological invites (...) or meanings that are ontologically rooted in things and quasi-things. (shrink)

'The Aestheticization of History and the Butterfly Effect: Visual Arts Series' introduces the audience to philosophical concepts that broach the beginning of the history of Western thought in Plato and Aristotle to that of more modern thought in the theoretician Jacques Rancière in which the main conceptual framework of this anthology is predicated. The introduction is mainly concerned with Rancière's concept of the distribution of the sensible, which is the arrangement of things accessible to our senses, what we (...) experience in real-time and space- compartmentalization and categorization of all things. These things do not just involve tangible items, but audible speech, written language, and visibilities. Rancière's theory of the regimes of art is undertaken as the unfolding of the distribution. Such is evoked in the various genres of visual art forms, from two-dimensional paintings to three-dimensional sculptures and architectures. Understanding the aesthetic regime of art is crucial for grasping how art performs time travel. One way of understanding this phenomenon is in terms of embodied philosophy imbued vis-à-vis art forms, which are subsequently challenged by contemporary artists. The contributing essays examine these reiterations, reevaluations-performances. Aesthetics is a term deriving from the 18th-century European Enlightenment. It is here that aesthetics as the study of beauty is probed for its political potential after the failure of the French Revolution. Many major thinkers during this period signed on to the aesthetic moment, recognizing that Reason in its present state failed to develop humankind beyond barbarism. J.E.B. Stuart's statue is part of an equestrian theme that approximates the Western canon of power and class in the pursuit of domination. But such power and domination will be dethroned in the restaging of history and the redistribution of said canon. This reimagining of the form not only alters perception but constitutes a new narrative. (shrink)

ABSTRACT. Associationist psychologists of the late 19th-century premised their research on a fundamentally Humean picture of the mind. So the very idea of mental science was called into question when T. H. Green, a founder of British idealism, wrote an influential attack on Hume’s Treatise. I first analyze Green’s interpretation and criticism of Hume, situating his reading with respect to more recent Hume scholarship. I focus on Green’s argument that Hume cannot consistently admit real ideas of spatial relations. I then (...) argue that William James’s early work on spatial perception attempted to vindicate the new science of mind by showing how to avoid the problems Green had exposed in Hume’s empiricism. James’s solution involved rejecting a basic Humean assumption—that perceptual experience is fundamentally composed of so-called minima sensibilia, or psychological atoms. The claim that there are no psychological atoms is interesting because James supported it with experimental data rather than (as commentators typically suppose) with introspective description or a priori argument. James claimed to be the real descendant of British empiricism on grounds that his anti-atomistic model of perception fortified what Green had perhaps most wanted to demolish—the prospect of using empirical, scientific methods in the study of mind. (shrink)

Perhaps it is unfortunate that, no matter what problems a psychological investigator elects to attempt to discuss, he is almost always confronted by a number of different and often conflicting points of view. The twisting paths revealed by these may one day be found to unite into a broad road, but most of them have as yet been insufficiently explored. Certainly problems in the psychology of temporal perception seem to lie in many different directions, according to the ways in (...) which they are approached. It would be possible, for instance, to take the mass of experimental work, always patient, sometimes brilliant, which has had a fairly continuous history since Czermak, in 1857, building upon Weber's researches into space perception, planned and began to carry out a programme for an investigation of the estimation of short time intervals. (shrink)

For Gilles Deleuze's two essays ‘Causes and Reasons of Desert Islands’ and ‘Michel Tournier and the World Without Others’, the crucial question is what the perception is, what its fundamental conditions are. A desert island can be a place to experiment on this question. The types of perception are described in many critical works about the history of art and aesthetical reflections by artists. So I will try to retrace some types of perception especially linked to (...) the ‘haptic’, the importance of which was rediscovered by Deleuze. The ‘haptic’ proposes a type of perception not linked to space, but to time in its aspects of genesis. And something incorporeal has to intervene in a very original stage of perception and of perception of time. Thus we will be able to capture some links between the fundamental aspects of perception and time in its ‘out of joint’ aspects. (shrink)

00 Drawing on the phenomenological tradition in the philosophy of science and philosophy of nature, Patrick Heelan concludes that perception is a cognitive, ...

This paper argues that a common form of representationalism has trouble accommodating empirical findings about visual space perception. Vision science tells us that the visual system systematically gives rise to different experiences of the same spatial property. This, combined with a naturalistic account of content, suggests that the same spatial property can have different veridical looks. I use this to argue that a common form of representationalism about spatial experience must be rejected. I conclude by considering alternatives to (...) this view. (shrink)

This is an advanced introduction to and original interpretation of Merleau-Ponty's greatest work, Phenomenology of Perception. Timothy Mooney provides a clear and compelling exposition of the theory of our projective being in the world, and demonstrates as never before the centrality of the body schema in the theory. Thanks to the schema's motor intentionality our bodies inhabit and appropriate space: our postures and perceptual fields are organised schematically when we move to realise our projects. Thus our lived bodies (...) are ineliminably expressive in being both animated and outcome oriented through-and-through. Mooney also analyses the place of the work in the modern philosophical world, showing what Merleau-Ponty takes up from the Kantian and Phenomenological traditions and what he contributes to each. Casting a fresh light on his magnum opus, this book is essential reading for all those interested in the philosophy and phenomenology of the body. (shrink)

The problem of identity and identity of the individual, which exists throughout human history, is particularly acute at the intersection of epochs, when existing knowledge and skills are not enough to understand the processes taking place in society, history, and nature, and new theories and tools have not yet been developed. When a civilization was faced with a paradox, when it was decided whether to live as before or accept a new one, it was individuals who were able (...) to go beyond identity that showed a new path. It went against the existing dogmas, against identity. Moreover, over time, man had to accept many more rules and restrictions than at the beginning of his existence. At the intersection of epochs, there was an infusion of new ideas into society. This was done by people who did not just see the future in dreams or nightmares, but were able to imagine what the implementation of a particular postulate in the life of society entails. There was a crisis that literally buried all the old ideas about the world around us and other communities. It was then that the metaphysical perception of the world took on a real form, which, nevertheless, had to be worked out for the sake of the existence of society as a whole. (shrink)

In recent literature, several authors attempt to naturalize epistemic normativity by employing an etiological account of functions. The thought is that epistemic entitlement consists in the normal functioning of our belief-acquisition systems, where the latter acquire the function to reliably deliver true beliefs through a history of biological benefit.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Deleuze, Bergson, Merleau-Ponty: The Logics and Pragmatics of Creation, Affective Life, and Perception by Dorothea E. OlkowskiElodie BoublilOLKOWSKI, Dorothea E. Deleuze, Bergson, Merleau-Ponty: The Logics and Pragmatics of Creation, Affective Life, and Perception. Bloomington: Indiana University Press, 2021. 180 pp. Cloth, $63.00; paper, $28.00[End Page 152]Dorothea E. Olkowski's latest book carefully examines "the relationship between the creation of ideas and their actualization in relation to semiology, (...) logic and the cosmos in the philosophies of Deleuze, Bergson, and Merleau-Ponty." However, this work is neither an extensive or historical account of Deleuze's, Bergson's, and Merleau-Ponty's philosophies, nor an attempt to homogenize their views on space, time, or perception. Instead, it subtly compares their differences and similarities to move beyond metaphysical dualism, and fruitfully rethinks the relations between formal logic and ontology. Indeed, the author aims to draw a "theory of form," based on the logic of sensation, ultimately designed "to take the place of a theory of the real, of material physical forces."Chapter 1 retraces the history of postmodernist claims and their philosophical legacy. Olkowski explains that postmodernism is not first and foremost a political worldview or a debunking of objectivity in natural sciences. Instead, "it begins as a formal system or series of formal systems." Olkowski explores how Deleuze draws on the knowledge of modern science and logic (Bolzano, Cavaillès) and on Bergson's critical analysis of it to elaborate his logic of sensation. Bergson's conception of affectivity impacted Deleuze's and Merleau-Ponty's theories of corporeality and sensation, and their understanding of perception. Bergson's concept of "body image" specifically influenced Deleuze's elaboration of the concept of "movement-image," through which he tried to overcome the dichotomy set up by mind–body dualism.Chapter 2 focuses on Deleuze and Guattari's critique of logic as an attempt to find a third way between idealism and materialism and to overcome the disconnection between formal logic and lived experience. It reviews their critique of Euclidean geometry, their objections to formal logic as set out by Frege and Russell, and their assessment of phenomenology in order to eventually show Deleuze's affinity with Peirce's pragmatist approach. Then, the author aims to determine if Deleuze's attempt could be compatible with the phenomenology of Merleau-Ponty and Bergson's understanding of quality and multiplicity.Chapter 3 focuses on Bergson. Recalling the controversy with Russell, Einstein, and Langevin, Olkowski refers to Merleau-Ponty's defense of Bergson's concept of intuition to prove the accuracy of his reflection on creative forces and pure duration. As she explains, "[T]he intent here is to clarify the relations between these different aspects of Bergson's thought and draw out how Deleuze makes use of these structures derived from Bergson's philosophy." This leads her to explore, more specifically, how Deleuze reworks the concept of "multiplicity" along the lines of Bergson's analysis of the élan vital.In chapter 4 the author focuses on Deleuze's work on cinema to deepen the philosophical correlation between Bergson's concepts, Deleuze's analysis, and the influences of Merleau-Ponty and Pierce. It aims to rethink the relation between movement and time, notably through the notions of time-image and movement-image. Olkowski notably showcases Deleuze's concept of destiny, "which is the pure power of time that [End Page 153] overflows all possible reaction. It defeats, immobilizes, and petrifies figures in their own affectivity; it sends them to their fate, destroying conventions along the way. For Merleau-Ponty, as for Bergson, acts are still possible in a network of temporal relations so that motion and time are destiny but differently than for Deleuze."Chapter 5 addresses the Phenomenology of Perception and how Merleau-Ponty provides an opportunity to rethink perception. In this book and his Courses on Nature, Merleau-Ponty "does not dismiss either position—that of objective science or that of the natural attitude—but argues that although each contains an element of truth, it is perception and only perception that allows us to bridge the gap between physical reality and behavior/comportment." Deleuze will depart from... (shrink)

Newly updated study surveys concept of space from standpoint of historical development. Space in antiquity, Judeo-Christian ideas about space, Newton’s concept of absolute space, space from 18th century to present. Extensive new chapter (6) reviews changes in philosophy of space since publication of second edition (1969). Numerous original quotations and bibliographical references. "...admirably compact and swiftly paced style."—Philosophy of Science. Foreword by Albert Einstein. Bibliography.

In establishing unexpected cross-connections between physics, the theory of perception, and logic, Hyder also makes a valuable contribution to the history of ...

The subject of this research is the immersive artistic environments that exist in the modern cultural space. Immersive technologies are used today in educational processes, historical reconstruction, various forms of socialization, in visual arts; immersion is implemented as a special scientific approach in anthropological, ethnographic, art history studies. Interactivity and immersiveness are considered here as complex predictable processes whose algorithms are embedded in the very basis of an artistic work or cultural environment. They make it possible to intensify (...) the entire spectrum of sensory-emotional perception, creating not only a new type of artwork, but also a new type of recipient immersed in the process of unfolding an artistic plot. The classification of functions of immersive spaces is proposed in the study. On the example of Russian and foreign art projects, the essential signs and features of immersive art are analyzed and identified. Immersive projects implemented in recent years are considered on the example of the cultural field of the north-west of Russia, as well as a comparative analysis of foreign and domestic events is carried out. The study concluded that immersive environments have both positive and negative potential: a complex effect on human feelings using special technological techniques that affect perception can lead to both the effect of complete immersion and catharsis, and to destructive hyperstimulation of the psyche. And the artistic immersions themselves are more a form of media communication than finished works. (shrink)

Corijn van Mazijk’s book is a critical exploration of the relations between Immanuel Kant’s, Edmund Husserl’s, and John McDowell’s transcendental philosophies. His primary aim is not to conduct a historical study, but “to show that history provides us with viable alternatives to McDowell’s theory of our perceptual access to reality.” The book covers a variety of McDowellian themes: the Myth of the Given, the space of reasons vs. the space of nature, conceptualism, disjunctivism, naturalism, and realism—uncovering the (...) roots of McDowell’s views and providing Kantian and Husserlian correctives where needed. (shrink)

This dissertation analyzes the philosophical theories and politics of Kitaro Nishida , the founder of modern Japanese philosophy, and Tetsuro Watsuji , the second most famous philosopher in Japan. Both Nishida and Watsuji develop a "spatialized" conception of history to contrast with a temporal model which had the effect of situating Europe as the most advanced form of modern culture. According to their view, the representation of world history should take into account the contemporaneous developments of all cultures. (...) ;Positioning themselves as non-European thinkers but sharing in the modern European intellectual tradition, Nishida and Watsuji develop original philosophical positions in the language of Western philosophy. After the initial formulation of the theory of "pure experience" under the influence of William James, Nishida develops a metaphysical theory of "place," a dialectical system inspired by Hegel. Using Heideggerian phenomenology, Watsuji develops his own theories of "milieu" and "Being-between" . In an attempt to go beyond Eurocentrism, these theories sought to widen the context of Western philosophy from a non-Western point of view. ;However, in the 1940s when Japan became an imperialist state, Nishida and Watsuji used their philosophical theories to justify wartime political ideology. Their anti-Eurocentrism thus allied with Japanese nationalism. However, their philosophical theories could have been developed to critique nationalism rather than endorse it. Their error resulted from the persistent framework of "East vs. West" which essentialized Japan's identity vis-a-vis the West. (shrink)

The orphans of Romania were participants in what is sometimes called “the forbidden experiment”: depriving human infants of intimacy, affection, and human contact is an inhuman practice. It is an experiment which no ethical researcher would set out to do. This paper examines historical data, case histories, and research findings which deal with early deprivation and performs a phenomenological analysis of deprivation phenomena as they impact emotional and physical development. A key element of deprivation is the absence of intimate relationships (...) with other human beings. However, the absence of intimacy impacts not only the social/emotional abilities of infants, but their very ability to perceive the world. Philosophically and from a radically Merleau-Pontean perspective, the intimate face of the other appears to be a world opening event for the child. Its absence has a profound impact on the child’s experience of embodiment, coexistence, spatiality, temporality, and language. When seen through early deprivation, intimacy appears as a necessary foundation for establishing the transcendence of the world beyond perceptual presence, and it provides the possibility for language, culture, and history. (shrink)

Abstract:The paper traces continuities and changes in the aesthetic perception and symbolic charge of energy landscapes in Germany in the post-war period. At the center of analysis are four resources—hydropower, lignite, nuclear power, and wind energy—which have deeply inscribed themselves into the landscape with their infrastructures and were often controversial at the time. A comparison will demonstrate how contentious energy landscapes sometimes developed into accepted cultural landscapes and even hallmarks of regional identity. Over time, the strange new energy landscapes (...) became part of the “normal” landscape, their artificial origins almost forgotten. As physical phenomena and cultural constructs, the history of energy landscapes can thus provide valuable information on changing identities and imaginations, world and nature images, use practices and power relations. (shrink)

This paper examines Berkeley's attitude toward our perception of spatial relations on the two- dimensional visual field. This is a topic on which there has been some controversy. Historians of visual theory have tended to suppose that Berkeley took "all" spatial relations to be derived in the way our knowledge of depth is: from association of more primitive sensations which are themselves in no way spatial. But many philosophers commenting on Berkeley have supposed that he takes our awareness of (...) two- dimensional visual layout to be directly perceived. I argue that Berkeley's position on this issue is deeply ambivalent and that neither alternative sits well with the rest of his philosophy. (shrink)

Writing about the history and politics of epidemics and pandemics requires stepping into a historiography that is expansive, transnational, and slotted into specific historical periods. This essay considers the main debates in this expansive historiography and highlights the strengths and limitations of dominant historiographical approaches to the study of epidemics and pandemics. This essay also interrogates the framing of three thematic periods, or categories, commonly identified by historians and social scientists in analyses of epidemics and pandemics: categories of “colonial (...) health,” “international health,” and “global health.” As this essay underscores, scholarship often analyzes epidemics and pandemics through overlapping and complex historical temporalities involving colonization, decolonization, and globalization. However, this approach is often constrained by the limitations of existing archives and the overwhelming focus of published scholarship on dominant institutions, scientific and political figures, and specific disease outbreaks that are commonly associated with categories of “colonial health,” “international health,” and “global health” from the late nineteenth to the present. As a result, scholarship may include linear narratives that flatten or generalize the legacies of epidemics and pandemics. The links between pathogens and pathologies are not linear, however, and colonial structures of power, disease tropes, and surveillance doctrines often persist across time and space. This essay ultimately seeks to challenge and complicate these dominant framings and categories from within. This approach highlights the connectedness—and complex continuities and discontinuities—in the political, economic, social, and scientific perceptions of and approaches to epidemic and pandemic risks. (shrink)

In this paper I will introduce the reader to Carl Stumpf’s philosophy through a discussion of a problem about simultaneous perception of several objects. This problem is at the heart of several of his works and therefore well suited for my purpose.

The article is based on an analysis of the works of the French historian Pierre Nora, who, trying to find a "true" history, comes to the opposition of history and memory. Outright political agitation and national imperatives are dominated in History, therefore history cannot be correct and objective. Instead of history, the philosopher believes, we should focus on the right memory. But when memory itself has been torn apart, it can only exist on the basis (...) of "memory places" - mnemonic places. The power of memory is preserved now in the places of memory that accumulate and preserve history. Places of memory have lost their physical or geographical meanings. Meaning and sense are made places of memory, important place for history. Due to the nature of the memory places, the multiplicities of their interpretations are the normal. And the past, therefore, became a poly semantic space, focused on the co-presence of many different versions of the interpretation of the same memorial structures (monuments, historical facts and events, texts of the past). Contrasting memory and history, P. Nora concludes about "the tyranny of memory (it is reminiscent of Reeker's statement). In his opinion, at any moment the memory is ready to lift history under itself, to "memorize" it, it deeply and dangerously distorts the meaning of words. Precisely because there is no collective memory, the places of memory appear that designed to compensate for its absence. When the space of memory disappears, mnemonic places appear. It is through mnemonic places (places of memory) as spaces that provide access to traditions, Nora moves from the present to the past. But the noble goal of finding the truth, of recreating traditions, has turned into honoring memory for political purposes, where the past has become the rhetorical construct of the present. Hence, the perception of truth is changing. Now, the truth is not in the "factuality" of the data, but in their "relevance". In the end, Nora makes a rather devastating conclusion for history- that the past has lost its meaning, the present historical consciousness gives meaning to all possible and valid versions of the past, and that official memory (politics of memory) is associated with practices of selective forgetting or memory. (shrink)

This volume chronicles the development of philosophical conceptions of space from early antiquity through the medieval period to the early modern era, ending with Kant. The chapters describe the interactions at different moments in history between philosophy and various other disciplines, especially geometry, optics, and natural science more generally. Central figures from the history of mathematics, science and philosophy are discussed, including Euclid, Plato, Aristotle, Proclus, Ibn al-Haytham, Nicole Oresme, Kepler, Descartes, Newton, Leibniz, Berkeley, and Kant.