At least since Descartes, philosophers have been interested in the special knowledge or authority that we exhibit when we speak about our own thoughts, attitudes, and feelings. This book contends that even the best work in contemporary philosophy of mind fails to account for this sort of knowledge or authority because it does not pay the right sort of attention to the notion of expression. What's at stake is not only how to understand self-knowledge and first-person authority, but also (...) what it is that distinguishes conscious from unconscious psychological states, what the mental life of a nonlinguistic animal has in common with our sort of mental life, and how to think about Wittgenstein's legacy to the philosophy of mind. (shrink)

La obra del filósofo estadounidense David H. Finkelstein, Expression and the Inner, publicada originariamente en 2003 por Harvard University Press (2ª ed. 2008) puede ahora leerse en la versión española de Lino San Juan, editada por la ovetense KRK Ediciones con el título: La expresión y lo interno. Finkelstein propone en La expresión y lo interno un análisis expresivista del autoconocimiento. Podría parecer cuando menos sorprendente y aún más admirable que con tan sólo dos capítulos (“Detectivismo y constitutivismo” (...) y “Expresión”) y un Epílogo (“Deliberación y transparencia”), Finkelstein haya conseguido presentar en esta obra un planteamiento calificado por muchos como una auténtica renovación de la discusión analítica en torno al tema del autoconocimiento, o sea, acerca del problema de qué clase de autoridad quepa atribuir a las expresiones sobre nuestros propios estados de ánimo y/o nuestros estados mentales sin más. (shrink)

Expression is the central concept in Wittgenstein’s philosophy of mind, and our experiences are reflected in our bodily expressions or gestures, facial expressions, behaviors and linguistic expressions. It seems true that we have no access of other people’s experiences but we can know or talk about them in so far as they are the common experiences of all. This inaccessibility of other’s experiences may create a genuine thinking that one’s experiences are private and the first person present tense psychological (...) utterances are not descriptive at all. They are understood solely as expressive and expression is the outer concept of a mental phenomenon. In this paper, an attempt will be made on the basis of Wittgenstein’s critique of the relationship between the concepts of experience and expression we shall argue that certain uses of the dichotomy between the inner and the outer are mistakes. According to Wittgenstein, the inner is not a set of experiences which are or are not expressed by our immediate (primitive) expressions or linguistic expressions rather it is the capacity of the subject to express himself genuinely. (shrink)

This article explores the importance of mental expression in understanding the phenomenon of inner speech. Most accounts of inner speech assume from the outset the common idea that the expressions of a subject (e.g., a smile) and their mental states (e.g., joy) are two different types of items somehow related to each other. This relational view of expression is challenged in this article. Firstly, it is argued that relational views of expression cannot explain some features (...) of inner speech. Secondly, a non-relational view of expression is developed, according to which mental states are patterns of expressive behavior. Thirdly, it is argued that only from the framework of non-relational expressivism is it possible to explain the main features of inner speech. Finally, it is concluded that non-relational expressivism emerges as a prominent contender among contemporary views of the mind, as it provides the only account of inner speech that can fully explain the phenomenon. (shrink)

As soon as we stop talking aloud, we seem to experience a kind of 'inner voice', a steady stream of verbal fragments expressing ongoing thoughts. What kind of information processing structures are required to explain such a phenomenon? Why would an 'inner voice' be useful? How could it have arisen? This paper explores these questions and reports briefly some computational experiments to help elucidate them.

The dialectical aspect in the work of Georges Bataille is often neglected. At the suggestion of Foucault and Derrida, Bataille is most often even taken to be a non-dialectical thinker. But Bataille worked intensely with Hegel's ideas, his thought was expressed in Hegelian terms, and both his epistemology and his ontology can be considered a determinate negation of Hegel's position in the Phenomenology. This is shown, first, by analysing Bataille's notions of `inner experience', and, second, by showing how Bataille (...) extends dialectics to the natural, non-human realm, and even conceives the link between the human and non-human as itself dialectical. However, once we see the dialectical nature of his theoretical stance, we are struck by a great vagueness in his practical conception of where society ought to be going. (shrink)

This chapter distinguishes two uses of the terms “inner” and “outer” in Wittgenstein's writings on philosophy of mind. It discusses the inner‐outer picture by exploring Wittgenstein's account of the origin and appeal of the picture, his reasons for rejecting it, and his own very different way of thinking of common‐sense psychology. The chapter considers his account of our relation to our own experiences and attitudes, and discusses his suggestion that utterances like 'I'm in pain' or 'I want an (...) apple' are avowals or expressions of a person's experiences and attitudes. It discusses Wittgenstein's positive view of the relation between “inner” mental states and “outer” behavior. The inner–outer picture, as Wittgenstein describes it, has a metaphysical and an epistemic dimension. The inner–outer picture encourages the view that our use of language in self‐ascriptions of current experiences and attitudes is analogous to its use in talking about the non‐mental world. (shrink)

Both Bakhtin and Vygotsky, as we have seen, responded directly or indirectly to the challenge of Freud. Both attempted to account for their data without resorting to postulating an unconscious in the Freudian sense. By way of contrast, it is instructive here to recall Jacques Lacan—who, among others, has been a beneficiary of Bakhtin’s “semiotic reinterpretation” of Freud.17 Lacan’s case is intriguing, for he retains the unconscious while at the same time submitting Freudian psychoanalysis to rigorous criticism along the lines (...) of Bakhtin. By focusing attention on the dialogic word, he encourages a rereading of Freud in which the social element is crucial. As Lacan opens his essay “The Empty Word and the Full Word”:Whether it sees itself as an instrument of healing, of formation, or of exploration in depth, psychoanalysis has only a single intermediary: the patient’s Word….And every word calls for a reply.I shall show that there is no word without a reply, even if it meets no more than silence, provided that it has an auditor: this is the heart of its function in psychoanalysis.18The word is conceived as a tool not only in the external world but also of an autonomous internal world as well. And what emerges, it would seem, is a reinterpretation of the role of dialogue in the painful maturational process of the child. For Vygotsky, the child’s realization of his separateness from society is not a crisis; after all, his environment provides both the form and the content of his personality. From the start, dialogue reinforces the child’s grasp on reality, as evidenced by the predominantly social and extraverted nature of his earliest egocentric speech. For Lacan, on the contrary, dialogue seems to function as the alienating experience, the stade du miroir phase of a child’s development. The unconscious becomes the seat of all those problems that Bakhtin had externalized: the origin of personality, the possibilities of self-expression. The je-moi opposition in the mirror gives rise to that permanent for “a locus where there is constituted the je which speaks as well as he who has it speak.”19 And consequently, the Word takes on an entirely different coloration: it is no longer merely an ideological sign but a potent tool for repressing knowledge of that gap, the face in the mirror, the Other. Lacan’s celebrated inversion of Saussure’s algorithm, with the line between signifier and signified representing repression, created a powerful but ominous new role for language. The child is released from his alienating image only through discovering himself as Subject, which occurs with language; but this language will inevitably come to him from the Other. Thus speech is based on the idea of lack, and dialogue, on the idea of difference. 17. See Ivanov, “The Significance of M. M. Bakhtin’s Ideas,” p. 314.18. Jacques Lacan, “The Empty Word and the Full Word,” in Speech and Language in Psychoanalysis, ed. and trans. Anthony Wilden , p. 9.19. Lacan, from “La Chose freudienne” , quoted in Wilden, “Lacan and the Discourse of the Other,” in Speech and Language in Psychoanalysis, p. 266. Caryl Emerson, assistant professor of Russian literature at Cornell University, has translated The Dialogic Imagination, Problems of Dostoevsky’s Poetics . She is currently at work, on a study of Boris Godunov in Russian cultural history. (shrink)

Most traditional art forms around the planet are an expression of the spiritual dimension of a culture’s cosmology and the spiritual experiences of individuals. Religious art and iconography often reveal the hidden aspects of spirit as glimpsed through the filter of cultural significance. Moreover, traditional art, although often highly abstract, may actually describe sensory experiences derived in alternative states of consciousness . This article analyzes the often fuzzy concepts of “art” and “spirit” and then operationalizes them in a way (...) that makes them useful for cross-cultural transpersonal research. The fact of the universally abstract nature of traditional art is analyzed and used as a clue to the function of art in expressing and penetrating to the spiritual domain. A “continuum of representational-associational abstraction” model is introduced and described. These concepts are then applied to the author’s experiences with Navajo art and the relation between art and the important Navajo philosophical concept of hozho . A perspective on art and spirit is developed that essentially supports Wassily Kandinsky’s contention that abstract art is the expression of an “inner necessity” of spirit. The article argues for a greater sensitivity among researchers and theorists for the sublime nature of spiritual art.be induced by very different means, including contemplative practices and chemical substances, and yet have different after-effects. Taken together, these ideas lead to the cautious conclusion that some psychedelics can induce genuine mystical experiences sometimes in some people, and that the current tendency to label these chemicals as entheogens may be appropriate. (shrink)

Effective psychotherapy is often held to involve the expression of feelings. Within the person-centred approach, this view has been especially emphasised by Carl Rogers and Eugene Gendlin. I am concerned with the question of why the expression of feelings can be therapeutically effective. Many psychotherapists picture feelings as “inner experiences” for which the client tries to find appropriate words, but the difficulties with this picture, which were highlighted by Wittgenstein, seem to call for a very different approach. (...) Here, I develop a Wittgensteinian account of the expression of feelings that avoids the difficulties to which Wittgenstein draws attention. (shrink)

The authors argue that there is a world within us filled with memories, perceptions, tastes, preferences, biases, and beliefs that have been encoded and are expressed on an unaware, largely non-conscious level but, nevertheless, alter the quality, substance and trajectory of our lives.

: The problem of intersubjectivity has undergone multifold discussions in the philosophical, neuroscientific and psychological fields. Currently, the predominant theories in this ongoing debate contend that simulation or explicit reasoning must ground other-understanding. Yet this contention confines the subject to solipsistic self-projection without actual communication. I will provide an analysis suggesting that the roots of the concept of “empathy” reveal not only a dualistic inner-outer distinction but also an emerging reference to the bodily dimension. I claim that, by examining (...) the verifiable-in-experience ideas of expressivity and dynamical value-based perception, the limits of the Theory Theory and of the Simulation Theory are resolved by means of a direct perceptual encounter that implies a unitary and never-isolated subject. I aim at showing that perception-based empathy provides an adequate basis for considering social dimensions from intersubjectivity to shared agency, since it allows for both direct embodied communication in cooperation and for the autonomy of agents involved in a collective domain. Keywords : Empathy; Expressivity; Embodiment; Perception; Collective Intentionality Esperire l’altro. Come espressività e percezione fondata sul valore forniscono un approccio non solipsistico all’empatia Riassunto : Il problema dell’intersoggettività è stato oggetto di diversi dibattiti in ambito filosofico, neuroscientifico e psicologico. Le teorie oggi dominanti si interrogano se debba essere la simulazione o il ragionamento esplicito il fondamento della comprensione dell’altro. Tuttavia, questa discussione confina il soggetto in una solipsistica proiezione di sé, priva di reale comunicazione. Proporrò un’analisi che suggerisce come le radici del concetto di “empatia” rivelino non solo una distinzione dualista tra interno ed esterno, ma anche un riferimento emergente alla dimensione corporea. Sosterrò che, esaminando concetti verificabili nell’esperienza quali espressività e percezione dinamica fondata sul valore, i limiti della Theory Theory e della Simulation Theory vengono dissolti dall’incontro percettivo diretto, che considera il soggetto come unitario e mai isolato. Intendo mostrare come l’empatia fondata sulla percezione costituisca una buona base per considerare dimensioni differenti, dall’intersoggettività all’agentività condivisa, poiché riconosce in entrambe una comunicazione diretta incarnata, che rispetta la cooperazione, ma anche l’autonomia, degli agenti coinvolti in dominio collettivo. Parole chiave : Empatia; Espressività; Embodiment; Percezione; Intenzionalità collettiva. (shrink)

In this paper I will examine the embodied dimension of emotions, and of inner life more generally, according to Wittgenstein’s anti-subjectivistic account of expression. First of all, I will explore Wittgenstein’s critique of a Cartesian disembodied account of the inner life, and the related argument against the existence of a private language. Secondly, I will describe the constitution of inner life as the acquisition of embodied ways of expressing oneself and of responding to others within a (...) shared context, against the background of an inherited weave of cultural expressive practices. Here, I will analyze Wittgenstein’s embodied account of expression, the ‘modified concept of sensing’ and ‘seeing’ which is involved in seeing the emotions of others as their expressions, and consequently Wittgenstein’s critique of an epistemological account concerning our ‘knowledge’ of others’ minds. Finally, with reference to Cavell’s and Mulhall’s readings, I will reflect on the figure of the ‘aspect-blind’, one who ‘just knows’ the emotion of others but cannot acknowledge it, and accordingly is not able to see it as the embodied expression of the other’s inner life. In this way, I wish to argue that Wittgenstein not only calls into question a disembodied account of the inner life from a theoretical point of view, but also shows the ethical consequences of a disembodied account of self through the figure of the aspect-blind. (shrink)

Late in his life, Hans-Georg Gadamer was asked to explain what the universal aspect of hermeneutics consisted in, and he replied, enigmatically, “in the _verbum interius_.” Gadamer devoted a pivotal section of his magnum opus, _Truth and Method_, to this Augustinian concept, and subsequently pointed to it as a kind of passkey to his thought. It remains, however, both in its origins and its interpretations, a mysterious concept. From out of its layered history, it remains a provocation to thought, expressing (...) something about the relation of language and understanding that has yet to be fully worked out. The scholastic idea of a word that is fully formed in the mind but not articulated served Augustine as an analogy for the procession of the Trinity, and served Thomas Aquinas as an analogy for the procession between divine ideas and human thought. Gadamer turned the analogy on its head by using the verbum interius to explain the obscure relation between language and human understanding. His learned interpretation of the idea of the inner word through Neoplatonism, Lutheranism, idealism, and historicism may seem nearly as complex as the medieval source texts he consulted and construed in his exegesis, but the profoundity of his insights are unquestioned. In unpacking Gadamer's interpretive feat, John Arthos provides an overview of the philosophy of the logos out of which the _verbum interius_ emerged. He summarizes the development of the _verbum _in ancient and medieval doctrine, traces its path through German thought, and explains its relevance to modern hermeneutic theory. His work unfolds in two parts, as an expansive intellectual history and as a close analysis and commentary on source texts on the inner word, from Augustine to Gadamer. As such, this book serves as an indispensable guide and reference for hermeneutics and the intellectual traditions out of which it arose, as well as an original theoretical statement in its own right. “Consummately researched, lucidly written, and persuasively argued throughout, __The Inner Word_ _succeeds brilliantly in bringing to light this neglected but pivotal matter in Gadamer’s work. Arthos is learned in the best ‘humanist’ way, for he succeeds in creating something new of his own that will speak eloquently to all of us.” —_Walter Jost, University of Virginia_ “Gadamer suggests that the Christian idea of incarnation is a key to his hermeneutics, but does not explain his position in a detailed or systematic manner. Arthos brings his considerable knowledge of hermeneutics and rhetoric to bear on Gadamer's insight, recounting the rich intellectual history to which Gadamer gestures, and providing an extended and detailed exegesis of this pivotal point in the third part of _Truth and Method_. Gadamer's account of 'linguisticality,' Arthos explains, can best be understood through his use of a complex metaphor—the ‘inner word.’ Arthos matches his erudition with clear and clean prose, and his account exemplifies, rather than just describes, Gadamer's hermeneutical philosophy. Any scholar interested in Gadamer's philosophy should have this book on his or her shelf.” —_Francis J. Mootz III, William S. Boyd Professor of Law, William S. Boyd School of Law_ “Arthos's strength lies for me in his careful reading of the sources. He effectively commands the literature on the subject. This work shows in a sophisticated way the legacy of trinitarian theology for philosophical hermeneutics. The very complex task of illuminating the phenomenon of the _verbum interius _and indicating its centrality for philosophical hermeneutics is accomplished by John Arthos with great sensitivity to the subject matter.” —_Andrzej Wiercinski, The International Institute for Hermeneutics_. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:“Bodyheartminding” (xin 心): Reconceiving the Inner Self and the Outer World in the Language of Holographic Focus and FieldRoger T. Amesin body consciousness: a philosophy of mindfulness and somaesthetics, Richard Shusterman expands upon a professional oeuvre in which his exploration of the phenomenon of “body consciousness” has effected nothing less than a somatic turn in the contemporary Western philosophical narrative.1 But his contribution does not end there. Over (...) the past two decades, the reach and influence of his “somaesthetics” has been extended to the gates of China. Indeed, it has become a theme engaged by scholars of China’s indigenous philosophical traditions, thus providing an opportunity for a further edifying conversation between the Chinese and Western philosophical traditions.2 And it is this conversation, as it has been inspired by Shusterman’s work, that I propose to join in this short essay.In Body Consciousness, Shusterman tells the story of how John Dewey advances the pragmatic project of not only understanding the body better, but indeed of applying the Alexander Technique as his way of using his own body properly.3 Just as Dewey has been a prominent resource for Shusterman in his development of somaesthetics, for Dewey in turn, it was William James’s Principles of Psychology that was a self-confessed inspiration for the development of his own evolving interpretation of pragmatism.4 Indeed, one way of reading Dewey’s philosophical career and his thirty-seven-volume opus is that it is a sustained effort to take the radical “stream-of-consciousness” insights developed in James’s Principles to their logical, systematic conclusion. In pursuing this project, while appreciative, Dewey is at times impatient with James’s dualistic lapses in which he continues to separate individuals from community, mind from body, emotions from intellect, agents from actions, and theory from practice. Dewey takes these unfortunate reversions to old ways of thinking as serving only to confound James’s holistic doctrines of pure experience and radical empiricism. Given Dewey’s own postulate of [End Page 100] immediate and continuous empiricism, one way of tracking his journey from having been inspired by James’s biological naturalism to achieving his own philosophical coherence is to register his unrelenting aversion to dualism in any form.But Dewey himself was not always consistent in this respect. Shusterman gives an account of the early neo-Hegelian Dewey who, affirming the familiar transcendent conception of soul we associate with idealism, unsurprisingly embraces a clear soul and body dualism. And in spite of the philosophically mature Dewey’s best efforts to think “process,” he has no choice but to use both a language and a grammar freighted with substance ontology that resists his more holistic insights. On occasion, even while trying to remain consistent in his thinking, Dewey seems to fall victim to terminology that if not dualistic is at best ambiguous. Dewey’s struggle against this problem of equivocation is particularly apparent in some of the language he appeals to in attempting to put the Humpty Dumpty of mind and body together again. In his effort to register the irreducible continuity and inseparability of the nonanalytic abstractions we differentiate as body and mind—the ontological givenness or “hadness” of “bodyminding”—Dewey still at times invokes terms such as “combination,” “integration,” “unity,” and so on, that take as their suppressed premise “two things becoming one.” By way of contrast, in the correlative vocabulary of Chinese process cosmology, expressions such as yinyang 陰陽, the natural/cultural and the human (tianren 天人), and knowing and doing (zhixing 知行), primacy is given to vital relationality and the continuity it entails. It is not putting two things together that is referenced with these binomials, but the deepening of the horizon of constitutive, internal relationships that transforms the two aspects of the same phenomenon qualitatively into harmonics (he 和) for yinyang, sagacity (sheng 聖) for tianren, and acting wisely (zhi 智) for zhixing. In each instance, the two aspects themselves are simply conceptual abstractions from a complex relational process. The proper and effective measure (du 度) sought in this Confucian cosmology is not quantitatively more or less of two distinct things—taking mind and body as our example—but rather a qualitative and transformative change that... (shrink)

The act of dance appears as a pattern of conscious movements in space and time, but a dancer who has the ability to go beyond the limits of space and time (experientially) can bring about a non-local experience of oneself and the audience making it an ecstatic communion. In this paper, we are interested in examining the extent of subjective experience of a dancer and his audience; hence, we take up a case study in first-person to understand the performer-audience interaction. (...) For this purpose, we chose Indian contemporary dancer Astad Deboo, an artist who is known to create such a magical two-way interaction consigning his audience as well as himself to a state of being mesmerized. The art of creating a non-localexperience seems to be his forte, where the audience can feel him within, while he feels his audience within. To explain this phenomenon, we propose the resonance of inner experiential states of the performer and audience as the underlying mechanism that creates a non-local interaction between them. To validate the present hypothesis, one must subject both the performer and observer to experimental studies, which involve simultaneous tracking and monitoring of the active zones in the brain associated with performing and performance viewing. In the above context, it would also be interesting to see if there exists a point of time during the performance event, where both these subjects report similar active zones in the brain. (shrink)

The Meditations of Marcus Aurelius are treasured today--as they have been over the centuries--as an inexhaustible source of wisdom. And as one of the three most important expressions of Stoicism, this is an essential text for everyone interested in ancient religion and philosophy. Yet the clarity and ease of the work's style are deceptive. Pierre Hadot, eminent historian of ancient thought, uncovers new levels of meaning and expands our understanding of its underlying philosophy. Written by the Roman emperor for his (...) own private guidance and self-admonition, the Meditations set forth principles for living a good and just life. Hadot probes Marcus Aurelius's guidelines and convictions and discerns the hitherto unperceived conceptual system that grounds them. Abundantly quoting the Meditations to illustrate his analysis, the author allows Marcus Aurelius to speak directly to the reader. And Hadot unfolds for us the philosophical context of the Meditations, commenting on the philosophers Marcus Aurelius read and giving special attention to the teachings of Epictetus, whose disciple he was. The soul, the guiding principle within us, is in Marcus Aurelius's Stoic philosophy an inviolable stronghold of freedom, the "inner citadel." This spirited and engaging study of his thought offers a fresh picture of the fascinating philosopher-emperor, a fuller understanding of the tradition and doctrines of Stoicism, and rich insight on the culture of the Roman empire in the second century. Pierre Hadot has been working on Marcus Aurelius for more than twenty years; in this book he distills his analysis and conclusions with extraordinary lucidity for the general reader. (shrink)

THIS ESSAY PRESENTS A CONFUCIAN PERSPECTIVE ON LI. My main concern is the question, “How can a Confucian moral philosopher move from the ethical to the religious dimension of li?” Section 1 provides an analysis of the scope, evolution, functions, and a brief discussion of the question of justification of li. Section 2 deals with the inner aspect of the foundation of conduct, the motivational aspect of li-performance. Section 3 discusses the outer aspect of the foundation of li, focusing (...) on Hsün Tzu’s vision of the triad of t’ien, earth, and humanity, an interpretation of his use of t’ien, shen and shen-ming as expressing a respect for established linguistic, religious practice without an endorsement of associated popular religious beliefs. This interpretation leaves open the question of the validity of reasoned religious beliefs, while presuming the religious dimension of li as extension of Confucian ethics. Section 4 centers on the ethical significance of the li of mourning and sacrifice and the more general question on the efficacy of li, and concludes with some remarks on the transformative significance of the religious dimension of li. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 19-26 [Access article in PDF] Restriction and Individual Expression in the "Play Activity / Zokei Asobi " Since World War II, art teachers in Japan have wavered between two senses of value. The first issue is whether they should foster children's specific artistic ability (for example, drawing, painting, or sculpture) in art class. Many art teachers believe that there is a (...) standard body of knowledge about art that should be taught, much like chemistry or mathematics. In fact, teachers do set these restrictions by giving teaching materials or subjects of expression to children in art class. On the other hand, art teachers recognize the need to encourage the expression of each child's individual emotions and creativity. So, Japanese art teachers are faced with a contradiction: requiring [End Page 19] each child to express herself "freely" within an environment restricted by a set curriculum.In Japan, when the government guidelines for teaching were revised about 25 years ago, a new domain was instituted in the elementary school art class. The domain is called "Play Activity/Zokei Asobi." The field of expression consists of two domains: the making of works (visual objects) according to a theme or subject and the "Play Activity" using various materials. The former is equivalent to the basic picture, craft, design, and sculpture education. The Play Activity is based on the viewpoint that children's expression naturally comes from within and is expressed as spontaneous play, such as playing in the sand or with blocks. Because children have a natural curiosity, play is not to be directed by someone else, but by their own will. Children's spontaneous play is viewed as the beginning of individual expression. Although the Play Activity has not yet fully permeated into art education of Japan, it has brought some changes to art class. The Play Activity has forced art teachers to think about their role: whether one should emphasize restriction — "shall I teach something to children?" or freedom — "how should I deal with each child's individual expression?" In this essay, I explore teachers' stream of consciousness about children's expression and meanings and subjects of the Play Activity in Japan. Child's Expression and Works of Art The Japanese art class consists of two fields: "expression" and "appreciation." In the past, children's main activity has been expression in art class. In recent years, appreciation has gradually come to be thought of as important as expression. There are historical reasons for this general philosophy about "art".Many Japanese people think that only talented and famous painters or sculptors create "art." In their minds, "art" consists of highly valued "works of art" like those seen in museums and galleries. So, because it is quite different from that of a talented artist's masterpiece, children's expression has not been considered as art.On the other hand, children's expression is considered to be an important part of ego formation. In order to accomplish this, suitable materials and techniques must be part of the various formative experiences in art class. In this way, their inner emotions and thoughts can be communicated through the process and product of their expression. Because art teachers know such intuitive expression is an important part of life, it has been regarded as more important than appreciation. In this art class, children have not made "works of art" but have "expressed" themselves, thus they have been distanced from "Real art" (famous masterpieces). The Restriction Born of Confusion about the Sense of "Art" The Japanese general sense of "art" has brought a contradiction into art class. Because the works of talented and famous artists are highly valued in [End Page 20] many adults' minds, teachers often unrealistically expect young children to express as well as an adult.For example, many Japanese value lifelike pictures as excellent. Consequently, many adults expect children to draw objects exactly as they appear. A college student who grew up surrounded by this value system retains such a sense of value. And if she cannot draw a lifelike... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 19-26 [Access article in PDF] Restriction and Individual Expression in the "Play Activity / Zokei Asobi " Since World War II, art teachers in Japan have wavered between two senses of value. The first issue is whether they should foster children's specific artistic ability (for example, drawing, painting, or sculpture) in art class. Many art teachers believe that there is a (...) standard body of knowledge about art that should be taught, much like chemistry or mathematics. In fact, teachers do set these restrictions by giving teaching materials or subjects of expression to children in art class. On the other hand, art teachers recognize the need to encourage the expression of each child's individual emotions and creativity. So, Japanese art teachers are faced with a contradiction: requiring [End Page 19] each child to express herself "freely" within an environment restricted by a set curriculum.In Japan, when the government guidelines for teaching were revised about 25 years ago, a new domain was instituted in the elementary school art class. The domain is called "Play Activity/Zokei Asobi." The field of expression consists of two domains: the making of works (visual objects) according to a theme or subject and the "Play Activity" using various materials. The former is equivalent to the basic picture, craft, design, and sculpture education. The Play Activity is based on the viewpoint that children's expression naturally comes from within and is expressed as spontaneous play, such as playing in the sand or with blocks. Because children have a natural curiosity, play is not to be directed by someone else, but by their own will. Children's spontaneous play is viewed as the beginning of individual expression. Although the Play Activity has not yet fully permeated into art education of Japan, it has brought some changes to art class. The Play Activity has forced art teachers to think about their role: whether one should emphasize restriction — "shall I teach something to children?" or freedom — "how should I deal with each child's individual expression?" In this essay, I explore teachers' stream of consciousness about children's expression and meanings and subjects of the Play Activity in Japan. Child's Expression and Works of Art The Japanese art class consists of two fields: "expression" and "appreciation." In the past, children's main activity has been expression in art class. In recent years, appreciation has gradually come to be thought of as important as expression. There are historical reasons for this general philosophy about "art".Many Japanese people think that only talented and famous painters or sculptors create "art." In their minds, "art" consists of highly valued "works of art" like those seen in museums and galleries. So, because it is quite different from that of a talented artist's masterpiece, children's expression has not been considered as art.On the other hand, children's expression is considered to be an important part of ego formation. In order to accomplish this, suitable materials and techniques must be part of the various formative experiences in art class. In this way, their inner emotions and thoughts can be communicated through the process and product of their expression. Because art teachers know such intuitive expression is an important part of life, it has been regarded as more important than appreciation. In this art class, children have not made "works of art" but have "expressed" themselves, thus they have been distanced from "Real art" (famous masterpieces). The Restriction Born of Confusion about the Sense of "Art" The Japanese general sense of "art" has brought a contradiction into art class. Because the works of talented and famous artists are highly valued in [End Page 20] many adults' minds, teachers often unrealistically expect young children to express as well as an adult.For example, many Japanese value lifelike pictures as excellent. Consequently, many adults expect children to draw objects exactly as they appear. A college student who grew up surrounded by this value system retains such a sense of value. And if she cannot draw a lifelike... (shrink)

The relevance of inner speech for human psychology, especially for higher-order cognitive functions, is widely recognized. However, the study of the phenomenology of inner speech, that is, what it is like for a subject to experience internally speaking his/her voice, has received much less attention. This study explores the subjective experience of inner speech through empathy for pain paradigm. To this end, an experimental phenomenological method was implemented. Sixteen healthy subjects were exposed to videos of sportswomen/sportsmen having (...) physical accidents practicing extreme sports. Immediately after the exposure to the stimuli, a phenomenological interview was conducted to gather data about bodily sensations, emotions, motivations, and inner speech of watching other people’s accidents. Participant’s inner speech expresses concern about the consequences the accident could generate to the sportswomen/sportsmen or about the participants themselves. Simultaneously, participants’ inner speech happened with negative emotional feelings, many sensations distributed throughout their bodies, and a felt knowledge coming from a meaningful but pre-reflective and pre-verbal bodily dimension. Our findings show that inner speech in empathy is not merely a psycholinguistic process or high-order cognitive function, but rather it is a complex experience that occurs deeply related to meaningful emotions, bodily sensations, and an implicit, somatically felt knowledge. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Inner Revolution: Life, Liberty, and the Pursuit of Real HappinessJohn M. KollerInner Revolution: Life, Liberty, and the Pursuit of Real Happiness. By Robert Thurman. New York: Riverhead Books, 1998. Pp. xiv + 322. $24.95.Can the Buddhist culture of Tibet—until the middle of the twentieth century a medieval theocracy almost completely isolated from the rest of the world—point the way to the fulfillment of the American dream? In (...) his extraordinary book, Inner Revolution: Life, Liberty, and the Pursuit of Real Happiness, Robert Thurman, a distinguished Buddhist scholar, argues that it can.Inner Revolution is a significant reconstruction of the basic teachings of Buddhism from a Tibetan perspective that shows the important sociopolitical dimensions [End Page 138] of Buddhism, arguing convincingly that mental transformation based on deep understanding of self and reality is the basis for far-reaching peaceful social and political revolution. The energizing vision behind this book is summed up on page 221, in the concluding paragraph of chapter 7, "The World-taming Adepts":To finish building the free society dreamed of by Washington, Franklin, and Jefferson, we must draw upon the resources of the enlightened imagination, which can be systematically developed by the spiritual sciences of India and Tibet. We have not yet tamed our own demons of racism, nationalism, sexism, and materialism. We have not yet made peace with a land we took by force and have only partly paid for. We are a teeming conglomeration of people from different tribes who have yet to embrace fully the humanness in one another. And none of us can be really free until all of us are.This is the vision of "Life, Liberty, and the Pursuit of Real Happiness" announced in the book's title. The means to the realization of this vision, the "cool revolution" that Thurman describes, is captured in the first words of the title, "Inner Revolution." This inner revolution is a transformation of the mind, a transformation effected by the deep understanding praised as prajñā or insight in the Prajñāpāramitā Sūtras of Mahāyāna Buddhism. It is the deep understanding to which Śākyamuni, the historical Buddha of our era, awakened, making him a Buddha. It is the understanding that the truth of existence, the Dharma, is that things exist in dynamic interdependence. Nothing—persons or things—exists permanently or separately. The fundamental insight of the Buddha, pratītyasamutpāda, is that, in the felicitous words of the Vietnamese Zen Master Thich Nat Hanh, things inter-are, in dynamic interdependence. It is because of the dynamic interbeing of things that genuine social and political freedoms are impossible without inner freedom. It was in his awakening to the truth of dynamic interbeing that, as Thurman describes it, "The Buddha found that inner freedom—freedom from our negative emotions and obsessive self-concern—is the essential precondition for goodness and social liberty" (p. 30).There is a tendency among Buddhist scholars to ignore or slight the social and political implications of wisdom and compassion. This is partly the result of reading modern Western individualism into Buddhist teaching and consequently focusing exclusively on how the individual person is transformed by wisdom and compassion, ignoring the social transformation inherent in the transformation of individuals. It is also partly the result of a failure to understand that compassionate action is as central to Buddhism as enlightened understanding. But Thurman clearly understands that the fundamental aim of Buddhist teaching and practice is to become a Buddha. And to become a Buddha, as Śāntideva says in the Bodhicaryāvatāra, a text that has inspired Tibetan Buddhists for over a thousand years, one takes the Bodhisattva vow to work tirelessly and unceasingly to bring happiness to all beings. In Śāntideva's own words: "As long as space abides and as long as the world abides, so long may I abide, destroying the sufferings of the world" (10.55). Compassion is inseparable from wisdom. When one awakens the mind of enlightenment (bodhicitta), compassion arises, leading one to take the Bodhisattva vow that Śāntideva expresses in 3.7 : [End Page 139] "I am medicine for the sick. May I be both the doctor and... (shrink)

The aim of this chapter is to open the question of this pervasiveness of the moral by arguing for the impossibility of delimiting the moral in one specific case, that of psychological self-ascription. The first part presents two views of the relationship between nature and morality found in forms of scientific and relaxed naturalism. In the main part, I argue, first, that psychological self-ascriptions are in most cases not to be understood on the standard model of observation and descriptions, but (...) rather as expressions of thoughts and feelings already present for us. And in the second, I contend that psychological self-ascriptions therefore always involve elements of endorsement and responsibility, which means that they are ways of situating ourselves morally in relations to others. (shrink)

Is it not surprising that we look with so much pleasure and emotion at works of art that were made thousands of years ago? Works depicting people we do not know, people whose backgrounds are usually a mystery to us, who lived in a very different society and time and who, moreover, have been ‘frozen’ by the artist in a very deliberate pose. It was the Classical Greek philosopher Aristotle who observed in his Poetics that people could apparently be moved (...) even by the imitation of a person or an act. And although we are usually well aware that it is a simulacrum, not a real situation, it nevertheless sometimes seems as if we ourselves are standing there on the stage or in the painting, so intense and emotional is our response, even though we are just spectators. Aristotle concludes from this that we have intellectual capacities which allow us put ourselves in another’s place and consequently to react to simulated situations as though they are actually happening to us, here and now. In this process, he contends, observation, memory, imagination and emotions are crucial elements. In the past it was not customary to invoke human mental faculties to explain our response to works of art. The Ancient Greeks, after all, knew little about the human body or brain and usually referred to the extended world of the gods in their endeavours to comprehend the ‘inner world’ of human beings. In our time the situation is completely different—such an allusion to the brain no longer surprises us. Whether it is about the mystery of the consciousness, the question of free will or accounts of bizarre psychological aberrations or disorders, we have become accustomed to references to parts of the brain, to images of brain scans, to reports about neural networks and the like. However, because there are so many factors that play a part in our appreciation of works of art we need a complex explanation for it, and it is not enough to look only at certain properties of the brain that are determined by evolution. Those properties are shared by every human being, and so are rather useless in explaining people’s different reactions to the same work of art. Evidently the brains of individuals differ so much that they make it possible for people to respond differently to one and the same artwork. This, of course, raises questions concerning the painted emotions that can be seen in this exhibition. Virtually everyone, after all, is fascinated by such paintings and usually recognizes the emotions they represent. The reactions to these painted emotions are also often similar. This is probably why artworks like this are generally highly valued, then and now, here and elsewhere: from the enigmatically smiling Egyptian Queen Nefertiti and the startled Rembrandt to a seemingly despairing African mask. Aristotle observed that in the theatre players imitate actions that are associated with emotions in a number of ways and that these emotions are shared in a particular fashion by the playwright, the actors and the audience. The audience may even be carried away by these emotions to such an extent that they are in a sense purged of them and can subsequently leave the theatre relieved. Are such emotional reactions perhaps related to the fact that emotions are universal and that brains respond similarly to them? Is this why we can so readily identify painted emotions? May we therefore also assume that the properties of the brain determined by evolution help us to explain these emotions? In answering these questions we shall discuss a number of insights into emotions in psychology and brain science and explore some theories about the possible function of emotions and their expression. (shrink)

Mediaeval psychological theory was a “faculty psychology”: a confederation of semiautonomous sub-personal agents, the interaction of which constitutes our psychological experience. One such faculty was intellective appetite, that is, the will. On what grounds was the will taken to be a distinct faculty? After a brief survey of Aristotle's criteria for identifying and distinguishing mental faculties, I look in some detail at the mainstream mediaeval view, given clear expression by Thomas Aquinas, and then at the dissenting views of John (...) Duns Scotus and William of Ockham. I conclude with some reflections on why the mainstream mediaeval view was discarded by Descartes. (shrink)

I draw upon Edmund Husserl’s classic text, On the Phenomenology of the Consciousness of Internal Time, in order to reframe some of his insight regarding the structures of inner time-consciousness and lay the groundwork for a few claims of my own. First, I show how musical expression is constituted in relation to the flowing movement of absolute subjectivity. Moreover, by carefully distinguishing between retention and recollection, I clarify, on the one hand, music’s ability to support access to memory (...) proper and, on the other hand, its ability to keep the past “in play,” so to speak. In this way, we come to understand how music offers a unique memorial capacity—it makes possible the life of the past, as the vital movement of absolute subjectivity. Throughout the essay, I refer to Josquin’s motet Ave Maria…virgo serena in order to clarify the specific temporal structures that are at issue. (shrink)

A fresh interpretation of Jeremy Bentham, finding that his “radical foolery” embodied a social ethics that was revolutionary for its time. Jeremy Bentham (1748–1832) is best remembered today as the founder of utilitarianism (a philosophy infamously abused by the Victorians) and the conceiver of the Panopticon, the circular prison house in which all prisoners could be seen by an unseen observer—later seized upon by Michel Foucault as the apotheosis of the neoliberal control society. In this volume in the Untimely Meditation (...) series, Christian Welzbacher offers a new interpretation of Bentham, arguing that his “radical foolery” (paraphrasing Goethe's characterization of Bentham) actually embodied a social ethics that was new for its time and demands proper historical contextualization rather than retroactive analysis from the vantage point of late capitalism. Welzbacher provides just such an analysis, offering an account of the two great utilitarian projects that occupied Bentham all his life: the Panopticon and the Auto-Icon. Welzbacher rescues the Panopticon from the misapprehensions of Foucault, Orwell, and Lacan, arguing that Bentham saw the Panopticon as a pedagogical instrument incorporating the tenets of reason; construction and function, plan and influence, architecture and politics are brought into alignment. Bentham extolled the discovery in words that could easily be ascribed to Le Corbusier, Bruno Taut, or any other modernist architect. The Auto-Icon expressed Bentham's theories that the dead should benefit later generations; these theories were effectively sealed when Bentham decided to have his body preserved and put on display. (It can be seen today in a cabinet at University College London.) He also donated his inner organs to science—a practice outlawed at the time—and posthumously stage-managed his own ceremonial autopsy. Welzbacher reveals a Bentham who raised questions that feel familiar and current, invoking topoi that would come to define the modern era and that reverberate to this day. (shrink)

The central problem of social theory is 'structure and agency'. How do the objective features of society influence human agents? Determinism is not the answer, nor is conditioning as currently conceptualised. It accentuates the way structure and culture shape the social context in which individuals operate, but it neglects our personal capacity to define what we care about most and to establish a modus vivendi expressive of our concerns. Through inner dialogue, 'the internal conversation', individuals reflect upon their social (...) situation in the light of current concerns and projects. On the basis of a series of unique, in-depth interviews, Archer identifies three distinctive forms of internal conversation. These govern agents' responses to social conditioning, their individual patterns of social mobility and whether or not they contribute to social stability or change. Thus the internal conversation is seen as being the missing link between society and the individual, structure and agency. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

This chapter examines the concepts of expression and affect in the works of Heinrich von Kleist, Samuel Beckett, and Gilles Deleuze. It suggests that Kleist, Beckett, and Edward Gordon-Craig belong a minor tradition of acting and explains that this minor tradition is one that aims to create a theatre which moves away from the inner world of an actor in favour of developing affects which express an external composite world. It also analyses Kleist's short story ‘On the Marionette (...) Theatre’ and Deleuze's Expressionism in Philosophy: Spinoza. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.4 (2001) 584-585 [Access article in PDF] Phillip Cary. Augustine's Invention of the Inner Self: The Legacy of a Christian Platonist. New York: Oxford University Press, 2000. Pp. xvii + 214. Cloth, $45.00. In a gloss on the well-known gospel text, G. K. Chesterton noted that it is precisely because salt is unlike the foods it preserves that it is able to (...) do its distinctive work of preservation. Likewise, according to the thesis of this book, it is precisely because Augustine of Hippo invented his distinctive approach to interiority that he has done so much to preserve for the Western tradition the Platonic conception of the soul. Yet Augustine's contribution to the philosophy of the inner self is not simply one of inventio in the classical sense of a discovery of the Platonic self, it is also an innovation pointing philosophy in a new direction.Using a series of provocative images, Phillip Cary outlines the history of the idea of the private inner self in a way that highlights Augustine's distinctive contribution. He begins with Plato's Allegory of the Cave wherein the soul or self is an eye that has escaped the lower darkness to gaze upward away from itself toward the sun achieving intellectual vision. This idea is developed by Plotinus, for whom the soul is like a sphere revolving around the inner source of intelligibility at the center of things. This soul can look out toward the darkness or inward toward the intelligible light. In a further development, Augustine pictures the self as an inner palace with large courtyards open to the intelligible light of the sun such that the eye of the soul must turn inward and then upward to be enlightened. The final modern development is represented by Locke's picture of the self as a dark room where nothing but images are projected within through windows out of which the self cannot see, the intelligible light of the sun being kept out. Introducing the notion of the private inner life, Augustine is the forerunner of modern philosophy and all that has followed from the Cartesian turn. Yet Augustine is also a Platonist seeking the source of intelligibility that enlightens the inner self taking it beyond itself. This dual thesis is defended by Cary through a study of Augustine's place in the Platonic tradition of inner divinity. The task takes up the [End Page 584] first half of the book and builds on the well-known studies of Augustine's Platonism by J. J. O'Meara, R. J. O'Connell, and others. The second part of the book is devoted to Augustine's innovations of privacy and the inward-upward turn and yields some surprising discoveries that will interest the historian of philosophy.One surprise concerns Augustine's expressionist semiotics according to which signs are outward expressions of what is within. As a Platonist, however, Augustine also holds that signs signify intelligible things that nonetheless fail to be made truly intelligible by signs. The knower, then, does not grasp the intelligible thing from its being signified by the sign, but grasps the significance of a sign by knowing the intelligible thing it signifies. Thus, according to the De Doctrina Christiana, the correct interpreter of scripture is the one who already knows the spiritual things the words of scripture signify and, therefore, is not a slave to a literal interpretation of these words.Another surprise is Augustine's notion of grace as a sort of Platonic eros. Operating by attraction rather than coercion, grace is as much directed at the reason as the will. Thus, the discussions of grace as inward teaching in the anti-Pelagian works is a development of Christ, the inner teacher of the De Magistro, and Reason, the inner teacher of the Soliloquies.Yet another surprise concerns the traditional faith-reason problem. Rather than seeing faith and reason as contrasting modes of inner cognition of outward objects, Augustine associates faith with authority as external... (shrink)

This dissertation investigates the complex phenomenon of familial intimacy as a distinctive and essential basis of self-identity and ethical obligation. The account of the family is developed in accordance with the social categories that Hegel articulates in the context of his two most developed studies of human institutions, the Philosophy of Right and the Phenomenology of Spirit, to demonstrate that Hegel's systematic approach to social and political issues provides us with indispensable insights into the inescapably intersubjective nature of all dimensions (...) of human experience and action. Familial sociality is shown to be distinguished from other forms of intersubjective relation by the fact that it has its basis in a primarily unconscious and affective experience of intimacy---an experience that implicates a person's identity and a person's actions in the identities and actions of others in ways that ultimately resist rational reflection and autonomous self-articulation. This analysis of the inner workings of familial self-identification is used as a lens through which to gain new perspectives on the manner in which social forces shape the very texture of human perceptual life. The unconscious nature of family intimacy is shown to complicate our understanding of collective responsibility for, and complicity in, social acts. This analysis also affords us with insights into the essentially communal basis of property holding, for, it is argued, within the familial sphere, property is best understood as the expression of an intimacy and ongoing communication with other selves, rather than as something that fences one off from others. (shrink)

In his seminal work, The Courage to Teach: Exploring the Inner Landscape of a Teacher's Life, Parker J. Palmer brings to critical attention not teaching methodologies or teaching techniques but the very identity and integrity of the person who teaches. In an extended meditation on the life of the teacher at all educational levels, Palmer chooses to foreground the significance of personhood, of self-knowledge and self-expression. The questions most commonly asked in teaching, he expands, relate to the "what," (...) the "how," and the "why" but very seldom do we train our gaze on the "who." Very seldom do we... (shrink)

The orthography of the relative pronoun and the near demonstrative pronoun in the Byblian dialect of Phoenician is exactly the same, meaning that the grapheme z in introductions to dedication inscriptions has been left to interpretation. The historically related nature of these pronouns and their linguistic development led to this situation, in which the written expression of both pronouns in Byblian is identical. In this article, I examine this situation from a variety of perspectives, using both inner-Phoenician word (...) order and comparative data from related languages, in order to show that two patterns underlie the pronoun z in the introduction to Byblian dedication inscriptions. First, I present the historical data regarding the development of the near demonstrative and relative pronouns in Phoenician. Next, I provide an analysis of the syntax of Phoenician dedication inscriptions and offer comparative material in mortuary inscriptions in Phoenician as well as evidence from Old Aramaic and Samʾalian. In doing so, I argue that, in light of comparative evidence, there is good reason to posit that two patterns exist underlying Byblian z, one in which the grapheme indicates the relative pronoun and another in which the grapheme indicates the near demonstrative. (shrink)

What was the nature and degree of Eastern influence on Carl Jung's complex concept of "the Self"? It is argued that Chinese Taoism rather than Hinduism provided the fundamental formative influence on this central idea, especially as it is expressed through the I Ching. This influence came indirectly through the development of Jung's notion of "synchronicity," correlative parallels between the inner and the outer realms of experience.

As opposed to the computer, the human being can intentionally mislead in many different ways, can behave chaotically, and whenever he has the motivation can choose also by improvisation, non‐consequent misleading, and spontaneous manners of reasoning and articulation. Human perception and the elaboration of the experience are existentially interest‐related, and distorted if found necessary. The arbitrariness is unlimited; human beings can initiate and produce absurd combinations, contextual failures and deceptive expressions, and do so also by intonation and body‐language. These are (...) the sources of social behaviour, of literature, arts, jurisprudence, politics, etc., all representing systems of meaning constructed by human beings, present in their ‘Lebenswelt’. Human beings are flexible, sensible of emotions and well‐trained to code and decode hidden fallacies, to produce wild associations, capricious‐temporary conclusions, tasks that the rigid computer cannot fulfil. They can choose incorrect and dysfunctional answers; the exactness of their reasoning can be logically invalid. The computer has only inner horizons; human beings have also outer ones, in which they are able to produce multidimensional relationships. They are not truth‐conditioned.The reduction of organic human thinking to the computer’s mechanisms can end up in humankind’s dehumanisation. (shrink)

As opposed to the computer, the human being can intentionally mislead in many different ways, can behave chaotically, and whenever he has the motivation can choose also by improvisation, non‐consequent misleading, and spontaneous manners of reasoning and articulation. Human perception and the elaboration of the experience are existentially interest‐related, and distorted if found necessary. The arbitrariness is unlimited; human beings can initiate and produce absurd combinations, contextual failures and deceptive expressions, and do so also by intonation and body‐language. These are (...) the sources of social behaviour, of literature, arts, jurisprudence, politics, etc., all representing systems of meaning constructed by human beings, present in their ‘Lebenswelt’. Human beings are flexible, sensible of emotions and well‐trained to code and decode hidden fallacies, to produce wild associations, capricious‐temporary conclusions, tasks that the rigid computer cannot fulfil. They can choose incorrect and dysfunctional answers; the exactness of their reasoning can be logically invalid. The computer has only inner horizons; human beings have also outer ones, in which they are able to produce multidimensional relationships. They are not truth‐conditioned.The reduction of organic human thinking to the computer’s mechanisms can end up in humankind’s dehumanisation. (shrink)

Panpsychism is viewed by its advocates as resolving the main sticking points for materialism and dualism. While sympathetic to this approach, I locate two prevalent assumptions within modern panpsychism which I think are problematic: first, that fundamental consciousness belongs to a perspectival subject and second, that the physical world, despite being backed by conscious subject, is observer-independent. I re-introduce an argument I’d made elsewhere against the first assumption: that it lies behind the well-known combination and decombination problems. I then propose (...) a new argument against the second assumption: that it leads to an equally pernicious difficulty I call the “Inner-Outer Gap Problem.” The variant of panpsychism I continue to develop and defend, Perennial Idealism, avoids these assumptions and their problems, allowing real progress on the mind-body problem. Perennial Idealism is a type of panpsychist idealism rather than panpsychist materialism. (shrink)

Our concept of the universe and the material world is foundational for our thinking and our moral lives. In an earlier contribution to the URAM project I presented what I called 'the ultimate organizational principle' of the universe. In that article (Grandpierre 2000, pp. 12-35) I took as an adversary the wide-spread system of thinking which I called 'materialism'. According to those who espouse this way of thinking, the universe consists of inanimate units or sets of material such as atoms (...) or elementary particles. Against this point of view on reality, I argued that it is 'logic', which exists in our inner world as a function of our mind, that is the universal organizing power of the universe. The present contribution builds upon this insight. Then I focussed on rationality; now I am interested in the responsibility that is the driving force behind our effort to find coherence and ultimate perspectives in our cosmos. It is shown that biology fundamentally differs from physics. Biology has its own fundamental principle, which is formulated for the first time in history in a scientific manner by Ervin Bauer. This fundamental principle is the cosmic life principle. I show that if one considers the physical laws as corresponding to reality, as in scientific realism, than physicalism becomes fundamentally spiritual because the physical laws are not material. I point out that the physical laws originate from the fundamental principle of physics which is the least action principle. I show that the fundamental principle of physics can be considered as the "instinct of atoms". Our research has found deep and meaningful connections between the basic principle of physics and the ultimate principles of the universe: matter, life and reason. Therefore, the principle of least action is not necessarily an expression of sterile inanimateness. On the contrary, the principle of physics is related to the life principle of the universe, to the world of instincts behind the atomic world, in which the principles of physics, biology, and psychology arise from the same ultimate principle. Our research sheds new light to the sciences of physics, biology, and psychology in close relation to the basic principles. These ultimate principles have a primary importance in our understanding of the nature of Man and the Universe, together with the relations between Man and Nature, Man and the Universe. The results offer new foundations for our understanding our own role in the Earth, in the Nature and in the Universe. Even the apparently inanimate world of physics shows itself to be animate on long timescales and having a kind of pre- human consciousness in its basic organisation. This hypothesis offers a way to understand when and how the biological laws may direct physical laws, and, moreover, offers a new perspective to study and understand under which conditions can self-consciousness govern the laws of biology and physics. This point of view offers living beings and humans the possibility of strengthening our natural identity, and recognising the wide perspective arising from having access to the deepest ranges of our own human resources and realising the task for which human and individual life has been created. (shrink)

One of science's greatest intellects examines how people and animals display fear, anger, and pleasure. Darwin based this 1872 study on his personal observations, which anticipated later findings in neuroscience. Abounding in anecdotes and literary quotations, the book is illustrated with 21 figures and seven photographic plates. Its direct approach, accessible to professionals and amateurs alike, continues to inspire and inform modern research in psychology.

The following is a chapter of a book and I should say something at the outset about the content of the book. The topic is Hegel’s “social theory of agency,” and that topic, given how the problem of agency is usually understood, raises the immediate question of why anyone would think that “sociality” would have anything at all to do with the “problem of agency.” That problem is understood in a number of ways; most generally – what distinguishes naturally occurring (...) events from actions (if anything)? (Sometimes the question is: what, if anything, distinguishes responsible human doings from what animals do?) The most prominent approach has it that actions are things done intentionally by individuals, purposely, for a purpose. This is sometimes said to mean: acting from or on or because of an intention, although as we shall see this nominalization can be quite misleading. Or, of the many possible descriptions of some occurrence, it is an action is there is a true description which is intentional. This is often taken to mean simply that if you ask a person why he is doing something he can express this intention to explain himself, most often in the form of a reason. He does not (except in extraordinary circumstances) describe why he is acting in the way he might describe what caused his.. (shrink)