: Sinhababu’s Humean Nature contains many interesting and important ideas, but in this short commentary I focus on the idea of vivid representations. Sinhababu inherits his idea of vivid representations from Hume’s discussions, in particular his discussion of calm and violent passions. I am sympathetic to the idea of developing Hume’s insight that has been largely neglected by philosophers. I believe that Sinhababu and Hume are on the right track. What I do in this short commentary is to (...) raise some questions about the details. The aim of asking these questions is not to challenge Sinhababu’s proposal, but rather to point at some interesting issues arising out of his proposal. The questions are about the nature of vividness, the effects of vivid representations, and Sinhababu’s account of alief cases. Keywords: Vivid Representation; Desire; Procrastination; Akrasia; Alief Le rappresentazioni vivide e i loro effetti Riassunto: Humean Nature di Neil Sinhababu contiene molte idee interessanti e importanti; tuttavia in questo breve commento intendo concentrarmi sulle rappresentazioni vivide. Sinhababu eredita l’idea di rappresentazione vivida dalle analisi di Hume, in particolare dall’analisi delle passioni calme e violente. Condivido l’intento di sviluppare questa intuizione di Hume, ampiamente trascurata dai filosofi. Credo che Sinhababu e Hume siano sulla strada giusta. Quanto intendo fare in questo breve commento è sollevare alcune questioni di dettaglio, il cui fine non è quello di mettere in discussione la proposta di Sinhababu, quanto piuttosto di indicare alcuni punti interessanti che emergono dalla sua proposta. Le mie questioni investono la natura della vividezza, gli effetti delle rappresentazioni vivide e la descrizione di Sinhababu dei casi di alief. Parole chiave: Rappresentazione vivida; Desiderio; Temporeggiare; Akrasia; Cattiva volontà. (shrink)

I argue that the Doctrine of Double Effect is accepted because of unreliable processes of belief-formation, making it unacceptably likely to be mistaken. We accept the doctrine because we more vividly imagine intended consequences of our actions than merely foreseen ones, making our aversions to the intended harms more violent, and making us judge that producing the intended harms is morally worse. This explanation fits psychological evidence from Schnall and others, and recent neuroscientific research from Greene, Klein, Kahane, and Schaich (...) Borg. It explains Mikhail and Hauser’s “universal moral grammar” and an interesting phenomenon about Double Effect cases noted by Bennett. When unequally vivid representations determine our decisions, we typically misjudge the merits of our options and make mistakes. So if Double Effect is a product of unequal vividness, it is likely to be mistaken. This argument, I claim, fits Berker’s specifications for good empirically grounded arguments in ethics. (shrink)

One central brand of representationalism claims that the specific phenomenal character of an experience is fully determined by its content. A challenge for this view is that cognitive and perceptual experiences sometimes seem to have the same representational content while differing in phenomenal character. In particular, it might seem that one can have faint imagery experiences or conscious thoughts with the same contents as vivid perceptual experiences. This paper argues that such cases never arise, and that they are probably (...) metaphysically impossible. I also suggest a fully representational account of differences in vividness between phenomenal experiences. (shrink)

Confucius became a subject for visual representation after the Han court formally endorsed his teachings, and his earliest images appeared in schools and offering shrines. As his official cult evolved, and until the 1530 ritual reform, iconic portraits of Confucius and his disciples received offerings in temples throughout China. During the Song period, his portrayals became more diverse, and some reproduced pictures kept by his Kong descendants in Qufu曲阜and Quzhou衢州. Attributions to the Tang painter Wu Daozi 吳道子became customary and (...) persistent, despite tenuous connections. Until the 20th century, images of Confucius primarily concerned the literate elite, for whom he was an exemplar of moral cultivation. Pictorial biographies of Confucius, made in considerable numbers from the middle Ming onward, brought him more vividly to life and to a wider range of society. In recent decades, new images of Confucius have evolved to serve a range of contemporary purposes. (shrink)

In recent decades, advances in the life sciences have created an unprecedentedly detailed picture of heredity and the formation of the phenotype where clusters of simplistic reductionist and deterministic views and interpretations have begun to lose ground to more complex and holistic notions. The developments in gene regulation and epigenetics have become a vivid emblem of the ongoing ‘softening’ of heredity. Despite this headway, the outlook and rhetoric widely popular in the twentieth century favoring the ‘gene’ in the ‘genegenetic (...) plasticityphenotypeenvironment’ tetrad have not been successfully tackled but continue to exist in parallel with a new, equally monochromatic, viewpoint championing genetic plasticity. An examination of epigenetics and its presentation in the public sphere, open to a conversation with the social disciplines and philosophy, could address this dichotomy and contribute to the discourse. This article outlines key biological aspects of epigenetics and discusses the language, presentation and wider resonance of this field of life science research. (shrink)

Photography and memory seem to be inextricably bound up with each other, as photographs can invoke memories which help to excavate past moments with vivid details. Yoshiko Uchida in her autobiography, Desert Exile: The Uprooting of a Japanese-American Family (1982), delves into her past experiences through the lens of counter-memory, i.e. the memory of the minor and the subjugated. The Japanese-American author strives to recover the past by means of photographic images which—blended into written reminiscences— uncover yet another plane (...) of articulation. Individual memory has enabled the author to chisel her own identity with textual and photographic means of self-expression. Constructing her autobiographical confession, Uchida also draws upon the collective memory of the war internment of the Japanese and Japanese Americans, which inevitably shaped her present self. A set of photographs which accompanies her account testifies that the ocular dimension can be as powerful as the textual one. Each photograph contains a stratum of data which deprives the text of its autonomy and grants it an equal status of signification. (shrink)

The status of genes as bearers of semantic content remains very much in dispute among philosophers of biology. In a series of papers, Nicholas Shea has argued that his ‘infotel’ theory of semantics vindicates the claim that genes carry semantic content. On Shea’s account, each organism is associated with a ‘developmental system’ that takes genetic representations as inputs and produces whole-organism traits as outputs. Moreover, at least in his most recent work on the topic, Shea is explicit in claiming that (...) these genetic representations are ‘read in ontogenetic time, in the course of individual development’. Here I argue that a close examination of the process of reading, in Shea’s sense, reveals that acts of reading do not actually occur over the course of developmental time at all. To make this vivid, I contrast the process of reading for Shea with another type of developmental process that is widely seen as a form of reading directed on inherited genes, and which certainly does occur over the course of developmental time, namely, gene expression. I suggest that this error in Shea’s thinking can be traced back to an equivocation on Shea’s part in the meaning of ‘reads’, and also to a reliance on an invalid principle regarding the transference of representational content from one token gene to another. The issues at play are bound up with questions about causation and in particular about causation over time. Thus, having first presented my arguments in a way that doesn’t depend on any particular theory of causation, I then make use of Kenneth Waters’ framework of difference-making causation to conceptually sharpen and shed further light on matters. I conclude by discussing a consequence of the fact that acts of reading do not occur in development. 1 Introduction2 Reading for Shea3 Gene Expression as Reading4 Are Genetic Representations Read in Development? Part 15 The Manipulability Theory of Causation and Difference-Making Causation6 Are Genetic Representations Read in Development? Part 27 Conclusion. (shrink)

One of the major points in Husserl's philosophy is his insistence that consciousness is structured. He denies that consciousness is simply an undifferentiated awareness and that all the differences occur in the content or object of consciousness. He claims that consciousness itself is articulated; it has parts ordered into different kinds of wholes. The most vivid examples of this articulation are found in "representational" forms of consciousness such as remembering or imaging an experience. Let us say that I remember (...) getting into a taxi last evening. My remembering is dual and involves the memorial reenactment of a prior perceptual activity. I "relive," so to speak, myself getting into the taxi yesterday evening, and I do so now, while sitting in a chair in my office. This dual pattern of consciousness, however, this parallelism between my present remembering and my past experience, is entirely focused on one object, on the taxi as being perceived and entered by me. (shrink)

Some artistic representations—the painting of a hat in a famous picture by Rembrandt is an example—are able to present vividly the character of what they represent precisely by calling attention to their medium of representation. There is a puzzle about this whose structure, I argue, is analogous to that of a familiar Kantian problem for traditional realism. I offer a precise characterization of the puzzle, before arguing that an analogue for the case of representation to the Kantian solution (...) to the problem for traditional realism is implausible. I offer an alternative solution to the puzzle about representation which also explains why we should be interested in artistic representation in the first place. I close with the outline of a possible realist response to the traditional Kantian problem. (shrink)

Galton and subsequent investigators find wide divergences in people's subjective reports of mental imagery. Such individual differences might be taken to explain the peculiarly irreconcilable disputes over the nature and cognitive significance of imagery which have periodically broken out among psychologists and philosophers. However, to so explain these disputes is itself to take a substantive and questionable position on the cognitive role of imagery. This article distinguishes three separable issues over which people can be "for" or "against" mental images. Conflation (...) of these issues can lead to theoretical differences being mistaken for experiential differences, even by theorists themselves. This is applied to the case of John B. Watson, who inaugurated a half-century of neglect of image psychology. Watson originally claimed to have vivid imagery; by 1913 he was denying the existence of images. This strange reversal, which made his behaviorism possible, is explicable as a "creative misconstrual" of Dunlap's "motor" theory of imagination. (shrink)

Two studies examined how different linguistic forms affect the way in which people access memories of former close relationships that are irrevocably over. Remembering former relationships can activate either positive or negative attitudes. Whether people feel sorrow that bygones are in fact bygones depends on attitudinal valence, but also on the linguistic form in which people express their attitudes. More abstract linguistic forms prevent people from retrieving specific and detailed memories, and thus prompt them to generating more counterfactual thoughts and (...) to experience stronger regret. In contrast, more concrete linguistic forms lead people to remember their personal past more vividly and accurately, and this subjective impression can forestall counterfactual thinking. Study 2 further shows that people are more prone to generate counterfactual thoughts when they focus on the final stage of their relationships rather than the beginning even when the valence of recalled attitudes and objective time are controlled. (shrink)

This book defends the Humean Theory of Motivation, according to which desire drives all action and practical reasoning. -/- Desire motivates us to pursue its object. It makes thoughts of its object pleasant. It focuses attention on its object. Its effects are amplified by vivid representations of its object. These aspects of desire explain why motivation usually accompanies moral belief, how intentions shape our plans, how we exercise willpower, what human selves are, how action can express emotion, why we (...) procrastinate, and how we daydream. The Humean Theory also suggests a new account of moral judgment that upholds objectivity while understanding moral concepts in terms of our feelings. (shrink)

In the last 2500 years, since the beginnings in ancient Greece of the literary genre we call “history,” the relationship between history and law has been very close. True, the Greek word historia is derived from medical language, but the argumentative ability it implied was related to the judicial sphere. History, as Arnaldo Momigliano emphasized some years ago, emerged as an independent intellectual activity at the intersection of medicine and rhetoric. Following the example of the former, the historian analyzed specific (...) cases and situations looking for their natural causes; following the prescriptions of the latter—a technique, or an art, born in tribunals—he communicated the results of his inquiry.2Within the classical tradition, historical writing had to display a feature the Greeks called enargeia, and the Romans, evidential in narrtatione: the ability to convey a vivid representation of characters and situations. The historian, like the lawyer, was expected to make a convincing argument by communicating the illusion of reality, not by exhibiting proofs collected either by himself or by others.3 Collecting proofs was, until the mid-eighteenth century, an activity practiced by antiquarians and erudite, not by historians.4 When, in his Traité des differentes sortes de preuves qui servent à établir la vérité he l’histoire , the erudite Jesuit Henri Griffet compared the historian to a judge who carefully evaluates proofs and witnesses, he was expressing a still-unaddressed intellectual need. Only a few years later Edward Gibbon published his Decline and Fall of the Roman Empire, the first work that effectively combined historical narrative with an antiquarian approach.5 2. See Arnaldo Momigliano, ”History between Medicine and Rhetoric,” Ottavo contributo alla storia degli studi classici e del mondo antico, trans. Riccardo Di Donato , pp. 14-25.3. See Ginzburg, “Montrer et citer.”4. See Momigliano, “Ancient History and the Antiquarian,” Contributo alla storia degli studi classici , pp. 67-106.5. See Henri Griffet, Traité des differentes sortes de preuves qui servent à établir la vérité de l’histoire, 2d ed. . Allen Johnson, in his Historian and Historical Evidence , speaks of the Traité as “the most significant book on method after Mabillon’s De re diplomatic” . See also Momigliano, “Ancient History and the Antiquarian,” p. 81, and Ginzburg, “Just One Witness.” On Gibbon, see Momilgiano, Sesto contributo alla storia degli studi classici e del mondo antico , pp. 231-84. Carlo Ginzburg is Franklin D. Murphy Professor of Italian Renaissance Studies at the University of California, Los Angeles. His two most recent books are Ecstasies: Deciphering the Witches’ Sabbath and Il giudice e lo storico. (shrink)

Even the critics of Dutch Reformed theologian, politician, and publicist Abraham Kuyper acknowledge his great power of oratory. This essay examines the nature of Kuyper's rhetoric in a mythopoetic perspective that sees its inspiration in a romantic understanding of artistic inspiration and vivid representations of reality. Long-term editor of De Standaard, Kuyper's stalwart defence of Calvinism against Modernism drew from the struggles of Dutch history and from his personal history to espouse strong views that are couched in military as (...) well as organic metaphors. His mastery of the psychology of mass communication enabled Kuyper to accomplish many, though not all, of his political goals. (shrink)

Our pains can be more or less intense, our mental imagery can be more or less vivid, our perceptual experiences can be more or less striking. These degrees of intensity of conscious experiences are all manifestations of a phenomenal property I call mental strength. In this article, I argue that mental strength is a domain-general phenomenal magnitude; in other words, it is a phenomenal quantity shared by all conscious experiences that explains their degree of felt intensity. Mental strength has (...) been largely overlooked in favor of mental states’ type, representational contents, domain-specific phenomenology, or processes such as attention. Considering mental strength in our reflections about the mind illuminates debates about the relation of representational contents and phenomenal character, and it also helps address questions about the structure and functions of consciousness. Mental strength provides a unifying construct to model what is shared in the phenomenology of different types of conscious experiences. (shrink)

In recent years, the claim of the unrepresentability of the Shoah has stirred vivid debates, especially following the strong positions taken by the French filmmaker Claude Lanzmann and author of Shoah (1986). This claim of unrepresentability, it can be shown, draws part of its attraction from the fact that it oscillates undecidedly between a claim of logical impossibility (“the Shoah can’t be represented”) and a normative demand (“the Shoah shouldn’t be represented”). This essay analyzes the argumentative structure of the (...) advocates of the unrepresentability and shows why the often made connection to Kant is flawed. Although his Critique of the Power of Judgment affirms indeed that the prohibition of representation is the “perhaps most sublime passage in the Jewish Law”, turning the prohibition of representation into a supposedly Kantian claim does not hold grounds. The essay reconstructs the political framework of the debate, situates the Kantian passage in its precise philosophical context and then successively assesses the main arguments put forward by Jean-Luc Nancy, Jacques Rancière and Georges Didi-Huberman in their critique of Lanzmann’s categorical imperative. While showing why the rhetoric of the “unrepresentable” bear troubling structural analogies to what they want to fight (i.e. the politics of erasure, which always also include the erasure of the traces of erasure), a certain notion of the “unrepresentable” is rescued nevertheless at the end of the essay. Representation, so it is argued by returning to a Kantian distinction, is not a matter of Kanon, but a matter of Organon, which then puts the debate about the Sublime (which took place between Lyotard and Rancière in the 90’s) into a new perspective. (shrink)

The vivid, dramatic images of distant stars and galaxies taken by the Hubble Space Telescope have come to define how we visualize the cosmos. In their immediacy and vibrancy, photographs from the Hubble show what future generations of space travelers might see should they venture beyond our solar system. But their brilliant hues and precise details are not simply products of the telescope's unprecedented orbital location and technologically advanced optical system. Rather, they result from a series of deliberate decisions (...) made by the astronomers who convert raw data from the Hubble into spectacular pictures by assigning colors, adjusting contrast, and actively composing the images, balancing the desire for an aesthetically pleasing representation with the need for a scientifically valid one. In Picturing the Cosmos, Elizabeth A. Kessler examines the Hubble's deep space images, highlighting the remarkable resemblance they bear to nineteenth-century paintings and photographs of the American West and their invocation of the visual language of the sublime. Drawing on art history and the history of science, as well as interviews with astronomers who work on the Hubble Heritage Project, Kessler traces the ways that the sublime, with its inherent tension between reason and imagination, not only forms the appearance of the images, but also operates on other levels. The sublime informs the dual expression—numeric and pictorial—of digital data and underpins the relevance of the frontier for a new era of exploration performed by our instruments rather than our bodies. Through their engagement with the sublime the Hubble images are a complex act of translation that encourages an experience of the universe as simultaneously beyond humanity's grasp and within the reach of our knowledge. Strikingly illustrated with full-color images, this book reveals the scientific, aesthetic, and cultural significance of the Hubble pictures, offering a nuanced understanding of how they shape our ideas—and dreams—about the cosmos and our places within it. (shrink)

The place of emotions in aesthetic response has long been a topic in contemporary philosophical theorizing. One aspect of the debate in particular seems to have become a recalcitrant problem: when experiencing fiction, we experience emotional reactions towards what we know not to exist. Is this rational? In fact, is it even possible? This article deals with the so‐called “paradox of fiction” from the viewpoint of ancient poetics. In the first section, I survey some of the main arguments proposed to (...) (dis)solve the paradox in analytic philosophy. In the second and the third sections, I address what I consider two problematic assumptions of existing analytic approaches: their prescriptive, “essentialist” attitude and their exclusive focus on matters of content. By offering a brief sketch of the ancient principles of “likelihood” and “vividness”, I argue that they provide a direct and cognitively realistic answer to the paradox insofar as they account for the neutralization of doxastic features in imaginative acts and ground affective responses to fiction in the phenomenon of “aesthetic immersion”, explained in experiential, rather than representational, terms. (shrink)

Since 2015, the ‘refugee crisis’ is possibly the most photographed humanitarian crisis in history. Photographs taken, for instance, in Lesvos, Greece, and Bodrum, Turkey, were instrumental in generating waves of public support for, and populist opposition to “welcoming refugees” in Europe. But photographs do not circulate in a vacuum; this book explores the visual economy of the ‘refugee crisis,’ showing how the reproduction of images is structured by, and secures hierarchies of gender, sexuality, and ‘race,’ essential to the functioning of (...) bordered nation-states. Taking photography not only as the object of research, but innovating the method of photographìa— the material trace of writing/grafì with light/phos—this book urges us to view images and their reproduction critically. Part theoretical text, part visual essay, "Reproducing Refugees" vividly shows how institutional violence underpins both the spectacularity and the banality of ‘crisis.’ This book goes about synthesising visual studies with queer, feminist, postcolonial, post-structuralist, and post-Marxist theories. "Reproducing Refugees: Photographìa of a Crisis" offers theoretical frameworks and methodological tools to critically analyse representations, both those circulated through hegemonic institutions, and those generated from ‘below’. It carves a space between logos and praxis, ways of knowing and ways of doing, by offering a new visual language that problematises reified categories such as that of the ‘refugee’ and makes possible disruptive, alternative, resistant perceptions. The book contributes to the fields of migration and border studies, critically engaging visual narratives drawn from migration movements to question dominant categories and frameworks, from a decolonial, no-borders, queer feminist perspective. (shrink)

One of the most vivid aspects of consciousness is the experience of emotion, yet this topic is given relatively little attention within consciousness studies. Emotions are crucial, for they provide quick and motivating assessments of value, without which action would be misdirected or absent. Emotions also involve linkages between phenomenal and intentional consciousness. This paper examines emotional consciousness from the standpoint of the representational theory of consciousness . Two interesting developments spring from this. The first is the need for (...) the representation of value, which is distinctive of emotional experience. The second is an extension of RTC’s theory of introspection to emotional states, revealing why emotional consciousness is so often introspective even though introspective abilities are not needed to experience emotions, and also explaining why introspection of emotional states is so much less reliable than that of other states of consciousness. (shrink)

In 1935, when the U.S. Supreme Court’s new building opened and displayed the phrase “Equal Justice Under Law,” racial segregation was commonplace, as were barriers limiting opportunities for men and women of all colors to participate in economic and political life. The justices on the Court and the lawyers appearing before them reflected those facts; almost all were white men. Today, the Supreme Court’s inscription has become its motto, read as if it always referenced an understanding of equality that has (...) become central to the identity and the legitimacy of courts. The judiciary “looks” somewhat different than it did and, in a sense, has become more “representative” of the range of people appearing in courts. Given the role that courts had played in sustaining discrimination, the impression that courts ought to welcome everyone is a major achievement. Yet, to assess the impact of new judicial demographics requires analysis of other major alterations in U.S. courts—the influx of diverse litigants newly entitled to pursue legal claims; the economic barriers facing many claimants; the emergence of judiciaries as agency-like promoters of agendas; and the displacement of public adjudication through the privatization of dispute resolution. Studies of women as judges focus mostly on their rulings, but probing the “difference that difference makes” requires looking beyond judicial opinions. Courts in the United States have developed structural capacities to propose rules and legislation, create education programs, commission research and task forces, and lobby for resources. When women of all colors and men of color became lawyers and judges, they created affinity organizations and pressed courts to research court-based bias and to revise rules of ethics, doctrine, and practice. Those changes are part of the impact of diversification within the legal profession, as is the backlash against affirmative efforts to reform practices. Another difference of the last decades is that new rights have brought into court many claimants with limited means. Participatory participation remains elusive, while the “justice gap” is pervasive. Worse yet, in some jurisdictions, courts have served as “revenue centers,” using court-imposed assessments as income. Failure to pay “legal financial obligations” can result in suspension of driver’s licenses, the loss of voting rights, and other sanctions levied disproportionately on people who are poor and of color. Instead of being seen as fonts of fairness, courts are coming to be identified as sites of inequality. In addition, many courts have embraced alternative forms of dispute resolution that make both processes and outcomes less visible to the public. Through doctrine and rules, U.S. courts have shifted their own practices as well as enforced mandates imposed on consumers and employers that push them out of court and out of class or joint actions. In sum, the new faces on the bench ought not to obscure that the project of representation, inclusion, and equality is far from complete. The vivid inequalities in courts are problems for courts because such disparities undermine their ability to be places of justice. (shrink)

Levenstein et al. aptly highlight some of the foundational issues in theoretical neuroscience, such as the role of abstraction and idealization in providing scientific explanations and understanding, and distinguishing under which conditions neuroscientific models provide genuine explanations, or mere descriptions, predictions, or control. -/- The authors rightly emphasize that philosophers of science can also gain valuable insights from the vast body of neuroscience literature, by employing methods of digital humanities, such as text mining, in line with the cognitive metascience approach (...) (Miłkowski, 2023). -/- Conversely, neuroscientists can benefit from the latest research in philosophy of science, particularly on the epistemic norms of diverse kinds of explanations in neuroscience, e.g., topological (Kostić, 2020), computational (Miłkowski, 2013; Chirimuuta, 2018), dynamical (Favela, 2020), and functional (Egan, 2017). Understanding the diverse goals of theories is conducive to fruitful exploratory and explanatory scientific practice. Some forms of scientific understanding are not always grounded in explanations, but also in diverse theoretical representations, e.g., diagrams, taxonomies, and diagnostic manuals (Miłkowski, 2023). Philosophical theories of understanding can also integrate different kinds of explanations in a single framework (Khalifa et al., 2022). -/- The need for these interdisciplinary connections is particularly vivid in the case of network models that are increasingly being used in neuroscience (Kostić et al., 2020), and especially when it comes to evaluating their explanatory power (Kostić, 2020; Kostić and Khalifa, 2023). -/- In conclusion, we strongly support Levenstein et al.'s call for greater collaboration between philosophers of science and neuroscientists on the foundational issues in neuroscience. Embracing this interdisciplinary approach is essential for advancing our knowledge of the brain and its function. (shrink)

I argue that on an understanding of imagination that relates it to an individual's environment rather than her mental contents imagination is essential to emotion, and brings together affective, cognitive, and representational aspects to emotion. My examples focus on morally important emotions, especially retrospective emotions such as shame, guilt, and remorse, which require that one imagine points of view on one's own actions. PUBLISHER'S BLURB: Recent years have seen an enormous amount of philosophical research into the emotions and the imagination, (...) but as yet little work has been done to connect the two. In his engaging and highly original new book, Adam Morton shows that all emotions require some form of imagination and goes on to fully explore the link between these two important concepts both within philosophy and in everyday life. We may take it for granted that complex emotions, such as hope and resentment, require a rich thinking and an engagement with the imagination, but Morton shows how more basic and responsive emotions such as fear and anger also require us to take account of possibilities and opportunities beyond the immediate situation. Interweaving a powerful tapestry of subtle argument with vivid detail, the book highlights that many emotions, more than we tend to suppose, require us to imagine a situation from a particular point of view and that this in itself can be the source of further emotional feeling. Morton goes on to demonstrate the important role that emotions play in our moral lives, throwing light on emotions such as self-respect, disapproval, and remorse, and the price we pay for having them. He explores the intricate nature of moral emotions and the challenges we face when integrating our thinking on morality and the emotions. This compelling and thought-provoking new book challenges many assumptions about the nature of emotion and imagination and will appeal to anyone seeking a deeper understanding of the role that these concepts play in our lives. The book also has far reaching implications that will spark debate amongst scholars and students for some time to come. (shrink)

There seems to be a "what it is like" to the experience of the flow of time in any conscious activity of ours. In this paper, I argue that the feeling that time passes should be understood as a phenomenal modifier of our mental life, in roughly the same way as the blurred or vivid nature of a visual experience can be seen as an element of the experience that modifies the way it feels, without representing the world as (...) being in a certain way. I defend my positions against the deflationary view according to which the passing of time does not have a specific phenomenal character, and the representationalist view according to which the feeling of time passing is a feature of the representational content of our experience, like being red or yellow. (shrink)

Words like "terrorism" and "war" no longer encompass the scope of contemporary violence. With this explosive book, Adriana Cavarero, one of the world's most provocative feminist theorists and political philosophers, effectively renders such terms obsolete. She introduces a new word—"horrorism"—to capture the experience of violence. Unlike terror, horrorism is a form of violation grounded in the offense of disfiguration and massacre. Numerous outbursts of violence fall within Cavarero's category of horrorism, especially when the phenomenology of violence is considered from the (...) perspective of the victim rather than that of the warrior. Cavarero locates horrorism in the philosophical, political, literary, and artistic representations of defenseless and vulnerable victims. She considers both terror and horror on the battlefields of the _Iliad_, in the decapitation of Medusa, and in the murder of Medea's children. In the modern arena, she forges a link between horror, extermination, and massacre, especially the Nazi death camps, and revisits the work of Primo Levi, Hannah Arendt's thesis on totalitarianism, and Arendt's debate with Georges Bataille on the estheticization of violence and cruelty. In applying the horroristic paradigm to the current phenomena of suicide bombers, torturers, and hypertechnological warfare, Cavarero integrates Susan Sontag's views on photography and the eroticization of horror, as well as ideas on violence and the state advanced by Thomas Hobbes and Carl Schmitt. Through her searing analysis, Caverero proves that violence against the helpless claims a specific vocabulary, one that has been known for millennia, and not just to the Western tradition. Where common language fails to form a picture of atrocity, horrorism paints a brilliant portrait of its vivid reality. (shrink)

In its narrative, dramatic, and representational genres, art regularly depicts contexts for human emotions and their expressions. It is not surprising, then, that these artforms are often about emotional experiences and displays, and that they are also concerned with the expression of emotion. What is more interesting is that abstract art genres may also include examples that are highly expressive of human emotion. Pure music – that is, stand-alone music played on musical instruments excluding the human voice, and without words, (...) literary titles, or associated texts connected to it by its composer – is often characterized as the expressive art par excellence. Yet how could that be possible, given that such music lacks semantic or representational content? Pure music presents the hardest and most vivid philosophical challenge to any account of expressiveness in the arts, which is why it is crucial to consider the musical case for the light it sheds on the underlying principles and issues. In this chapter I consider two accounts of expressiveness in pure music. Both regard expressiveness as an objective property of such music. I argue for the position I call appearance emotionalism and against the alternative, which I label hypothetical emo- tionalism. But before I get to that, there is a different mode of musical expression to be acknowledged. Even instrumental music comes charged with associations. Some of these are private to the listener, but many are widely shared. The latter may be included in a piece by accident but are, more often, deliberately placed for their effects. For instance, when a song is quoted in an instrumental work, its title or words may be brought to mind. Certain melodies (e.g., “Ode to Joy”), styles (e.g., tarantella), idioms (e.g., fanfares), forms (e.g., minuet), modalities (e.g., church modes), and instruments (e.g., fifes and snare drums) recall particular social events, geocultural regions, historical periods, ideas, and sensibilities, and in this way can hook up with affective life-experiences. Though it is music’s associative ties that are likely to be referred to when most people are asked about music’s significance, philosophers say little about them.. (shrink)

Eye movements during mental imagery are not epiphenomenal but assist the process of image generation. Commands to the eyes for each fixation are stored along with the visual representation and are used as spatial index in a motor‐based coordinate system for the proper arrangement of parts of an image. In two experiments, subjects viewed an irregular checkerboard or color pictures of fish and were subsequently asked to form mental images of these stimuli while keeping their eyes open. During the (...) perceptual phase, a group of subjects was requested to maintain fixation onto the screen's center, whereas another group was free to inspect the stimuli. During the imagery phase, all of these subjects were free to move their eyes. A third group of subjects (in Experiment 2) was free to explore the pattern but was requested to maintain central fixation during imagery. For subjects free to explore the pattern, the percentage of time spent fixating a specific location during perception was highly correlated with the time spent on the same (empty) locations during imagery. The order of scanning of these locations during imagery was correlated to the original order during perception. The strength of relatedness of these scanpaths and the vividness of each image predicted performance accuracy. Subjects who fixed their gaze centrally during perception did the same spontaneously during imagery. Subjects free to explore during perception, but maintaining central fixation during imagery, showed decreased ability to recall the pattern. We conclude that the eye scanpaths during visual imagery reenact those of perception of the same visual scene and that they play a functional role. (shrink)

The paper argues that the English verb ‘to see’ can denote three different kinds of conscious states of seeing, involving visual experiences, visual seeming states and introspective seeming states, respectively. The case for the claim that there are three kinds of seeing comes from synesthesia and visual imagery. Synesthesia is a relatively rare neurological condition in which stimulation in one sensory or cognitive stream involuntarily leads to associated experiences in a second unstimulated stream. Visual synesthesia is often considered a case (...) of illusory visual experience. This, however, turns out to be a questionable characterization, as there is evidence suggesting that the brain must cognitively process the stimulus in order for the associated synesthetic experience to arise. Furthermore, some very vivid, visual forms of synesthesia do not involve additional processing in the visual cortex. Visual synesthetic experience is likely to be a non-veridical state of seeming rather than an illusory visual experience. Visual seeming states are cognitive states distinct from visual experiences in terms of their representational richness and their neural correlates. Visual seeming states that are non-deviantly causally related to the states of affair they represent constitute a type of non-experiental seeing. Introspective seeming states that are non-deviantly causally related to underlying visual images constitute a second type of non-experiental seeing. The English verb ‘to see’ can denote all three types of seeing, which is to say that ‘to see’ is polysemous. (shrink)

Philosophical cognitivists have argued for more than four decades that emotions are special types of judgments. Anti-cognitivists have provided a series of counterexamples aiming to show that identifying emotions with judgments overintellectualizes the emotions. I provide a novel counterexample that makes the overintellectualization charge especially vivid. I discuss neurophysiological evidence to the effect that the fear system can be activated by stimuli the subject is unaware of seeing. To emphasize the analogy with blind sight , I call this phenomenon (...) blind fright . Cognitivists may reply that blindfright is nothing but an unconscious judgment subcortically elicited. This reply is in line with the strategy commonly employed by cognitivists against their critics. I call it the Elastic Strategy, because it consists of ‘stretching’ the notion of judgment in order to accommodate counterexamples. This strategy, I argue, turns cognitivism into a theory that is at worst unfalsifiable and at best trivially true. The final portion of my article aims to rescue cognitivism from the damage done by the Elastic Strategy. I distinguish three varieties of cognitivism, one concerned with what emotions essentially are (Constitutive Cognitivism), one concerned with what causes emotions (Etiological Cognitivism) and one concerned with what emotions represent (Representational Cognitivism). I conclude that what cognitivism has to offer to emotion theory are primarily insights concerning the causes and representational content of emotions. The constitutive identification of emotions with judgments, on the other hand, does more harm than good. (shrink)

"Thirty-five years ago few could have predicted that The New Science of Politics would be a best-seller by political theory standards. Compressed within the Draconian economy of the six Walgreen lectures is a complete theory of man, society, and history, presented at the most profound and intellectual level. . . . Voegelin's [work] stands out in bold relief from much of what has passed under the name of political science in recent decades. . . . The New Science is aptly (...) titled, for Voegelin makes clear at the outset that a 'return to the specific content' of premodern political theory is out of the question. . . . The subtitle of the book, An Introduction, clearly indicates that The New Science of Politics is an invitation to join the search for the recovery of our full humanity."--From the new Foreword by Dante Germino "This book must be considered one of the most enlightening essays on the character of European politics that has appeared in half a century. . . . This is a book powerful and vivid enough to make agreement or disagreement with even its main thesis relatively unimportant."-- Times Literary Supplement "Voegelin . . . is one of the most distinguished interpreters to Americans of the non-liberal streams of European thought. . . . He brings a remarkable breadth of knowledge, and a historical imagination that ranges frequently into brilliant insights and generalizations."--Francis G. Wilson, American Political Science Review "This book is beautifully constructed . . . his erudition constantly brings a startling illumination."--Martin Wright, International Affairs "A ledestar to thinking men who seek a restoration of political science on the classic and Christian basis . . . a significant accomplishment in the retheorization of our age."--Anthony Harrigan, Christian Century. (shrink)

Preview: Shusterman, as a philosopher who draws from the work of John Dewey, has pragmatic expectations for art. For Dewey, communing with art was an intensification of experience, that is to say being in the world. For art is full of meaning, and it is in human nature to rush to search for meanings. Experience is only satisfactory if it enriches what is lived in it. Dewey’s message was one of the first voices to warn of the alienation of art. (...) According to it, its consumption should give people a chance for emotional and spiritual compassion. Richard Shusterman’s attitude toward art is similar: “As experience, art is obviously part of our lives, a particularly vivid form of our experienced reality, rather than a mere fictional imitation of it.” -/- Shusterman has developed his own concept of aesthetics, which he has called “somaesthetics” – the aesthetics of the soma. The Greek word soma here means a feeling, animated, purposeful body. Also, the term “aesthetics” is understood in a different way than its usual wider usage, according to which aesthetics is a theory of art and beauty. Shusterman refers to the old, original Greek word aisthetikos meaning sensory perception. The somaesthetic project’s goal is to combine theory with practice and consider the body in two ways: on the one hand, as a medium enabling cognition through perception, and on the other, as an external form of representation. That is why somaesthetics is interested in activities that expand and explore body awareness, such as meditation, yoga, and treatments that shape the appearance, including cosmetics and fashion. One of the main tasks of somaesthetics is to eliminate the dominant attitude toward the body in Western philosophy, which sees it as an obstacle to cognition. (shrink)

Social advertising often employs persuasive imagery in support of a morally laden cause. These visual arguments can take the form of veridical representations of the given situation or the form of purposeful visual blends. Both visual routes to persuasion have serious ethical issues to confront. In what concerns the purportedly veridical images, controversies about picture retouching and framing have cast many doubts on their success in offering unmediated access to a given reality. Editorial interests have proven far too influential on (...) the destiny of what and how is presented to the audience from the amount of visual material available on a topic. Even when the audience is certain that photos are not doctored, the use of veridical images may be seen as unethical. Their disproportionate affective impact may lead the audience to hold biased opinions, since other concerns may be impossible to capture in a vivid picture. Visual blends may be the answer to this problem, employing the fictional or the figurative to help the viewer grasp the moral anatomy of a given situation. Their generous use of figurative meaning may be seen as their strength and their weakness at the same time. It makes them less likely to face accusations of distorting reality, because they do not claim to be windows on reality per se. At the same time, it makes them vulnerable to interpretations that miss their true point – one might appreciate the artistry of a visual metaphor or a visual pun and fail to consider the statement it makes about a given situation. Contemporary philosophical approaches to the place of visuals in moral persuasion inform my analysis of the use of visual arguments in charity-oriented advertising. (shrink)

In this, the first of two ground-breaking volumes on the nature of language in the light of the way it evolved, James Hurford looks at how the world first came to have a meaning in the minds of animals and how in humans this meaning eventually came to be expressed as language. He reviews a mass of evidence to show how close some animals, especially primates and more especially apes, are to the brink of human language. Apes may not talk (...) to us but they construct rich cognitive representations of the world around them, and here, he shows, are the evolutionary seeds of abstract thought - the means of referring to objects, the memory of events, even elements of the propositional thinking philosophers have hitherto reserved for humans. What then, he asks, is the evolutionary path between the non-speaking minds of apes and our own speaking minds? Why don't apes communicate the richness of their thoughts to each other? Why do humans alone have a unique disposition to reveal their thoughts in complex detail? Professor Hurford searches a wide range of evidence for the answers to these central questions, including degrees of trust, the role of hormones, the ability to read minds, and the willingness to cooperate. Expressing himself congenially in consistently colloquial language the author builds up a vivid picture of how mind, language, and meaning evolved over millions of years. His book is a landmark contribution to the understanding of linguistic and thinking processes, and the fullest account yet published of the evolution of language and communication."A wonderful read - lucid, informative, and entertaining, while at the same time never talking down to the reader by sacrificing argumentation for the sake of 'simplicity'. Likely to be heralded as the major publication dealing with language evolution to date. Frederick J. Newmeyer, University of Washington. (shrink)

In the Protagoras, Socrates argues that what appears to be akrasia is, in fact, the result of a hedonic illusion: proximate pleasures appear greater than distant ones. On the face of it, his account is puzzling: why should proximate pleasures appear greater than distant ones? Certain interpreters argue that Socrates must be assuming the existence of non-rational desires that cause proximate pleasures to appear inflated. In this paper, I argue that positing non-rational desires fails to explain the hedonic error. However, (...) careful consideration of Socrates’ treatment of appearances reveals that he is not without resources to explain the illusion. I argue that in the Protagoras, appearances are imagistic mental representations that appear true but tend to be false. I suggest that proximate pleasures produce inflated hedonic predictions because we represent them more vividly than distant ones, yielding greater anticipatory pleasure which causes us to overestimate their magnitude. (shrink)

Indeterminate art invokes a perceptual dilemma in which apparently detailed and vivid images resist identification. We used event-related fMRI to study visual perception of representational, indeterminate and abstract paintings. We hypothesized increased activation along a gradient of posterior-to-anterior ventral visual areas with increased object resolution, and postulated that object resolution would be associated with visual imagery. Behaviorally, subjects were faster to recognize familiar objects in representational than in both indeterminate and abstract paintings. We found activation within a distributed cortical (...) network that includes visual, parietal, limbic and prefrontal regions. Representational paintings, which depict scenes cluttered with familiar objects, evoked stronger activation than indeterminate and abstract paintings in higher-tier visual areas. Perception of scrambled paintings was associated with imagery-related activation in the precuneus and prefrontal cortex. Finally, representational paintings evoked stronger activation than indeterminate paintings in the temporoparietal junction. Our results suggest that perception of familiar content in art works is mediated by object recognition, memory recall and mental imagery, cognitive processes that evoke activation within a distributed cortical network. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 10.2 (2003) 161-167 [Access article in PDF] Social, Cognitive, and Neural Constraints on Subjectivity and Agency:Implications for Dissociative Identity Disorder Peter Q. Deeley In this commentary, I consider Matthew's argument after making some general observations about dissociative identity disorder (DID). In contrast to Matthew's statement that "cases of DID, although not science fiction, are extraordinary" (p. 148), I believe that there are natural analogs of (...) the disorder that, when considered, make it seem less puzzling and exotic. After discussing these examples, I examine the relations between social, cognitive, and neural processes supporting subjectivity and agency, to identify sources of personal identity in cases of DID that can be used as a basis for assessing Matthew's points against Behnke and Sinnott-Armstrong. I am not proposing a comprehensive theory, but rather identifying what I believe are components of such a theory. I then outline an approach to determining criminal responsibility in DID, drawing on analogies with other psychiatric disorders. Dissociative Identity Disorder DID is a disorder described in DSM-IV, which "is characterised by the presence of two or more distinct identities or personality states that recurrently take control of the individual's behaviour accompanied by an inability to recall important personal information that is too extensive to be explained by ordinary forgetfulness" (American Psychiatric Association, p. 519). Recognizing Personal Identity How is personal identity recognized in normal cognition? If we take personhood to involve recognition of continuity of social, psychological, and physical identity for a given individual, then such judgments are routinely made rapidly and automatically as an aspect of what has come to be termed social cognition (Adolphs 2003). There is likely to be considerable redundancy in [End Page 161] the types of information used to make judgments about whether a person is the same as one who was previously encountered, or perhaps heard about—for example, facial features, movement patterns, speech prosody, dress, speech content, gender, ethnicity, social role, among other features, all provide information about individual identity, and hence personhood. When uncertainty exists, it is likely to reflect a loss or alteration of cues that would ordinarily be used in a rapid, automatic, unexamined way (Adolphs 2003). In such extreme cases (for example, severe mental illness or disfigurement), the problem of identification becomes the subject of explicit reasoning (and hence of potential disagreement, because we then engage in post hoc rationalizations to establish criteria for determining personhood, whereas normally we rely on essentially automatic, implicit abilities that work in most circumstances, some of which make little use of linguistic representations and formal reasoning—for example, individual facial identity recognition, which may occur as quickly as 170 ms after stimulus onset [Adolphs 2003]). Nevertheless, examining our judgments and intuitions in cases that force us to explicitly consider whether personal identity is preserved may provide analogies and clues for how we should proceed with DID. Let us consider, then, some natural analogs of DID. Natural Analogs of DID Method Acting I suggest that method acting is an analog of DID (Manderino 1985). Method acting refers to an approach to acting training and performance in which emphasis is placed on intensely imagining and identifying with the mental life of the character being portrayed. Training courses and manuals list many techniques and practices that can be used to facilitate absorption in a role, drawing on different kinds of memory—for example, experiential memories, memories of others, general knowledge (semantic memory), and memories of sensations and feelings, to creative a vivid sense of the subjective experience and actions of the character. Manderino, a method acting teacher, comments: "it is important to investigate the way in which your own mental makeup can improperly influence a character. Insecurities, self-consciousness, shyness or self-doubts can maintain a strong hold, and permitting any of these feelings to enter a performance is to remain the actor and not enter into the mental life of the character. For some, acting allows personal problems to be left behind, and they are thankful for the complete escape that... (shrink)

Subtle bodily sensations such as itching or fluttering that occur in the absence of any external trigger may serve to locate the spatial boundaries of the body. They may constitute the normal counterpart of extreme conditions in which body-related hallucinations and perceptual aberrations are experienced. Previous investigations have suggested that situations in which the body is spontaneously experienced as being deformed are related to the ability to perform own-body transformations, i.e., mental rotations of the body requiring disembodiment. We therefore decided (...) to consider whether the perception of SPS might relate to embodiment as assessed through the ability to perform own-body transformations and schizotypal traits, since high degrees of schizotypy in the general population have been associated with more vivid perceptions and aberrant perceptual experiences. Then participants completed a standard SPS task. Our analysis revealed that the slower the response time in the OBT task, the more frequent the perception of SPS. This suggests that difficulties in disembodying and mentally transforming one’s own body facilitate feeling oneself. Furthermore, a greater number of correct responses in the OBT task was associated with less frequent perception of SPS. This suggests that finding it easier to disembody and perform mental own-body transformations interferes with the ability to sense oneself. The results also show that higher schizotypal traits, as assessed through the SPQ, are associated with more frequent perception of SPS. Taken together, these results provide a coherent picture and suggest that embodiment is required in order to correctly feel oneself, as expressed through the perception of SPS. The ability to easily experience disembodiment reduces the sense of feeling oneself, and proneness to schizotypal traits produces body misperceptions that enhance and amplify this feeling. The results are discussed in the light of current knowledge and theories about body representations, taking into account attention and interoception as factors that influence body awareness. We offer explanations for perceptual aberrations, body-related delusions, and hallucinations based on misperceived or misinterpreted SPS, and we discuss possible mechanisms that may contribute to feeling and misperceiving oneself. (shrink)

Fred Dretske's theory of indicatory functions (Dretske 1988 & 1994)is undoubtedly one of the more ambitious attempts to articulate a sound naturalistic foundation for an adequate theory of intentional content. In what follows I argue that, contrary to Dretske's explicit intentions, his theory fails a crucial adequacy test - that of accounting for mental content as a system-intrinsic property. Once examined in light of the first-person perspective of an embodied psy- chological agent, I argue, it becomes clear that neither 'indication', (...) nor 'function', as used by Dretske, can be consistently applied. Dre- tske's theory of indicatory functions is, thus, doubly incoherent. It is then argued that the problems identified here stretch far beyond Dretske's specific theory - covering the better part of contemporary attempts to naturalize content. I conclude by suggesting that these general problems of representation, exemplified so vividly in Dretske's theory, also testify to the inadequacy of the quest to reduce tel- eological phenomena (function and purpose) to predominantly mechanistic variables. (shrink)

In the classical era, imagination garnered poor press: fooling the senses, perverting judgment, subverting reason, skewing social relations, and generally providing wrong ideas about the way things are; it was a faculty of which to beware. Occasionally it was recognized as not being entirely without value—Descartes, for example, insisted on its great usefulness as a figurational function in simplifying the work of the understanding in geometry. The traditional tendency in philosophy, though, was to denigrate imagination for its misleading nature and (...) negative effects and to dwell on its limits as a faculty bound to the body. Indeed, its first function is to represent to the mind things previously perceived by the senses as images in their likeness. But as imagination has neither the same vividness nor the same order as sensation, it is potentially misleading, since in fact images look only approximately the same as their models. Above all, however, imagination was reproached to be potentially misleading for its second function, the creation of images or entire fictions bearing no relation whatsoever to reality, which made it dangerously capable of nourishing all manner of superstition and fantasy. Within such a context, Berkeley’s conception of the imagination hardly seems original at first glance. But as I will propose, in its creative guidance of reason, imagination plays an important and distinctive role in Berkeley’s scientific, moral, and religious discussions. Rather than focusing solely on the representational character of imagination, then, I suggest that we attend also to the way in which Berkeley appeals to the imaginative aspects of reason itself. In this way, we can better appreciate the educational presuppositions of human freedom. (shrink)

In this essay I take up Plato’s critique of poetry, which has little to do with epistemology and representational imitation, but rather the powerful effects that poeticperformances can have on audiences, enthralling them with vivid image-worlds and blocking the powers of critical reflection. By focusing on the perceived psychological dangers of poetry in performance and reception, I want to suggest that Plato’s critique was caught up in the larger story of momentous shifts in the Greek world, turning on the (...) rise of literacy and its far-reaching effects in modifying the original and persisting oral character of Greek culture. The story of Plato’s Republic in certain ways suggests something essential for comprehending the development of philosophy in Greece (and in any culture, I would add): that philosophy, as we understand it, would not have been possible apart from the skills and mental transformations stemming from education in reading and writing; and that primary features of oral language and practice were a significant barrier to the development of philosophical rationality (and also a worthy competitor for cultural status and authority). Accordingly, I go on to argue that the critique of writing in the Phaedrus is neither a defense or orality per se, nor a dismissal of writing, but rather a defense of a literate soul over against orality and the indiscriminate exposure of written texts to unworthy readers. (shrink)

This book does several things, and it does them all well. Yolton firmly contextualizes the debates about perception within the seventeenth and eighteenth centuries, while showing how these debates are often repeated in contemporary philosophy of mind. Along the way, he provides novel interpretations of Descartes, Locke, Berkeley, Hume, and Kant that are clearly and convincingly presented. Perhaps the most important feature of his treatment is that it so vividly shows the Moderns grappling with issues about perception that continue to (...) plague us. The uniting theme of the work is Yolton’s insistence that direct realism and representationalism are compatible. Yolton’s defense of direct realism is largely motivated by the thesis that many philosophers incorrectly take a representational theory of mind to necessitate indirect realism. This mistake arises, according to Yolton, because they suppose that the representations themselves become the objects of perception and therefore stand between the perceiver and the world of objects. Yolton’s argument that the philosophers of the seventeenth and eighteenth centuries were struggling to establish two interactive relations between perceivers and the physical world underlies his compatibility thesis: There is a physical and causal relationship and, more importantly, there is what Yolton calls a “cognitive” or “semantic” relationship. The latter relationship holds the key to the compatibility of representationalism with direct realism. (shrink)

In the “Vienna lecture”, the whole of the world’s history is at one moment depicted through the allegory of a wavy sea without borders. In The Idea of Phenomenology, the philosopherstoryteller is caught up in a heavy sea, but at the end, they finally manage to “drop the anchor on the shore of phenomenology”. With the break into the “mainland of absolute givenness” through phenomenological reduction, allegorical representation should lose its philosophical justification. However, metaphors which evoke allegories continue to (...) proliferate even in the most rigorous phenomenological descriptions. Despite its inherent metaphoricity, so vivid that at the crucial points of Husserl’s analyses often reappears a mythical clash of land and sea, the phenomenological interpretation of the world seems nonetheless essentially non-allegorical. (shrink)

Through history, predatory features are used to constructs when constructing textual representations on the human/animal frontier. The predatory act has remained a recurring motif that emerges from a metaphoric system in cultural imagination. An ecosemiotic approach to this topic allows us to understand how specific predatory behaviours constitute a source of meaning: in other words, how an alleged “animal tendency” is appropriated (translated) into various cultural texts through metaphors, creating a rhetorical order. To illustrate this, some features of metaphors of (...) predatoriness in certain texts in Argentinian culture will be reviewed. A particularly vivid example is provided by two species, the cougar and the jaguar, that have generated cultural translations which expand and proliferate into contemporaneity. These translations constitute a form in which culture metaphorizes aggressiveness and interprets certain species from a historical and ideological perspective. The Argentinian cases suggest a revision of how history has treated the cultural other in terms of cultural and biological inferiority. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.1 (2005) 77-92 [Access article in PDF] Art and the Teaching of Love Didier Maleuvre Art is rightly thought to be the domain of expression and illusion. It is expression because every work of art, however stone-faced or impersonal in aspect, is the product of human intention. And it is illusion because, however concrete, vivid, or raw, it holds up only images. These (...) two points — that art is expression and fiction — are deeply entrenched in the modern understanding of art. They are the twin pillars of our aesthetics.In the following I wish to argue that this focus on the expressive and the representative eclipse the most important dynamic of art — what I propose to call the communicative and the iconoclastic. By the former, I mean that art is primarily, not a subjectivity giving shape to a private vision, but a form of sanctifying the human conversation, that is, the encounter between subjectivities; by the latter, I mean to suggest that art is an image that paradoxically strives to go beyond the realm of images. On this account we will see that an image is artistic to the extent that it breaks through representation.Briefly put, art has a destination beyond itself. One should not imagine, as postmodernism ruled ex officio, that the essence of art is formal or social self-reflectivity. Certainly, self-mirroring occurs in art, but no more or less than in any act of intelligence. Moreover, it is not enough to affix tokens of self-consciousness onto an object to turn it into art. The aim of art is not art. Its destination is elsewhere; its aim is reality encountered and lived with.And the vehicle by which art travels into reality is not just skill, insight, knowledge, or intelligence. It is love. To defend these two propositions will be the gist of the following essay.The aim of education is rightly thought to be knowledge of the world. Knowledge, however, is of two kinds: one is concerned with storage of facts, the other with modes of relating to the world. The first is a technical pursuit; the second, moral practice. The sort of education fostered by art clearly belongs with the second sort. Art is less concerned with delivering [End Page 77] information about the world than teaching us about how to stand in relation to it, how to find our place in it, and live with it: through art we do not seek to master the world so much as become its denizens. It is a teaching of love. Art, Mind, and Reality Now, the idea that art is religious embrace of reality runs against a powerful philosophic doctrine: the idea, known as subjectivism — that the human mind is kept from reality by its own knowledge of reality. We perceive reality only through mental representations. I see a tree, I hear laughter, I taste tea. When my mind alights on these objects, they have already been retouched and recomposed by my senses. By the time I am aware of them, I have reordered the perceptual datum into the concepts of "tree," "laugher," "tea." So we really deal with conceptual images of things, even when those things fall on our head like rain, or trip us like an untied shoelace.Subjectivism takes art to be proof of its doctrine. No two artists have transposed the same landscape or object in exactly the same hues and forms. Monet may have wanted to put in his paintings only what the retina mirrored; still, in the end he painted like no other before him and an indisputable infusion of the Monet personality stamps his paintings. Likewise there is a Titian "take" on reality that is not Rubens's, a Constable way of painting gray watery skies that is not Corot's, or again a Twombly way of rendering the four seasons that is nothing like Vivaldi's. This, then, should be where art's commitment to reality expires — on the evidence that no two artworks have ever been able to... (shrink)

Subtitle: "Experiential understanding and the impossibility of intrinsically valuing suffering." Suffering, I argue, is bad. This paper supports that claim by defending a somewhat bolder-sounding one: namely that if anyone—even a sadistic ‘amoralist’—fully understands the fact that someone else is suffering, then the only evaluative attitude they can possibly form towards the person’s suffering as such is that of being _intrinsically against_ it. I first argue that, necessarily, everyone is disposed to be intrinsically against their _own_ suffering experiences, holding fixed (...) their specific overall degree of emotional aversiveness, because any evaluative attitude other than ‘being against’—including mere indifference—would in certain key circumstances make our suffering less emotionally aversive and thus different from the suffering experience (stipulatively) at issue. Second, fully understanding that someone else is having a given experience—Mary’s experiencing a vividly blue sky, say, or Job’s experiencing heart-rending grief—requires that we represent _experientially_ their very instance of that experience-type (it requires, in other words, token phenomenal concepts). The result is that what goes for our own suffering goes for others’, too: maintaining an accurate experiential representation of the fact that someone else is having a suffering experience with a specific degree of overall emotional aversiveness is only compatible with coming to be intrinsically against their suffering. So suffering is—‘objectively’—bad: it’s only possible to respond with indifference towards anyone’s suffering if we don’t fully understand that they are suffering in the first place. (shrink)