In Lives of the Sophists Philostratus depicts the widespread influence of Sophistic in the second and third centuries CE. Lives of Philosophers and Sophists by Eunapius is our only source concerning Neo-Platonism in the latter part of the fourth century CE. Of the distinguished Lemnian family of Philostrati, Flavius Philostratus "the Athenian, " ca. 170-205 CE, was a Greek sophist who studied at Athens and later lived in Rome. He was author of the admirable Life of Apollonius of (...) Tyana and of Lives of the Sophists, a treasury of information about notable sophists. Philostratus's sketches of sophists in action yield a fascinating picture of the predominant influence of Sophistic in the educational, social, and political life of the Empire in the second and third centuries. The Greek sophist and historian Eunapius was born at Sardis in 347 CE, but went to Athens to study and lived much of his life there teaching rhetoric and possibly medicine. He was initiated into the mysteries and was hostile to Christians. His Lives of Philosophers and Sophists is our only source for knowledge of Neo-Platonism in the latter part of the fourth century. (shrink)

This article examines cave art in France, arguing that the images created at many sites, but particularly Chauvet, can be analysed in terms of animation, storytelling, lighting and sound. Through superimposition and juxtaposition, and using the contours of the rock face, Palaeolithic artists invented a form of narration based on images, often then animated by the flickering light of lamps and torches. Drawing on semiological work by Philippe Sohet and his terms ‘narrative image’ and ‘iconic narration’, the article (...) sees panels of cave art as constituting scenes and actions that can be discussed in relation to both bande dessinée and cinema. Finally, evidence suggests that the spectacles produced in these spaces, whatever their elusive meaning, also depended on sound and acoustics. (shrink)

At Pech Merle in 1952, André Breton provoked a controversial incident by damaging a Palaeolithic wall painting that he suspected to be a fake. This episode provides an insight into the contested status of prehistoric sites in post-war France and the theoretical and ideological implications of their cultural mobilization. Such sites allowed for a disavowal of wartime trauma and supported the reaffirmation of French national identity and its civilizing mission by locating the birthplace of human culture on French soil. (...) Yet their extreme age also threw into relief the relative fragility of the recently invented nation-state. Breton's vandalism cast doubt on the models of cultural progress and pre-eminence that sought to instrumentalize prehistoric art but failed to appreciate the subversiveness of its ‘deep’ history. Ironically, however, Breton's scepticism ultimately enhanced the subversive dimension of archaeology by allowing it to demonstrate the authenticity and age of cave art. (shrink)

Purpose This paper aims to explore the ethical and social impact of augmented visual field devices, identifying issues that AVFDs share with existing devices and suggesting new ethical and social issues that arise with the adoption of AVFDs. Design/methodology/approach This essay incorporates both a philosophical and an ethical analysis approach. It is based on Plato’s Allegory of the Cave, philosophical notions of transparency and presence and human values including psychological well-being, physical well-being, privacy, deception, informed consent, ownership and property (...) and trust. Findings The paper concludes that the interactions among developers, users and non-users via AVFDs have implications for autonomy. It also identifies issues of ownership that arise because of the blending of physical and virtual space and important ways that these devices impact, identity and trust. Practical implications Developers ought to take time to design and implement an easy-to-use informed consent system with these devices. There is a strong need for consent protocols among developers, users and non-users of AVFDs. Social implications There is a social benefit to users sharing what is visible on their devices with those who are in close physical proximity, but this introduces tension between notions of personal privacy and the establishment and maintenance of social norms. Originality/value There is new analysis of how AVFDs impact individual identity and the attendant ties to notions of ownership of the space between an object and someone’s eyes and control over perception. (shrink)

continent. 2.1 (2012): 56–58 Nechvatal, Joseph, Immersion Into Noise , Open Humanities Press, 2011, 267 pp, $23.99 (pbk), ISBN 1-60785-241-1. As someone who’s knowledge of “art” mostly began with the domestic (Western) and Japanese punk and noise scenes of the late 80’s and early 90’s, practices and theories of noise fall rather close to my heart. It is peeking into the esoteric enclaves of weird music and noise that helped me understand what I think I might like art to be: (...) A way of learning about the world through perturbation—exploration by incitement and speculation of possible conditions. What I have always loved about artistic investigations influenced by noisy aesthetics or sensibilities is that they can be simultaneously transcendent and absurd, amusing and revelatory, singular and pluralistic, mindless and intensely penetrating. The provocative friction that noise brings to bear on aesthetic experience, artistic practice, and “the” Art World acts as a kind of impulse response, proposing new energies while revealing underlying structure; noise signals are a simultaneous synthesis and analysis of spaces, subjects and relations. About two weeks prior to Christmas 2011, Joseph Nechvatal was generous enough to spend some time with me at 39 Quai des Grands Augustins, Paris . We each had one glass of red wine, briefly discussed common acquaintances, shared points of interest, and his published writings. We also, I recall, disagreed lightheartedly about how much contemporary relevance the ideas of telematic-artist Roy Ascott have for today’s art-and-technology practitioner (Joseph > Jamie). After the encounter, I read through a PDF version of Immersion Into Noise Joseph was kind enough to send me ( the HTML version is here ). A number of points of entry into cultures of “noise” are available these days. There are the acoustic-spatial approaches of thinkers like Douglas Kahn, Brandon LaBelle and Salome Voegelin; the techno-cultural musicologies of Jonathan Sterne and David Toop; the political writings of Jacques Attali, former adviser to President François Mitterrand, in his Noise: The Political Economy of Music (spoiler alert: It’s not really about music). Enter the new writings of one Joseph Nechvatal, with his invitation of an Immersion Into Noise . Nechvatal has been active for over 20 years in on- and off-line discussions of art, technology, virtuality, as well as his own set of art-theoretical departures and terminologies. A practicing artist, and instructor at the School of Visual Arts in New York City, Immersion Into Noise , is Nechvatal’s third published volume. His writings, broadly, address a concern with the possibilities of a synthesis between the biological and the virtual, and the contemporary artistic resonances that these possibilities suggest. Nechvatal’s project is to try to name contemporary currents of artistic practice within our technologized culture. He comes at this through art history, post-modern philosophy, anthropology and consciousness studies. Portions of Immersion Into Noise have appeared in his PhD dissertation, as well as online art publications like Zing Magazine . An open-access publication, and part of the impressive and heartening activities of the Open Humanities Press, Nechvatal’s book is a somewhat unexpected addition to the Critical Climate Change series edited by Tom Cohen of SUNY University and Claire Colebrook of Penn State. Other titles in the series have address themes of post-globalism and cultures of threat. Joseph Nachvetal’s title is the first to focus entirely on art history, art practice and aesthetics. It is awkward to too easily fit Nechvatal’s writings in with the aforementioned burgeoning canon of cultural and artistic practice in, and writings on, noise (Russolo, Schaeffer, Cage and Yves Klein through to Kahn, LaBelle, Voegelin, et. al). Immersion Into Noise is not primarily an examination of sound-noise or phenomenologies of sound, and the relativist, non-objectivist possibilities arising therefrom in social, public, and exhibition art practices. Although Nechvatal makes mention of sonic practice and experience (his own encounter in 1968 with the technological complex was set in motion at a Jimi Hendrix concert at the Chicago Coliseum), he does so only by way of introducing a broader concept of “art-noise.” The noise-scape can envelope various kinds of involvement in all kinds of art, by artists, audiences, and distributed amalgams of all of these. Midway through the book, we are offered characteristics of an “immersive noise vision theory.” This theory, leading to an even more syncretic thinking about the art experience, is sketched out through further reference to the author’s personal observation, as well as his art-historical research and notes. Personal examples take on the reflex of a kind of art-noise-travel-writing, as Nechvatal visits Ryoji Ikeda’s Datamatics [ver 2.0] installation at the Centre Pompidou, Paris), hears Cecil Taylor at Alice Tully Hall in New York, spends time with the cave paintings of Lascaux, France, and explores the Wagner-inspired Venus Grotto of Linderhof, Bavaria, to name a few. These site-events, to varying degrees, are renderings of noise-art’s potential to “place us back into a ritual position by dragging art down into the felt 360° noise-perspective of the enthusiastic and participatory.” (p.103) The arc of the ideas proposed here position immersiveness, saturation and “scopic all-over tension” as most productively foundational to noise art, or art-noise. An itinerary from the most ancient of artistic expressions (cave drawings) to the most digital of presentations is charted (Ikeda’s minimal/maximal bitwise works for synchronized audio and visual projection). The harsh sonic onslaught of Masami Akita (a.k.a. Merzbow), is, under this analysis, not so far from colossal denseness of the churches of the High Baroque (Nechvatal visits the Rosario Chapel in Santo Domingo Church, Puebla, Mexico). And there is much more here, eaten up by noise: A rethinking of the work of Duchamp, Jackson Pollock, Nicolas Schöffler (whom Nechvatal names the true “the Father of Cybernetic Art”) and the Happenings of Alan Kaprow, all as art-noise in their own right. Each of these artists and moments demonstrate techniques of destabilization, immersiveness, frame-breaking and “all-over fullness and fervor.” Here is writing on art and art history that is as ambitious as it is promising: “wildly visionary,” Nechvatal states as in conclusion. Self-admittedly far-reaching to the point of verging on totalization, we are asked to consider that the moments, spaces, arts and artists Nechvatal appreciates in the book all derive from an increasingly prevalent “noise consciousness.” Along the way we gain an appreciation of noise as a productive and proactive tension in art, rather than an unwanted signal or unwelcome intrusion. Most promising here for me are Nechvatal’s revealing descriptions of the potential for noise to make manifest the material-perceptual framework of individual and collective art experience. How might we allow what we have been repeatedly taught is our contemporary condition of “information overload” to transform itself into a calm, warm, sympathetic kind of inundation. Treatment of experience in this way, dissolves boundaries between the bodily, informational, material and technical complexes that make up our world, and is the promise of a radical, if momentary, Immersion Into Noise. (shrink)

A book of readings in Western intellectual history focusing on the role of reason in human action. Contents:^ Plato: Myth of the Cave; Plato: ^IThe Four Virtues; Aristotle: Knowledge of Causes; Aristotle: The Types of Governments; Epicurus: Epicureanism; Epictetus: Stoicism; St. Augustine: The Platonist; St. Augustine: The Nature of Sources of Evil; St. Thomas Aquinas: The Four Laws; St. Thomas Aquinas: The Nature of the Soul; Pico: The Oration on the Dignity of Man; John Calvin: Reason, Sin and Illumination; (...) St. Teresa of Avila: Interior Castle; Rene Descartes: Pens,s ; Thomas Hobbes: The State of Nature; John Locke: The State of Nature; Alexander Pope: Essay on Man; David Hume: Impressions and Ideas; Voltaire: Candide; Immanuel Kant: Space and Time; Immanuel Kant: The Good Will; Edmund Burke: Revolution in France; James Madison: The Federal Government; Soren Kierkegaard: Subjective Truth; Fyodor Dostoevsky: The Grand Inquisitor; Karl Marx and Friedrich Engels: Communist Manifesto; Friedrich Nietzsche: The Will to Power; William James: Pragmatism; William James: Philosophical Temperaments; Sigmund Freud: The Ego and the Id; Ludwig Wittgenstein: Later Theory; Jean-Paul Sartre: Existentialism; Carol Gilligan: Women's Place in Man's World; Appendix: Programmed Text on Epistemology. (shrink)

The Paleolithic paintings and drawings found on cave walls at sites in France and Spain, such as Lascaux, Altamira and Vallon-Pont-D'Arc, have profound effects on those who see them. In addition to their historical interest, they are prized for their aesthetic and spiritual qualities, which have had an important influence on modern art. But the caves are small and the paintings are fragile. Access to them has been sharply limited: some caves have been closed to protect the paintings (...) from the damage caused by human respiration; access to others is limited to those who negotiate a daunting reservation scheme. Despite being the heritage of humanity as a whole, the cave paintings are, and must be, restricted to a very few. Not everyone who wants to see the paintings can do so if they are to survive. (shrink)

The Paleolithic paintings and drawings found on cave walls at sites in France and Spain, such as Lascaux, Altamira and Vallon-Pont-D'Arc, have profound effects on those who see them. In addition to their historical interest, they are prized for their aesthetic and spiritual qualities, which have had an important influence on modern art. But the caves are small and the paintings are fragile. Access to them has been sharply limited: some caves have been closed to protect the paintings (...) from the damage caused by human respiration; access to others is limited to those who negotiate a daunting reservation scheme. Despite being the heritage of humanity as a whole, the cave paintings are, and must be, restricted to a very few. Not everyone who wants to see the paintings can do so if they are to survive. (shrink)

L’art pariétal du Paléolithique supérieur présente, à côté d’un extraordinaire répertoire animalier bien diversifié, un grand nombre de signes qui ne trouvent pas d’équivalents dans la perception de la réalité sensible. Tandis que les images des humains ou des créatures mi-humaines mi-animales sont très rares, ces formes aniconiques, souvent géométrisantes et aisément classifiables, sont globalement plus nombreuses que les animaux. Si saisir l’intentionnalité qui a poussé les premiers artistes à peindre sur les parois représente un défi pour nos compétences interprétatives, (...) les « signes » constituent l’aspect le plus énigmatique de ce défi. Il y a trente ans, en 1988, dans la revue Current Anthropology, a été publié un article de James D. Lewis-Williams et Thomas A. Dowson, « The Signs of All Times. Entoptic Phenomena in Upper Paleolithic Art », ouvrant une nouvelle perspective sur l’origine des signes. En appliquant le modèle neuropsychologique à l’imagerie bidimensionnelle de l’art des grottes, il est possible d’identifier à des signes à valeur universelle, selon les auteurs, les apparitions entoptiques présentes, avec leurs diverses modalités combinatoires, dans l’art rupestre de « tous les temps ». Cette interprétation de l’art des sociétés préhistoriques, qui resitue la naissance des images dans les territoires visionnaires des cultures chamaniques, a soulevé en France des perplexités et des polémiques innombrables, parfois acerbes. Il est prioritaire alors de voir si le modèle neuropsychologique est effectivement en mesure d’offrir un cadre explicatif des données archéologiques des grottes ornées et de ses « constructions symboliques », en mesure d’intégrer tous les indices disponibles dans une construction théorique cohérente. The parietal art of the Upper Paleolithic shows, alongside with an extraordinary and highly diversified animalistic repertoire, a large number of signs which cannot be found in the perception of sensible reality. While images of humans or of anthropo-zoomorphic creatures are very rare, these aniconic forms—while often geometric and appropriate for classification—are globally more copious than animals. If understanding the intentions that prompted the first artists to paint on the walls represents a challenge for our interpretative skills, then the “signs” constitute the most enigmatic aspect of this challenge. Thirty years ago, in 1988, an article written by James D. Lewis-Williams and Thomas A. Dowson, and entitled “The Signs of All Times. Entoptic Phenomena in Upper Paleolithic Art”, was published in the Current Anthropology journal. This article opened up new perspectives on the origin of signs. According to its authors, by applying the neuropsychological model to the two-dimensional imagery of cave art, it is possible to identify universal signs ascribable to the entoptic appearances that can be found—in their different combined modes—in the rock art of all times. This interpretation of the art of prehistoric societies, which has led to the emergence of images within the visionary territories of shamanic cultures, has provoked countless—and sometimes harsh—disputes in France. It has therefore become a priority to evaluate whether the neuropsychological model is actually able to provide an explanatory picture of the archaeological evidence of historiated caves and their constructions symboliques that would be capable of integrating all the clues available into a coherent theoretical structure. (shrink)

The Paleolithic art interpretation is still a polemical subject. Nearly 300 caves covered with Paleolithic paintings have been discovered and more than 90% are located in Spain and in France. Surprisingly, more than half the painted illustrations are abstract patterns such as dots and lines. The high realism of naturalist figures also stands out. We will present the four groups of theories that have been formulated since the end of the XIXth century in order to interpret the Paleolithic art: (...) the artistic theory from Lartet and Piette; the magical hunting theory from anthropologists such as Tylor and Frazer and archeologists like Breuil; the structuralist theory from Raphael, Leroi- Gourhan and Laming-Emperaire; and lastly the shamanist theory from Lewis-Williams and Clottes. We will also refer to the agglutinative theory gathering all of these from Ucko and Rosefeld. Afterwards I will offer my own thought. Paleolithic paintings are the expression the life led by every generation of the clan. The panels or the set of animals as much as the painted signs are their own History collection. (shrink)

Peter Cave gets to grips with maths, God and the meaning of life.

John Stuart Mill was born two hundred years ago, on 20 th May, 1806. He died on 7 th May 1873. Peter Cave brings to life some of the thinking of this outstanding philosopher.

Here is a tribute to humanity. When under dictatorial rule, with free speech much constrained, a young intellectual mimed; he mimed in a public square. He mimed a protest speech, a speech without words. People drew round to watch and listen; to watch the expressive gestures, the flicker of tongue, the mouthing lips; to listen to – silence. The authorities also watched and listened, but did nothing.

In The Gay Science, Friedrich Nietzsche argued that only a form of philosophizing that sprung from a deep commitment to the subject could ever hope for success. ‘All great problems,’ he wrote, ‘demand great love.’ He continued: It makes the most telling difference whether a thinker has a personal relationship to his problems and finds in them his destiny, his distress, and his greatest happiness, or an ‘impersonal’ one, meaning he is only able to touch them with the antennae of (...) cold, curious thought. In the latter case nothing will come of it, that much can be promised; for even if great problems should let themselves be grasped by them, they would not allow frogs and weaklings to hold on to them. Nietzsche went on to complain that, to his knowledge, no one had yet approached moral philosophy in this way: Why, then, have I never yet encountered anyone, not even in books, who approached morality in this personal way and who knew morality as a problem, and this problem as his own personal distress, torment, voluptuousness, and passion? Alex Voorhoeve run01.tex V1 - 07/29/2009 7:23am Page 16.. (shrink)

Este texto es el resultado de una investigación que busca indagar sobre las formas que adquiere la representación en las prácticas, sobre todo cuando se intenta dar una versión sobre los “otros”, racializados como seres inferiores. En este caso, intento hacer una aproximación a la literatura que aborda lo indígena desde una visión que asume esta tematización bajo una estrategia consciente o inconsciente de la suplantación del lugar de los otros. La aproximación que se hace actúa en el caso específico (...) y no como una generalización proyectada sobre toda la literatura de este tipo; es más una apuesta por hacer otra lectura, llegando a una provocación de lo naturalizado por el canon que establece un patrón de clasificación en la producción. El texto se encuentra estructurado en cuatro apartados: el primero aborda lo fijado a través de imaginar lo colectivo; el segundo entra a mirar las estrategias de orientación; el tercero examina el problema de la invención; y el cuarto, el encierro de la memoria, muestra lo indio como cadena de sustitución en la literatura. (shrink)

Many authors have proposed constraining the behaviour of intelligent systems with ‘machine ethics’ to ensure positive social outcomes from the development of such systems. This paper critically analyses the prospects for machine ethics, identifying several inherent limitations. While machine ethics may increase the probability of ethical behaviour in some situations, it cannot guarantee it due to the nature of ethics, the computational limitations of computational agents and the complexity of the world. In addition, machine ethics, even if it were to (...) be ‘solved’ at a technical level, would be insufficient to ensure positive social outcomes from intelligent systems. (shrink)

A study of the way in which poets, priests, and sages sought for wisdom in ancient Greece by descending into caves or underground chambers. Yulia Ustinova offers a novel approach by juxtaposing ancient testimonies with the results of modern neuropsychological research.

The emergence of cave art in Europe about 30,000 years ago is widely believed to be evidence that by this time human beings had developed sophisticated capacities for symbolization and communication. However, comparison of the cave art with the drawings made by a young autistic girl, Nadia, reveals surprising similarities in content and style. Nadia, despite her graphic skills, was mentally defective and had virtually no language. I argue in the light of this comparison that the existence of (...) the cave art cannot be the proof which it is usually assumed to be that the humans of the Upper Palaeolithic had essentially ‘modern’ minds. The article includes peer commentary by Paul Bahn, Paul Bloom, Uta Frith, Ezra Zubrow, Steven Mithen, Ian Tattersall, Chris Knight, Chris McManus and Daniel Dennett , with response by Nicholas Humphrey. [Owing to the number of illustrations, the full text for this file is in excess of 1 Mb. .]. (shrink)

A critical edition of Philostratus' Lives of the Sophists based on a comprehensive study of manuscript tradition which takes into account all major scholarly work on the text and features a detailed preface and critical apparatus, as well as an appendix containing the text of Polemon.

This paper focuses on the fact that AI is predominantly portrayed as white—in colour, ethnicity, or both. We first illustrate the prevalent Whiteness of real and imagined intelligent machines in four categories: humanoid robots, chatbots and virtual assistants, stock images of AI, and portrayals of AI in film and television. We then offer three interpretations of the Whiteness of AI, drawing on critical race theory, particularly the idea of the White racial frame. First, we examine the extent to which this (...) Whiteness might simply reflect the predominantly White milieus from which these artefacts arise. Second, we argue that to imagine machines that are intelligent, professional, or powerful is to imagine White machines because the White racial frame ascribes these attributes predominantly to White people. Third, we argue that AI racialised as White allows for a full erasure of people of colour from the White utopian imaginary. Finally, we examine potential consequences of the racialisation of AI, arguing it could exacerbate bias and misdirect concern. (shrink)

In 1962 I offered an analysis of the Line and Cave which maintained that the four main divisions of each are parallel and interpreted the three stages of ascent in the Cave allegory as representing the three stages in Plato's educational programme: music and gymnastic, mathematics and dialectic. At that time a major portion of my task was to counter arguments which purported to show that the Line and Cave could not be parallel. The present situation is (...) quite different since recent writers, for the most part, not only take the four main divisions of the Cave as parallel to those of the Line, but also accept the restriction of the Cave allegory to moral and mathematical education as a crucial step in the establishing of this fact. This last move, which is clearly in harmony with the form and content of the Republic, enables us to allow for the ordinary unenlightened man to be at the bottom level of the Cave without our having to suggest that he confuses the shadows of visual objects with their originals, which could well be the case if the Cave were taken to represent all sense perception as such. Despite fairly general agreement on these basic points of interpretation there remains, however, a wide divergence of opinion as to the significance of the various levels of education or moral awareness portrayed by the Cave. In keeping with several recent papers on this topic I shall focus my attention on the bottom two stages of this allegory: the state of the prisoners viewing shadows on the cave wall and that of the released prisoners, still in the cave, but turned around and looking at the puppets which cast these shadows. (shrink)