Plato, in his dialog Charmides, presents the question of how society can determine whether a person who claims superior expertise in a particular field of knowledge does, in fact, possess superior expertise. In the modern era, society tends to answer this question by funding institutions (universities) that award credentials to certain individuals, asserting that those individuals possess a particular expertise; and then other institutions (the journalistic media and government) are expected to defer to the credentials. When, however, the sequential reasoning (...) and theorizing and conclusion-stating of generation after generation of credential-bearing experts (i.e., scientists) leads to the assertion of the truth of statements that large segments of society find to be in conflict with the statements of persons who have earned credentials of expertise bestowed by an alternative institutional structure (i.e., religious teachers), representatives of the people are put to a choice. And when the conflicting statements present substantial implications for the moral and sexual behavior of people in the society, addressing the conflict brings into play not only the highest intellectual speculations and analyses, but also the most animal emotions and motivations. This paper, taking the form of a dialog, presents a scientist (Avram Codosia) named after an ancient Jewish patriarch and makes him a supplicant to a U.S. Senator (Helen Astartian) named after a pagan goddess. The stakes turn out to be not merely financial and intellectual, but personal and moral, involving the scientist's son (Isaac), an art student, and the senator's niece (Halia), a philosophy student. In a four-phase encounter, the paper hopes to offer some innovative observations on age-old issues and to stimulate productive new thinking on questions that too often seem to be debated by means of repetitions of the same old points. (shrink)

We humans are a curious species. Of all the life forms that inhabit the earth, we alone strive to make sense of the world in which we find ourselves. For thousands of years we understood the world through stories. Our ancestors told stories of how the world began, how our people originated and came to be at this place, and how those people across the river or beyond the mountains came to be where they are. Some stories were of animals (...) and plants in our neighborhood, and their powers to help us, feed us, or cure our ailments. But in the last few centuries, starting in Europe and spreading throughout the world, a new way of understanding began competing with storytelling as a means of comprehending our world. Science supplanted storytelling largely because it empowered us to transform the world in ways that were unimaginable to our ancestors. We understand the world scientifically by describing the world instead of by telling stories about it. The stories our ancestors told no longer explain the world, but are data within the world, part of the world that science describes. Our stories have become myths, cultural artifacts that may be interesting and a subject of study, but cannot possibly be true. Yet even in societies that have thoroughly embraced science as a means of understanding the world, myths remain a powerful force. Myth and science exist side by side, often creating confusion and conflict. (shrink)

Inter- and transdisciplinary (ITD) approaches represent promising ways to address complex global challenges, such as climate change. Importantly, arts–sciences collaborations as a form of inter and transdisciplinarity have been widely recognized as potential catalysts for scientific development and social change towards sustainability. However, little attention has been paid to the process of reasoning among the participants in such collaborations. How do participants in arts–science collaboration reason together to overcome disciplinary boundaries and to co-create interventions? This article investigates how inter- (...) and transdisciplinary reasoning (or ITD reasoning) unfolded in a collaboration involving experts from the natural sciences, humanities, and the arts. We studied how collaborators reasoned through different understandings and experiences of climate change as well as through multiple ways of fostering motivation to take action via two co-designed artworks, HOMONEXUS (a participatory textile and acoustic installation) and GLACIER NEX US (a performance staging a dialogue between a melting glacier and a glaciologist). Our conclusions are threefold: (i) ITD reasoning can increase participants’ capacity to navigate often-unpredictable situations by cross-fertilizing ideas and overcoming blind-spots; (ii) humanities in arts–science collaborations can foster a more nuanced understanding of the differences and similarities of different knowledge systems as well as a deeper ecological understanding of sustainability problems; and (iii) the aesthetic experiences stimulated by arts–science interventions may help to raise awareness about the climate emergency and sustainable actions by providing pleasant and positive or dazzling and negative aesthetic experiences. (shrink)

In 1997, I introduced the concept and the phrase “bio art”, originally in relation to my artwork “Time Capsule”. This work approached the problem of wet interfaces and human hosting of digital memory through the implantation of a microchip. The work consisted of a microchip implant, seven sepia-toned photographs, a live television broadcast, a webcast, interactive telerobotic webscanning of the implant, a remote database intervention, and additional display elements, including an X-ray of the implant. While “bio art” is applicable to (...) a large gamut of in vivo works that employ biological media, made by myself and others, in 1998, I started to employ the more focused term “transgenic art”. Republished in Ars Electronica ‘99—Life Science, ed. Gerfried Stocker and Christine Schopf, 289–296.) to describe a new art form based on the use of genetic engineering to create unique living beings. Art that manipulates or creates life must be pursued with great care, with acknowledgment of the complex issues it raises and, above all, with a commitment to respect, nurture, and love the life created. I have been creating and exhibiting a series of transgenic artworks since 1999. I have also been creating bio art that is not transgenic. The implications of this ongoing body of work have particular esthetic and social ramifications, crossing several disciplines and providing material for further reflection and dialog. What follows is an overview of theses works, the issues they evoke, and the debates they have elicited. (shrink)

For long time, especially in the West, there is old paradigm that is strong separation between science and theology/religion matters. Especially, such a diverging path started from Galileo persecution, and also other patterns where religious authority seem to hold the last word on scientific issues. Other area of this World, seems to not hold such a diverging path, for instance it can be read in the works of physicist turned to religious philosopher, for instance Pavel Florensky and Nesteruk. That (...) is why we also discuss shortly about those scientists in this book. In the last chapter, we discuss about eureka, an experience which for a long time was attributed to divine spark or “God’s favor to an artist or to a scientist, such luminaries like Newton, Pascal, Leibniz etc.” Nonetheless, new methodology appears to be able to be generated once we accept balanced brain approach, where left brain and right brain hemispheres of humans can work together. (shrink)

In recent years the science-and-religion/spirituality/theology dialogue has flourished, but the impact on the minds of the general public, on society as a whole, has been less impressive. Also, religious believers and outspoken atheists face each other without progressing toward a common understanding. The view taken here is that achieving a more marked impact of the dialogue would be beneficial for a peaceful survival of humanity. I aim to argue the why and how of that task by analyzing (...) three possible purposes of the dialogue and their logical interdependence, suggest conceivable improvements of the quality and extent of the current efforts toward a negotiated action plan, and consider an enlargement of the circle of the actors involved. The dialogue that has been carried on between science and religion/spirituality/theology could be expanded and usefully applied to some major problems in the present world. (shrink)

Early educators are in a bind. Teacher education programs are calling on them more and more to help students practice critical thinking and develop intellectual character ; yet school funding depends on meeting Common Core standards, which do not explicitly assess critical thinking until the high-school level. Add to that an over-engineered content curriculum, and thinking becomes a luxury that is quickly lost amid more immediate concerns. As a result, we are raising a generation of “excellent sheep” who flourish amid (...) standardized tests but are increasingly unable to think for themselves. The problem, we suggest, is that today’s teachers are in such a rush to give students the answers that they are not allowing them time to ask the questions. As a result, students cannot find the “deep structure” of issues. Bodies of knowledge thus strike them as disconnected facts, quickly forgotten. The solution, as suggested by recent work in cognitive science, is to teach critical thinking through teaching content. In what follows, we propose a way of organically integrating content and thinking through games, story books and art. With this, we put children into the driver’s seat, encouraging them to ask their own questions, to propose their own answers and to join their peers in joint inquiry through dialogue. In a word, we propose teaching children philosophy as early as possible. Tom Wartenberg has made considerable progress with his picture-book philosophy curriculum designed for elementary schools. But what of younger children? Combining the resources of Rollins College’s Philosophy Department and Child Development and Student Research Center, we set out to find “how low can we go?” Over four terms’ of trial and error, we have adapted and distilled Wartenberg’s methods into a model that works for the Center’s 4-year-olds, and we have tested this model on a larger scale through a one-term collaboration with the Winter Park Day Nursery. (shrink)

This essay begins with the claim that intercultural dialogue is an art rather than a science or technique and it attempts to point out what it takes to learn the art of intercultural dialogue. In PART ONE some basic forms of intercultural dialogue are presented which correlate to some basic forms of human life, such as family, politics, economy, science, art and religion. Also a few common traits about how intercultural dialogue is practised today (...) are specified. PART TWO is pointing out that cultural pluralism is not merely a political ideology, but rather a realistic political attitude towards the social realities in all cultures. Cultural pluralism means to accept that a certain variety of different forms of life is existing already within every culture, country or nation. Further it it argued that any society whether it is governed by a modern democracy or by a more traditional political system, such as a monarchy, needs some ethical, legal and political orientation in order to guarantee civil liberties, but also to limit civil, economic and political freedom. A common normative orientation being based on ethical ideals, principles, norms and values can only be established by philosophy and jurisprudence and neither by science nor by religion and neither by democracy nor by economy alone. Finally, PART THREE presents and discusses shortly a few reflections about three philosophical models of dialogue by Buber, Jaspers and Gadamer which are relevant to intercultural dialogue, to interreligious dialogue and last, but not least to philosophical dialogue. (shrink)

This volume explores the roles and uses of abstraction in scientific and artistic practice. Conceived as an interdisciplinary dialogue between experts across histories and philosophies of art and science, this collection of essays draws on the shared premise that abstraction is a rich and generative process, not reducible to the mere omission of details in a representation. When scientists attempt to make sense of complex natural phenomena, they often produce highly abstract models of them. In the history and (...) philosophy of art, there is a long tradition of debate on the function of abstraction, and - more recently - its relation with theories of depiction. Adopting a process-oriented perspective, the chapters in this volume explore the epistemic potential of a diversity of practices of abstracting. The systematic analysis of a wide range of historical cases, from early twentieth-century abstractionist painting to contemporary abstract photography, and from nineteenth-century physics to recent research in biology and neurosciences, invites the reader to reflect on the material lives of abstraction through concrete artefacts, experimental practices and theoretical and aesthetic achievements. Abstraction in Science and Art: Philosophical Perspectives will be of interest to scholars and advanced students working in aesthetics, philosophy of science, and epistemology, as well as to historians of science and art, and to practicing artists and scientists interested in exploring foundational questions at the heart of the creative practice of abstracting. (shrink)

Philosophy After Lacan: Politics, Science and Art brings together reflections on contemporary philosophy inspired by and in dialogue with Lacanian theory. Rather than focus on the thinkers who came before Lacan, the editors maintain attention on innovations in contemporary philosophy that owe their emergence to complimentary, critical, direct, or tangential engagement with Lacan. This collection makes one of the first concerted efforts to expand discussions between psychoanalysis and more recent philosophical thinkers while gathering chapters by some of the (...) leading philosophical voices of the present moment. With contributors from around the world, this book has international appeal and is unique in its emphasis on contemporary philosophies inspired or influenced by Lacan. Philosophy After Lacan will not only appeal to psychotherapists and psychoanalysts, but also to students and professors of philosophy, critical theory, psychology, politics, history, and literature. (shrink)

How should we theorize about the social world? How can we integrate theories, models and approaches from seemingly incompatible disciplines? Does theory affect social reality? This state-of-the-art collection addresses contemporary methodological questions and interdisciplinary developments in the philosophy of social science. Facilitating a mutually enriching dialogue, chapters by leading social scientists are followed by critical evaluations from philosophers of social science. This exchange showcases recent major theoretical and methodological breakthroughs and challenges in the social sciences, as well (...) as fruitful ways in which the analytic tools developed in philosophy of science can be applied to understand these advancements. The volume covers a diverse range of principles, methods, innovations and applications, including scientific and methodological pluralism, performativity of theories, causal inferences and applications of social science to policy and business. Taking a practice-orientated and interactive approach, it offers a new philosophy of social science grounded in and relevant to the emerging social science practice. (shrink)

An aim of science is to find truths about reality. These truths are collected together to form systematic knowledge structures called theories. Theories are intended to create a truthful picture of the reality behind the study. Together with all the other fields of science we get a scientific picture or a world view. This scientific world view is open in the sense that not all truths are known by scientists and not all present day theories are true. So, (...) there is no reason to assume that any field of science has been or will be completed; science is essentially progressive, or an open ended approach. Science is not the only method of picturing, but the view that science is the best human method for knowledge acquisition is well justified. Knowledge is not all we humans are looking for; we need to make our lives meaningful. The meaningfulness may be achieved through science, art, or practical activity. It is interesting to compare literature and science. Both are expressed linguistically, but the aims of literature and science seem to be very different. We are looking for the theoretical interconnection between science and literature, but the proper dialogue can be found not through science, literature or philosophy, but through pedagogy. (shrink)

This classic anthology offers ancient and modern perspectives on Job's question: 'If a man die, shall he live again?' Spanning over 5,000 years of world thought, the selections invite consideration of an idea that has found hospitality in the greatest minds of history.

Three definitions of bioart are analyzed in the paper: bioart—as a part of science art, as the creation of some new exciting artworks, and/or as the visualization of certain stages of biomedical and life science research. Bioart is an in vivo practice which produces “living artworks” and creates a new reality. It represents the dialogue between art, science and technology and between academic and amateur science. It promotes the dialogue aimed at rethinking the phenomenon (...) of life. It blurs the boundaries between natural and artificial and the limits of human manipulations with the fundamentals of life. (shrink)

Bell argues that the dialogue that emanate from the aesthetic realm cannot be understood through a solely art-historical approach; instead, they must be understood as part of a collective endeavour. In this sense, the 'art' of post-dictatorship is not something that belongs to art or the artists themselves, but is about how the subjectivities and imaginations of new generations engage with questions of response, ethics and justice; and, in so doing, re-align themselves in relation to the past and to (...) the future. This book provides a valuable resource for those interested in the law, politics, art and sociology of contemporary Argentina. It will be of immense use to those studying in these areas and to those concerned more widely with transitional justice and memory politics. (shrink)

I argue that scientific and poetic modes of objectivity are perspectival duals: 'views' from and onto basic natural forces, respectively. I ground this analysis in a general account of objectivity, not in terms of either 'universal' or 'inter-subjective' validity, but as receptivity to basic features of reality. Contra traditionalists, bare truth, factual knowledge, and universally valid representation are not inherently valuable. But modern critics who focus primarily on the self-expressive aspect of science are also wrong to claim that our (...) knowledge is or should be ultimately mediated by ourselves. In objective science, we represent nature as a field of phenomena determined by and within explanatorily-basic physical structures that encode the causal impact of elemental physical forces. These causally-basic forces hence ground the possibility of objective scientific theory, even though (I argue) they are systematically excluded from its representational contents. I show how my notions of force and field emerge partly through my effort to naturalize concepts of 'God' and 'Laws' in 17th-century natural philosophy. In science, we use the structure of basic forces' impact to see corresponding objects. We do not see these forces themselves—and this relates to the 'transcendence' of 'God'. I supplement this historical analysis by critiquing standard accounts of objectivity, and by synthesizing elements from neo-Kantian epistemology and current 'structural' realism into a view that I call 'dynamic structuralism'. Finally, I argue that physics systematically relies on passive characterizations of phenomena like inertia and impressed force. Dynamic alternatives that are just as empirically adequate are possible, but they are non-scientific. Poetic objectivity involves a direct presentation of nature as an order of interacting forces. I elaborate first by developing a novel theory of the relation between beauty and sublimity, mediated by a basic category of 'sensory force' (e.g. a 'singing' tone in a beautiful melody). I then describe the interaction between sensory and affective dimensions of aesthetic experience, in relation to an original historical analysis of passion and 'disinterestedness' in Kant, Schiller and Nietzsche. I synthesize these lines of analysis into a critique of the role of 'expression' in art. I also resist 'spectator'-centric aesthetics, in this connection, by developing an account of artistic objectivity in dialogue with Ruskin's critique of the 'pathetic fallacy'. I contrast artistic objectivity with Romantic ideals of self-expression, while elaborating its positive relation to certain currents within Victorian and Modernist aesthetics, including Imagists' stress on 'exteriority'. My project creatively extends Nietzsche's view that philosophical and scientific theories are 'perspectival' expressions of theorists' drives. It is a virtue of Nietzsche's account that he takes the outlet of strong human drives in creative acts of theorizing to be just one among many higher modes of 'will to power' in nature—many of which are totally impersonal. But Nietzsche is still too focused on self-expression or willing one's own power. Objective science involves external forces' 'expression' in and through us, not just 'expressing' our own powers. And Nietzsche's vitalistic 'will to power' must be replaced by a basic ontology that better accommodates inorganic phenomena, like the 'lawful' order of celestial motions. Thus I aim to de-anthropomorphize and 'de-organicize' post-Kantian notions of willful striving and organic development, while preserving for force the primary ontological and evaluative status that theorists from Schiller and Goethe to Schelling and Schlegel to Emerson and Nietzsche attributed to will or to life. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Metaphysics as Mediating Dialogue by Oliva BlanchetteMatthew MinerdBLANCHETTE, Oliva. Metaphysics as Mediating Dialogue. Washington, D.C.: The Catholic University of America Press, 2023. xi + 133 pp. Cloth, $75.00In this text, the author presents a personal synthesis of metaphysics using a lexicon of scholastic and Blondelian-Hegelian thought. The first chapter, "From Questions of Being to the Question of Being as Being," presents a quasi-phenomenological account of the (...) emergence of the analogical conception of order of various degrees of perfection of being as such, concretized in various domains that are physical/natural and human/cultural. In this first chapter, an important theme that emerges and becomes a golden thread throughout the text is the claim that the primary analogate of being is, within our experience, the human person and the human mode of activity in culture and religion. [End Page 538]The second chapter, "Metaphysics as Mediating Dialogue of the Crossroads of Intersubjective, Intercultural, and Interreligious Communication," is perhaps the densest, covering a number of points handled in the remainder of the book. In this chapter, Blanchette is concerned with showing how intercommunication takes place within discourse concerning both the shared principles of intelligent agents and ultimately in view of an orientation toward what he later will call the vertical transcendence of culture in relation to God. Both of these tasks are of critical importance for constituting the necessary background for a philosophy of culture and a philosophy of religion that can mediate among the various actualities of human existence amid the objective and subjective aspects of art, science, and moral mutual recognition of intelligent agents in community.The third chapter, "The Necessity of Metaphysics in the Struggle for World Peace and Justice," opens with an arguably theological observation that the rational agent has two ends, one of which is not attainable in this life involving some kind of "more direct relation with God" in the hereafter, and the other pertaining to the struggle toward the establishment of a "historical communal peace." The framework for this terminology is a scholastically aware engagement with Blondelian (and partly Hegelian) thought. This chapter is concerned with articulating the way that rational agents engage in the historical task of establishing a kind of universal spirit of intersubjective recognition, at least as an asymptotic goal within history, even if contention ultimately prevents the formation of such a single, unified, intrahistorical community. Blanchette argues that this project is possible only within the dual transcendence of the human person, namely, as cultural and as religious, the latter being the condition for the former. Metaphysics has the role of articulating such transcendence.The fourth chapter, "Metaphysics as the Way from Phenomenology to Theology," engages with some of the questions related to the "theological turn" in Continental phenomenology. Phenomenological inquiry, Blanchette argues, must acknowledge that it investigates only one order of being in the universe, the human-intentional (or "historico-social"), and therefore stands in need of metaphysics to mediate its subject material with other kinds of being (as is true, similarly, of other disciplines). However, he also contends that phenomenology offers a very important preamble for a "first-person ontology" that is sensitive to the specific cultural and historical being of spiritual beings, but ultimately, Blanchette argues, it does so as "part of the way up from the bottom" and as opening up to metaphysical speculation, which itself prevents theology from degenerating into a kind of superstition.In chapters 5 through 7, Blanchette traces out the kind of mediation that occurs between metaphysics and theology. In chapter 5, he briefly develops his stated conviction regarding the human person's role as primary analogate in metaphysics and connects to a more Aristotelian [End Page 539] language of a transcendent cause that is pure act, though also immanent creatively and, upon theological supposition, through divine incarnation.The reviewer found chapter 6, "Metaphysics and the Transcendence of Cultures in Religion," to be the most interesting. In it, Blanchette develops earlier themes concerning the metaphysics of culture and its relationship to nature, as well as the constitution of subjectivity precisely as intersubjectivity among rational selves in the order of culture. Developing themes from chapter 3, he... (shrink)

A comprehensive discussion of Plato's treatment of techne, which shows that the final goal of Platonic philosophy is nontechnical wisdom. The Greek word "techne," typically translated as "art," but also as "craft," "skill," "expertise," "technical knowledge," and even "science," has been decisive in shaping our "technological" culture. Here David Roochnik comprehensively analyzes Plato's treatment of this crucial word. Roochnik maintains that Plato's understanding of both the goodness of techne, as well as its severe limitations and consequent need to be (...) supplemented by "nontechnical" wisdom, can speak directly to our own concerns about the troubling impact technology has had on contemporary life. For most commentators, techne functions as a positive, theoretical model through which Plato attempts to articulate the nature of moral knowledge. Scholars such as Terence Irwin and Martha Nussbaum argue that Plato’s version of moral knowledge is structurally similar to techne. In arguing thus, they attribute to Plato what Nietzsche called "theoretical optimism," the view that technical knowledge can become an efficient panacea for the dilemmas and painful contingencies of human life. Conventional wisdom has it, in short, that for Plato technical, moral knowledge can solve life's problems. By systematically analyzing Socrates’ analogical arguments, Roochnik shows the weakness of the conventional view. The basic pattern of these arguments is this: if moral knowledge is analogous to techne, then insurmountable difficulties arise, and moral knowledge becomes impossible. Since moral knowledge is not impossible, it cannot be analogous to techne. In other words, the purpose of Socrates' analogical arguments is to reveal the limitations of techne as a model for the wisdom Socrates so ardently seeks. For all the reasons Plato is so careful to present in his dialogues, wisdom cannot be rendered technical; it cannot become techne. Thus, Roochnik concludes, Plato wrote dialogues instead of technical treatises, as they are the appropriate vehicle for his expression of nontechnical wisdom. (shrink)

Dialogue systems, from Virtual Personal Assistants such as Siri, Cortana, and Alexa to state-of-the-art systems such as BlenderBot3 and ChatGPT, are already widely available, used in a variety of applications, and are increasingly part of many people’s lives. However, the task of enabling them to use empathetic language more convincingly is still an emerging research topic. Such systems generally make use of complex neural networks to learn the patterns of typical human language use, and the interactions in which the (...) systems participate are usually mediated either via interactive text-based or speech-based interfaces. In human–human interaction, empathy has been shown to promote prosocial behaviour and improve interaction. In the context of dialogue systems, to advance the understanding of how perceptions of empathy affect interactions, it is necessary to bring greater clarity to how empathy is measured and assessed. Assessing the way dialogue systems create perceptions of empathy brings together a range of technological, psychological, and ethical considerations that merit greater scrutiny than they have received so far. However, there is currently no widely accepted evaluation method for determining the degree of empathy that any given system possesses (or, at least, appears to possess). Currently, different research teams use a variety of automated metrics, alongside different forms of subjective human assessment such as questionnaires, self-assessment measures and narrative engagement scales. This diversity of evaluation practice means that, given two DSs, it is usually impossible to determine which of them conveys the greater degree of empathy in its dialogic exchanges with human users. Acknowledging this problem, the present article provides an overview of how empathy is measured in human–human interactions and considers some of the ways it is currently measured in human–DS interactions. Finally, it introduces a novel third-person analytical framework, called the Empathy Scale for Human–Computer Communication (ESHCC), to support greater uniformity in how perceived empathy is measured during interactions with state-of-the-art DSs. (shrink)

Virtual reality protocols inducing illusory embodiment of avatars have shown a positive impact in participants’ perception of outgroup members, in line with the idea that the simulation of another’s sensorimotor states might underlie pro-social behaviour. These studies, however, have been mostly confined to laboratory settings with student populations, and the use of artificial avatars. In an interdisciplinary effort benefiting from the heterogeneous sample within a museum, we aimed at quantifying changes in interpersonal perception induced by embodying a transgender man narrating (...) his life. We compared an artistic methodology mixing virtual reality and elaborate sensorimotor stimulation to a more conventional primarily audiovisual virtual reality experience. We tested how these affect embodiment and the perception of transgender men as measured by a brief implicit association test and a questionnaire. No significant difference in embodiment nor changes in implicit nor explicit bias were found, the latter potentially due to the initially low bias in the group. We further assessed participants’ illusory embodiment as a function of age, finding a negative correlation between these. The results are discussed with respect to current theories of embodiment, differences between lab and real-life settings, and the intersection of art and science. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The New Physics and Cosmology: Dialogues with the Dalai LamaPaul O. IngramThe New Physics and Cosmology: Dialogues with the Dalai Lama. By Arthur Zajonic. Oxford: Oxford University Press, 2004. 245 pp.Over the years there have occurred several "Life and Mind Conferences" that seek to explore the intersection between the natural sciences and Buddhism, particularly, but not limited to, Tibetan Buddhist tradition. As far as I know, this series (...) of conferences represents the most systematic effort to dialogically engage Buddhist thought and practice with the natural sciences to date. The New Physics and Cosmology is one of a number of published Buddhist-science dialogues to emerge from the Life and Mind Conferences. Its focus is contemporary quantum physics and scientific cosmology in conversation with Buddhist cosmology and is based on a conference held in Dharmasala 27–31 October 1997.Along with the Dalai Lama, the major participants in this dialogue were David Ritz Finkelstein, who teaches physics at the Georgia Institute of Technology and edits the International Journal of Theoretical Physics; George Greenstein, Sidney Dillon Professor of Astronomy at Amherst College; Peter Hut, professor of physics and interdisciplinary studies at the Institute for Advanced Study at Princeton University; Thupten Jinpa, who has served as the Dalai Lama's principal English translator since 1985; B. Allan Wallace, who trained for many years in Buddhist monasteries in India and Switzerland and is one of the Buddhist pioneers of the Buddhist-science dialogue; Tu Wei-Ming, who directs the Harvard-Yenching Institute and is professor of Chinese History and Philosophy at Harvard; Arthur Zajonc, professor of physics at Amherst College, whose research focuses on the experimental foundations of quantum physics and the relation between science and the humanities; and Anton Zeilinger, director of the Institute for Experimental Physics in Austria and professor of physics at the University of Innsbruck from 1990 to 1999.One of the remarkable features in these dialogues is that in spite of the Dalai [End Page 180] Lama's rather limited knowledge of contemporary quantum physics and cosmology, his questions to the participating scientists go very quickly to the philosophical and religious issues and challenges all religious worldviews must take seriously to remain relevant in the twenty-first century. His explanations of Tibetan Buddhist cosmology and doctrine, especially the epistemology Nagarjuna and the doctrine of sunyata or "Emptiness" as possible correlations with what the natural sciences are revealing about nature, are among the clearest Buddhist discussions in this regard I have read. One might also say that the scientists were very adept in the art of upaya in the manner in which they related their knowledge of very abstract and theoretical scientific issues to the levels of experience of their nonscientific dialogue partners. In particular, the experimental foundations of quantum physics and relativity theory were presented very thoroughly, in ways nonscientist participants could comprehend.Finally, these dialogues are not merely a series of lengthy conversations about supposed parallels between contemporary science and Buddhist teaching and practice. There is no claim that "Buddhism" is a "scientific" religious tradition, as often assumed by writers, both Buddhist and non-Buddhist, who have a tendency to read Western Enlightenment assumptions into Buddhist history. Instead, these conversations are motivated by the search for an alternative epistemological foundation for developing physical theories that could also be relevant to social, philosophical, and religious issues that the natural sciences as such are unable to address. For example, B. Alan Wallace assumes what Ian Barbour describes as an "independence model" in his understanding of the relation between science and Buddhism. Thus for Wallace and the other Buddhist participants, the natural sciences give us objective knowledge about physical processes but do not give us knowledge of an objective world. He then concludes that the function of scientific theories is to make natural events intelligible for the purpose of developing technologies that improve the quality of life. But science has very little, if anything, to say about "absolute truth," which he as a Buddhist names "Emptiness."Clearly, Wallace's interpretation of the natural sciences is based on his appropriation of the "two truth" epistemology that originated with the second century Indian Buddhist logician Nagarjuna. Nagarjuna also... (shrink)

Introduction by Ralph McInerny The essays in this volume, indebted in great part to Jacques Maritain and to other Neo-Thomists, represent a contribution to an understanding of beauty and the arts within the Aristotelian-Thomistic tradition. As such they constitute a different voice in present-day discussions on beauty and aesthetics, a voice which nonetheless shares with many of its contemporaries concern over questions such as the relationship between beauty and morality, public funding of the arts and their educational role, objective and (...) universal standards of what is beautiful. In the tradition in which the contributors of this volume reflect, beauty manifests itself in the order of the universe, an order that provides human reason with a window onto the transcendent. For Aristotle and Aquinas the natural order grounds both art and morality, and yet it is this very order which has been called into question by modern science and philosophy. Instead of pointing us to a suprahuman order, the beautiful then points to the order of human freedom and creativity. Reflection on the beautiful since the modern philosopher Immanuel Kant has thus often taken a subjectivistic turn. Because of the importance of beauty and art in human existence, in man's education and life as a moral and political being, an alternative should be sought to any reduction of the beautiful to a purely subjective experience or cultural construct. The Aristotelian-Thomistic tradition, in dialogue with modern and contemporary conceptions of the beautiful, provides us with just that alternative, and thus the essays herein represent a decisive step in the "journey for Thomistic aesthetics." THE CONTRIBUTORS: In addition to the editor, the contributors to the volume are: Brian J. Braman, Matthew Cuddeback, Christopher M. Cullen, S.J., Patrick Downey, Desmond J. FitzGerald, Donald Haggerty, Wayne H. Harter, Jeanne M. Heffernan, Thomas S. Hibbs, Gregory J. Kerr, Joseph W. Koterski, S.J., Daniel McInerny, Ralph McInerny, James P. Mesa, John F. Morris, Ralph Nelson, Katherine Anne Osenga, Carrie Rehak, Stephen Schloesser, S.J., Francis Slade, John G. Trapani, Jr., and Henk E. S. Woldring. ABOUT THE EDITOR: Alice Ramos is associate professor of philosophy at St. John's University. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:530 BOOK REVIEWS I think none of these books contains a wholly satisfactory treatment of the particular issues it takes up. Taken together, however, they do show that evil presents not just one but many problems to reflective religious minds. In addition, they make it perfectly evident that not just one but many academic disciplines continue to have helpful things to say in response to these gripping perplexities. University (...) of Notre Dame Notre Dame, Indiana PHILIP L. QUINN Di,alogue with the Other: The Inter-religious Dialogue. By DAVID TRACY. Louvain Theological and Pastoral Monographs, 1. Louvain : Peeters; Grand Rapids, Mich.: Eerdmans, 1990. Pp. 123. $12.95. With this book David Tracy continues the hermeneutical project he launched in the Analogical Imagination: a concern to converse with the classics and to encounter the ' other '. However, here the ' other ' is extended beyond the traditional Western classics to the religions of the world and the often neglected archaic traditions. Tracy is surely correct when he says: " I believe that we are fast approaching the day when it will not be possible to attempt Christian systematic theology except in serious conversation with the other great ways" (p. xi). Here he follows a pioneering line drawn in Chicago by Tillich, Eliade and Kitagawa. Tracy brings to this venerable tradition his particular concern with hermeneutics and his experience with Jewish-Christian and Buddhist-Christian dialogue. The essays are further united by Tracy's desire to restore the unity between the mystical and prophetic within the Christian tradition. Employing Kenneth Burke's analysis of rhetoric, Chapter one shows that Freud and Lacan can be interpreted in terms of a clash of prophetic and mystical rhetorics respectively. Both are concerned with the ' other ', Freud more instrumentally and didactically and Lacan more subversively and anarchically but not nihilistically or in the way of Zen. In this chapter Tracy has a tendency towards overdetermination. Still, the brunt of his argument is that all discourse has concealed foundations, the archaeology of which will help illuminate the opera· tive rhetoric. Furthermore, the mystical/prophetic typology used in religion can illuminate secular issues, viz., the debate between Freud and Lacan. However, Tracy does not pay full attention to the nature of the 'other', but too easily assimilates it. For instance, is Freud's attention to the subconscious analogous to religious rhetoric's regarding the otherness of God? And does it really serve Tracy's purpose to start BOOK REVIEWS 531 the book by remammg within such very western waters despite the brave navigational direction he charted in the introduction? Chapter two revisits the classics: he uses the writings of William James to throw light on the criteria for interreligious dialogue. These criteria are used to affirm the authenticity of religions; these are not intended to " replace the dialogue but, at best, heuristically to inform it" (p. 27). Tracy offers a good and sensitive appreciation of James (despite his anachronistic elements), but his conclusions are somewhat thinly related to James's work and relate more closely to Tracy's own hermeneutical approach. The three criteria that he advances are: first, the notion of " immediate luminousness," understood as manifestation in a Heideggerian sense (and in keeping with von Balthasar) ; second, the necessity of coherence, understood as the compatibility of religious belief with science, art, and other humanistic traditions; and third, an ethical-pragmatic criterion related to James's notion of "fruits." With regard to the second, Tracy is aware of the problem of assuming a neutral form of "reason" in adjudicating such coherence. Still, his study would have been more helpful with specific examples to highlight some of the intractable problems in such a task. For instance, autonomy has been granted to the sciences by most western Christians but has not been by some other religious traditions in certain parts of the world, and so the notion of coherence begs the question. Tracy needs to grapple with the issues raised by Macintyre and Winch (among others) to move beyond the potentially sterile dichotomy implied in his notion of coherence. With regard to the third criterion there is question begging, too. Would Abraham have passed this test in his willingness to kill his son? Or... (shrink)

Interdisciplinary dialogue acts as a symbiosis for all the areas that participate and imply enormous projections for both art and science. This paper explores the potential of an interdisciplinary dialogue between Biology and Performance using as a case study the Performance Analfabeta created by the artist Paulina Bronfman. The work was shaped in the context of The Third Conference of the Nucleus of Artistic Research (NIA) of In/Inter/Disciplinary Laboratories hosted by the Faculty of Art of The Pontificia (...) University of Chile (LAB IID). The Lab was led by Chilean biologist Alejandra Zuñiga- Feest and the Brazilian artist Adriana Parente La Selva. This work aims to explore the questions: what does it mean, from the point of view of the arts and sciences, to develop an interdisciplinary laboratory? How is this done? This paper problematizes the creative process of collaboration between sciences and performance as well as the potential impact and link with society that this multidisciplinary dialogue can have. (shrink)

This book examines fundamental questions about funding for the arts: why should governments provide funding for the arts? What do the arts contribute to daily life? Do artists and their publics have a social responsibility? Challenging questionable assumptions about the state, the arts and a democratic society, Lambert Zuidervaart presents a vigorous case for government funding, based on crucial contributions the arts make to civil society. He argues that the arts contribute to democratic communication and a social economy, fostering the (...) critical and creative dialogue that a democratic society needs. Informed by the author's experience leading a non-profit arts organisation as well as his expertise in the arts, humanities and social sciences, this book proposes an entirely new conception of the public role of art with wide-ranging implications for education, politics and cultural policy. (shrink)

The events of performance artist Stelarc serve as a mediation between the discourses of cultural and social theory, science and the tropes of science fiction, translating theoretical and narrative models of the `posthuman' into performative parameters of corporeal actualization. His cultural and theoretical bricolage elides borders, creating a dialogue with numerous discourses surrounding bodies, sexual politics, `becomings', and the tension between Cartesian and phenomenological models of the body. Do his `events' offer empowered alternative bodies, or are they (...) representative of a reductionist objectification of the physical, psychical, political and social body to a l'art pour l'art sensibility; subordinating (hyper)reality, theory and ideology to the `pure' aesthetics of art, image and performance? While portrayed by some as an exemplary proponent of our putatively optimistic posthuman future, many see Stelarc's work as being indicative of the apocalyptic dangers of untheorized approaches to incorporating technology into the body. This interview with Stelarc attempts to clarify the artist's position on many such issues surrounding his work. (shrink)

A psychoanalytic psychology and art of unconscious emotion -- An inward turn : Vienna 1900 -- Exploring the truths hidden beneath the surface : origins of a scientific medicine -- Viennese artists, writers, and scientists meet in the Zuckerkandl Salon -- Exploring the brain beneath the skull : origins of a scientific psychiatry -- Exploring mind together with the brain : the development of a brain-based psychology -- Exploring mind apart from the brain : origins of a dynamic psychology -- (...) Searching for inner meaning in literature -- The depiction of modern women's sexuality in art -- The depiction of the psyche in art -- The fusion of eroticism, aggression, and anxiety in art -- A cognitive psychology of visual perception and emotional response to art -- Discovering the beholder's share -- Observation is also invention : the brain as a creativity machine -- The emergence of twentieth-century painting -- A biological science of the beholder's visual response to art -- The brain's processing of visual images -- Deconstruction of the visual image: the building blocks of form perception -- Reconstruction of the world we see : vision is information processing -- High-level vision and the brain's perception of face, hands, and body -- Top-down processing of information : using memory to find meaning -- The deconstruction of emotion : the search for emotional primitives -- The artistic depiction of emotion through the face, hands, body, and color -- Unconscious emotions, conscious feelings, and their bodily expression -- A biological science of the beholder's emotional response to art -- Top-down control of cognitive emotional information -- The biological response to beauty and ugliness in art -- The beholder's share : entering the private theater of another's mind -- The biology of the beholder's share : modeling other people's minds -- How the brain regulates emotion and empathy -- An evolving dialogue between visual art and science -- Artistic universals and the austrian expressionists -- The creative brain -- The cognitive unconscious and the creative brain -- Brain circuits for creativity -- Talent, creativity, and brain development -- Knowing ourselves : the new dialogue between art and science. (shrink)

In this article, I will offer some remarks on and analysis of the epistemic approach to understanding dialogue and difference of its nature to negotiation. My conceptual deliberations on dialogue have been influenced by two contemporary European philosophers, Hans-Georg Gadamer and Karl Raimund Popper, as well as by the mystical and visionary elaborations of the Persian Islamic thinker, Jalaluddin Rumi of the thirteenth century. I will elaborate on the topics of dialogue and the arts of questioning and (...) listening; dialogue and the issue of language and being; and dialogue and its conduct. I will then address the socio-political conditions necessary for a genuine dialogue; and finally, I will briefly review UNESCO’s raison d'etre and conclude with a discussion of dialogue’s relevance to UNESCO’s mission. (shrink)

The trade-offs of “meaning-making” between East and West may be regarded as an aggiornamento for any culture in contact. But since aggiornamento entails a wide range of subjects, the essay situates the meaning-making within the scope of masterpieces in diverse formats, from the printed literary text to the painted image. Specifically, the essay offers a rethinking of the cross-cultural semiotic dialogue, paving the way for recognizing the homo significans. However, the customary framing of the Spoliarium does not seem to (...) warrant its conscious knowledge and understanding as a text and a visual art. For this reason, the essay endorses its reframing and its aggiornamento, which is induced by the rapid advancement of science and technology. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Dialogue:The Principle of Civility in Academic DiscourseForest HansenSeveral months ago New York Times columnist David Brooks addressed the lack of civility in recent public discourse. "So... you get narcissists who believe they or members of their party possess direct access to the truth.... You get people who prefer monologues to dialogue.... You get people who... loathe their political opponents."1One might think that by contrast academia, and (...) especially academic publications, would provide a bastion of civil discourse. Alas, even academia has been infiltrated. At least it so appears to me when I read some of what has been recently published in the name of the philosophy of music education.I find that disheartening.However one defines "philosophy," it minimally entails raising questions whose answers are reasonably debatable. The key word here is "reasonably." Those who are committed to philosophical activity criticize positions they oppose by formulating arguments, giving examples, calling on accepted facts, clarifying the meaning of terms, and bringing to bear the principles of formal and informal logic. And thus they open themselves to counter-criticism of the same [End Page 198] sort. Nowhere in this enterprise is there need—or room—for invective, sarcasm, name-calling, ad hominems, or any other kind of personal abuse. One might call this The Principle of Civility in Academic Discourse.Philosophy differs in this respect from polemics. In one of its senses "polemics" means "the art or practice of disputation or controversy," and so seems a close cousin to philosophy. However, while "philosophy" traces its etymological roots to "love" and "wisdom," "polemics" is derived from "war." Polemics is a kind of verbal warfare. Typically polemicists are willing to use any tool at their disposal—even underhanded ones—to "win" the war of ideas. Polemics in this usual sense dispenses with objectivity and fairness (though it may make such a pretense). In fact, people who mount personal attacks thereby reveal their lack of philosophical tools and diminish their argument.Distinguishing philosophy from polemics does not mean that all philosophical claims are equal. Some positions are stronger than others, some weaker. Some can be dismissed relatively out of hand if they are illogical or do not square with normal experience. But even when positions are inadequate, the persons who advance the positions deserve to be treated with courtesy, respect, and collegiality.Typically, people trained in philosophy assimilate this principle as a matter of course. They have learned that over the centuries great minds have disagreed about every philosophical issue—whether the make-up of ultimate reality, the nature and sources of knowledge, the existence of god, the justification of morality. So too with what the nature of music is, what music should be taught and how, what is the purpose of music education.No one has a corner on the answers to such questions. The floor should always be open to debate—to consideration of new proposals and reconsideration of old ones. In disciplines where some matters are more or less settled (as in natural science and mathematics), such arguments disappear and new quests hope to find new settled answers. But in philosophy, more fundamentally than in any other traditional academic discipline, the discussion, the reasoned argumentation, is ongoing.Many years ago Douglas Morgan, in his essay "Must Art Tell the Truth"2 eloquently captured this spirit of philosophy:Philosophy is itself to be conceived as an invitational, dialectical activity rather than as any system of dicta. A philosopher can be thought of as [one] who, far from commanding assent with any thunderous barrage of argumentative artillery, invites you to think [about] the world or some aspect of it in a somewhat different way. "Come in," [the philosopher] says cordially, "and welcome. Sit down. Let me mix you an idea. Sip this thought, and tell me how your own experience looks. If you should find my way of construing our [End Page 199] world unappetizing or unpromising, pray show me your way. Let us once again in the good old Greek way, dia-lego, talk it through together."Finally, The Principle of Civility in Academic Discourse ought to be conveyed in our classrooms, as we foster new generations in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Elvira Panaiotidi, “The Nature of Paradigms and Paradigm Shifts in Music Education”Carlos Xavier RodriguezElvira Panaiotidi has delivered a very useful and appealing paper on the topic of how the music education community decides it is time to change the way it thinks and acts. Her primary focus is whether the concept of "paradigms" proposed by Thomas Kuhn in The Structure of Scientific Revolutions reasonably explains how change (...) occurs in music education theory and practice and, if not, whether it can be modified so that it does. Following Peter Abbs' account of paradigm shifts in arts education, she proposes that paradigm shifts occur when methods of inquiry change even if what is being analyzed does not change. More specifically, paradigm shifts involve gradual transformations such that certain principles and terminology are carried over from the previous paradigm to the new one, and change at a slower rate than the methodologies adopted to make sense of them. Such discrepancy creates the kind of communicative discord she alludes to in her introduction: the aesthetic/praxial debate. Her further analysis of Abbs' argument leads her to conclude that the paradigm shifts he describes in arts education are different in kind from those intended by Kuhn. They apparently lack conceptual modification, or "conversion experience," and seem motivated by the need for increasingly comprehensive explanations of artistic behavior and thinking.Panaiotidi's synopsis of Kuhn's original criteria for paradigms reminded me [End Page 108] that his Structure of Scientific Revolutions as my first college textbook, exerted a powerful influence on me by its power to explain how humans formulate and react to new and better ideas. Panaiotidi seems to share this feeling, and scrutinizes Kuhn's original intention to use paradigms as a way of delineating the natural sciences from the humanities. Kuhn himself cautioned that his characterization of change and progress in science is not readily applicable to the arts and, more importantly, that interpretive frameworks for understanding art are not paradigms because paradigms are not theories, a distinction he echoed throughout his career. I argue that Kuhn would not consider the aesthetic and praxial approaches to music education paradigms at all; rather they are more a search for "a more inclusive theory" as Panaiotidi states. However, the ready applicability of Kuhn's criteria for paradigms to the work of music education philosophers is apparent. Their writings have been "sufficiently unprecedented to attract an enduring group of adherents away from competing modes of scientific activity." They have become associated with new methodological strategies because their writings are "sufficiently open-ended to leave all sorts of problems for the redefined group of practitioners to solve."There is, however, quite a difference in the way that science and art communities function. As Ted Gracyk writes in his book, I Wanna Be Me: Rock Music and the Politics of Identity:Where a scientific community singles out one paradigm as the foundation for further research, artistic communities do not. Once Newtonian mechanics was accepted as a scientific paradigm, no other approach to mechanics counted as a rational basis for mechanics. "Unlike art," Kuhn observes, "science destroys its past." The artworld can admire multiple paradigms, representing different periods in art history, without risking incoherence: Picasso's success did not lead museums to put their Rembrandts into storage."1Perhaps, then, the discord noted by Panaiotidi between "aestheticians" and "praxialists" arises not from a shortcoming of music education theory to provide what she calls "tenacious theoretical footing which could help settle the dispute," but from a too-literal interpretation of Kuhn's original criterion that applies to the natural sciences: new paradigms must necessarily refute those that have preceded them. Indeed, the music education research community has grappled with this very issue in its polarized views of acceptable research practice, which is perhaps more fundamentally a misunderstanding regarding the nature of the sciences versus the nature of the humanities. We in arts education have long admired scientific inquiry for its relative stability, what Kuhn calls a "normal" versus "revolutionary" mode of activity. However, as Panaiotidi explains, "Normal science [End Page 109] is characterized by a broad consensus of the specialists and is not by its nature... (shrink)

What is ‘certainty’ in our everyday life and work? AI changing what it means to ‘be certain’. For example, when we engage with others and are doing our work, we make judgments in which we ‘trust our instinct’. Are we still able to do so if we engage with the ‘certainty’ of the machine? How is ‘being certain’ in ‘dialogue’ affected by our conceptions of what it means to be human in interaction with the ‘machine’, and consequent distinctions between (...) body and mind? Descartes first likened the human body to a machine (albeit a machine created by God) and endowed reason as being a transcendent universal instrument. La Mettrie proposed that language and culture separates humans from ‘animals’. However, in Diderot’s writing, ‘knowledge’ is seen as embodied, coming from our senses and language, and where gesture and rhythm evolve in practice. For D’Alembert, human ‘instinct’ is a skill, a learnt practice, and Rousseau believes that human certainty is something that cannot be measured. These questionings of the dichotomies of body and mind and human and animal, that relate practice and knowledge, also question the place and meaning of ‘rules’ of engaged practice. For Wittgenstein, one learns to make judgments through personal experience, ‘rules in practice’, whereby language is necessarily culturally situated and embodied, and calculation and Judgement are part of each other. (shrink)

Excerpt from The Three Conventions: Metaphysical Dialogues, Principia Metaphysica, and Commentary So long as we conceive the world to be only in the process of Becoming, so long will it be inevitable that all our world-conceptions be in constant flux. A world that never is but always to be cannot remain stable enough for a single moment to allow even of description, let alone of definition and interpretation; and a statement approximately true. Today may be anything but true tomorrow. Metaphysics (...) and Phi 1050phy, in these circumstances, are not so much as even guesses at truth, since the truth about a process of Becoming, if it be no more than that, can only be known when the process is complete, that is to say, when all life has ceased. They are, at best, a kind of meteorological prediction, but in a field vastly more complex than that of weather and, in consequence, at a vastly greater disadvantage than common mete orology. If, as is too. Generally assumed by modern science, what we call life is only Becoming, there is small wonder that Metaphysics and Philosophy proper should be regarded as fancies unworthy of serious attention. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

This volume, Applied Social Sciences: Philosophy and Theology, provides the reader with an important set of essays related to the two aforementioned fields of study. Aesthetics plays a key role in contemporary philosophy and several authors examine its various aspects, such as the question of identification of works of art; the concept of â oesocial aestheticsâ ; the social therapeutic function that art can have; and the relationships among hermeneutics, aesthetics and communication sciences. Other papers deal with ethical issues, such (...) as the role of human values in applied ethics and moral determinations in public life. The meaning and role of postmodernism in philosophy and society is examined at length in various contributions to the volume, and the same is true for phenomenology at large. Even the theoretical seduction and practical failure of Marxism is addressed, while anthropological issues are studied with reference to truth and other key philosophical concepts. John Searleâ (TM)s theory of intentionality is seen as a factor for creating social institutions, and the real meaning of â oeglobalizationâ is investigated in another article. Many essays deal directly with theological and religious topics. For instance the alleged â oeillusionâ of religion versus its persistency is analyzed, along with the current relations between Church and civil government in Romania, the presence of different forms of Christianity in the Romanian nation, the dialogue between social theology and anthropological research, and the antinomic nature of the Church. All papers included in the volume are original and open new perspectives on the many issues addressed by the authors. Even the philosophical styles are different: hermeneutics, analytic philosophy, historical approach, postmodernism, communication theory and linguistic approach. Some papers are theoretical and others have a more empirical or historical flavour. There is however an underlying unity because they all purport to provide new ideas to professionals involved in the socio-humanistic field. The information is divided into chapters in order to help readers to form by themselves an image of the issues that are studied. However, the volume is not addressed only to specialists, and is accessible to a wider public interested in an interdisciplinary approach. (shrink)

In both science and theology, there has been a revolution in our understanding of the nature of human uniqueness. As a background to this Symposium on the subject, a summary is here given of the history of Homo sapiens that is being revealed by fossil, archaeological, and genetic evidence. This is followed by a description of some of the distinctive characteristics of humans that have been proposed in the past, such as language, tool use, self-consciousness, art, and culture. Ideas (...) from theology and philosophy that are salient for the dialogue with science are then mentioned, together with a summary of the scientific and theological insights on uniqueness from contributors to this Symposium in Zygon: Journal of Religion and Science. (shrink)

David Hume's Dialogues Concerning Natural Religion is a philosophical and literary classic of the highest order. It is also an extremely relevant work because of its engagement with issues as alive today as in Hume's time: the design argument for a deity, the problem of evil, the dangers of superstition and fanaticism, the psychological roots and social consequences of religion. In this outstanding and unorthodox collection, an international team of scholars engage with Hume's classic work. The chapters include state-of-the-art contributions (...) on the central interpretive questions posed by the Dialogues as well as major contributions relating it to contemporary issues in philosophy of religion, philosophy of science, moral psychology, and social philosophy. Additional contributions tackle the historical and philosophical background of the Dialogues, relating it to Hume's own systematic philosophy, to the work of other key seventeenth and eighteenth-century figures - Locke, Clarke, Bayle, Cudworth, Malebranche, Spinoza, Lord Bolingbroke, and Voltaire, among others - to early modern neo-Epicureanism in the life sciences, and, notably, to what Darwin missed by thinking too much like William Paley and not enough like Hume's Philo. Overall, this volume provides fresh and even groundbreaking perspectives on Hume's Dialogues Concerning Natural Religion. It is essential reading for students and scholars of Hume, the history of modern philosophy, philosophy of religion and the history and philosophy of science. (shrink)

This essay has three main goals: to introduce and somewhat contextualize the papers that follow; to bring out some implicit dialogues among them; and, in order to encourage further discussion in future issues of the Journal of Consciousness Studies, to introduce some new perspectives, including the historical development of Western art, cognitive linguistics, and the sacred. The remarks pertaining to the third goal are necessarily personal, and should not be confused with Journal of Consciousness Studies editorial policy, except insofar as (...) their goal is to promote debate across the gap that separates the sciences and the humanities -- the ‘two cultures'. This gap was perhaps first pointed out in the late 1950s by C.P. Snow, who was noted as both a novelist and scientist. (shrink)

As an alternative to universalism and particularism, Intermedialities: Philosophy, Arts, Politics proposes "intermedialities" as a new model of social relations and intercultural dialogue. The concept of "intermedialities" stresses the necessity of situating debates concerning social relations in the divergent contexts of new media and avant-garde artistic practices as well as feminist, political, and philosophical analyses.

As an alternative to universalism and particularism, Intermedialities: Philosophy, Arts, Politics proposes "intermedialities" as a new model of social relations and intercultural dialogue. The concept of "intermedialities" stresses the necessity of situating debates concerning social relations in the divergent contexts of new media and avant-garde artistic practices as well as feminist, political, and philosophical analyses.

At 252e1 to 253c9 in Plato’s Sophist, the Eleatic Visitor explains why philosophy is a science. Like the art of grammar, philosophical knowledge corresponds to a generic structure of discrete kinds and is acquired by systematic analysis of how these kinds intermingle. In the literature, the Visitor’s science is either understood as an expression of a mature and authentic platonic metaphysics, or as a sophisticated illusion staged to illustrate the seductive lure of sophistic deception. By showing how the (...) Visitor’s account of the science of philosophy is just as comprehensive, phantasmatic and self-concealing as the art of sophistry identified at the dialogue’s outset, this paper argues in favor of the latter view. (shrink)

The short experimental film Shifting Perspectives stems from a collaborative research project initiated in 2019 in Sydney, Australia, during the 'Choreographic Hack Lab-a week-long laboratory co-presented by Critical Path and Sydney Festival in partnership with the Museum of Applied Arts and Sciences (MAAS), which asked artists and academics to rethink and respond to the idea of the Anthropocene (Pini & George, 2019). The film was later developed in 2020 during a Responsive Residency at Critical Path, Sydney, awarded to anthropologist and (...) choreographer Sarah Pini in collaboration with Jestin George, biotechnologist and visual artist, and Melissa Ramos, visual artist and filmmaker. This work aims to open a multivocal interdisciplinary dialogue across screendance, performance and synthetic biology. Inspired by a recent conversation between two leaders in the field of synthetic biology (Sarah Richardson and Tom Knight) and their divergent approaches to working with microbial life (Agapakis, 2019), the film invites to consider how collaborating with microorganisms can reshape our future in a more-than-human world. (shrink)

The paper examines the intercultural dimension of everyday aesthetics which was promoted by one of its most important Chinese proponents Liu Yuedi as a search for dialogue between various aesthetic traditions, in particular, those from the East and West. The aim of the paper is to explore some parallels between the traditional Chinese and contemporary Western aesthetic sensibilities, by looking for their common values and concepts which are gaining prominence in the discourse of everyday aesthetics. It begins with a (...) survey of the contributions of Chinese and Western scholars; the survey concerns the relevance of Chinese traditional aesthetics for everyday aesthetics, and examines particular features of the nature of perception in everyday aesthetics which is common to Chinese and Western artistic activities, aesthetic discourses and their conceptualizations. In the second section I discuss the “intercultural” concept of atmosphere as the de-personalized or “transpersonal”/intersubjective, vague and all-inclusive experience of the situational mood and environmental wholeness. I explore and compare the reflection of its characteristics in Western scholarship and Chinese aesthetics, especially in regard to the aural perception and sonic sensibility. The final section provides a comparative analysis of few examples of the integration of music into the environmental or everyday surrounding—in Daoist philosophy and Chinese everyday aesthetics, and Western avant-garde art. The analysis is concentrated on the perception of music in relation to the experience of atmosphere and everyday aesthetics, as they were defined in the previous sections. The paper challenges the “newness” of everyday aesthetics, especially if it is viewed from the intercultural perspective, and proposes the separation of its discourses into the investigation of its past and present. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 13.1 (2005) 111-114 [Access article in PDF] Response to Elvira Panaiotidi, "The Nature of Paradigms and Paradigm Shifts in Music Education" Janice Waldron Michigan State University Elvira Panaiotidi makes a strong case that MEAE and praxialism represent, respectively, the poesis and praxis strands of the Aristotelian conception of art and that, consequently, one cannot conclude that the two accounts are ontologically incompatible. At this (...) point I wish only to respond to an implication which I believe may be present and discuss its relevance. That is that the search for ontological explanations has historically preceded (or at least should precede) the development of music education theory. A brief look at the historical record indicates that the development of music education theory seems to have been dominated by the search for axiological more than ontological explanations. Panaiotidi lists both aspects as integral parts of the theoretical kernel, however, the need to justify music education in terms of value has, at least in the United States, apparently preceded any search for meaning.Michael Mark recounts a report of the Boston School Committee in 1837, at which certain arguments of Aristotle were invoked in order to persuade the commitee of the value of music instruction.1 The entire transcript of that meeting amounts to a polemic about the value of music, resulting from its supposed effects on the spirit, character, or health, yet the record is devoid of any discussion of what might actually constitute music.2 Marie McCarthy describes how the search for aesthetic foundations over a century later was fostered by a need to "explain [music education's] importance in the curriculum."3 Of the scholars of this period, Abraham Schwadron in particular was quite explicit in articulating how his theory of aesthetics was motivated by what he considered an appalling inability for music educators to validate their field's existence.4This is not to imply that the authors of our current philosophies were not searching for or failed to provide strong ontological arguments for music education or to insist that they have always framed the question: What is valuable about music? as the question: What is music? in order to address these ideological [End Page 111] and political pressures. I am merely suggesting that the search for ontological explanations has generally followed the search for value. The historical pattern is one of reaction to various pressures, followed by the eventual development of an aesthetic philosophical framework which was intended, directly or indirectly, to respond to those pressures. The magnitude of such pressures to justify the place of music in the curriculum would seem to differentiate music education paradigms from those of the social sciences and humanities, of which, the author asserts, they are hybrids. Combined with the marked differences in social and political pressures which are found in various times and places in America, it would also account for the emotional tone of the debate, to which the author also alludes. Presumably, such emotion results not only from various scholars' attachments to their ontological beliefs, but from the practical consequences which occur when a theory is ultimately rejected or implemented at the classroom level, based on its perceived ability to define what is valuable in music education.Although this differentiation is subtle and does not detract from the strength of Panaiotidi's central argument, it has implications for the eventual implementation of any unitary theory. Specifically, if we accept that, ontologically speaking, praxialism and aestheticism are two sides of the same coin, it is likely that the argument will simply transform into an axiological question concerning which side is more valuable, a fact to which the author also alludes. Considering past evidence, the overriding concern for value justification may make implementing any unitary theory difficult, regardless of the benefits that could potentially be gained through such a "balanced music education." Consider, for example, that a unitary theory would be less susceptible to ideological use because of its breadth. In other fields such as literature or science, this would be a... (shrink)

: This essay is an attempt to see how some of Galison's ideas and analyses look from the vantage of art history. If there's to be dialogue between the history of science and the history of art, it will be necessary to find historically recognizable senses for words like "logic" and "homologous." I also propose how Galison's kinds of images might fit into larger classifications of images known to the history of art.

During the colonial contact and especially after the 2nd World War in the Solomon Islands local communities various traditions of woodcarving and other handicrafts have transformed from religious and ritual objects to commercial 'tourist arts' that have become economically important for local communities. In the course of culture change Western concepts such as art and culture have been adopted to local languages and they have replaced local terminologies and classifications in various ways. These processes may be described as 'conceptual colonialism'. (...) The meaning shifts and emerging new conceptual categories produce homogenising effects that transform the local ways of cultural thinking towards the direction of hegemonic Western interpretations of socio-cultural phenomena. The concept of art should be treated as one major element in this linguistic power play between the local and the global. (shrink)