Drawing on both anthropology and philosophy, this paper argues that the profiled form of the human hand is a universally recognizable image; one whose significance transcends temporally and geographically defined cultural divisions, and represents the earliest known artistic symbol of the human form. The unique co-occurrence of five properties in the image of the human hand and the way it is recognized support this argument, including that it is: (1) unmistakably a hand, (2) unmistakably human, (3) a universal point of (...) interface, (4) a universal referent of scale, and (5) an easy way of making a complex shape. This underappreciated aspect of hand art makes these images among the most important forms of early artistic expression encountered in the prehistoric record. (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)

Artworks at Lascaux and other late Palaeolithic caves integrate geological features or “relief” of the cave wall in a way that suggests a symbiotic relation between nature and culture. I argue this qualifies as “receptivity to a situation,” which is neither fully active nor merely passive and emerges as a necessary element of the intentions made apparent by such cave art. I argue against prominent interpretations of cave art, including the shamanist account and propose a structural interpretation attentive to (...) particular cases. Seen in this way, cave art displays intentions that are analyzable as having a tripartite structure: mentally directed, embedded in actions and receptive to a situation. Moreover, the latter is the medium through which the other two elements are conjoined. Drawing on a range of archaeological and philosophical resources from both analytical philosophy and phenomenology, I argue that what I call cave art’s “intentional story” is important for the philosophy of intentions more generally. (shrink)

I initiate the concept of ‘making-remote’ to capture various strategies for representing the human in late Palaeolithic cave art. Drawing out the role of remoteness within phenomenological accounts of perception (Husserl and Merleau-Ponty), as well as offering an analysis of a wide range of archaeological evidence, I argue that realism does not capture the specificity of these human representations. In contrast to naturalistic animal representations, humans are consistently represented with a high degree of abstraction e.g., schematisation and abbreviation. I (...) also argue for a site-specific distinction between deep caves and rock-shelters. Following Bourdier (2010) and Pinçon (2012), art at sites such as Roc-aux-Sorciers is best understood as stylised ‘public art’. Meanwhile, the highly expressive and realist art of La Marche is domestic in contrast to the exclusively symbolic art of deep caves. In conclusion I argue that ‘making-remote’ in cave art’s human representations exhibits complex relations to self and others. (shrink)

Francis Sparshott introduced the term ‘remote art’ in his 1982 presidential address to the American Society for Aesthetics. The concept has not drawn much notice since—although individual remote arts, such as palaeolithic art and the artistic practices of subaltern cultures, have enjoyed their fair share of attention from aestheticians. This paper explores what unites some artistic practices under the banner of remote art, arguing that remoteness is primarily a matter of some audience’s epistemic distance from a work’s context of (...) creation. I introduce palaeoart—the depiction of extinct prehistoric fauna and flora, especially from the Mesozoic—as a paradigmatic case of remote art, showing that its remoteness is secured both by the deceptively rich cognitive load required for its creation and appreciation, and by its existence at the margins of the institutional artworld, which ensures that this cognitive loading is largely obscured. Too often, remote art is not just inscrutable, it is invisible to us. (shrink)

The discovery of Palaeolithic cave art in the late 19th century entails many problems, some of which are perceptual. Presenting doxology as a post-phenomenological way of approaching epistemic and perceptual questions, this article draws on the problematics of cave art and contemporary cognitive science to discuss the process of perception — what it takes to see what one sees — in caves (and elsewhere). The article concludes that in order to see and perceive anything at all, both our physical (...) and our conceptual resources — the light of the sun as well as the light of the mind, as Empedocles might have said — are needed. The light of the mind is always inextricably linked to doxa. Thus, the article argues that a doxological approach to questions of perception and knowledge is required. (shrink)

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)

Rogery Fry in Last Lectures threw out the suggestion that the inferiority of neolithic to palaeolithic painting might be due to the birth or growth of language and the consequent temptation to dull the vivid sensibility for individual life by the practically useful habit of abstract or generalized thinking. Whether or no the birth and growth of language involved a set-back for graphic and plastic art, it certainly first made poetry possible. And the question which puzzles me is this: (...) Would any art analogous to poetry have been possible without speech? What if a tongue-tied race had invented a system of ideograms or purely conventional gestures? (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)

In this article, focusing on the building blocks of art with its concomitant role and meaning, we commence with a brief evolutionary overview of the origin of land vertebrates, which culminated in the rise of our species as we view it. We then review three iconic phases of human evolution, colloquially designated as the Neanderthals, the San and the Cro-Magnons, as manifested by their artistic endeavours. We are well aware that the Cro-Magnons are currently regarded as not sufficiently distinct from (...) modern Homo sapiens to be separately designated. Therefore, the terms ‘anatomically modern humans’ or ‘early modern humans’ are suggested for these inhabitants of the Upper Palaeolithic as they shared an anatomical resemblance with us but still lacked the full complement of behavioural attributes that typify ourselves. This particular selection was chosen because these groups have partially overlapped historically, yet each represents a distinctive approach to the artistic impulse. Subsequently, we consider more contemporary developments regarding human art intertwined with our interpretation of art’s role and meaning. Then, we briefly discuss a broader account of the evolution of art in which these three phases are firmly based and through which our understanding of and engagement with the evolutionary development of these stages are elucidated and complemented. In conclusion, particular views about language and the role and meaning of art are confirmed. Particular views about language and the role and meaning of art are endorsed and supplemented by an extensive body of relevant literature.Contribution: This article explores the evolution of art and its accompanying role and meaning in an intersectional and interdisciplinary manner that fits well with the intention of this unique collection on the building blocks of our past, present and future and with the nature of this journal and our ongoing engagement with HTS Teologiese Studies/Theological Studies. (shrink)

This paper takes a cognitive perspective to assess the significance of some Late Palaeolithic artefacts (sculptures and engraved objects) for philosophicalconcepts of art. We examine cognitive capacities that are necessary to produceand recognize objects that are denoted as art. These include the ability toattribute and infer design (design stance), the ability to distinguish between themateriality of an object and its meaning (symbol-mindedness), and an aesthetic sensitivity to some perceptual stimuli. We investigate to what extent thesecognitive processes played a role (...) in the production and appreciation of somerecently discovered Palaeolithic artefacts. (shrink)

Figurative experience, as a codified system of images, emerges in Europe about 40.000 years ago. Together with the development of a figurative system, Homo sapiens acquired his modern cognitive architecture: an entirely articulated language, as well-developed as our current phonological system is, and others cognitive capacities such as basic drawing skills, self-consciousness and group cohesiveness. “Making sign”, as a complex nonverbal symbolism, is a crucial stage in human evolution: a stage of complex symbolism by means of a non-verbal language. Its (...) value is both eidetic, when it aims at producing metaphoric and shared images, and individual, when it is involved in individual performances, that do not imply spectators. (shrink)

At the dawn of the Upper Palaeolithic era around 45,000 BP, Homo sapiens migrated into Europe. This process was accompanied by the extinction of Neanderthals, which has led many to believe that this species was cognitively and behaviorally inferior to anatomically modern humans. In recent years, however, this view has been challenged. This paper focuses on art and aesthetic practices among Neanderthals, as one of the exponents of modernity. It explores to what extent central cognitivist accounts of differences with (...) Homo sapiens are supported by both theoretical arguments and empirical evidence. The commonly cited cognitive capacity for symbolism may be less crucial for art than hitherto assumed, and several other variables, such as demography and ecology, adapt the mainstream idea that the crucial difference between Neanderthals and anatomically modern humans is of a cognitive nature. As such, Neanderthals may have been artists as well, challenging longstanding ideas about the uniqueness of our species. (shrink)

This article contributes to understanding of Contemporary Art and of the temporality of contemporaneity, along with the philosophy of time more generally. I propose a diachronic contemporaneity over time gaps – elective contemporaneity – through examination of Kant’s Transcendental Aesthetic, the Third Analogy and the concept of ‘following’ among artistic geniuses; diachronic recognition and disjunctive synchronicity discoverable in William Kentridge’s multimedia artworks; as well as non-chronological temporal implications of superimpositions in late Palaeolithic cave art suggesting ‘graphic respect’. Elective contemporaneity (...) shows up complexity in relations to past and present, putting in question definitions of ‘Contemporary Art’ restricted to either chronology or supposedly definitive paradigms. (shrink)

The prehistorian André Leroi-Gourhan envisages technological behaviour along a continuum of manual activity extending to artistic production. His work on Palaeolithic cave art, which dominates the...

This article's polemical thrust begins with Georges Bataille's 1956 critique of Tristes Tropiques, where Lévi-Strauss omits the Palaeolithic while extolling the Neolithic advent of agriculture and sedentism. Whereas Lévi-Strauss describes his own thinking as Neolithic, he characterizes it in ways that resemble the behaviour of hunter-gatherers and nomads. I trace this contradiction to current scholarship willing to challenge the long-standing narrative bias that either ignores the Palaeolithic and/or derides it in favour of the Neolithic, now subject to refutations (...) of its alleged advantages. Further theoretical backbone is provided by Ibn Khaldun and Bataille on the centrality of luxury. Thus, Palaeolithic cave art's social dimension as the expression of a privileged few is contrasted with the view of scholars who see it as the product of an egalitarian society indifferent to material gain. Bataille remains a key reference due to his exceptional commitment to prehistory, a relatively underexploited facet of his work. (shrink)

Explorations in Archaeology and Philosophy grew out of an interdisciplinary conference on the Upper Palaeolithic, “Digging Deeper: Archaeological and Philosophical Perspectives”, held on Miami Beach, Florida, in December 2017. The previous decade had seen increasing numbers of publications on topics of interest to both philosophers and archaeologists, so the time was ripe for a conference which served to generate constructive dialogue between researchers from both disciplines. Themes discussed included art, music, the mind, symbols, mortuary practices, and archaeological methodology. This (...) volume draws from several contributors to that conference as well as other leading researchers at the forefront of the intersection of archaeology and philosophy. Its scope is expanded from the Upper Palaeolithic to archaeological research in general—adopting a broad conception inviting many perspectives from philosophy and interdisciplinary evolutionary studies to the table—and is organized by topics into four sections: Theory and Inference; Interdisciplinary Connections; Cognition, Language and Normativity; Ethical Issues. (shrink)

Exosomatic memory is a crucial phase in the evolution of humanity because it enables learning to take place across groups and generations rather than exclusively through lived experience or one on one transmission. Exosomatic memory is the attribution of knowledge to objects, such as art or writing, which allows epistemology to be transmitted beyond the individual to subsequent generations of people. Exosomatic memory is the key to the transmission of culture and knowledge, beyond the individual who learns exclusively from personal (...) experience. This places technologies such as writing and art in a key position for the education of culture and knowledge. Stiegler develops these ideas, following Martin Heidegger, Leroi-Gourhan and Derrida from the Palaeolithic to the contemporary.Maori use of natural objects as exosomatic transmission of intergenerational learning exceeds the technological enframing of modernity outlined by Heidegger. For indigenous peoples, exosomatic memory is cultural, technological and ecological.Stiegler argues that the impact of cybernetics on knowledge production is accelerating the technological enframing of knowledge (2018). Consequently, information technologies are leaving the human mind behind, in passive receptivity rather than dynamic creativity. The prefrontal cortex is slower than the internet, exacerbating a widening lag in active understanding, in favour of passive absorption. Alienation and epistemological entropy are trapping us in climate change and the anthropocentric Capitalocene. Maori insight may cut the Gordian knot and sidestep the alienation and determinism of technological modernity. (shrink)

Aesthetics is regarded, traditionally, as an aspect of philosophy. Arthur Edwards' approach is different. Ignoring philosophy, he points out that any work of art is devised in the mind of the artist and interpreted through the mind of the beholder and the object must therefore constitute a device of communication between these two minds. In this agreeably written, fully illustrated and constantly fascinating study he explores the implications of this idea, remembering that both artist and experiencer may be of any (...) culture. (We can respond, granted a degree of familiarity, to works produced by artists from cultures as different from our own as those of a Palaeolithic cave man, an Aztec priest, a West African wood-carver or a medieval monk.) The result is an astonishingly wide-ranging quest, one which extends from an investigation of communication theory to an account of the ecological concepts held by certain Amazonian tribes, from a demolition of Freud's model of the psyche to a study of the trigonometry of the Great Pyramid and from an account of the evolution of the human mind to a theory, albeit partial, concerning the nature of beauty. All are held within two complementary themes: the relevance to his enquiry of Jungs theory of the collective unconscious together with the archetypes of which it is composed, and the confirmation of these concepts by independent evidence. (shrink)

It is widely believed that a cultural and cognitive revolution occurred at the beginning of the Upper Palaeolithic. Considers the explanation for this revolution offered by Steven Mithen: an explanation that appeals to modularity. Rejects Mithen's account. Suggests another: increase in the power of a general‐purpose imaginative capacity. Links this change to recent work on changing patterns of human development, and changes in social organisation in the Upper Palaeolithic.

Since the launch of applications such as DALL-E, Midjourney, and Stable Diffusion, generative artificial intelligence has been controversial as a tool for creating artwork. While some have presented longtermist worries about these technologies as harbingers of fully automated futures to come, more pressing is the impact of generative AI on creative labour in the present. Already, business leaders have begun replacing human artistic labour with AI-generated images. In response, the artistic community has launched a protest movement, which argues that AI (...) image generation is a kind of theft. This paper analyzes, substantiates, and critiques these arguments, concluding that AI image generators involve an unethical kind of labour theft. If correct, many other AI applications also rely upon theft. (shrink)

First collected in Italy in 1985, _Art's Claim to Truth_ is considered by many philosophers to be one of Gianni Vattimo's most important works. Newly revised for English readers, the book begins with a challenge to Plato, Aristotle, Kant, and Hegel, who viewed art as a metaphysical aspect of reality rather than a futuristic anticipation of it. Following Martin Heidegger's interpretation of the history of philosophy, Vattimo outlines the existential ontological conditions of aesthetics, paying particular attention to the works of (...) Kandinsky, which reaffirm the ontological implications of art. Vattimo then builds on Hans-Georg Gadamer's theory of aesthetics and provides an alternative to a rationalistic-positivistic criticism of art. This is the heart of Vattimo's argument, and with it he demonstrates how hermeneutical philosophy reaffirms art's ontological status and makes clear the importance of hermeneutics for aesthetic studies. In the book's final section, Vattimo articulates the consequences of reclaiming the ontological status of aesthetics without its metaphysical implications, holding Aristotle's concept of beauty responsible for the dissolution of metaphysics itself. In its direct engagement with the works of Gadamer, Heidegger, and Luigi Pareyson, _Art's Claim to Truth_ offers a better understanding of the work of Vattimo and a deeper knowledge of ontology, hermeneutics, and the philosophical examination of truth. (shrink)

In _The Enigma of Art. On the provenance of Artistic Creation_ Gino Zaccaria offers a meditation on art in light of its ancient Greek sense and of its task inaugurated by “artist-thinkers” like Cézanne, Boccioni and van Gogh.

Presenting twelve breakthrough practices for bringing creativity into all human endeavors, The Art of Possibility is the dynamic product of an extraordinary partnership. The Art of Possibility combines Benjamin Zander's experience as conductor of the Boston Philharmonic and his talent as a teacher and communicator with psychotherapist Rosamund Stone Zander's genius for designing innovative paradigms for personal and professional fulfillment. The authors' harmoniously interwoven perspectives provide a deep sense of the powerful role that the notion of possibility can play in (...) every aspect of life. Through uplifting stories, parables, and personal anecdotes, the Zanders invite us to become passionate communicators, leaders, and performers whose lives radiate possibility into the world. (shrink)

Film is an art form with a language and an aesthetic all its own. Since 1979, David Bordwell and Kristin Thompson's Film Art has been the best-selling and widely respected introduction to the analysis of cinema. Taking a skills-centered approach supported by a wide range of examples from various periods and countries, the authors strive to help students develop a core set of analytical skills that will deepen their understanding of any film, in any genre. Frame enlargements throughout the text (...) enable students to view images taken directly from completed films, while an optional, text-specific tutorial CD-ROM helps clarify and reinforce specific concepts addressed in the text with the use of film clips. Building on these strengths, the ninth edition adds coverage of new technologies, updated examples, and references to the authors' acclaimed weblog to provide unparalleled currency and connect students with the world of cinema today. (shrink)

First collected in Italy in 1985, _Art's Claim to Truth_ is considered by many philosophers to be one of Gianni Vattimo's most important works. Newly revised for English readers, the book begins with a challenge to Plato, Aristotle, Kant, and Hegel, who viewed art as a metaphysical aspect of reality rather than a futuristic anticipation of it. Following Martin Heidegger's interpretation of the history of philosophy, Vattimo outlines the existential ontological conditions of aesthetics, paying particular attention to the works of (...) Kandinsky, which reaffirm the ontological implications of art. Vattimo then builds on Hans-Georg Gadamer's theory of aesthetics and provides an alternative to a rationalistic-positivistic criticism of art. This is the heart of Vattimo's argument, and with it he demonstrates how hermeneutical philosophy reaffirms art's ontological status and makes clear the importance of hermeneutics for aesthetic studies. In the book's final section, Vattimo articulates the consequences of reclaiming the ontological status of aesthetics without its metaphysical implications, holding Aristotle's concept of beauty responsible for the dissolution of metaphysics itself. In its direct engagement with the works of Gadamer, Heidegger, and Luigi Pareyson, _Art's Claim to Truth_ offers a better understanding of the work of Vattimo and a deeper knowledge of ontology, hermeneutics, and the philosophical examination of truth. (shrink)

The emergency of aesthetics -- Measurable contemplations -- Indifferent beauty -- Emergency through art -- Social paradoxes -- Urban discharges -- Environmental calls -- Historical accounts -- Emergency aesthetics -- Anarchic interpretations -- Existential interventions.

This essay brings psychoanalytic theory on trauma together with film and television criticism on rape narrative in an analysis of Michael Coel’s 2020 series I May Destroy You. Beyond the limited carceral framework of the police procedural, which dislocates the act of violence from the survivor’s history and context, Coel’s polyvalent, looping narrative metabolizes rape television’s forms and genres in order to stage and restage both trauma and genre again and anew. Contesting common conceptions of vulnerability and susceptibility that prefigure (...) a violent breach of autonomy, Coel’s series and her interviews about it invite an ethics of looking that embraces a curiosity in the unknowable and untreatable kernel of subjective experience and defies and resists a policing of the survivor’s thoughts and emotions. By emphasizing and exploring what psychoanalysis calls the “afterwardness” of trauma, Coel foregrounds her main character’s subjectivity prior to her victimization, widens the sphere of consequence beyond the victim and criminal justice system to the survivor’s larger community, and entreats that community to preserve a space for her to look and look again at everything, without judgment. (shrink)

Death in the life of the samurai -- An introduction to Yamamoto Tunetomo's Hagakure -- The Hagakure -- A leisurely chat in the evening shadows -- A samurai must devote his heart firmly to bushidō -- Hardship is a beneficial experience -- There is nothing as deep as giri -- Close your eyes and think of your lord -- Death is a punishment not meted out lightly -- Even if it contains poison, what's the big deal? -- Naritomi Hyōgo's words (...) about achieving victory -- The quarrel (kenka) of Araki Kuzaemon -- You are weaker than you look -- "Victory or defeat is a trivial matter" -- Military strategies. (shrink)

Here, for the first time, Christopher Kul-Want brings together twenty-five texts on art written by twenty philosophers. Covering the Enlightenment to postmodernism, these essays draw on Continental philosophy and aesthetics, the Marxist intellectual tradition, and psychoanalytic theory, and each is accompanied by an overview and interpretation. The volume features Martin Heidegger on Van Gogh's shoes and the meaning of the Greek temple; Georges Bataille on Salvador Dal’'s The Lugubrious Game; Theodor W. Adorno on capitalism and collage; Walter Benjamin and Roland (...) Barthes on the uncanny nature of photography; Sigmund Freud on Leonardo Da Vinci and his interpreters; Jacques Lacan and Julia Kristeva on the paintings of Holbein; Freud's postmodern critic, Gilles Deleuze on the visceral paintings of Francis Bacon; and Giorgio Agamben on the twin traditions of the Duchampian ready-made and Pop Art. Kul-Want elucidates these texts with essays on aesthetics, from Hegel and Nietzsche to Badiou and Rancire, demonstrating how philosophy adopted a new orientation toward aesthetic experience and subjectivity in the wake of Kant's powerful legacy. (shrink)

Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that set (...) our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)

Adults spend most of their conscious life speaking, comprehending, writing, and reading discourse. It is entirely appropriate for cognitive science to investigate discourse especially as transmitted texts or printed media, such as books, newspapers, magazines, and computers. However, there is another reason why text understanding has been one of the prototypical areas of study in cognitive science: Interdisciplinary work is absolutely essential. As cognitive scientists have unraveled the puzzles of text comprehension, they have embraced the insights and methodologies from several (...) disciplines. (shrink)

We explore themes in Nobel Prize–winning economist James M. Buchanan’s work and apply his Ethics and Economic Progress to problems facing individuals and firms. We focus on Buchanan’s analysis of the individual work ethic, his exhortations to “pay the preacher” of the “institutions of moral-ethical communication,” and his notion of law as “public capital.” We highlight several ways people with other-regarding preferences can contribute to social flourishing and some of the ways those who have “affected to trade for the public (...) good” might want to redirect their efforts. We show how Buchanan’s work has considerable implications for business ethics. Just as his economic analysis of politics changed how we understand government, we think his economic analysis of ethics can (and should) change how we understand business. (shrink)

This is a clear and lucid account of Nietzsche's philosophy of art, combining exegesis, interpretation and criticism in a judicious balance. Julian Young argues that Nietzsche's thought about art can only be understood in the context of his wider philosophy. In particular, he discusses the dramatic changes in Nietzschean aesthetics against the background of the celebrated themes of the death of God, eternal recurrence, and the idea of the Übermensch. Young then divides Nietzsche's career and his philosophy of art into (...) four distinct phases, but suggests that these phases describe a circle. An attempt at world-affirmation is made in the central phases, but Nietzsche is predominantly influenced at the beginning and end of his career by a Schopenhauerian pessimism. At the beginning and end art is important because it 'redeems' us from life. (shrink)

Abstract…observations of skylfull pylotts is the onlye waye to bring it in rule; for it passeth the reach of naturall philosophy. – Michael Gabriel, 1576 (Collinson, 1867, p. 30)Abstract The tension between empirical data and formal theory pervades the entire history of geomagnetism, from the Middle Ages up to the present day. This paper explores its early-modern history (1500–1800), using a hybrid approach: it applies a methodological framework used in modern geophysics to interpret early-modern developments, exploring to what extent formal (...) conjectures shaped observation and vice versa. A range of pertinent case studies supports classification of this entire period as proto-scientific, characterised by the initial formation of theories being largely disconnected from observational constraints, and their subsequent evolution being advanced primarily by their empirical falsification, and not necessarily associated with the introduction of an alternative. The few exceptional instances of purely data-driven discovery were essentially due to an improved signal-to-noise ratio. (shrink)

The Art of War application to education is about solving problems to improve student and school success. The Art of War describes the significance of a leader and his knowledge and prudent application of the strategies. At the core of theses strategies is the non-negotiable moral purpose of the leader to be reinforced by other fine qualities as wisdom, commitment, discipline, and courage.

Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that set (...) our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)