Although artistic activity has been a major social phenomenon in the western world, aesthetics has not always reflected the changes in techniques, processes, themes and uses through which the arts have developed and had their effect. Theory most often comes after the fact, and properly so. Yet aesthetics in its history has not only displayed an unfitting hubris, with thinkers attempting to legislate about style, suitability and materials to the artist; aesthetics has also lagged far behind the living edge of (...) artistic activity and discussed it in anachronistic terms. (shrink)

In recognizing the wide range of sensuous perception and at the same time the originary capacity of aesthetic experience, Mikel Dufrenne has shown us the rich capabilities of phenomenology. It is in that spirit that this essay explores musical performance. Music is a multiple art. Its many traditions, forms, genres, and styles, its large variety of instruments and sounds, and its diverse uses and occasions make it difficult to speak of music as a single art form. There are, nonetheless, certain (...) common characteristics that all musics share in the ordering of successive sounds and silences in movement, pattern, and studied length. And, of course, these sounds and silences must be devised and generated, usually by a person but increasingly by other means, especially electronic. Finally, music has its contexts, the particular occasions when it is produced and heard. Perhaps there is indeed a generic musical art, a common ground where all these disparities come together. (shrink)

The Aesthetic Field develops an account of aesthetic experience that distinguishes four mutually interacting factors: the creative factor represented primarily by the artist; the appreciative one by the viewer, listener, or reader; the objective factor by the art object, which is the focus of the experience; and the performative by the activator of the aesthetic occurrence. Each of these factors both affects all the others and is in turn influenced by them, so none can be adequately considered apart from them. (...) Thus aesthetic appreciation, for example, has creative, objective, and performative aspects. This situation of four factors, together with social, cultural, technological, and historical influences on them, is called the aesthetic field. Although the factors are theoretically distinguishable, they are experienced as a unity. It is important, therefore, not to confound the theoretical explanation of aesthetic experience with the experience, itself. The aesthetic field has important implications for understanding the various individual arts, new developments in the arts, and the critical appraisal of the arts. Moreover, the concept transforms traditional issues in aesthetics. (shrink)

What I should like to explore here is the experience of landscape both through the arts and as an art, an art of environmental appreciation. A clearer understanding of landscape, environment, and art, as well as what it is to "know" in the context of environmental experience, suggests how the arts can contribute to an intimate, engaged experience of landscape, and how this process itself can be construed as an art in which the perceiver is a quasi-artist. I should like (...) to do this through a re-weaving of words and ideas to propose a new fabric for understanding the relation of art, landscape, and perceiver. The threads I want to combine are four: art, environment, landscape, and knowing in the sense of appreciation. I hope to show how the loose-knit texture they form can be spread over a particular landscape in such a way that the landscape will fill the fabric and the fabric integrate the landscape. I realize that I may have over-worked my metaphor, so I shall leave it now, but I hope that it can serve as a guiding image for the relation and application of the ideas I shall be working with. (shrink)

The idea of aesthetic disinterestedness has been a central concept in aesthetics since the late eighteenth century. This exchange offers a contemporary reconsideration of disinterestedness from different sides of the question.

Aesthetics is fundamentally a theory of sensible experience. Its scope has expanded greatly from an initial centering on the arts and scenic nature to the full range of appreciative experience. Expanding the range of aesthetics raises challenging questions about the experience of appreciation. Traditional accounts are inadequate in their attempt to identify and illuminate the perceptual experiences that these new applications evoke. Considering the range of environmental and everyday occasions aesthetically changes aesthetics into a descriptive and not necessarily celebratory study (...) of sensible experience, for it must now accommodate a complete range of negative as well as positive values. Th is paper develops an analysis of the multiple dimensions of environmental sensibility. (shrink)

This is an essay on the tasks and capacities of aesthetic theory and the pitfalls that beset it. I want to show that aesthetics can be enlightening by revealing and studying the facets and dimensions of experiences we call aesthetic, experience that is expansive and revelatory. This kind of experience can also clarify the relation of aesthetics to other areas of knowledge, such as cultural studies, and conversely, the bearing of other disciplines on our aesthetic understanding. Aesthetic theory, however, is (...) easily caught up in secondary, unproductive, and false issues, and these are what gives this essay its title. What is important, I want to argue, is not what we label beautiful or call art but where we find the kind of value experiences traditionally associated with appreciating beauty, natural and artistic, and how we can enhance and develop such experiences. However, this also requires recognizing the converse of such values in the loss, the negation, the desecration of this mode of experience. I conclude by proposing a larger philosophical role for aesthetics. (shrink)

Ecology has become a popular conceptual model in numerous fields of inquiry and it seems especially appropriate for environmental philosophy. Apart from its literal employment in biology, ecology has served as a useful metaphor that captures the interdependence of factors in a field of research. At the same time as ecology is suggestive, it cannot be followed literally or blindly. This paper considers the appropriateness of the uses to which ecology has been put in some recent discussions of architectural and (...) environmental aesthetics, and develops a critique of the differing ecological aesthetics of Jusuck Koh and Xiangzhan Cheng. (shrink)

Stone represents the firmness and intransigence of the world within which we live and act. But beyond the perception and appropriations of stone, diverse meanings lie hidden between the hardness of stone and its uses. At the same time meaning must be grounded in the stabilizing presence of a common world. Yet if all that can be said is not about stone simpliciter but only an aesthetics of its perception, uses, and meanings, have we not gained the whole world but (...) lost its reality? The underlying issue is therefore not aesthetic but ontological. (shrink)

In this time of increasing international involvement, one cannot but be struck by the fact of sharply different traditions concerning art and its practice.3 Recognizing that the arts are a salient part of every culture may lead us to wonder about their features and may make us curious about how and why the arts of other cultures differ from what we find more familiar. Perhaps we hope that the arts will offer us some insight into different cultures and their distinctive (...) worlds. This, then, is in part an essay in comparative aesthetics. Numerous examples of diverse artistic practices evoke our curiosity. Many of those I shall cite here are environmental and this is deliberate, for environments are a pervasive and powerful material embodiment of cultural practice and sensibility. They provide salient and inescapable evidence of this influence, and they bridge the distance sometimes assumed to lie, quite wrongly, in my opinion, between material culture and its artistic manifestations. (shrink)

We live in an age in which outer space has changed from a theme for flights of science fiction to the actual locus of exploration and travel.1 Space no longer has merely speculative significance for thinking about possible worlds; it has become a real factor in understanding the nature and conditions of the human world that we are constantly refashioning. Our entry into outer space brings with it changes in conditions and experience that require us to rethink the concepts through (...) which we comprehend environment and act environmentally. (shrink)

The broad scope and coherence of Natural Beauty are among its major strengths. Moore's syncretic theory tries to integrate diverse and sometimes conflicting theoretical strands. Of special importance is his recognition that the natural world is a social institution embodying perceptions that are conditioned, experiences communicated through language, and social beliefs and conventions. These lead him to consider the natural world as actually artifactual, and he terms it the 'natureworld'. Among the consequences of this is the reciprocity of natural and (...) artistic beauty, one indication of the inclusiveness that runs through his theory. My central concern is whether Moore's syncretic theory can successfully combine disparate features of conflicting theories, such as cognitivism and non-cognitivism, and subjectivism and objectivism. Another concern is whether his syncretism can resolve problems such as the apparent inconsistencies raised by his discussion of framing. Here, alternatives that Moore had presumably settled reappear, as when objects, which had presumably been replaced by experiences, re-emerge in his discussion of framing. These comments identify such difficulties and ask whether the way out may be to reframe not natural beauty but the terms of the question. (shrink)

It might seem strange to propose an aesthetic consideration of the theme park, that artificial bloom in the garden of popular culture.1 The aesthetic is often considered a minority interest in the modern world, yet it offers a distinctive perspective, even on an activity that has mass appeal, and can provide insights that would otherwise remain undiscovered. Aesthetic description and interpretation can illuminate the theme park in many directions: as architecture, design, theater, landscape architecture, environment. I shall choose the last (...) of these, environment. (shrink)

In my recent book, Art and Engagement (1991), I develop the idea of aesthetic engagement as central to the appreciation of art. The human contribution to the constitution of the "work" of art, I claim, is a critical part of appreciative experience. This contribution, however, is easily misread into the history of the idea of experience that has dominated Western philosophy since the seventeenth century, a history that sees experience as an inner, personal, subjective affair. From this vantage point, the (...) metaphysical implications of an aesthetics of experience seem to lead resolutely to idealism.1 'Experience', however, is a troublesome term precisely because its meaning is equivocal. Despite its association with philosophical idealism, experience allows a range of interpretations in various contexts. Even though aesthetic experience is often understood subjectively, it is mistaken to think that it allows of no other alternative. These comments raise a complex of issues, two of which I want to consider here: first, the metaphysical significance of experience and, second, the bearing of art on metaphysics. (shrink)

Allen Carlson finds three central problems in my book, Aesthetics and Environment : that it lacks a criterion of the aesthetic itself, that my proposal, aesthetic engagement, is excessively subjective, and that we cannot therefore distinguish between ‘easy’ and ‘serious’ beauty. I respond by uncovering the metaphysical assumptions on which his critique rests and offer more plausible alternatives. I argue, further, that their implications are not only acceptable but fully satisfactory.

This paper proposes a radical re-examination of the foundations of modern aesthetics. It urges that we replace the tradition of eighteenth century aesthetics, with its insistence on disinterestedness and the separateness of the aesthetic, and its problematic oppositions, such as the separation of sense from cognition. In their place it appeals to a more process-oriented, pluralistic account, one that takes note of varying cultural traditions in aesthetics, that recognizes the aesthetic as a complex of many forces and factors, and that (...) considers the aesthetic as part of a complexity of values, including moral, practical, social, and political ones. It urges, further, an aesthetic-based criticism, not only of the arts, but of culture and knowledge. Central to this account is the idea of aesthetic engagement, which not only recognizes and extends the many connections of and in aesthetic experience, but invites our total involvement as active participants. (shrink)

The range of the aesthetic has expanded to cover not only a wider range of objects and situations of daily life but also to encompass the negative. This includes terrorism, whose aesthetic impact is central to its use as a political tactic. The complex of positive and negative aesthetic values in terrorism are explored, introducing the concept of the sublime as a negative category to illuminate the analysis and the distinctive aesthetic of terrorism.

From the earliest times art has been integral to human culture. Both fascinated and perplexed by the arts, people have tried, since the age of classical Greece, to understand how they work and what they mean. Philosophers wondered at first about the nature of art: what it is and how it relates to the cosmos. They puzzled over how art objects are created, and extolled human skills that seem at times godlike in their powers. But perhaps the central question for (...) such philosophers as Plato and Aristotle concerned our involvement with art: the response we have to beautiful things, the moral and salubrious powers of art, and perhaps most of all, the power of art to transform and transcend, leading us into a condition of enhanced perception that may be wondrous, dangerous, and at times overwhelming. The classical age displayed a richness of discussion that centered on art as an activity: an activity that is at once cosmic, social, and individual; an activity that brings understanding of a sort; an activity that may be salutary and even exalting, as in Aristotle's celebrated discussion of tragedy and its cathartic effects. Since the eighteenth century, however, this has changed. Questions about art have shifted to the idea of experience, paralleling the great change in the focus of philosophy from matters of ontology to those of epistemology. In place of starting from an examination of the nature of the universe and moving to the human position in the order of things, we have come to realize, since Descartes and Kant, that all inquiry has its inception in a human locus. Now, at the end of the twentieth century, we have finally recognized that the human factor in every kind of awareness and knowledge is structurally unavoidable. Art has become both a symptom of this change and a standard for grasping it. (shrink)

Attempts to justify the objectivity and universality of aesthetic judgment have traditionally rested on unsupported assumptions or mere assertion. This paper offers a fresh consideration of the problem of judgments of taste. It suggests that the problem of securing universal agreement is false and therefore insoluble since it imposes an inappropriate logical criterion on the extent of agreement, which is irrevocably empirical. The variability of judgments of taste actually forms a subject ripe for inquiry by sociologists, psychologists, historians and anthropologists, (...) as well as by aestheticians. Scenic beauty provides a vivid test for the variability of these judgments. (shrink)

Excellence in sport performance is normally taken to be a matter of superior performance of physical movements or quantitative outcomes of movements. This paper considers whether a wider conception can be afforded by certain kinds of nature based sport. The interplay between technical skill and aesthetic experience in nature based sports is explored, and the extent to which it contributes to a distinction between different sport-based approaches to natural environments. The potential for aesthetic appreciation of environmental engagement is found to (...) be strongly dependent on whether or not environmental engagement is exploited for the end of producing a quantifiable result or enhancing technical skill. It is also argued that an existential rather than spectatorial attitude to aesthetic experience is offered by specifically nature oriented sport. Aesthetic experience achieved in this way is therefore neither passive nor detached, but extends Berleant's concept of participatory environmental aesthetics and underpins both an alternate (wide) conception of excellence in sport activity and a richer experience of aesthetic engagement than more objectivised standpoints. (shrink)

Here the concept of the human being as a “relatively isolated system” developed in Ingarden’s later phenomenology is adapted into an “aesthetics of isolation” that complements conventional environmental aesthetics. Such an aesthetics of isolation is especially relevant, given the growing “aesthetic overload” brought about by ubiquitous computing and new forms of art and aesthetic experience such as those involving virtual reality, interactive online performance art, and artificial creativity.

This paper sets out to interpret the phrase ‘the city landscape’. Beginning with landscape aesthetics based on two categories — the picturesque and the sublime — the author attempts todemonstrate that a city can be interpreted in terms of a cultural landscape. This necessitates a re‑interpretation of the category of the sublime, whereby, through references to Edmund Burke, Theodor W. Adorno and Arnold Berleant, the sublime assumes the nature of a category which determines the existential situation of a person (...) in the world. Here, the sublime provides people with an impulse to undertake efforts to fashion their surroundings and forge the essence of the living world. As such, the sublime also becomes a category that promotes social activities aimed at improving the quality of life in a city, such as the activities of ‘urban gardeners’. (shrink)

I identify a commonly held position in environmental philosophy, “the received view,” and argue that its proponents beg the question when challenged to demonstrate the relevance of environmental aesthetics for environmental justice. I call this “the inference problem,” and I go on to argue that an alternative to the received view, Arnold Berleant’s participatory engagement model, is better equipped to meet the challenge it poses. By adopting an alternative metaphysics, the engagement model supplies a solution to the inference problem (...) and thereby provides a more useful theoretical framework for application to pressing concernsin environmental justice, such as the plight of the historical Ironbound District of Newark, New Jersey. (shrink)

This is a very positive review of Carlson, Allen, and Arnold Berleant, ed. 2004. The Aesthetics of Natural Environments. Broadview Press. -/- .

Can an understanding be formed of how sensory experience might be presented or manipulated in visual art in order to promote a relational concept of the senses, in opposition to the customary, capitalist notion of sensation as a private possession, as a sensory impression that is mine? I ask the question in the light of recent visual art theory and practice which pursue relational, ecological ambitions. As Arnold Berleant, Nicolas Bourriaud, and Grant Kester see it, ecological ambition and artistic (...) form should correspond, but they fail to recognize sensation as a site where the ecological cause can be fought. Jacques Rancière argues for the political force of the senses, but his distribution of the sensible does not address the particularity of sensory experience. I identify the difference between these approaches within recent relational or ecological aesthetics and my position on sensibility, and indicate some of the problems involved in referring to the senses. I set out the concepts that are central to the cultivation of relational sensibility: style, autofiguration, and the mobility of sensory meaning, extrapolated from Maurice Merleau-Ponty’s discussion of Paul Cézanne. They amount to positioning the senses ontologically as movements along lines of conceptual-sensory connection and implication, based on the transfer of meanings created artistically through style and autofiguration. (shrink)

Advances in neuroscience implicate reentrant signaling as the predominant form of communication between brain areas. This principle was used in a series of masking experiments that defy explanation by feed-forward theories. The masking occurs when a brief display of target plus mask is continued with the mask alone. Two masking processes were found: an early process affected by physical factors such as adapting luminance and a later process affected by attentional factors such as set size. This later process is called (...) masking by object substitution, because it occurs whenever there is a mismatch between the reentrant visual representation and the ongoing lower level activity. Iterative reentrant processing was formalized in a computational model that provides an excellent fit to the data. The model provides a more comprehensive account of all forms of visual masking than do the long-held feed-forward views based on inhibitory contour interactions. (shrink)

This is an introductory article on sociobiology, particularly its relationship to eugenics. Sociobiology developed in the 1960s as a field within evolutionary biology to explain human social traits and behaviours. Although sociobiology has few direct connections to eugenics, it shares eugenics’ optimistic enthusiasm for extending biological science into the human domain, often with reckless sensationalism. Sociobiology's critics have argued that sociobiology also propagates a kind of genetic determinism and represents the zealous misapplication of science beyond its proper reach that characterized (...) the eugenics movement. More recently, evolutionary psychology represents a sophistication of sociobiology that attends to the mind as the "missing link" between evolution and behaviour (Cosmides and Tooby 1992, Pinker 1997). (shrink)

In this paper I examine Grace A. de Laguna’s theory of universals in its historical context and in relation to contemporary debates in analytic metaphysics. I explain the central features of her theory, arguing that her theory should be classified as a form of immanent realism and as a powers ontology. I then show in what ways her theory affords a theory of modality in terms of potentialities and discuss some of its consequences along the way.

Abstract: Online book review platforms generate vast user data, making accurate rating prediction crucial for personalized recommendations. This research explores neural networks as simple models for predicting book ratings without complex algorithms. Our novel approach uses neural networks to predict ratings solely from user-book interactions, eliminating manual feature engineering. The model processes data, learns patterns, and predicts ratings. We discuss data preprocessing, neural network design, and training techniques. Real-world data experiments show the model's effectiveness, surpassing traditional methods. This research can (...) enhance user experience, book catalog organization, and aid publishers, simplifying recommendation processes and providing tailored suggestions based on user preferences. (shrink)

In this paper, we argue that, barring a few important exceptions, the phenomenon we refer to using the expression “being moved” is a distinct type of emotion. In this paper’s first section, we motivate this hypothesis by reflecting on our linguistic use of this expression. In section two, pursuing a methodology that is both conceptual and empirical, we try to show that the phenomenon satisfies the five most commonly used criteria in philosophy and psychology for thinking that some affective episode (...) is a distinct emotion. Indeed, being moved, we claim, is the experience of a positive core value (particular object) perceived by the moved subject as standing out (formal object) in the circumstances triggering the emotion. Drawing on numerous examples, we describe the distinctively rich phenomenology characteristic of the experience as well as the far-reaching action-tendencies and functions associated with it. Having thus shown that the candidate emotion seem to satisfy the five criteria, we go on, in section three, to compare it with sadness and joy, arguing that it should not be confused with either. Finally, in section four, we illustrate the explanatory power of our account of “being moved” by showing how it can shed light on, and maybe even justify, the widespread distrust we feel towards the exhibition of ‘sentimentality’. On the whole and if we are right, we have uncovered an emotion which, though never or rarely talked about, is of great interest and no small importance. (shrink)

In this paper, we illustrate some serious difficulties involved in conveying information about uncertain risks and securing informed consent for risky interventions in a clinical setting. We argue that in order to secure informed consent for a medical intervention, physicians often need to do more than report a bare, numerical probability value. When probabilities are given, securing informed consent generally requires communicating how probability expressions are to be interpreted and communicating something about the quality and quantity of the evidence for (...) the probabilities reported. Patients may also require guidance on how probability claims may or may not be relevant to their decisions, and physicians should be ready to help patients understand these issues. (shrink)

The task of visual search is to determine as rapidly as possible whether a target item is present or absent in a display. Rapidly detected items are thought to contain features that correspond to primitive elements in the human visual system. In previous theories, it has been assumed that visual search is based on simple two-dimensional features in the image. However, visual search also has access to another level of representation, one that describes properties in the corresponding three-dimensional scene. Among (...) these properties are three dimensionality and the direction of lighting, but not viewing direction. These findings imply that the parallel processes of early vision are much more sophisticated than previously assumed. (shrink)

Driven by a sharp increase in claims for reparations, reparative justice has become a topic of academic debate. To some extent this debate has been marred by a failure to realize the complexity of reparative justice. In this essay we try to amend this shortcoming. We do this by developing a taxonomy of different kinds of wrongs that can underwrite claims to reparations. We identify four kinds of wrongs: entitlement violations, unjust exclusions from an otherwise acceptable system of entitlements, and (...) two kinds where a social practice systematically fails to embody an acceptable system of entitlements. In deliberation about what is required to repair a historical injustice the weight of backward- and forward-looking considerations is a function of the distinctive features of the injustice in question. Hence, the first step in adjudicating claims for reparation is to identify what kind of wrong the claim arises from. From the taxonomy of wrongs we are thus able to construct what we call the Field of Reparative Justice, which illustrates how the structure of deliberation for reparative justice tracks the distinctive features of different kinds of wrongs. (shrink)

A "good" arguer is like an architect with a penchant for civil and civic engineering. Such an arguer can design and present their reasons artfully about a variety of topics, as good architects do with a plenitude of structures and in various environments. Failures in this are rarely hidden for long, as poor constructions reveal themselves, often spectacularly, so collaboration among civical engineers can be seen as a virtue. Our logical virtues should be analogous. When our arguments fail due to (...) being uncivil and demagogic, since we inhabit the arguments we build, we are all crushed beneath our flawed reasoning. This mixed metaphor takes us to a self-referential analysis of argumentation, analogy, and humor. I argue that good argumentation strives to collaboratively convince rather than belligerently persuade. A convincing means toward this end is through humorous analogical arguments, whether the matter at hand is ethical, logical, theological, phenomenological, epistemological, metaphysical, political, or about baseball. (shrink)

One of the challenges in secondary schools today is infringements on students’ rights, in a tortious way that may also constitute breach of the Child’s Right Act of 2003 in Nigeria. These breach on rights usually come through the administration of corporal punishments on students, and mainly because the school heads see themselves as loco parentis of the students who can, therefore, enforce any form of punishment on them in the school. This study investigated knowledge, attitude, and infringement of tort (...) law among public secondary school heads on students in Osun State. All the students in Osun State public secondary schools and 723 heads constituted the population. A sample of 54 school heads and 180 students were selected using multi-stage sampling procedure. Two instruments were designed to elicit responses from the respondents. Descriptive and inferential statistics were used to answer the research questions raised for the study. The results showed that school heads do not have adequate knowledge of tort law and that both the school heads and students have poor attitude toward it tort law. The study recommends that short term training on student’s right, how they can be legally protected and tort law be organised for school heads. (shrink)

This study's focus was to determine students' English competency level after exposure to video lessons as supplemental materials. The respondents of the study were 139 Grade 9 students of Mahaplag National High School coming from four sections enrolled for School Year 2022-2023. Quasi-experimental method of research particularly the pretest-posttest design was utilized in the study. Frequency counts, mean percentage score, weighted mean, standard deviation, and paired samples T-test were utilized in data analysis. Results of the study revealed that the competency (...) level of the students on all three learning competencies before the exposure to video lessons is in the poor category. On the other hand, it was revealed in the study that after exposure to video lessons and through the administered post-test, students’ competency levels improved, which now belongs to the fair category. As to the student’s acceptance level of video lessons as supplemental materials, it was found that students positively accept video lessons as supplemental materials for selected English 9 competencies. It was also ascertained that there was a statistically significant increase in the scores of the students on all three competencies after exposure to video lessons. Furthermore, there was a significant increase in students' overall scores on the three competencies. From the results of the study, it can be concluded that video lessons can be a great supplemental material in teaching English 9 competencies. (shrink)

The discovery of mirror neurons in both primates and humans has led to an enormous amount of research and speculation as to how conscious beings are able to interact so effortlessly among one another. Mirror neurons might provide an embodied basis for passive synthesis and the eventual process of further communalization through empathy, as envisioned by Edmund Husserl. I consider the possibility of a phenomenological and scientific investigation of laughter as a point of connection that might in the future bridge (...) the gap Husserl feared had grown too expansive between the worlds of science and philosophy. Part I will describe some implications of the discovery of mirror neurons. Part II will address Husserl’s concept of embodiment as it relates to neuroscience and empathy. Part III will be a primer to investigating laughter phenomenologically. Part IV will be a continuation of the study of laughter and empathy as possible elements helpful in broadening the scope of what Husserl calls the Life-World. (shrink)

This paper proposes a view of time that takes passage to be the most basic temporal notion, instead of the usual A-theoretic and B-theoretic notions, and explores how we should think of a world that exhibits such a genuine temporal passage. It will be argued that an objective passage of time can only be made sense of from an atemporal point of view and only when it is able to constitute a genuine change of objects across time. This requires that (...) passage can flip one fact into a contrary fact, even though neither side of the temporal passage is privileged over the other. We can make sense of this if the world is inherently perspectival. Such an inherently perspectival world is characterized by fragmentalism, a view that has been introduced by Fine in his ‘Tense and Reality’ (2005). Unlike Fine's tense-theoretic fragmentalism though, the proposed view will be a fragmentalist view based in a primitive notion of passage. (shrink)

Cognitive Science, Volume 46, Issue 10, October 2022.

We intend to demonstrate that Jesus was a kind of social scientist, not only a prophet, the Cristianity is a way of conceiving and perceiving the world, a cosmology and a state of mind, like many others. To be part of is not to deny other forms os religious experience and manifestation.

Ormerod and Chronicle reported that optimal solutions to traveling salesperson problems were judged to be aesthetically more pleasing than poorer solutions and that solutions with more convex hull nodes were rated as better figures. To test these conclusions, solution regularity and the number of potential intersections were held constant, whereas solution optimality, the number of internal nodes, and the number of nearest neighbors in each solution were varied factorially. The results did not support the view that the convex hull is (...) an important determinant of figural attractiveness. Also, in contrast to the findings of Ormerod and Chronicle, there were consistent individual differences. Participants appeared to be divided as to whether the most attractive figure enclosed a given area within a perimeter of minimum or maximum length. It is concluded that future research in this area cannot afford to focus exclusively on group performance measures. (shrink)

A well known and referenced global result is the nilpotent characterisation of the finite p-groups. This un doubtedly transends into neutrosophy. Hence, this fact of the neutrosophic nilpotent p-groups is worth critical studying and comprehensive analysis. The nilpotent characterisation depicts that there exists a derived series (Lower Central) which must terminate at {ϵ} (an identity), after a finite number of steps. Now, Suppose that G(I) is a neutrosophic p-group of class at least m ≥ 3. We show in this paper (...) that Lm−1(G(I)) is abelian and hence G(I) possesses a characteristic abelian neutrosophic subgroup which is not supposed to be contained in Z(G(I)). Furthermore, If L3(G(I)) = 1 such that pm is the highest order of an element of G(I)/L2(G(I)) (where G(I) is any neutrosophic p-group) then no element of L2(G(I)) has an order higher than pm. (shrink)

In this paper I articulate and defend a new anti-theodicy challenge to Skeptical Theism. More specifically, I defend the Threshold Problem according to which there is a threshold to the kinds of evils that are in principle justifiable for God to permit, and certain instances of evil are beyond that threshold. I further argue that Skeptical Theism does not have the resources to adequately rebut the Threshold Problem. I argue for this claim by drawing a distinction between a weak and (...) strong version of Skeptical Theism, such that the strong version must be defended in order to rebut the Threshold Problem. However, the skeptical theist’s appeal to our limited cognitive faculties only supports the weak version. (shrink)

In this paper I suggest ways in which vision theory and psychology of perception may illuminate our understanding of beauty. I identify beauty as a phenomenon which is (i) ineffable, (ii) subjectively universal (intersubjective), and (iii) manifested in objects as formal structure. I present a model of perception by which I can identify a representation whose underlying principles would explain these features of beauty. The fact that these principles underlie the representation rather than constitute the content of representation, provides an (...) explanation for the ineffability and subjective universality of the perception of beauty in the form of objects. In part one, I set out two models of perception conducive to this approach. In part two, I suggest how such theories can offer a way of explaining and understanding the experience of beauty. (shrink)

I teach Philosophy of Science at a four-year state university located in the southeastern United States with a strong college of education. This means that the Philosophy of Science class I teach attracts large numbers of students who will later become science teachers in Georgia junior high and high schools—the same schools that recently began including evolution "warning" stickers in science textbooks. I am also a faculty member in a department combining Religious Studies and Philosophy. This means Philosophy of Science (...) is often expected to provide dialogue, debate, and bridge-building on the issues of creationism and evolution. I am expected to provide a welcoming atmosphere to all the religious perspectives that the students bring to class, but at the same time I feel responsible for giving them a serious respect for evolution. This tension between religious tolerance and secular science education has had important consequences in American schools, most notably with the issue of Intelligent Design Theory (ID) in the classroom. (shrink)

Many of the commentators—let’s ignore their sex for the moment—suggested including women in the Feyerabend conference. Then the question was raised, “but are they of the right quality, status, rank?” That is, do they bring down the average quality of the conference in virtue of their being of inferior status, or, in Vincenzo Politi’s words, not “someone whose work is both relevant to the topic of the conference and also as widely recognized as the work of the invited speakers” (HOPOS-L (...) archive, “CFP: Feyerabend Conference,” Tuesday, July 17, 2012, 14:57:20)? It is extremely important that such a discussion of quality, status, and rank recognize the scourge of evaluation bias and its long-term and pervasive consequences. One well-designed study this past year, published by the National Academy of Sciences, established prominent evaluation bias among both male and female science faculty in their evaluations of a student applying for a managerial job, who was randomly assigned either a male or a female name (Moss-Racusin et al. 2012). These professors examined the qualifications of the students and decided whether to hire them, what salary to give them, and whether to mentor themand howmuch to do so.The resultswere that both male and female scientists hired more men, gave them higher salaries, and offered more mentoring to them, even though themale applications were identical to the female applications. When probed about their reasons for not hiring or mentoring the female applicants, the professors explained that they based their decisions on the inferior competence of the applicant: the female applicants were perceived as less competent by all professors (with identical applications between males and females). This is what “evaluation bias” looks like, and it has been established in many, many contexts since the 1970s—this is only the most recent. (shrink)

On what conditions, if it all possible, can Christianity be life-affirming in line with the general schema outlined throughout Nietzsche's wide-ranging corpus? Through a post-modern interpretation of Christ as OverMan of course. Pack your crosses and your pentagrams and buckle up for this visual transmission of my most recent brainchild.