Iconic photographs are visual arguments depicting an, often dramatic, particular situation showing victims of disasters. Spectators watching the photo of the particular situation, empathise with it, and project the feelings evoked onto the events that form the context for the scene in the picture. This mobilises them into political action. In the process, however, the depicted personal misery is perused to exemplify the larger events. The tragedy of iconic photographs is analysed not as the misery experienced by the depicted persons, (...) but as the breach of their right to shame which is required for the photo to acquire iconicity. Examples are addressed, as well as the contrast classes of the self-portrait and Byzantine icons. (shrink)

The problem of biological memory led Russell to propose the existence of mnemic causation, a mechanism by which past experience influences current thought directly, that is, without the need for a material intermediary in the form of a neural "memory trace." Russell appears to have been inspired by German biologist Richard Semon's concept of mnemic homophony, which conveys memory to consciousness on the basis of similarity between current and past circumstances. Semon, however, in no way denied a role for stable (...) neural structures or "engrams" in the memory process. In contrast to Russell, contemporary biologist Rupert Sheldrake provides a viable theory of memory by remaining true to Semon's original idea and expanding it beyond personal memory to the collective memory of species, encompassing not only mental but developmental memory. (shrink)

In this article, I link the empirical hypothesis that neural representations of sensory stimulation near the body involve a unique motor component to the idea that the perceptual field is structured by skillful bodily activity. The neurophenomenological view that emerges is illuminating in its own right, though it may also have practical consequences. I argue that recent experiments attempting to alter the scope of these near space sensorimotor representations are actually equivocal in what they show. I propose resolving this ambiguity (...) by treating these representations as responsive to the development or degeneration of know-how—which can be isolated as an appropriate object for scientific investigation. (shrink)

Nicholas Rescher’s way of understanding process philosophy reflects the ambitions of his own philosophical project and commits him to a conceptually ideal interpretation of process. Process becomes a transcendental idea of reflection that can always be predicated of our knowledge of the world and of the world qua known, but not necessarily of reality an sich. Rescher’s own taxonomy of process thinking implies that it has other variants. While Rescher’s approach to process philosophy makes it intelligible and appealing to mainstream (...) analytic philosophy, it leaves behind the more daring ideas of Bergson, James, and Whitehead, all of whom envisioned the primordial reality of process in a radical ontology of becoming. This variant of process thought can be construed as coherent and self-consistent, but not without relinquishing the correspondence theory of truth and embracing challenging ideas that bring us in close proximity to existentialism, apophatic theology, and Buddhism. (shrink)

My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant (...) to a better understanding of the human being. This understanding was achieved through a broad inquiry into the histories of Virtual Reality, philosophy, and the visual arts and has lead to the formulation of an aesthetic theory of immersive consciousness indicative of immersive culture. The primary subject of this discourse is immersion then: an experience which will be identified within the dissertation as the indispensable characteristic of Virtual Reality. The understanding of immersion arrived at here will be used to fashion a synchronous theory of art particularly informed by encounters and concepts of immersion into virtuality. To sufficiently address this subject in a scholarly fashion, I have researched, found and accumulated aesthetic and philosophic examples of immersive tendencies, as found within the histories of art and philosophy, which subsequently contributed towards the articulation of what I have come to call immersive consciousness. As a result of formulating such an immersive consciousness, a good deal of the basis for the questioning of the Western ontological tradition has been found in the Western tradition itself when we look with new eyes and ask new uncertain questions. Moreover, this immersive consciousness will be used to propose some abstract questions encircling today's electronic-based culture. Through the structuring of the argument within the thesis - and overtly within the conclusion - I have articulated a non-teleological creative strategy which provides the basis for an unconstraining integration of noologies (ways of semblancing the thinking process). This strategy provides a means of exemplifying - and for honoring - various methods of thinking. This structuring strategy is consistent with the 'hacker ethic' as defined by Steven Levy, as a demand that access to computers - and anything which might teach us something about the way the world works - should be unlimited and total. To follow this strategy, this dissertation has set out to understand how topical conceptions of virtual immersion connect to pre-existing systems of thought as revealed in art as they have extended out of antecedent ontological self-understandings, historical human self-understandings which have evidenced themselves in the elaboration of technological objectives. To do this I have forged a certain rhizomatic paternity/maternity for Virtual Reality within this dissertation by joining choice immersive examples of simulacra technology into mental connections with the relevant examples culled from the histories of art, architecture, information-technology, sex, myth, space, consciousness and philosophy. (shrink)

This article begins with a summary phenomenological analysis of movement in conjunction with the question of “quality” in movement. It then specifies the particular kind of memory involved in a dancer’s memorization of a dance. On the basis of the phenomenological analysis and specification of memory, it proceeds to a clarification of meaning in dance. Taking its clue from the preceding sections, the concluding section of the article sets forth reasons why present-day cognitive science is unable to provide insights into (...) dance, notably because being largely tethered to happenings in the brain, it lacks foundational grounding in experience, specifically, the actual experience of movement, which is to say in kinesthesia. (shrink)

A blindfolded clairvoyant walks into a room and immediately knows how it is arranged. You walk in and immediately see how it is arranged. Though both of you represent the room as being arranged in the same way, you have different experiences. Your experience doesn’t just represent that the room is arranged a certain way; it also visually presents the very items in the room that make that representation true. Call the felt aspect of your experience made salient by this (...) contrast its presentational phenomenology. Many philosophers have observed that perceptual experiences have presentational phenomenology. In this paper I explore its nature, scope, and significance. I argue that in addition to perceptual experiences, presentational phenomenology can be found in intuitive, introspective, imaginative, and recollective experiences. I also argue that presentational phenomenology is epistemologically significant: it plays a central role in explaining why the experiences that have it justify beliefs and give us knowledge. (shrink)

Time’s arrow is necessary for progress from a past that has already happened to a future that is only potential until creatively determined in the present. But time’s arrow is unnecessary in Einstein’s so-called block universe, so there is no creative unfolding in an actual present. How can there be an actual present when there is no universal moment of simultaneity? Events in various places will have different presents according to the position, velocity, and nature of the perceiver. Standing against (...) this view is traditional common sense since we normally experience time’s arrow as reality and the present as our place in the stream of consciousness, but we err to imagine we are living in the actual present. The present of our daily experience is actually a specious present, according to E. Robert Kelly (later popularized by William James), or duration, according to Henri Bergson, an habitus, as elucidated by Kerby (1991), or, simply, the psychological present (Adams, 2010) – all terms indicating that our experienced present so consists of the past overlapping into the future that any potential for acting from the creative moment is crowded out. Yet, for philosophers of process from Herakleitos onward, it is the philosophies of change or process that treat time’s arrow and the creative fire of the actual present as realities. In this essay, I examine the most well known but possibly least understood process cosmology of Alfred North Whitehead to seek out this elusive but actual present. In doing so, I will also ask if process philosophy is itself an example of the creative imagination and if this relates to doing science. I conclude Whitehead's process philosophy falls short of allowing for the actual creative spontaneity of a dynamic (eternal) present. (shrink)

This article provides an affirmative feminist reading of the philosophy of Henri Bergson by reading it through the work of Karen Barad. Adopting such a diffractive reading strategy enables feminist philosophy to move beyond discarding Bergson for his apparent phallocentrism. Feminist philosophy finds itself double bound when it critiques a philosophy for being phallocentric, because the setup of a master narrative comes into being with the critique. By negating a gender-blind or sexist philosophy, feminist philosophy only reaffirms its parameters, and (...) setting up a master narrative costs feminist philosophy its feminism. I thus propose and practice a different methodological starting point, one that capitalizes on “diffraction.” This article experiments with the affirmative phase in feminist philosophy prophesied by Elizabeth Grosz, among others. Working along the lines of the diffractive method, the article at the same time proposes a new reading of Bergson (as well as of Barad), a new, different metaphysics indeed, which can be specified as onto-epistemological or “new materialist.”. (shrink)

This article attends to Deleuze and Guattari's idea of a ‘minor literature’ as well as to Deleuze's concepts of the figural, probe-heads and the diagram in relation to Bacon's paintings. The paper asks specifically what might be usefully taken from this Deleuze–Bacon encounter for the expanded field of contemporary art practice.

In this article I will suggest ways in which adding the French philosopher Gilles Deleuze to the mix can complement and extend the 4EA approach to cognitive science. In the first part of the paper, I will show how the Deleuzean tripartite ontological difference (virtual/intensive/actual) can provide an explicit ontology for dynamical systems theory. The second part will take these ontological notions and apply them to three areas of concern to the 4EA approaches: (a) the Deleuzean concept of the virtual (...) will clarify the ontological status of perceptual capacity as sensorimotor skill; (b) the Deleuzean concept of “intensive individuation” will clarify the ontological status of the genesis of perceptually guided behavior; (c) the Deleuzean critique of confusing the actual and the virtual will enable us to intervene in the realism/idealism debate. These aspects will not be addressed sequentially but will be interwoven into an unfolding argument. (shrink)

According to the B-theory, the passage of time is an illusion. The B-theory therefore requires an explanation of this illusion before it can be regarded as fullysatisfactory; yet very few B-theorists have taken up the challenge of trying to provide one. In this paper I take some first steps toward such an explanation by first making a methodological proposal, then a hypothesis about a key element in the phenomenology of temporal passage. The methodological proposal focuses onthe representational content of the (...) element of experience by virtue of which time seems to pass. The hypothesis involves the claim that the experience of changeinvolves the representation of something enduring, rather than perduring, through any change. (shrink)

Remembering a cat sleeping (specifically, recollecting the way the cat looked), perceiving (specifically, seeing) a cat sleeping, and imagining (specifically, visualizing) a cat sleeping are of course importantly different. Nonetheless, from the first-person perspective they are palpably alike. The paper addresses two questions: Q1. What are these similarities (and differences)? Q2. How does one tell that one is recalling (and so not perceiving or imagining)?

It is sometimes claimed that non-human animals (and perhaps also young children) live their lives entirely in the present and are cognitively ‘stuck in time’. Adult humans, by contrast, are said to be able to engage in ‘mental time travel’. One possible way of making sense of this distinction is in terms of the idea that animals and young children cannot engage in tensed thought, which might seem a preposterous idea in the light of certain findings in comparative and developmental (...) psychology. I try to make this idea less preposterous by looking into some of the cognitive requirements for tensed thought. In particular, I suggest that tensed thought requires a specific form of causal understanding, which animals and young children may not possess. (shrink)

The reconstructive turn in memory theory challenges us to provide an account of successful remembering that is attentive to the ways in which we use memory, both individually and socially. I investigate conceptualizations of accuracy and integrity useful to memory theorists and argue that faithful recollection is often a complex epistemological/ethical achievement.

Remembering is one of the most characteristic and most puzzling of human activities. Personal memory, in particular - the ability mentally to travel back into the past, as leading psychologist Endel Tulving puts it - often has intense emotional or moral significance: it is perhaps the most striking manifestation of the peculiar way human beings are embedded in time, and of our limited but genuine freedom from our present environment and our immediate needs. Memory has been significant in the history (...) of philosophy as much in relation to ethics and to epistemology as in theories of psyche, mind, and self. (shrink)

Timelines is an inquiry into the nature of time, both as an apparent feature of the external physical world and as a fundamental feature of our experience of ourselves in the world. The principal argument of Timelines is that our coventional ideas about time are largely mistaken and that what we think of as independent physical time is actually our calibration of a certain relation between events. Namely, the relation between time-keeping events and the causal sequential differences of physical processes (...) which are real and independent of us. (shrink)

According to a common philosophical intuition, the deep nature of things is hidden from us, and the world as we know it through perception and science is somehow shallow and lacking in reality. For all we knwo, the intuition goes, we could be living in a cave facing shadows, in a dream or even in a computer simulation, This “intuition of unreality” clashes with a strong, but perhaps more naive, intuition to the effect that the world as we know it (...) seems perfectly real. Shadows, dreams, or informational structures appear too unreal to be identical to the world as we know it! This clash between the two intuitions forms the basis of the "problem of reality." At the turn of the nineteenth century psychiatrists encountered patients they referred to as “metaphysician doubters” who constantly questioned the reality of the world. This essay draws on the study of these patients to reject, and indeed diagnose, the intuition of unreality and recent metaphysical doctrines drawing on it, such as structuralism, digitalism, and virtual realism. (shrink)

В данной работе рассматриваются важнейшие вопросы о коллективном воображаемом и его отношениях с реальностью и истиной. Сначала мы рассмотрим эту тему в концептуальных рамках, а затем проведем соответствующий фактологический анализ наглядных поведенческих реалий. Мы будем опираться не только на методологию, но и, главным образом, на постулаты и положения аналитической философии, которые, безусловно, будут проявляться на протяжении всего исследования и могут быть идентифицированы по признакам, описанным Пересом : Рабосси (1975) отстаивает идею, что аналитическая философия может быть идентифицирована путем рассмотрения некоторых семейных (...) сходств. Он предлагает следующие семейные черты: позитивное отношение к научному знанию; осторожное отношение к метафизике; представление о философии как о концептуальной задаче, в которой в качестве метода используется концептуальный анализ; тесная связь между языком и философией; стремление к аргументированным ответам на философские проблемы; поиск концептуальной ясности. Эти базовые понятия включают в себя культурное, социальное, религиозное, научное, философское, моральное и политическое содержание, принадлежащее каждому и коллективному существованию. В данной статье мы не будем дискутировать и доказывать. Наша цель — не систематическая методология, не критика и не доказательство. Настоящая работа основана на аналитической рефлексии. Мы будем рассуждать как можно более полно и глубоко и излагать результаты своих размышлений. Несмотря на междисциплинарный характер темы и методологическую открытость к принятию вклада из любой области науки, данная работа относится к психологии и онтологии, или, другими словами, к социальной и онтологической психологии. Свободная методология, направляющая такие размышления, охватывает и рассматривает все, что приближается к согласованности с философской и психологической эпистемологией. Эта методология не гонится за доказательствами, а ищет взаимосвязь между существующими доказательствами любой природы и величины, выводя когерентный смысл реальных вещей. (shrink)

Habits figure in action‐explanations because of their distinctive force. But what is the force of habit, and how does it motivate us? In this paper, I argue that the force of habit is the feeling of familiarity one has with the familiar course of action, where this feeling reveals a distinctive reason for acting in the usual way. I do this by considering and rejecting a popular account of habit's force in terms of habit's apparent automaticity, by arguing that one (...) can do something out of habit and from deliberation, before going on to defend The Familiarity View. (shrink)

Aunque muchos lectores de las novelas de Unamuno notan que el estilo de su primera novela, “Paz en la guerra” (1897), es bastante tradicional y que, por consiguiente, difiere mucho del estilo de las novelas que don Miguel escribe después, también tiene elementos que la vinculan claramente sus novelas más tardías. Uno de estos es el manejo del tiempo, el cual hace que el tiempo se detenga y produce lo que Henri Bergson llamaría la “virtualización” del tiempo. El tiempo también (...) se detiene y se virtualiza en otras novelas de Unamuno—en particular, “Niebla”. Por ejemplo, en “Niebla” varias anomalías temporales revelan el deseo de Unamuno de detener el tiempo y eternizar el momento para así escapar la muerte y existir perpetuamente, un deseo también presente en “Paz en la guerra”. Por lo tanto, el presente muestra que, por su manejo particular del tiempo, “Paz en la guerra” se vincula claramente a novelas más experimentales de Unamuno. (shrink)

While today there is much discussion about the ethics of artificial intelligence, less work has been done on the philosophical nature of AI. Drawing on Bergson and Ricoeur, this paper proposes to use the concepts of time, process, and narrative to conceptualize AI and its normatively relevant impact on human lives and society. Distinguishing between a number of different ways in which AI and time are related, the paper explores what it means to understand AI as narrative, as process, or (...) as the emergent outcome of processes and narratives. It pays particular attention to what it calls the “narrator” and “time machine” roles of AI and the normative implications of these roles. It argues that AI processes and narratives shape our time and link past, present, and future in particular ways that are ethically and politically significant. (shrink)

The more science progresses, the more it is evident that the physical world presents regularities. This raises a metaphysical problem: why is the world so ordered? In the first part of the article, I attempt to clarify this problem and justify its relevance. In the following three parts, I analyze three hypotheses already formulated in philosophy in response to this problem: the hypothesis that the order of the world is explained 1) by laws of nature, 2) by dispositions of the (...) fundamental physical entities, 3) or by a memory immanent to matter (a hypothesis developed by Peirce, Bergson and James). The third hypothesis may seem surprising. However, it can be shown that the three hypotheses have a psychomorphic dimension in the sense that they give to nature properties analogous to those of mind. In addition, this third hypothesis presents several interesting arguments. (shrink)

No presente trabalho, vamos abordar algumas das questões essenciais sobre o imaginário coletivo e suas relações com a realidade e a verdade. Devemos encarar esse assunto em uma estrutura conceptual, seguida pela análise factual correspondente às realidades comportamentais demonstráveis. Adotaremos não apenas a metodologia, mas principalmente os princípios e proposições da filosofia analítica, que com certeza serão evidentes ao longo do estudo e podem ser identificados pelos recursos descritos por Perez[1] : Rabossi (1975) defende a ideia de que a filosofia (...) analítica pode ser identificada considerando-se certas semelhanças familiares. Ele sugere os seguintes traços familiares: uma atitude positiva em relação ao conhecimento científico; uma atitude cautelosa em relação à metafísica; uma concepção da filosofia como uma tarefa conceptual, que toma a análise conteudo como um método; uma estreita relação entre linguagem e filosofia; uma preocupação em buscar respostas argumentativas para problemas filosóficos, e procura de clareza conceptual. Esses conceitos centrais envolvem conteúdos culturais, sociais, religiosos, científicos, filosóficos, morais e políticos, pertencentes à existência individual e coletiva de cada um de nós. Neste artigo, não discutiremos nem demonstraremos. Nosso objetivo não é o de sistematicamente criticar ou evidenciar qualquer coisa, de qualquer maneira. O presente trabalho se baseia na reflexão analítica. Apenas especularemos da maneira mais abrangente e profunda que pudermos e expressaremos os resultados de nossos pensamentos. Não obstante a natureza multidisciplinar do assunto e a abertura metodológica para aceitar contribuições de qualquer campo da ciência, este trabalho pertence ao objetivo da psicologia e ontologia ou, em outros termos, da psicologia social e ontológica. A metodologia livre que norteia tais reflexões abrange e leva em consideração tudo o que se aproxima da coerência com a epistemologia filosófica e psicológica. Essa metodologia não busca alcançar evidências, mas apenas procura a inter-relação entre evidências já existentes, de qualquer natureza e magnitude, inferindo um significado coerente para as coisas reais. Muitos dos grandes pensadores, a qualquer momento, nunca procuraram demonstrações, teorizações ou sistematizações. Esses pensadores apenas pensavam, meditavam e com a iluminação de sua humildade podiam se aproximar da verdade. Eles serão nossa referência e o exemplo a ser seguido. Com certeza, não encontraremos a verdade, mas podemos ter certeza de alguma coisa: em muitos momentos, chegaremos perto da verdade e, em todos os momentos, estaremos nos afastando da inverdade e da mentira. O escopo principal deste estudo é observar como alguns dos atributos evolutivos essenciais da humanidade, como criatividade, imaginação e associação, podem se tornar uma doença perigosa, abrigada nas sombras enevoadas da inteligência. (shrink)

In this work, we will approach some essential questions about the collective imaginary and their relations with reality and truth. We should face this subject in a conceptual framework, followed by the corresponding factual analysis of demonstrable behavioral realities. We will adopt not only the methodology, but mostly the tenets and propositions of the analytic philosophy, which certainly will be apparent throughout the study, and may be identified by the features described by Perez : -/- Rabossi (1975) defends the idea (...) that analytic philosophy can be identified by considering certain family resemblances. He suggests the following family traits: a positive attitude toward scientific knowledge; a cautious attitude toward metaphysics; a conception of philosophy as a conceptual task, which takes conceptual analysis as a method; a close relationship between language and philosophy; a concern with seeking argumentative answers to philosophical problems; search for conceptual clarity Perez, Diana Ines, "Analytic Philosophy in Latin America”, The Stanford Encyclopedia of Philosophy ). These core concepts involve cultural, social, religious, scientific, philosophic, moral, and political contents, belonging to the individual and collective existence of each one of us. The present work grounds itself on analytical reflection. We will speculate the most comprehensive and profound way we can and express the results of our thoughts. Notwithstanding the multidisciplinary nature of the subject and the methodological openness for accepting contributions from any field of science, this work belongs to the aim of psychology and ontology or, in other terms, social and ontological psychology. The main scope of this paper is to observe how some essential evolutionary attributes of humankind, like creativity, imagination, and association, can become a hazardous sickness, sheltered in the misty shadows of the intelligence. (shrink)

As a philosophical paradigm, differential heterogenesis offers us a novel descriptive vantage with which to inscribe Deleuze’s virtuality within the terrain of “differential becoming,” conjugating “pure saliences” so as to parse economies, microhistories, insurgencies, and epistemological evolutionary processes that can be conceived of independently from their representational form. Unlike Gestalt theory’s oppositional constructions, the advantage of this aperture is that it posits a dynamic context to both media and its analysis, rendering them functionally tractable and set in relation to other (...) objects, rather than as sedentary identities. Surveying the genealogy of differential heterogenesis with particular interest in the legacy of Lautman’s dialectic, I make the case for a reading of the Deleuzean virtual that departs from an event-oriented approach, galvanizing Sarti and Citti’s dynamic a priori vis-à-vis Deleuze’s philosophy of difference. Specifically, I posit differential heterogenesis as frame with which to examine our contemporaneous epistemic shift as it relates to multi-scalar computational modeling while paying particular attention to neuro-inferential modes of inductive learning and homologous cognitive architecture. Carving a bricolage between Mark Wilson’s work on the “greediness of scales” and Deleuze’s “scales of reality”, this project threads between static ecologies and active externalism vis-à-vis endocentric frames of reference and syntactical scaffolding. (shrink)

In this work I propose a theory of evolution as a process of unfolding. This theory is based on four logically concatenated principles. The principle of evolutionary order establishes that the more complex cannot be generated from the simpler. The principle of origin establishes that there must be a maximum complexity that originates the others by logical deduction. Finally, the principle of unfolding and the principle of actualization guarantee the development of the evolutionary process from the simplest to the most (...) complex. These logical principles determine the existence of a virtual ideological matrix that contains the sequence of the preformed and folded morphogenetic fields. In this manner, the evolutionary process consists of the sequential unfolding and actualization of these fields, which is motorized by a process of teleologization carried out by the opening consciousness of the forms included in the fields of the ideological matrix. This theory leads to a radical change of perspective regarding the materialist worldview, and places life at the center of the evolutionary process as an activity carried out by a consciousness that seeks to fulfill a purpose by actualizing its own potentialities. (shrink)

In discussion on consciousness and the hard problem, there is an unquestioned background assumption, namely, our experience is stored in the brain. Yet Bergson argued that this very question, “Is experience stored in the brain?” is the critical issue in the problem of consciousness. His examination of then-current memory research led him, save for motor or procedural memory, to a “no” answer. Others, for example Sheldrake, have continued this negative assessment of the research findings. So, has this assumption actually been (...) proven since Bergson? Do we know how experience is stored? Or that it is stored? Here, a recent review and model of memory is examined to see where this assumption actually stands. Again, the assessment will be that nothing has changed. The core of the problem, it will be argued, lies in two things: Firstly, the search for how/where experience is stored is motivated—rephrasing Bergson—in the classic metaphysic, a framework on space and time whose logic cannot be coherently, logically adhered to in attempting to explain how experience is stored. Secondly, the search generally assumes an inadequate theory of perception that is implicitly based in this classic metaphysic. If framed within Bergson’s model of perception and his temporal metaphysic, conjoined with J. J. Gibson’s model, the storage-search appears misguided from the start. (shrink)

How can one ‘see’ the operationalization of contemporary visual culture, given the imperceptibility and apparent automation of so many processes and dimensions of visuality? Seeing – as a position from a singular mode of observation – has become problematic since many visual elements, techniques, and forms of observing are highly distributed through data practices of collection, analysis and prediction. Such practices are subtended by visual cultural techniques that are grounded in the development of image collections, image formatting and hardware design. (...) In this article, we analyze recent transformations in forms of prediction and data analytics associated with spectacular performances of computation. We analyze how transformations in the collection and accumulation of images as ensembles by platforms have a qualitative and material effect on the emergent sociotechnicality of platform ‘life’ and ‘perception’. Reconstructing the visual transformations that allow artificial intelligence assemblages to operate allows some sense of their heteronomous materiality and contingency. (shrink)

Using Deleuzian theory for educational research and practice has become an increasingly popular activity. However, there are many theoretical complexities to the straightforward application of Deleuze to the educational context. For example, the ‘new materialism’ that Deleuze refers to in the 1960s takes its inspiration from Spinoza, and is an emancipatory project. Contrariwise, the ‘new materialism’ of the present moment is frequently applied to educational research and practice specifically as a way out of anthropocentric limits and enclosure. This paper explores (...) the combined forces of humanism and naturalism which are at work in Deleuze’s ‘new materialism’, as type of ‘more-than-human’ emancipation method derived from Bergson and Nietzsche; it is a mode of overcoming human limits, which fully takes into account the connections to and with the non-human world and the ecological consequences of human action. This paper will draw out the specific consequences for educational research and practice in schools of the ‘vitalist-nihilism’ we may derive from Bergson and Nietzsche to analyse matter flows as they enter, mingle with, and exit schools. (shrink)

The analysis method and paradigm of film have become a controversial topic in the data-driven era. Film, is not only an attractive industry that can achieve filmmakers’ imagination but has become a perfect stimulus to understand human being’s mental activity. The core research in this study is to examine the impact of filmmaking experience and the role of narrative denoters from filmmakers’ construction to audiences’ interpretation. Based on previous studies and integrating cognitive approaches, the thesis re-explores the nature and essence (...) of film and proposes an alternative term - narrative denoter - which can be used as the indication of message exchanging between filmmakers and audiences. Using a released film that has a complete story to do the experiment, this study investigates the relationship between major, film interpretations, event segmentation, and audience’s preference. The result showed that filmmaking experience does not impact the interpretation of film; however the identification of the narrative denoter played an important role in film perception and cognition; apart from these, the audience’s preference did not correlate with film interpretation. With respect to this result, the narrative denoter can be indicator to demonstrate the message transitions from filmmaker to audience. Suggestions were made for future cognitive film studies on using the narrative denoters as a new analysis unit. (shrink)

We outline a dual systems approach to temporal cognition, which distinguishes between two cognitive systems for dealing with how things unfold over time – a temporal updating system and a temporal reasoning system – of which the former is both phylogenetically and ontogenetically more primitive than the latter, and which are at work alongside each other in adult human cognition. We describe the main features of each of the two systems, the types of behavior the more primitive temporal updating system (...) can support, and the respects in which it is more limited than the temporal reasoning system. We then use the distinction between the two systems to interpret findings in comparative and developmental psychology, arguing that animals operate only with a temporal updating system and that children start out doing so too, before gradually becoming capable of thinking and reasoning about time. After this, we turn to adult human cognition and suggest that our account can also shed light on a specific feature of our everyday thinking about time that has been the subject of debate in the philosophy of time, which consists in a tendency to think about the nature of time itself in a way that appears ultimately self-contradictory. We conclude by considering the topic of intertemporal choice, and argue that drawing the distinction between temporal updating and temporal reasoning is also useful in the context of characterising two distinct mechanisms for delaying gratification. (shrink)

The subject of my paper is to examine nostalgia as “involuntary memory” in Andrei Tarkovsky’s movie Nostalghia. Tarkovsky understands filming as “sculpting in time.” In his book with the same title he writes that “time and memory merge into each other.” In order to understand this we have to distinguish between a voluntary memory, which refers to the intentional effort to remember, and the involuntary memory, which is like a force that comes over us, that affects us. The latter is (...) especially the case with nostalgia. In nostalgia we can find a revision of the past but the revised version of the past is not primarily about the production of a new representation of memory but more a case of re-experiencing the same past through returning to it, particularly in an embodied manner. Nostalgia is a particular mode of “memory of place.” Places we inhabit or pass through leave an impact on us, for we are bodily subjects and as such we have a relationship with the places that surround us. What Tarkovsky’s movie Nostalghia shows is how the spatio-temporality of the present is “haunted” by the superimposed appearance of the past. Nostalgia is a movement of seeping returns. The past transpires in the present, and Tarkovsky makes this structure visible in using the visual medium of film. He shows how the texture of the everyday world fuses with the imagined memory of the past. In my paper, I construe this nostalgic experience provided by Tarkovsky. (shrink)

[The Complex Self: Empirical and theoretical perspectives] I have throughout this paper emphasized the complexity of the self. This complexity necessitates interdisciplinary collaboration; collaboration across the divide between theoretical analysis and empirical investigation. To think that a single discipline, be it philosophy or neuroscience, should have a monopoly on the investigation of self is merely an expression of both arrogance and ignorance.

Relationalism claims that the phenomenal character of perception is constituted by the obtaining of a non-representational psychological relation to mind-independent objects. Although relationalism provides what seems to be the most straightforward and intuitive account of how experience strikes us introspectively, it is very often believed that the argument from hallucination shows that the view is untenable. The aim of this thesis is to defend relationalism against the argument from hallucination. The argument claims that the phenomenal character of hallucination and perception (...) deserves the same account, and that relationalism cannot be true for hallucinations, therefore relationalism must be rejected. This argument relies on the Indiscriminability Principle, the claim that two experiences that are introspectively indiscriminable from each other have the same phenomenal character. Before assessing the plausibility of this principle, I first consider and dismiss versions of the argument which wouldn’t depend on IND. Although widely accepted, no satisfactory support for IND has been presented yet. In this thesis I argue that defending IND requires that we understand the notion of ‘indiscriminability’ employed in IND in an impersonal sense. I then identify what underwrites IND: the intuition that, in virtue of its superficiality, the nature of a phenomenal character must be accessible through introspection, together with the claim that it is not possible to deny IND without denying the superficiality of phenomenal characters too. I argue that the relationalist can deny IND while preserving the superficiality of phenomenal characters. This can be done by adopting a negative view of hallucination and an account of introspection whereby the phenomenal character doesn’t exist independently of one’s introspective awareness of it and where having introspective access to our experience depends on our perceptual access to the world. (shrink)

Although memory is pivotal to consciousness and without it no perceptual judgment or thinking is possible, Nyāya epistemology does not accept memory as a knowledge source. Prof Matilal elucidates and defends Udayana’s justification for calling into question the knowledgehood or even truth of any recollection. Deepening Matilal’s argument, this paper first shows why, if a remembering reproduces exactly the original experience from which it borrows its truth-claim, then there is a mismatch between the time of experience and the time of (...) recall and the remembering ends up being false. To correct that error, if we change the tense in the content of recollection, the added past-ness goes beyond the original experience and violates the purely reproductive nature of memory. The paper ends by responding to this Nyāya position using arguments from Dvaita Vedānta and Jaina epistemology where remembering can be veridical and memory is accepted as an important knowledge source. The additional element of past-ness cannot be derived from sense perception. It has to be a spontaneous contribution of the inner sense. (shrink)

Compared to earlier waves of political cinema, such as the Russian revolution films of the 1920s and the militant Third Cinema movement in the 1960s, in today's globalized and digital media world filmmakers have adopted different strategies to express a commitment to politics. Rather than directly calling for a revolution, ‘post-cinema’ filmmakers with a political mission point to the radical contingencies of history; they return to the archives and dig up never seen or forgotten materials. They reassemble stories, thoughts, and (...) affects, bending our memories and historical consciousness. Following Deleuze and Guattari's geophilosophical ideas in A Thousand Plateaus filmmakers can be considered metallurgists. Discussing the work of Tariq Teguia, John Akomfrah and others, this article investigates several metallurgic strategies that have a performative effect in reshaping our collective memory and co-constructing the possibility of ‘a people to come.’. (shrink)

While neuroscience has made enormous progress in understanding the brain, the implications of these empirical findings for ontological questions in philosophy including the mind–body problem remain yet unclear. In the first paper, I discussed the model of brain that as implied and supported by the empirical data. This leads me now to the question of an empirically plausible ontology of brain. Therefore, the aim in this second paper is the ontological characterization of the brain in terms of a process-based ontology (...) that avoids what Whitehead described as “simple location” and “fallacy of misplaced concreteness”. The discussion of the model of the brain is complemented by developing a process-based ontological characterization of the brain. Specifically, as based on Whitehead, I argue that “simple location” of the brain as thing or object in time and space amounts to nothing but an abstraction rendering what Whitehead described as “fallacy of misplaced concreteness”. Instead of describing the brain as static, non-temporal and isolated thing or object, I characterize the brain ontologically by dynamic, temporal, and relational processes. This leads me to a process-based ontology of brain which may be specified in spatiotemporal terms. Since the world’s larger spatiotemporal range or scale contains, e.g., nests, the smaller one of the brain, I characterize their ontological relationship by “spatiotemporal nestedness” and “spatiotemporal directedness”. Such spatiotemporal relationship between world and brain precludes the confusion between the world as whole and the brain as part, e.g., “mereological confusion”. I conclude that process-based or better, more specifically, spatiotemporal ontology of the brain and its relationship to the world may offer novel views on the question for the ontological relationship between mind and brain, e.g., the mind–brain problem, by converting or reformulating it as “world-brain problem”. (shrink)

Traditionally, kairos has been seen as a “timely” concept, and so invention is said to emerge fromthe timeliness of a cultural and historical situation. But what if invention was thought of as thepotential to shift historical courses through the injection of something new or alien into a situation?This essay argues that kairos has not been able to free itself from its historical constraints becauseit has been bound to a human sense of temporality. By evolving along patterns different from print,the apparatus (...) of the cinema developed in a way where it was not bound to illustrating movement ortimeas it occurs in human-centered experience. Following the work of Gilles Deleuze on cinema,this article argues that the outside of a human sense of time is an untapped source of invention,already present yet dormant within kairos. (shrink)

This article explores the claim that law is characteristically in search of the past. We argue that the structure of memory defines our relationship with the past and this relationship, in turn, has important implications for the nature of law. The article begins by examining the structure of memory, drawing particularly on the work of Henri Bergson. It then draws out the implications of Bergson’s theory for the interplay of past and present, highlighting the challenges this poses for law’s project (...) of retrieval. Law, as an artifact, seeks its origins in human action, but this often yields a static view of legal discourse as the retrieval of pivotal moments. Bergson, by contrast, shows us that past and present influence each other dynamically, giving rise to an integrated whole. The article concludes by exploring the potential for law to transcend the structure of memory. We argue that even beyond the limits of memory legal reasoning encounters a kind of residue left by the ethical foundations of law. Law searches vainly for the past, but what it finds is itself. (shrink)

The aim of this article is to trace some lines of thinking towards a conceptualization of the uniqueness of the creative work of museums, the mode of creativeness that belongs exclusively to museums, or at least that museums are capable of by virtue of the types of materials and forms as well as activities unique to what will be referred to as museography. This is linked to the question of what it is that constitutes the uniqueness of museum work as (...) a professional field. The article characterizes the uniqueness of museum professional knowledge primarily in terms of a mode of creativeness, or bricolage in Levi-Strauss’s sense, mediated through the museographic form, and applied to the chance assemblies of materials to generate museum-specific modes of engaging questions—across science, culture, and society—particularly through creating unique temporal arrangements, or durations, that provoke thought, learning, and engagement on museographic terms. Museography’s originality, it is argued, consists in a bricolage that works through the museum’s unique material and form to create learning resources and encounters, museographic assemblages that depart from a conception of linear time as the space of evolutionary narrative to facilitate the experience of Bergsonian durations. (shrink)

In the recent literature on episodic memory, there has been increasing recognition of the need to provide an account of its adaptive function. In this context, it is sometimes argued that episodic memory is critical for certain forms of decision making about the future. We criticize existing accounts that try to give episodic memory a role in decision making, before giving a novel such account of our own. This turns on the thought of a link between episodic memory and the (...) emotion of regret. We discuss how both experienced and anticipated regret can have a distinctive influence on decision making, and argue that the ability to recollect past events in episodic memory underpins the capacity to engage in the sophisticated types of mental time travel recruited in experiencing and anticipating regret. (shrink)

The Special Theory of Relativity (STR) holds sway as a theory of time due to its apparently successful predictive structure regarding time-related phenomena such as the increased life spans of mesons or retarded clocks on jets circling the globe, and due to the relativization of simultaneity intrinsic to this theoretical structure. Yet the very structure of the theory demands that such very real physical effects be construed as non-ontological. The scope and depth of this contradiction is explored and, if these (...) time-changes are indeed viewed as ontological effects within STR, an additional problem for the theory is introduced in the context of perception. The origins of this confused situation arise as a result of the fact that STR is an expression of a classical, spatial metaphysic – a framework that equally underpins current discussions of the hard problem. This metaphysic holds an inadequate concept of time and a failure to acknowledge the reality of simultaneous causal flows. These problems are developed against the background of an alternative, namely, the temporal metaphysic of Bergson – a framework that provides a profoundly different base for viewing both relativity and consciousness. (shrink)

A process philosophical interpretation of Deleuze's theories of time encounters problems when formulating an account of Deleuze's portrayal of temporality in The Time-Image, where time is understood as having the structure of instantaneity and simultaneity. I remedy this shortcoming of process philosophical readings by formulating a phenomenological interpretation of Deleuze's second synthesis of time. By employing Deleuze's logic of affirmative synthetic disjunction in combination with his differential calculus interpretation of Spinoza's and Bergson's duration, this phenomenological interpretation portrays time as given (...) to our awareness in immediacy rather than through a continuous process of unfolding. The viability of this alternate approach calls into question the claims that Deleuze is strictly a process philosopher and anti-phenomenologist. (shrink)

Lévinas is the philosopher of the absolutely Other, the thinker of the primacy of the ethical relation, the poet of the face. Against the formalism of Kantian subjectivity, the totality of the Hegelian system, the monism of Husserlian phenomenology and the instrumentalism of Heideggerian ontology, Lévinas develops a phenomenological account of the ethical relation grounded in the idea of infinity, an idea which is concretely produced in the experience with the absolutely other, particularly, in their face. The face of the (...) other, irreducible to any ontological structure of being or any epistemological intentionality of representation, reaches out from on high across the abyss of the isolated ego, commanding respect all the while granting the possibility of murder. This experience overflows the subjective capacity of the separated ego, forcing it “beyond being.” This anarchic relation with the Other is the groundless condition of possibility for ethical life, that is, truly human life. The structure of the ethical relation can then be determined in hindsight as the ground of meaning for what it is to be an I at all. -/- This is a pretty uncontroversial reading of Lévinas' work, especially Totality and Infinity. And yet, there is one small problem. If this is what Lévinas is doing, then why does the largest section of Totality and Infinity – section II, “Interiority and Economy” – have nothing to do with ethics, the other, or the face at all? Why is it devoted to an arduous analysis of what he calls separation, egoism, economy, enjoyment, labour, and possession? In other words, why does Lévinas spend so much energy on writing about the egoist at the heart of his magnum opus, which is supposedly a text devoted to the Other? And furthermore, why is this section one of the least discussed in the secondary literature on Lévinas? -/- These questions motivate the present inquiry, which modestly seeks to understand what Lévinas is up to in this section. Once laying out the basic story, I will focus on the concepts of labour and possession, for I think these are the unrecognized pivots upon which the transition from ego to Other turns. I will also make some slight attempts to interpret Lévinas' direct or indirect comments on Plato, Kant, Hegel, Husserl and Heidegger. For although he distances himself from these giants, he stands on their shoulders as well. (shrink)

Models of memory in cognitive science and philosophy have traditionally explained human remembering in terms of storage and retrieval. This tendency has been entrenched by reliance on computationalist explanations over the course of the twentieth century; even research programs that eschew computationalism in name, or attempt the revision of traditional models, demonstrate tacit commitment to computationalist assumptions. It is assumed that memory must be stored by means of an isomorphic trace, that memory processes must divide into conceptually distinct systems and (...) phases, and that human remembering consists in inner, cognitive processes that are implemented by distinct neural processes. This dissertation draws on recent empirical work, and on philosophical arguments from Ludwig Wittgenstein and others, to demonstrate that this latent computationalism in the study of memory is problematic, and that it can and should be eliminated. Cognitive psychologists studying memory have encountered numerous data in recent decades that belie archival models. In cognitive neuroscience, establishing the neural basis of storage and retrieval processes has proven elusive. A number of revised models on offer in memory science, that have taken these issues into account, fail to sufficiently extricate the archival framework. Several impasses in memory science are products of these underlying computationalist assumptions. Wittgenstein and other philosophers offer a number of arguments against the need for, and the efficacy of, the storage and retrieval of traces in human remembering. A study of these arguments clarifies the ways that these computationalist assumptions are presently impeding the science of memory, and provides ways forward in removing them. We can and should characterize and model human memory without invoking the storage and retrieval of traces. A range of work in connectionism, dynamical systems theory, and recent philosophical accounts of memory demonstrate how the science of memory can proceed without these assumptions, toward non-archival models of remembering. (shrink)

Prolepsis is a rhetorical device in which an expected future event is presented as though it was already an accomplished fact. In the speed and instantaneity of current experience, our time is structured like a prolepsis. Through an analysis of the proleptic structure of some contemporary practices, I raise questions concerning the political nature of time's interval. In the proleptic organization of time, the interval between present and future is devalued as an obstacle to an anticipated event. However, with the (...) help of Kant and Heidegger, I argue that time's interval consists of an act of temporalization which at once dissolves what has already presented itself and generates an absolutely new and singular event of time and being. The interval is an event in the process of being accomplished, and it is this properly political dimension of experience that is foreclosed in our contemporary organization of time. (shrink)