This article explores the concept of labour through a diremptive reading of Polish philosopher Stanisław Brzozowski’s essay “Prolegomena filozofii ‘pracy’” written in 1909. This essay appears as a chapter in his main work Idee: wstęp do filozofii dojrzałości dziejowej, first published in 1910. In “Prolegomena,” Brzozowski defines labour as an inner gesture that delineates the duration of life. In the interpretation of this definition the influence of Henri Bergson on Brzozowski’s thought is stressed. Inspired by Bergson, Brzozowski understands labour as (...) the only ground-creating—and therefore metaphysical—activity of humanity, when faced with the absence of transcendent grounds for existence in modernity. Emphasis is placed on Brzozowski’s insistence in “Prolegomena” that labour is irrational in its delineation of the absolutely new. He describes it as the α of the inner gesture of labour that cannot be known until it is performed. This unknown α is interpreted as his way of describing the groundlessness of the ground-creating activity of labour, and that this groundlessness means that labour eludes the control of the subject. (shrink)

Here, we defend the thesis whereby the event plays a main role of sense in the meaning of certain sentences. This thesis is based on the one hand on recent work in the metaphysics of so-called “happening” entities, which has led to a distinction between concrete physical processes and abstract events, the latter being conceived as psychological constructs accounting for stabilities or changes in the world. Furthermore, we look back at the work on intentionality carried out in the Brentanian school (...) at the turn of the 20th century and we relate abstract events to the mental states of affairs studied by Twardowski but which were then neglected by contemporary philosophers of language. Abstract events, thus characterized, have the contingent property of occurring, when facts obtain and realize them. We suggest that the facts in question correspond to Wittgensteinian states of affairs. (shrink)

This introduction presents a state of the art of philosophical research on cognitive phenomenology and its relation to the nature of conscious thinking more generally. We firstly introduce the question of cognitive phenomenology, the motivation for the debate, and situate the discussion within the fields of philosophy, cognitive psychology and consciousness studies. Secondly, we review the main research on the question, which we argue has so far situated the cognitive phenomenology debate around the following topics and arguments: phenomenal contrast, epistemic (...) arguments and challenges, introspection, ontology and temporal character, intentionality, inner speech, agency, holistic perspective, categorical perception, value, and phenomenological description. Thirdly, we suggest future developments by pointing to four questions that can be explored in relation to the cognitive phenomenology discussion: the self and self-awareness, attention, emotions and general the... (shrink)

Journal of Philosophy of Education, EarlyView.

The aim of this paper is to explain how the Heraclitean doctrine of universal flux must be rejected, while the notion of flux should and can be preserved. Against the reductionist account of subjectless change, a modern version of the Heraclitean doctrine advocated by revisionist metaphysics, I argue that (1) the idea of subjectless change is one that can and should be formulated in the established conceptual framework, and (2) subjectlessness is a feature that most aptly characterizes material changes. In (...) essence, I seek to provide a proper accommodation for the notion of flux in a conceptual framework that is traditionally understood (or rather misunderstood) as decidedly excluding it. (shrink)

Though the claims they make about temporality are markedly different, Henri Bergson and Martin Heidegger agree that time is a philosophically foundational phenomenon; indeed, they agree that time is, in certain respects, the basis for all discursively representable beings. This paper focuses not so much on their theories of temporality (i.e., their respective answers to the question what is time? and their justifications for these answers) but rather on the challenges involved in talking about this phenomenon at all. Both thinkers (...) are highly sensitive to these challenges and to the problems involved in any attempt to represent time in a discursively straightforward manner. I will show that: (1) Bergson’s and Heidegger’s respective claims about time can be fully understood only if we keep this sensitivity in view and carefully note what they are—and aren’t—doing in talking about time ; and (2) what is ultimately at stake in their analyses is not just the phenomenon of time but what it means to engage in rigorous philosophical praxis. (shrink)

Jean Nicod (1893–1924) is a French philosopher and logician who worked with Russell during the First World War. His PhD, with a preface from Russell, was published under the titleLa géométrie dans le monde sensiblein 1924, the year of his untimely death. The book did not have the impact he deserved. In this paper, I discuss the methodological aspect of Nicod’s approach. My aim is twofold. I would first like to show that Nicod’s definition of various notions of equivalence between (...) theories anticipates, in many respects, the (syntactic and semantic) model-theoretic notion of interpretation of a theory into another. I would secondly like to present the philosophical agenda that led Nicod to elaborate his logical framework: the defense of rationalism against Bergson’s attacks. (shrink)

Jean Nicod (1893–1924) is a French philosopher and logician who worked with Russell during the First World War. His PhD, with a preface from Russell, was published under the title La géométrie dans le monde sensible in 1924, the year of his untimely death. The book did not have the impact he deserved. In this paper, I discuss the methodological aspect of Nicod’s approach. My aim is twofold. I would first like to show that Nicod’s definition of various notions of (...) equivalence between theories anticipates, in many respects, the (syntactic and semantic) model-theoretic notion of interpretation of a theory into another. I would secondly like to present the philosophical agenda that led Nicod to elaborate his logical framework: the defense of rationalism against Bergson’s attacks. (shrink)

Can the brain become mind? If the question seems strange, aberrant even, it is perhaps due to the way the problem brain–mind is commonly presented, where what's repeatedly asked is whether the brain is or isn’t ‘mind’. Yet, if we take Deleuze and Guattari's provocation seriously, in the Conclusion of What is Philosophy?, the problem is radically recast: even if speculatively, that is, properly philosophically or conceptually, the brain, for them, involves its own becoming, both in terms of its ‘becoming-subject’ (...) and ‘becoming-mind’, as ‘Thought-brain’. I will explore references within Deleuze's philosophy in relation to the brain, namely in The Logic of Sense and his work on cinema, as I try to work out what this fantastic story (with necropolitical undertones) may in fact look like, the one where the brain not simply is but becomes, and in becoming, becomes mind…. (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)

Physical processes manifest an objective order that science manages to discover. Commonly, it is considered that these processes obey the “laws of nature.” Bergson disputes this idea which ultimately constitutes a kind of Platonism. In contrast, he develops the idea that physical processes are a particular case of automatic behaviors. In this sense, they imply a motor memory immanent to matter, whose actions are triggered by some perceptions. This approach is obviously panpsychist. It gives matter a certain consciousness, even if (...) the latter is different in nature from our consciousness. In some respects, this approach is similar to contemporary panpsychism because it claims that the psychic is a fundamental characteristic of nature, causally active. But it is also original because it does not constitute a theory of the origin of mind in nature. (shrink)

The received view of Bergson's philosophy of life is that it advances some form of vitalism under the heading of an “élan vital.” This paper argues against the vitalistic interpretation of Bergson's élan vital as it appears in Creative Evolution in favor of an interpretation based on his overlooked reflections on entropy and energetics. Within the interpretation developed here, the élan vital is characterized not as a spiritualistic “vital force” but as a tendency of organization opposed to the tendency of (...) entropic degradation. It is then shown how Bergson's view of evolution and living organization resonates with more contemporary scientific approaches belonging to a “thermodynamic paradigm” in theoretical biology in different respects, including the critique of neo-Darwinism and the positing of a driving force behind evolution. Finally, the special interest that Bergson's philosophical biology bears today is considered in terms of the connection between the concepts of élan vital and duration. (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)

Background: The application of the philosophical mode of investigation called “phenomenology” in the context of sport. Objective: The goal is to show how and why the phenomenological method is very often misused in the sportrelated research. Methods: Interpretation of the key texts, explanation of their meaning. Results: The confrontation of concrete sport-related texts with the original meaning of the key phenomenological notions shows mainly three types of misuse – the confusion of phenomenology with immediacy, with an epistemologically subjectivist stance (phenomenalism), (...) and with empirical research oriented towards objects in the world. Conclusions: Many of the discussed authors try to take over the epistemological validity of phenomenology for their research, which itself is not phenomenological, and it seems that this is because they lack such a methodological foundation. The authors believe that an authentically phenomenological analysis of sport is possible, but it must respect the fundamental distinctions that differentiate phenomenology from other styles of thinking. (shrink)

Philosophical views about the logical structure of time are typically divided between proponents of A and B theories, based on McTaggart's A and B series. Drawing on Paul Ricoeur's hermeneutic phenomenology, I develop and defend McTaggart's thesis that the C series and the A series working together give a consistent description of temporal experience, provided that the two series are treated as distinct dimensions internal to time. In the proposed two-dimensional model, the C series expresses a nesting order of the (...) constitutive states of a world, whereas ontological continuity and change are properties of the A series. This, I argue, allows for limited backward causation. (shrink)

This thesis seeks to understand the nature of and relation between science and philosophy articulated in the early work of the French philosopher Gilles Deleuze. It seeks to challenge the view that Deleuze’s metaphysical and metaphilosophical position is in important part an attempt to respond to twentieth century developments in the natural sciences, claiming that this is not a plausible interpretation of Deleuze’s early thought. The central problem identified with such readings is that they provide an insufficient explanation of the (...) nature of philosophy’s contribution to the encounter between philosophy and science that they discern in Deleuze’s work. The philosophical, as opposed to scientific, dimension of the position attributed to Deleuze remains obscure. In chapter 1, it is demonstrated that this question of philosophy’s contribution to intellectual life and of how to differentiate philosophy from the sciences is a live one in Deleuze’s early thought. An alternative, less anachronistic interpretation of the parameters of Deleuze’s early project is offered. The remaining chapters of the thesis examine the early Deleuze’s understanding of the divergence between philosophy and science. Chapter 2 gives an account of Deleuze’s metaphilosophy, alongside a reconstruction of his largely implicit early understanding of science. The divergent intellectual processes and motivating concerns that account for Deleuze’s understanding of the differentiation of science and philosophy are thus clarified. In chapter 3, Deleuze’s use of mathematical and physical concepts is examined. It is argued that these concepts are used metaphorically. In chapter 4, the association between modern science and the Deleuzian concept of immanence that has been proposed by some Deleuze scholars is examined and ultimately challenged. The thesis concludes with some reflections on the significance of Deleuze’s early work for contemporary debates concerning the future of continental philosophy and the nature of philosophy more generally. (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)

Existential anxiety is an outstanding issue both in psychology and philosophy. It implies the mental rummage following the notion of existence, inexistence and related concepts. Martin Heidegger is a philosopher incorporating the meaning of existential anxiety and time perception in a unique comprehensive view, suggesting that there is a relation between being, time and anxiety. To the best of our knowledge, no empirical study has assessed any association between time perception and existential anxiety. The current study aims at investigating the (...) mentioned association. Eighty four students in Tabriz University of Medical Sciences voluntarily participated in this study and gave their written informed consent. Time perception was assessed by verbal and production tests. The score of existential anxiety was obtained by the Good & Good Existential Anxiety Questionnaire. Association of time perception and existential anxiety was analyzed statistically. Mean score of existential anxiety of subjects was 7.57±4.75 out of 32. Accuracy of time perception was significantly related to existential anxiety score (_P_ = 0.034); in the manner that inaccurate time perceivers had higher existential anxiety scores. The results of this study are preliminary in line with the existential concepts presented by Heidegger; indicating that existential anxiety and time perception may have common roots. This understanding about existential anxiety suggests further explorations and deeper existential reasonings, as well as more efficient psychological and psychiatric clinical practice. (shrink)

This paper introduces the concept of ‘skeuomorphic reassurance’ as a guiding principle for human interfaces in technological development and design, particularly for older people and people with dementia (PwD). Skeuomorphs exhibit decorative design elements reminiscent of ‘parent’ objects that incorporated such design elements because they were structurally integral. Human interfaces adopted by new technologies need to be carefully balanced between novelty and recognisability. -/- The philosophy of personhood is discussed in the context of dementia, concluding that the subjective character of (...) conscious mental processes is an irreducible feature of reality, and that the persistence of personhood in PwD constitutes a further argument in support of this assertion. -/- Assistive technologies that aid family and carers, as well as PwD, and their relationships, need to ensure that skeuomorphic reassurance is incorporated in their design, not least because older people and PwD need recognisable interfaces today, but, as this paper argues, because the problems today’s over-65s have with digital technologies may quite likely not go away, but re-present themselves generation after generation, unless skeuomorphic reassurance is built into their design. (shrink)

The foundation of irreversible, probabilistic time -- the classical time of conscious observation -- is the reversible and deterministic time of the quantum wave function. The tendency in physics is to regard time in the abstract, a mere parameter devoid of inherent direction, implying that a concept of real time begins with irreversibility. In reality time has no need for irreversibility, and every invocation of time implies becoming or flow. Neither symmetry under time reversal, of which Newton was well aware, (...) nor the absence of an absolute parameter, as in relativity, negates temporal passage. Far from encapsulating time, irreversibility is a secondary property dependent on the emergence of distinct moments from the ceaseless presence charted by the wave function. (shrink)

The question of how literature can evoke emotions is a familiar one, as is the idea that a good work of literature arouses the right emotion in the right place through our capacity for sympathy. However, there is no consensus on how this works, partly because there is no agreement on the nature of emotions. One figure that contributes to both of these topics is Robert Musil. As a thinker and as a novelist, he had both a theory of emotions (...) and a novelistic treatment of them. His novels are notable, however, for the way in which they do not appeal to the reader’s capacity for sympathy, owing partly to the formlessness of his characters. Yet it is precisely the gap he creates between fiction and emotional reality that allows for a richer investigation of the relationship between emotions and literature. (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)

The central focus of this paper is the disjunction between the findings of climate science in revealing the threat of global warming and the failure to act appropriately to these warnings. The development of climate science can be illuminated through the perspective provided by Peircian semiotics, but efforts to account for its success as a science and its failure to convince people to act accordingly indicate the need to supplement Peirce’s ideas. The more significant gaps, it is argued, call for (...) the integration of major new ideas. It will be argued that Peirce should be viewed as a Schellingian philosopher, and it will then be shown how this facilitates integration into his philosophy of concepts developed by other philosophers and theorists within this tradition. In particular, Bourdieu’s concepts of the ‘habitus’ and ‘field’ will be integrated with Peirce’s semiotics and used to analyse the achievements and failures of climate science. It will be suggested that the resulting synthesis can augment Peirce’s evolutionary cosmology and so provide a better basis for comprehending and responding to the situation within which we find ourselves. (shrink)

The thesis argues that the notion of film consciousness deepens a wide-range of philosophical issues in ways which are only accessible through film experience. These issues, directly related to the continental tradition, deal with consciousness, experience, intentionally and meaning. We look to the implications of the initial acts of film reproduction as it creates 'images' of the world which reconceptualise vision in terms of space, time and dimension. We move from ontology to experience and examine an aesthetic form with radical (...) implications for spectator consciousness. These issues are explored from two philosophical positions. Firstly, phenomenology, especially Edmund Husserl and Maurice Merleau-Ponty. Secondly, the work of Gilles Deleuze who presents the most penetrating insights to date into film consciousness and its repercussions for thought and affectivity. The focus of this study is to draw together these two philosophical positions, showing their fundamental differences but also similarities where they exist. This approach is rarely attempted but the belief running through this thesis is that film is one arena which is invaluable for making such comparisons. It is argued philosophically that film writes large key phenomenological concepts on intentionality, time-consciousness and the relation of the lifeworld to the predicative. In terms of Deleuze, film is shown as a unique artform which in allowing us to link otherwise casts light on Deleuze's own complex system of thought. Chapters 1-3 are concerned with phenomenology and detail the role of film in terms of the lifeworld, intentionally, reduction and the transcendental in a way which has not been attempted elsewhere. The linking chapter on time is used to introduce the work of Henri Bergson and its influence both on phenomenology's inner time-consciousness and Deleuze's fundamental categories of film movement and time imagery. The final two chapters look at the way film is reconfigured through montage and the implications of this for film's unique expression of movement and time. (shrink)

The intellectual act of imposing borders to contain and delimit objects has been a constituent factor in physics since its origins, and is also fundamental for philosophical reflection. However, the characteristics of the conceptual universe thus constructed (tendency towards the ideal limit, invariance in variation, a conception of matter as residue, etc.) seem inadequate in biology. The essential characteristic of the living thing is, in fact, that of having a history: that is, of being the concrete trace of a memory. (...) Making an epistemology of the living thing (and not of the inert) means identifying new categories which, being radically antithetical to disembodied notions like that of program and information, take account of the unpredictability and creativity which time introduces. This essay aims to bring some of these fundamental categories into focus. (shrink)

Principles of design composition are commonly understood to pertain to geometrical systems for arranging parts in assembling a formal whole. Connection to socio-cultural 'meaning' and relevance arguably occurs primarily via the assumed divinity or universality of these systems. In the contemporary architectural world, where explicitly held beliefs in fundamental, geometrically defined principles or values have dissipated, guiding principles of composition appear to be obsolete. This seems particularly true in relation to work that highlights process - or change, responsiveness, interactivity and (...) adaptability - since this implies that the composition remains in flux and unable to be grounded in the composition of form. While processually inflected architecture (referred to here as 'processual architecture'), has been an active field since at least the 1960s, it has been significa ntly developed since design experiments involving digital computation intensified in the 1990s. For this field of work, both highly celebrated and criticised as superficial or unethical, any connection to 'meaning' or value that might be offered by principles of composition would appear especially lost. This thesis reviews, counterpoises and reorients these assumptions, arguing a case for the value of processual architectural that has not been previously articulated. After the last 10 to 15 years of digital experimentation, it is clear that digital technology in itself is not the primary issue, but simply part of a complex equation. The thesis articulates this 'equation' through the model of emergence, which has been used in the field with increasing prominence in recent years. Through both practice-based research and theoretical development, a processually inflected theory of composition is proposed. This offers pathways through which the potential of processual architecture might be productively developed, aiming to open this field of work into a deeper engagement with pressing contemporary socio-political issues. The thesis demonstrates how the cultivation of particular modes of attention and engagement, found to hold an implicit but nevertheless amplified significance within processual architecture, make it possible to develop an embodied awareness pertaining to an 'ethico-aesthetic know-how'. This know-how is acquired and matured through attention to the affective dimensions that arise through design activity. The thesis highlight aspects of design process and products that are routinely suppressed in architectural discourse, generating new insights into the importance of affect for design process, design products and the relations between them. The ethical dimensions of such an approach become especially poignant through the explicit connection made between design activity and the practices of everyday life. Relationships between architecture and the social become re-energised, in a radically alternative manner to the social agendas of modernism or the more literary critiques of post-modernism. Through detailed discussions of the specific, local conditions with a series of design projects I have undertaken, I argue how and why close attention to the affective dimensions of design process offers new and productive ways to approach research through design practice. This offers a response to the calls for new 'post-critical' forms of research through empowering both sides of a previously held divide: theory and practice. (shrink)