What I want to do in this essay is examine a notorious argument put forward by Galen Strawson. He advocates what he describes as an a priori argument against the possibility of ultimate (moral) responsibility. There have been many attempts at answering Strawson, but whether they have been successful is debatable. I attempt to employ Henri Bergson's approach to the free will debate and assess whether what he says has any purchase in terms of criticism of Strawson's position. I conclude (...) that Bergson's views offer a serious alternative in debates about free will. (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)

This paper represents such an amateur approach; hence any comments backed up by professional erudition will be highly appreciated. Let me start from an attempt to sketch a relationship between professionals’ and amateurs’ contributions. The latter may be compared with the letters to the Editor of a journal, written by perceptive readers, while professionals contribute to the very content of the journal in question. Owing to such letters, the Editor and his professional staff can become more aware of the responses (...) of educated public to the journal’s output. (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 present narrative describes and problematizes one year of Educational and philosophical work with illiterate adults in contexts of urban poverty in the Public School Joaquim da Silva Peçanha, city of Duque de Caxias, suburbs of the State of Rio de Janeiro during 2008. The project, “Em Caxias a Filosofia En-caixa?!”, consists of a teacher education program in which public school teachers study and practice the art of composing philosophical experiences with their students, and the realization of actual experiences of (...) philosophy in classrooms with children and students in an adult literacy class. This narrative is concerned with the latter aspect of the project, more specifically experiences working with adult students practicing philosophy. The thirty students and three teachers involved in the course do not study the history of philosophy, nor do they create philosophical systems or theories. Rather they participate in a philosophical experience that might best be able to understand by examining Pierre Hadot’s concept of philosophy “as a way of living”. (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.

This article uses the ‘Ticking Bomb Scenario’ as a starting point for a broader discussion of what I term the ‘liberal narrative of speed’, the argument within liberal thought that the accelerating pace of events in the world requires a transition of authority from slow-moving, democratic legislative bodies, to energetic, efficient and unitary executives. However, this article argues that the source of this transfer of power is not because of any structural misfit between democracy and acceleration . Instead, through an (...) investigation of the ontology of speed I argue that speed produces not a functional threat to democratic politics, but an existential one. Acceleration unsettles stable political identities, and produces a time of uncertainty, in which people are wary of engaging in democratic debate and compromise, preferring instead the certainty of unitary executive leadership. In this regards the anti-democratic tendency of acceleration is to be located in the way in which it inculcates a sense of ressentiment against a future that is contingent and uncertainty. (shrink)

In this paper I argue that physics is, always was, and probably always will be voiceless with respect to tense and passage, and that, therefore, if, as I believe, tense and passage are the essence of time, physics’ contribution to our understanding of time can only be limited. The argument, in a nutshell, is that if "physics has no possibility of expression for the Now", to quote Einstein, then it cannot add anything to the study of tense and passage, and (...) specifically, cannot add anything to the debate between deniers and affirmers of the existence or reality of tense and passage. Since relativity theory did not equip physics with a new language with which to speak of tense and passage, I draw the further conclusion that relativity theory has not generated the revolution to our conception of time that is attributed to it. In the last section I discuss the motivations behind the continued but misguided attempts to integrate tense into a relativistic setting, and assess the manners in which relativity theory has nevertheless enhanced, albeit indirectly, our understanding of tense and passage. (shrink)

Prerequisite to memory is a past distinct from present. Because wave evolution is both continuous and time-reversible, the undisturbed quantum system lacks a distinct past and therefore the possibility of memory. With the quantum transition, a reversibly evolving superposition of values yields to an irreversible emergence of definite values in a distinct and transient moment of time. The succession of such moments generates an irretrievable past and thus the possibility of memory. Bohm’s notion of implicate and explicate order provides a (...) conceptual basis for memory as a general feature of nature akin to gravity and electromagnetism. I propose that natural memory is an outcome of the continuity of implicate time in the context of discontinuous explicate time. Among the ramifications of natural memory are that laws of nature can propagate through time much like habits and that personal memory does not require neural information storage. (shrink)

The recently published volume Rasmus Thybo Jensen and Dermot Moran have put together, The Phenomenology of Embodied Subjectivity, displays the richness that phenomenological approaches to embodiment have to offer, both in terms of the many insights of some of its major figures and as a style of inquiry that continues to be aptly deployed in diverse theoretical contexts. As such, the collection is accessible to a broad audience. The phenomenological perspectives represented are primarily those of Husserlian phenomenology and, to a (...) lesser extent, the existential phenomenology of Merleau-Ponty, Sartre, and Heidegger. In most cases, only general familiarity with these varieties of phenomenology is presupposed, although some contributors stay very close to the texts they aim to elucidate and the peculiar idiom of those texts. Though the primary theoretical orientation of the various contributions is phenomenological, many of the contributions either engage non-phenomenological philosophy (e. (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)

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)

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 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 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)