The ability to think in abstractions depends on the imagination. An important evolutionary change was the installation of a suite of six imaginative activities that emerge at first in childhood, which include empathy, symbolic play, and theory-of-mind. These abilities can be built upon in adulthood to enable the production of oral and written stories. As a technology, writing has three aspects: material, skill based, and societal. It is in fiction that expertise in writing is most strikingly attained; imagination is put (...) to use to create simulations of the social world that can usefully be offered to others. Fiction is best conceived as an externalization of consciousness, which not only enables us to understand others but also to transform ourselves so that we can reach beyond the immediate. (shrink)

The ability to think in abstractions depends on the imagination. An important evolutionary change was the installation of a suite of six imaginative activities that emerge at first in childhood, which include empathy, symbolic play, and theory-of-mind. These abilities can be built upon in adulthood to enable the production of oral and written stories. As a technology, writing has three aspects: material, skill based, and societal. It is in fiction that expertise in writing is most strikingly attained; imagination is put (...) to use to create simulations of the social world that can usefully be offered to others. Fiction is best conceived as an externalization of consciousness, which not only enables us to understand others but also to transform ourselves so that we can reach beyond the immediate. (shrink)

In his tractA Rationale of Judicial Evidence, Jeremy Bentham repeatedly refers to the courtroom as the ‘theatre of justice’. Bentham's description has been borne out by recent scholarship on Athenian law. As a form of civic space, the Athenian lawcourts were similar to the Theatre of Dionysos in many respects: litigants faced each other in a competitiveagon, delivering lines written for them by logographers to a mass audience which would range, ordinarily, from 200 to 1500 jurors. Moreover, modern scholars have (...) drawn on the notion of ‘social drama’ introduced by the anthropologist Victor Turner to describe the Athenian lawcourts as an arena for socially constructive feuding behaviour, as a public stage for the social élite to compete for prestige, or as a forum for ongoing communication between élite litigants and mass jurors ‘in a context which made explicit the power of the masses to judge the actions and behavior of élite individuals’. (shrink)

In Historied Thought, Constructed World, Joseph Margolis identifies the philosophical themes that will dominate philosophical discussions in the twenty-first century, given the recognition of the historicity of philosophical thought in the twentieth century. In what follows I examine these themes, especially cognitive intransparency, and the arguments presented in favor of them, noting the extent to which they rest on a view of language that takes a written text, and not speech, as the paradigm of language. I suggest if one takes (...) speech as a mutual embodied action in a shared space as a model for language, the theme of cognitive intransparency—and the problems it brings in its wake—does not loom so large for those of us working in the history of philosophy. I conclude by showing that if we adopt this suggestion in relation to early Greek philosophy, that is, the period in the history of historied thought in which philosophy itself emerges as a linguistic and intellectual activity, we can better understand how and why philosophy emerged as it did—in the form of dialogues by Plato. (shrink)

Plato’s Phaedrus, perhaps his most enigmatic and structurally convoluted dialogue, could easily be said to inaugurate a pointed critique of mass media that persists to the present day. Indeed, in certain corners of media theory, the origin myth of writing furnished in the Phaedrus (in which the Egyptian god Theuth presents writing as a gift to King Thamus) has in turn come to serve as a kind of origin myth for media theory: a primaeval pharmacopoeia of media effects. And yet, (...) this is an origin myth that can only underwrite not only its own non-originarity and non-truth, insofar as its very status as a written text ensures that it will never meet the criteria that it itself establishes for a reasoned account of things (logos). It remains perpetually orphaned, unable to defend itself, irrevocably cut off from its ‘father’, the speaking subject, and thus from the vitality of living discourse. But this paradox, I argue, is not a failing of the dialogue, but is a device intended to encourage the reader’s active involvement in the text’s status as medium. The Phaedrus is not just diagnostic, but therapeutic. (shrink)