I argue that anarchist ideas for organising human communities could be a useful practical resource for Christian ethics. I demonstrate this firstly by introducing the main theological ideas underlying Maximus the Confessor’s ethics, a theologian respected and important in a number of Christian denominations. I compare practical similarities in the way in which ‘love’ and ‘well-being’ are interpreted as the telos of Maximus and Peter Kropotkin’s ethics respectively. I further highlight these similarities by demonstrating them in action when it comes (...) attitudes towards property. I consequently suggest that there are enough similarities in practical aims, for Kropotkin’s ideas for human organising to be useful to Christian ethicists. (shrink)

The enactive and ecological approaches to embodied cognitive science are on a collision course. While both draw inspiration from similar views in psychology and phenomenology, the two approaches initially held seemingly contradictory views and points of focus. Early enactivists saw value in the ecological approach but insisted that the two schools remain distinct. While ecological psychology challenged the common foes of mental representation and mind-body dualism, it seemingly did so at the cost of the autonomy of the agent. This is (...) evidence that the early enactive and ecological approaches told different stories about how agents and environments interact. Whereas the enactive approach broadly focuses on agency and the organism’s resilience to environmental perturbations, the ecological approach insists that organisms are best understood in terms of the organism–environment system and at the ecological scale. Historically, this tension created space for harsh criticisms from both sides and for some ecological psychologists to dismiss enactivism altogether. Despite their differences, both approaches use dynamic systems theory to explain the interactions between embodied agents and the environment or contextual milieu in which they are embedded. This has led some scholars to focus on the complementary elements of each approach and argue that the two schools are allies, thus rejecting the historical disagreements between the two approaches and calling for an ecological–enactive synthesis. The attempts to synthesize the approaches are noteworthy and should be considered steps in the right direction but are potentially problematic. If the two schools are merely synthesized to some form of ecological–enactivism, then something of value from both approaches could be lost. This is analogous to the hasty comparison between two seemingly similar schools of thought found in early attempts at East-West comparative philosophy. I argue that the relationship between the enactive and ecological approaches is both complementary and contrary and is thus best understood in terms of complementarity. Given the complexity of complementarity I will unpack the notion in steps. I will begin with the exploration of analogous concepts in Japanese Philosophy and gradually build a lens through which both agent environment and ecological enactive complementarities can be understood. (shrink)

Summary In the current cognitive theory of music, concepts of Gestalt psychology are referred to in various ways. For example, neurocognitive models of music perception address the formation of auditory Gestalts as a stage in the formation of meaning. However, this view runs counter to central premises of Gestalt psychology of Carl Stumpf’s school, which precisely did not describe Gestalts as synthesized phenomena. Nevertheless, it is argued here, borrowing from Gestalt concepts can promote current non-reductionist positions. They conceptualize musical perception (...) not in the ways of information theory, but of phenomenology and action theory. Here the theory of affordance developed by J.J. Gibson in close collaboration with his wife Eleanor J. Gibson stands out. It was explicitly introduced into musicological research by Eric Clarke, but without reference to its Gestalt psychological roots. The article explores theories of musical affordance with the help of further methodological tools, which can be assigned to the philosophical schools of direct realism and constructivism. They open up the possibility of a non-cognitivist and non-representational perspective on musical perception. It turns out that Gestalt psychological concepts also have a catalytic effect on the expansion of our understanding of musical perception in this constellation, although this connection has hardly been visible so far. (shrink)