According to new mechanists, mechanisms explain how specific biological phenomena are produced. New mechanists have had little to say about how mechanisms relate to the organism in which they reside. A key feature of organisms, emphasized by the autonomy tradition, is that organisms maintain themselves. To do this, they rely on mechanisms. But mechanisms must be controlled so that they produce the phenomena for which they are responsible when and in the manner needed by the organism. To account for how (...) they are controlled, we characterize mechanisms as sets of constraints on the flow of free energy. Some constraints are flexible and can be acted on by other mechanisms, control mechanisms, that utilize information procured from the organism and its environment to alter the flexible constraints in other mechanisms so that they produce phenomena appropriate to the circumstances. We further show that control mechanisms in living organisms are organized heterarchically—control is carried out primarily by local controllers that integrate information they acquire as well as that which they procure from other control mechanisms. The result is not a hierarchy of control but an integrated network of control mechanisms that has been crafted over the course of evolution. (shrink)

For a long time, the transcendental dialectic was not at the center of Kant scholarship but was often treated simply as Kant’s reckoning with contemporary metaphysics. Accordingly, the main interest was in the transcendental analytic, especially the transcendental deduction. It is all the more gratifying that in recent times a rethinking seems to be taking place on this issue. In the following, I shall attempt to show why the transcendental dialectic is something more than an addendum to the core business (...) of the Critique of Pure Reason. Rather, it forms the culmination of the work, demanding our full attention. Indeed, it provides the key to the entire critical philosophy by exhibiting reason itself as the ultimate founding principle in the form of its Idea. (shrink)

As AI algorithms advance and produce surprising outputs, the question of imagination arises. Can we classify their output as imaginative? And what is their effect on human imagination? Apparently, algorithms follow Kant’s explanations on human imagination, thereby pushing us to update our understanding of imagination by taking into account the co-shaping between humans and their technologies. Such a new understating is offered in this article based on the theories of Don Ihde and Bernard Stiegler. With Ihde, imagination is conceived as (...) tightly linked to perception. Imagination evolves from the modernist task of seeking new points-of-view to a new mode in which technologies present imaginative layers of information on top of reality. With Stiegler, imagination is regarded as tightly linked to memory. He demonstrates how imagination complements memory, serves as a condition to memory/technology and at the same time how imagination itself is conditioned by memory/technology. In this article I develop a new synthesis: imagination as composed of perception and memory. This is the foundation of my layered model of digital imagination. In this model, the task of AI algorithms is the filling in of the layers with data. By producing endless possibilities, these technologies “automate” the Kantian “free play” of imagination, allowing us to examine more options and focus on the best of them. The model reserves the production of meaning to humans. Our role as humans is to generate meaning to the link between layers and establish new layers. (shrink)

In a Covid-19 world, everyone’s circumstances changed. Most of us are living and or working in quarantine or lockdown. There is evidence that lockdown itself can have serious negative psychological impact (Brooks et al., 2020). Nonetheless, strategies are being proposed which, arguably, mitigate these harms. Artmaking is one such strategy. As ‘art therapy’, it has been usefully deployed to address a wide range of mental health challenges including anxiety, depression, fatigue and post-traumatic stress (Regev & Cohen-Yatziv, 2018). Given that these (...) self-same impacts profile the mental health challenges identified in relation to pandemic isolation, art may be useful in mitigating mental health issues associated with lockdown. This paper does not address how the role art can play in the therapeutic mix for serious mental health disorders. More specifically it is focused on a narrower brief of ills – predominantly those associated with boredom and a loss of stimulation associated with the constrained circumstances of lockdown. The kind of ‘art therapy’ this paper has in mind is more accurately described as ‘art engagement’ as it concerns individuals actively engaging with art. Art engagement is taken as self-administered utilising the time-out imposed by lockdown as an opportunity to take stock and reset. I will argue that to be of optimal benefit to people in lockdown, the art engagement model should support art practices that are easily accessible to a wide range of people, and be broadly scoped regarding areas to explore. Finally, because the benefits flowing from art engagement are central to this quest, our art engagement model will need to be able to track how art enriches or impoverishes its practitioners. This paper will set up a framework for art engagement that provides an apt account of art practices suited to people in lockdown. I will examine how the resolution of two art puzzles point the way forward in developing an art engagement model. Adventitiously, understanding these puzzles will also prove useful for art making in constrained living arrangements. Managing the first of these puzzles requires a rejection of the notion that art can be determinately defined. Instead we opt for a model that privileges practices and products that enrich the lives of practitioners. The second puzzle assumes creativity relies to varying degrees on appropriation and so appropriation acts need to be included in the model. However, this comes at a cost. Appropriation disrupts any notion that art works are stable things situated forever in the realm of art. It will be shown that appropriation causes us to adopt a more expansive view about the fluidity of what counts as an artwork. This fluidity may take us into and out of the realm of what is traditionally thought of as ‘art’ entirely and leads us to abandon any dependency on art masters and art institutions in our artmaking quests. The paper will conclude by using the model described to outline three art engagement examples that demonstrate how sometimes ordinary everyday experiences can be enriched by taking an art-engaging stance even in the highly constrained environment of lockdown. (shrink)

This article presents an argument for the return to the original meaning of the concept value. This is achieved by revisiting the genealogy of the concept and by placing in perspective and questioning the common parlance thereof in contemporary legal discourse. The approach is decidedly against the often casual way in which courts and commentators treat the concept, seemingly as concretisation, validation, exegesis or reinforcement of fundamental norms, but without paying attention to its original meaning and use. It is submitted (...) that we confine our talk of values to the products of valuation, that is, the taste, the will, the esteem and/or perspective of some individual or group. Yet, it is not suggested that we completely discard the use of values discourse in law, the goal is rather to restate the inherent relativity of values language in legal discourse. This will bring necessary order to the current conceptual disarray and will foster mutual understanding and alliance. (shrink)

This paper discusses some political implications of humor, using as a point of departure the mechanisms that explain the sources of the comical. First, I briefly present the main explanations offered for why we laugh. I then focus on the cognitive view proposed Hurley, Dennett and Adams, according to which humor carries out the epistemic function of eliminating the errors that covertly entered a mental space. In the second section of the paper, I present two accounts of how liberalism continues (...) to extend the scope of individual liberties. I use these views on liberalism as a background for my analysis of the political implications of humor, advancing the claim that, as a result of its epistemic function, humor has a strong conservative bias. (shrink)

This paper responds to Kevin Krein’s claim in that the particular value of nature sports over traditional ones is that they offer intensity of sport experience in dynamic interaction between an athlete and natural features. He denies that this intensity is derived from competitive conflict of individuals and denies that nature sport derives its value from internal conflict within the athlete who carries out the activity. This paper responds directly to Krein by analysing ‘intensity’ in sport in terms of the (...) relationship between attention and reflection and the interaction between self and environment. I reply directly to Krein’s rejection of self-competition as based on a mischaracterisation of internal struggle and argue that the weighing of incompatible desires does not involve a fragmented self. I argue that the unique intensity to which Krein refers is strongly comparable to the Kantian conception of the sublime and explore how sublime experience fits Krein’s account and outline some serious problems that such an ideal of experience poses for nature sport. (shrink)

Attempts to ‘naturalize’ phenomenology challenge both traditional phenomenology and traditional approaches to cognitive science. They challenge Edmund Husserl’s rejection of naturalism and his attempt to establish phenomenology as a foundational transcendental discipline, and they challenge efforts to explain cognition through mainstream science. While appearing to be a retreat from the bold claims made for phenomenology, it is really its triumph. Naturalized phenomenology is spearheading a successful challenge to the heritage of Cartesian dualism. This converges with the reaction against Cartesian thought (...) within science itself. Descartes divided the universe between res cogitans, thinking substances, and res extensa, the mechanical world. The latter won with Newton and we have, in most of objective science since, literally lost our mind, hence our humanity. Despite Darwin, biologists remain children of Newton, and dream of a grand theory that is epistemologically complete and would allow lawful entailment of the evolution of the biosphere. This dream is no longer tenable. We now have to recognize that science and scientists are within and part of the world we are striving to comprehend, as proponents of endophysics have argued, and that physics, biology and mathematics have to be reconceived accordingly. Interpreting quantum mechanics from this perspective is shown to both illuminate conscious experience and reveal new paths for its further development. In biology we must now justify the use of the word “function”. As we shall see, we cannot prestate the ever new biological functions that arise and constitute the very phase space of evolution. Hence, we cannot mathematize the detailed becoming of the biosphere, nor write differential equations for functional variables we do not know ahead of time, nor integrate those equations, so no laws “entail” evolution. The dream of a grand theory fails. In place of entailing laws, a post-entailing law explanatory framework is proposed in which Actuals arise in evolution that constitute new boundary conditions that are enabling constraints that create new, typically unprestatable, Adjacent Possible opportunities for further evolution, in which new Actuals arise, in a persistent becoming. Evolution flows into a typically unprestatable succession of Adjacent Possibles. Given the concept of function, the concept of functional closure of an organism making a living in its world, becomes central. Implications for patterns in evolution include historical reconstruction, and statistical laws such as the distribution of extinction events, or species per genus, and the use of formal cause, not efficient cause, laws. (shrink)

ABSTRACT This paper explores the role of aesthetic judgements in mathematics by focussing on the relationship between the epistemic and aesthetic criteria employed in such judgements, and on the nature of the psychological experiences underpinning them. I claim that aesthetic judgements in mathematics are plausibly understood as expressions of what I will call ‘aesthetic-epistemic feelings’ that serve a genuine cognitive and epistemic function. I will then propose a naturalistic account of these feelings in terms of sub-personal processes of representing and (...) assessing the relation between cognitive processes and certain properties of the stimuli at which they are directed. (shrink)

The definition of biological individuality is one of the most discussed topics in philosophy of biology, but current debate has focused almost exclusively on evolution-based accounts. Moreover, several participants in this debate consider the notions of a biological individual and an organism as equivalent. In this paper, I show that the debates would be considerably enriched and clarified if philosophers took into account two elements. First, physiological fields are crucial for the understanding of biological individuality. Second, the category of biological (...) individuals should be divided into two subcategories: physiological individuals and evolutionary individuals, which suggests that the notions of organism and biological individual should not be used interchangeably. I suggest that the combination of an evolutionary and a physiological perspective will enable biologists and philosophers to supply an account of biological individuality that will be both more comprehensive and more in accordance with scientific practices. (shrink)

This thesis examines the little-known phenomenological ethical theory of Max Scheler, discussed in his Formalism in Ethics and Non-Formal Ethics of Values and The Nature of Sympathy, also bringing in various other complementary philosophers. It argues that Scheler’s theory, when supplemented with complementary ideas, is superior to those offered by contemporary analytic intuitionism and other meta-ethical theories. It argues that a theory of pluralist emotive intuitionism provides a better description of both our experience of ethical value and the logical requirements (...) for the ethical knowledge presumed by that experience. This thesis places Scheler’s theory in the context of ethical intuitionism up until the present. It considers why intuitionism has been generally rejected, looking at outstanding philosophical questions facing ethical intuitionism and previous attempted answers, and discussing current theories of analytic ethical intuitionism and their flaws. It explains the significant elements of Scheler’s ethical theory and how it can be understood in its phenomenological context. To demonstrate how Scheler’s material intuitionism is better than current theories of rationalist intuitionism, and other meta-ethical alternatives, this thesis looks at two main groups of issues. Firstly, the epistemological issues raised by Scheler’s theory and how it offers a possible solution to the problem of ethical knowledge, along with a brief consideration of ontological issues. Secondly, normative issues raised by Scheler’s theory: major issues on normative judgement raised but not answered by Scheler’s theory and, following this, a chapter dedicated to Scheler’s theory of ‘persons’, particularly with reference to Emmanuel Levinas. It concludes that an adapted Scheleran theory of ethical intuitionism can be superior to contemporary theories. It explains how the fundamental features of ethical experience may be epistemologically and phenomenologically justified based on objective values. It provides better responses to standard problems raised against intuitionism while also providing a natural explanation for a wider range of moral phenomena than standard meta-ethical alternatives. This demonstrates its superior explanatory power and provides strong arguments for its value as an over-arching meta-ethical theory. (shrink)

This paper seeks to explore the attraction and the beauty of the contemporary athletic body. It will be suggested that a body shaped through muscular bulk and definition has come to be seen as aesthetically normative. This body differs from the body of athletes from the early and mid-twentieth century. It will be argued that the contemporary body is not merely the result of advances in sports science, but rather that it is expressive of certain meanings and values. The visual (...) similarity of the contemporary athletic body and that of the comic book superhero suggests that both bodies carry a similar potential for narrative story-telling, and that their attraction is bound up with this narrative potential. The superhero and athlete live meaningful lives, pursuing clear and morally unambiguous goals. The aesthetic attraction of the body lies in its capacity to facilitate the articulation of a story of a meaningful life, and to do so in the face of the growing anomie and thus meaninglessness of life as experienced in contemporary society. Athleticism offers an illusion of meaning, serving to reproduce dominant justificatory narratives and social stereotypes. Yet, as an illusion of meaning, it may be challenged and negotiated, not least with respect to its bias towards a certain form of the male body. The female athletic body disrupts the illusion, opening up new existential possibilities, new ways of living and being, and thus new, and potentially disruptive, narratives. (shrink)

The volume Applied Ethics. Perspectives from Romania is the first contribution that aims at showing to the Japanese reader a sample of contemporary philosophy in Romania. At the same time a volume of contemporary Japanese philosophy is translated into Romanian and will be published by the University of Bucharest Press. -/- Applied Ethics. Perspectives from Romania includes several original articles in applied ethics and theoretical moral philosophy. It is representative of the variety of research and the growing interest in applied (...) ethics in the last few years in Romania. The philosophy practised here is at the same time an international activity, but also a kind of research deeply involved in Romanian realities. The contributors to the volume are Romanian philosophers from the most important Universities in the country, including members of the Romanian Academy, but also junior researchers. -/- This volume was made possible thanks to the relationship established between the Applied Ethics Centres of the University of Bucharest, Romania, and Hokkaido University, Japan. (shrink)

The main focus of this paper ison ways in which Kantian philosophy can informproponents and opponents of constructivismalike. Kant was primarily concerned withreconciling natural and moral law. His approachto this general problematic was to limit andseparate what we can know about things(phenomena) from things as they are inthemselves (noumena), and to identify moralagency with the latter. Revisiting the Kantianproblematic helps to address and resolve longstanding epistemological concerns regardingconstructivism as an educational philosophy inrelation to issues of objectivity andsubjectivity, the limits of (...) theoretical andpractical reason, and the relation betweenhuman experience and the world. It also servesto address ethical concerns regardingliberation from limited self-interests andcontexts conditioned by localised beliefs andinclinations. In light of revisiting theKantian problematic, both Glasersfeld's radicalview of constructivism and Jardine's socialcritique of constructivism are found wanting.Beyond constructivism, Kant's distinctionbetween phenomena and noumena and the limits ofreason that follow from it are brieflyconsidered in terms of Merleau-Ponty's noveldouble-embodied notion of flesh as anontological primitive – as a matter of beingboth in, and of, the world – with an aim tomore intimate connections between epistemologyand ethics. (shrink)

This talk, delivered at De l''autopoièse à la neurophénoménologie: un hommage à Francisco Varela; from autopoiesis to neurophenomenology: a tribute to Francisco Varela, June 18–20, at the Sorbonne in Paris, explicates several links between Varela''s neurophenomenology and his biological concept of autopoiesis.

In this book, Jana S. Ros̆ker offers the first comprehensive overview and exegesis of the work of Li Zehou, who is one of the most significant and influential Chinese philosophers of our time. Ros̆ker shows us how Li's complex system of thought seeks to revive various Chinese traditions, and at the same time attempts to harmonize or reconcile this cultural heritage with the demands of the dominant economic, political, and axiological structures of our globalized world. Variously characterized as 'neo-traditional,' 'neo-Kantian,' (...) 'post-Marxist,' 'Marxist-Confucian,' 'pragmatist,' 'instrumentalist,' 'romantic,' and more, Li's work was central to the period known as the Chinese Enlightenment in the 1980s and has helped modify and transform antiquated patterns of Chinese intellectual discourse. He is one of the rare Chinese thinkers whose work has had not only had a deep and lasting impact on Chinese intellectuals, but has acquired a broad readership outside of China as well. Seen from a broader intercultural perspective, Li's unique and imaginative approach to a wide range of basic theoretical problems has created new styles of intellectual investigation, while reminding us of our belonging to a common humanity, regardless of differences in our individual cultures, languages, preferences, and traditions. (shrink)

In this thesis, I address the metaphysical question `What is humour?' and the ethical question `When is humour immoral?' Consulting a dictionary reveals a circle of definitions between `amusement', `funniness', and `humour'. So I split the metaphysical question `What is humour?' into three questions: `What is amusement?', `What is funniness?' and `What is humour?' By critically analysing then synthesising recent research in philosophy, psychology and linguistics, I give the following answers: x amuses y if and only if: y is in (...) a non-serious, non-threatened, non-goal-directed state. y simultaneously activates two incompatible interpretations of x via unsound logic. sufficiently increases the psychological arousal of y. x is funny if and only if x merits amusement. x is humour if and only if the function of x is to merit or elicit amusement. Similarly, I split the ethical question `When is humour immoral?' into three questions: `When is amusement immoral?', `How does immorality affect funniness?' and `When is humour immoral?' By using, and, I give the following answers: Amusement is immoral when the correct theory of normative ethics defines, or to be immoral. Immorality negatively affects funniness. Humour-types are not subject to moral evaluation. Humour-tokens are immoral when the correct theory of normative ethics defines them to be immoral. This thesis contributes to the knowledge of the subject in two ways. First, by critically analysing and synthesising recent inter-disciplinary research, provides a more precisely specified definition of amusement than that in the philosophical literature. Second, research on humour, across all disciplines, conflates the three closely related but distinct concepts of humour, amusement and funniness. By providing a linear sequence of definitions,, and avoid the conceptual confusions that commonly occur. (shrink)

What does it mean to enact a jazz beat as a creative performer? This article offers a critical reading of Iyer’s much-cited theory on rhythmic enaction. We locate the sonic environment approach in Iyer’s theory, and criticize him for advancing a one-to-one relationship between everyday perception and full-fledged aural competence of jazz musicians, and for comparing the latter with non-symbolic behaviour of non-human organisms. As an alternative, we suggest a Merleau-Ponty-inspired concept of rhythmic enaction, which we call the enactive communicative (...) approach. Key to this approach is the fact that jazz musicians play by ear, and that the beat emerges because of reciprocal, real-time aural communication. From this perspective, we outline the temporality of a jazz beat as a holistic and dialectical temporal structure. Throughout the discussions, we use John Coltrane’s ‘Trane’s Slo Blues’ as a point of reference. (shrink)

Beginning by offering an overview on legal aesthetic humanisms as a specific embodiment of critical discourse, and discussing the ways the recreation of juridical experience, rationality, and culture underpinning such a criticism, leaving behind monolithic views on textuality, judgment, and subjectivity, positively contributes to unsettling the main assumptions underlying typical understandings of law’s autonomy—mostly those of formal specification of juridical “sources” and “scientific” isolation of legal thought—, this paper argues that simply reproducing aesthetic heterodoxy as the epitome of a humanist (...) ‘alternative to law’, without first debating the very orthodox-heterodox binomial, ends up overlooking the discursive and methodological specificity of law, as a particular experience of practical and normative validity. In this way, it introduces, from an axiological-normative and juridically oriented standpoint, a different—jusaesthetic—argument for re-examining the relationship between law’s praxis, nomos, and community. (shrink)

The purpose of the thesis is to put forth and explore a notion of teaching as a practice of attention formation. Drawing on educational philosophy and the Didaktik/Pädagogik-traditions, teaching is explored as a relational and lived-though practice that can promote, form, and share attention. In the context of teaching, attention is connected to the acts of showing and observing. As such, teaching can be seen as a complex of relations that emerges through the intersection of the intentions of the one (...) who is showing and the one who is observing. This intersection creates a tension between the self-active student and the paths made possible for this self-activity. The pedagogical dimension of this tension can be expressed through the principles of the summons to self-activity and Bildsamkeit. By turning to some key-texts of the French philosopher Jacques Rancière, I explore how the notion of teaching as attention formation can be understood from within a radical relational perspective on education and also how attention itself can be thought of as an educational phenomenon. From this critical relational perspective, where the relation is seen as constitutive of educational situations and where the possibility for uniqueness, difference, and freedom are regarded as central characteristics for a democratic conception of education, I interpret Rancière’s notions of intellectual emancipation and partage du sensible as political/aesthetic analogues to the summons to self-activity and Bildsamkeit, respectively. While the event of intellectual emancipation, although constituted relationally, mainly addresses the unique attentive subject, the notion of le partage du sensible draws attention to the larger and shared context in which this event takes place. In the thesis, teaching as attention formation is addressed as a relational phenomenon in which the unique and irreplaceable subject is called into being and is given space to respond to the summons of the surrounding world and to strive against the materiality of that very same world. It is suggested that attention formation might be the educational event when someone, as a unique other, is called into presence and is given room to claim and to speak for his or her interest. It is an event made possible by those teachers who have the sensibility to discover its coming, the courage to let it happen, and the strength to accept the consequences of it. (shrink)

This dissertation focuses on the social philosophy of humor from the viewpoint of Erich Fromm’s critical humanistic thinking. The work consists of an introduction and four individual articles. The introduction discusses Fromm’s theories in relation to the phenomenon of humor to provide a basis for the articles. The central aim is to understand the dynamic nature of humor and how it is related to the problem of being a paradoxical creature, that is, a human being. It is claimed that humor (...) has to be analyzed and interpreted in a unique historical and cultural situation. The first article discusses Fromm’s concept of social character to offer a theoretical tool to understand how deeply humor is a social phenomenon. It is argued that the social character is a crucial component if we are to reach beyond jokes and laughter, and to grasp their deeper social significance. The second article furthers this thought by developing a critical standpoint on the phenomenon of laughing at oneself. It calls into question the prevailing optimism about the capability to ridicule oneself. Following Fromm, it is claimed that humor needs a serious backbone from which the perceived oddities are evaluated. The third article brings forth the debate of humor and freedom. In opposition to the widely shared idea that humor should be absolutely free, it is argued that humor cannot be separated from the sphere of humanity, and this basic fact sets the ground for the freedom of humor. Freedom has to be obtained within the limits of humanity. This leads to the notion that it is untenable to claim that we should be always able to laugh at everything. The fourth article elaborates the influence of social circumstances for humor, and the competitive nature of contemporary humor is taken under critical scrutiny. It is argued that humor and laughter reflect the current historical situation and, eventually, ourselves. Therefore, from a humanistic perspective, it is concerning how natural and popular humor competitions appear to be. As a whole, the dissertation is a philosophical study, and it aims more at philosophical understanding than to concrete empirical research settings. However, the conducted research is empirically inspired philosophy, and thus intimately connected to the living phenomena of humor and laughter. (shrink)

Recent Darwin scholarship has provided grounds for recognising the Origin as a literary as well as a scientific achievement. While Darwin was an acute observer, a gifted experimentalist and indefatigable theorist, this essay argues that it was also crucial to his impact that the Origin transcended the putative divide between the scientific and the literary. Analysis of Darwin’s development as a writer between his journal-keeping on HMS Beagle and his construction of the Origin argues the latter draws on the pattern (...) of the Romantic or Kantian sublime. The Origin repeatedly uses strategies which challenge the natural-theological appeal to the imagination in conceiving nature. Darwin’s sublime coaches the Origin’s readers into a position from which to envision nature that reduces and contains its otherwise overwhelming complexity. As such, it was Darwin’s literary achievement that enabled him to fashion a new ‘habit of looking at things in a given way’ that is the centrepiece of the scientific revolution bearing his name. (shrink)

One of the least explored areas of C.S. Peirce's wide range of work is his contributions to psychology and the philosophy of mind. This dissertation examines the corpus of this work, especially as it relates to the subjects of mind, habit, instinct, sentiment, emotion, perception, consciousness, cognition, and community. The argument is that Peirce's contributions to these areas of investigation were both highly original and heavily influenced by the main intellectual currents of his time. An effort has been made to (...) present Peirce's philosophy without apology, within the conceptual framework and idiom of its time, and without appeal to a comprehensive view that Peirce never articulated. Nevertheless, as several noted interpreters have argued, much of this work can be viewed through the lens of Peirce's innovative theory of signs and the notion of the semiotic triad as its central unifying feature, despite the fact that the general theory was itself under continuous refinement and remained incomplete at the time of his death. Another hermeneutical device employed is William James' better known and more accessible work which, when juxtaposed with Peirce's ideas, serves to bring them into sharper relief. While general and historical in the presentation of material, this study seeks, at the same time, to engage the criticism of contemporary Peirce scholars in an attempt to account for several of the conundrums inherent in Peirce's work. Among the problems with implications for his philosophy of mind and theory of inquiry are the limitations of his theory of continuity, his negative view of the self, his somewhat ambiguous position on the relation of psychology to logic, and the metaethical puzzle arising from application of his theory of probable inference to truly fateful decisions. These problems provide an interesting perspective and lend balance to the truly insightful contributions Peirce made to the discovery of the mind. (shrink)

This paper argues that in foregoing the questions that emerge from the dialectical relationship between form and meaning, an intrinsic fallacy mistakes the relationship between the arts and education for a simplistic mechanism of signification—a false “ease”—where empty forms are supposedly given meaning by ethical and aesthetic givens as if the pedagogy of art were analogous to an empty room that was (or still needs to be) inhabited. Art’s false “ease” presents a tautology that presumes the relationship between the arts (...) and learning on assumptions that force a false equivalence between (a) the perception of implicit causes that constitute a number of externalised artistic attributes (such as creative, critical, and intuitive forms of thinking and making) by which the arts are instrumentalised, and (b) a number of desired effects that are seen as being equal to the relative value that an arts subject (or discipline) commands in a perceived relationship with the world in terms of its use and therefore function. To counter this distortion this paper makes a case for a pedagogical aesthetics that would unlearn—and thereby exit—the educationalist tautology of art’s false ease. While politically this would mean that the arts are recognized in their ability to think and act outside the traditional notion of schooling as a walled polis, philosophically this represents a challenge to move arts education away from the “spatial” concepts by which dialectical narratives, such as those of form and content, have been hitherto assumed as constructivist signifiers. (shrink)

ABSTRACTI defend a non-reductionist view of music, according to which music should be understood in terms of musical beauty. I suggest that general theories of music are legitimate, and I discuss sublimity and argue that it is a species of beauty. Musical experience is the experience of aesthetic properties of that are realized in sounds. Sometimes, when we are fortunate, this experience generates pleasure in musical beauty. As Hanslick rightly insisted, there is no way to begin to understand what music (...) is, or to understand its value and why we value it, without putting musical beauty in the foreground and celebrating our experience of it. This positive position has negative consequences. Musical appreciation does not require pathologies of emotion, spurious political narratives, intimations of religious profundity and so on. The value is in the sounds. It is an immanent value, not a transcendent one. It is a this-worldly value, not an other-worldly delusion, or something self-indulgently in us. Musical beauty is there in the sounds, in “tones and their artistic combination,” as Hanslick maintained. (shrink)

The selection of papers in the 6th Volume of the ESPES journal focusus on the development, analyses and critique of Arnold Berleant’s ideas on aesthetic engagement, social aesthetics, negative aesthetics, and environmental aesthetics. These issues are aproached by researchers from various continents showing the inspirational potential of Berleant’s perspective, inviting metaphors, opening paths for individual developmet in the field of art philosophy and aesthetics.

Recent theories on cognitive science have stressed the significance of moral intuition as a counter to and complementary part of moral reasoning in decision making. Thus, the aim of this paper is to create an integrated framework that can account for both intuitive and reflective cognitive processes, in order to explore the antecedents of ethical decision making. To do that, we build on Scholasticism, an important medieval school of thought from which descends the main pillars of the modern Catholic social (...) doctrine. Particularly, the focus will be on the scholastic concept of synderesis, which is an innate human faculty that constantly inclines decision makers toward universal moral principles. Managerial implications are discussed, stressing how a rediscovery of decision makers’ intuitive moral judgments could be relevant in the reflective thinking practice of managers’ ethical reasoning, thus saving them from rational insensitivity to ethical dilemmas. (shrink)

The article clarifies the way in which ‘the aesthetic’ is conceptualised in relation to business ethics in order to assess its potential to inform theory building and developmental practices within the business ethics field. A systematic review of relevant literature is undertaken which identifies three ontologically based accounts of the relationship between the aesthetic and business ethics: ‘positive’ ones, ‘negative’ accounts and ‘Postmodern’ renderings. Five epistemologically based approaches are also made explicit: those in which the aesthetic is thought to develop (...) enhanced perceptual discernment, those in which the aesthetic catalyses emotional sensitivity, those in which the aesthetic contributes to imaginative capacity, those in which the aesthetic prompts integrative apprehension and those in which the aesthetic is seen to foster critical reflexivity. The review reveals two key findings: firstly, the dearth of empirically based research to substantiate claims made about the aesthetic’s ability to foster ethical capabilities, which leads to proposals for further research; secondly, the analysis indicates the significance of critical reflexivity both in resolving the apparent dichotomy between ontologically based perspectives asserting the aesthetic’s ability to lead to ethically sound or egregious behaviour, and in underpinning the capacities of perceptual discernment, emotional connectivity, imagination and integrative apprehension which epistemologically based approaches assert the aesthetic can foster. (shrink)

This contribution starts from Max Scheler’s claim that modern philosophy holds two differing views on feelings. The first view, which Scheler attributes to René Descartes, presents them in their intentional role but rejects their independence; the other view, which Scheler attributes to Immanuel Kant, holds that they cannot be reduced to the rational part of the soul and thus affirms their independence, but deprives them of all cognitive powers. After considering both views, I discuss the views of Franz Brentano and (...) Edmund Husserl. Husserl takes an ambivalent approach to attunement, which opens the possibility of understanding Martin Heidegger’s thought of fundamental attunement. (shrink)

Kant -- drawing on his eighteenth-century predecessors -- provided a discerning and powerful characterization of what biologists had to explain in organic form. His difference from the rest is that he opined that was impossible to explain it. Its ’inscrutability’ was intrinsic. The third ’Critique’ essentially proposed the reduction of biology to a kind of prescientific descriptivism, doomed never to attain authentic scientificity. By contrast, for Locke, and ’a fortiori’ for Buffon and his followers, ’intrinsic purposiveness’ was a fact of (...) the matter about concrete biological phenomena; the features of internal self-regulation were hypotheses arising out of actual research practice. The difference comes most vividly to light once we recognize Kant’s distinction of the concept of organism from the concept of life. (edited). (shrink)

This thesis considers the role of aesthetic meaning-making in elementary school science learning. Children’s aesthetic experiences are traced through their use of aesthetic judgements, spontaneous metaphors and art activities. The thesis is based on four empirical studies: the first two examining children’s language use, i.e. the role of aesthetic judgements and the significance of spontaneous metaphors while learning science and the latter two dealing with how art activities mediate what elementary school children learn in science and what a variety of (...) art activities with different purposes afford elementary school children to learn in science. The theoretical stance emanates from pragmatist theories and includes Dewey’s definition of an aesthetic experience, Wittgenstein’s later work on language-games, and socio-cultural perspectives. The analytic approach used is a practical epistemology analysis developed by Wickman and Östman. The empirical data consists of audio- and video recordings of elementary school children’s (aged 6–10 years) discussions in pairs or small groups during science lessons and photographs of children’s pictures, sculptures and poems from a total of 14 different elementary school classes. The main findings of the empirical studies show how aesthetic meaning-making is continuous with elementary school children’s scientific learning. The thesis shows how elementary school children’s aesthetic experiences are related to whole activities and are crucial for the direction that learning takes. Aesthetic experience is important in terms of how and what elementary school children learn aesthetically and normatively in science class, which has consequences for cognitive learning, the possibility of participating in science class and learning the genre of science. Moreover, it can be seen how children’s prior experiences are recurrently reconstructed and transformed through imaginative processes. (shrink)

Sport is a producer of both emotional and aesthetic experiences. But how do these relate? Does a spectator’s emotional engagement in sport enhance or hinder it as an aesthetic experience? And does the aesthetic perception of sport enhance or hinder the emotional experiences? These questions will be addressed with particular reference to the distinction that can be drawn between partisan and purist watchers of sport, and making use of thinking in contemporary aesthetics and philosophy of emotion. There are some reasons (...) to think that emotion and aesthetics pull in opposite directions, in both sport and wider life. Does a purist miss out on the essence of sport if they adopt a detached aesthetic attitude? If that were the case, it would suggest that the sports spectator might have to choose between the two: experiencing one or the other but not both at the same time. Emotions and aesthetics would be a trade-off but I argue for some significant exceptions to this conclusion. (shrink)

This edited volume provides a biosemiotic analysis of the ecological relationship between food and medicine. Drawing on the origins of semiotics in medicine, this collection proposes innovative ways of considering aliments and treatments. Considering the ever-evolving character of our understanding of meaning-making in biology, and considering the keen popular interest in issues relating to food and medicines - fueled by an increasing body of interdisciplinary knowledge - the contributions here provide diverse insights and arguments into the larger ecology of organisms’ (...) engagement with and transformation through taking in matter. Bodies interpret molecules, enzymes, and alkaloids they intentionally and unintentionally come in contact with according to their pre-existing receptors. But their receptors are also changed by the experience. Once the body has identified a particular substance, it responds by initiating semiotic sequences and negotiations that fulfill vital functions for the organism at macro-, meso-, and micro-scales. -/- Human abilities to distill and extract the living world into highly refined foods and medicines, however, have created substances far more potent than their counterparts in our historical evolution. Many of these substances also lack certain accompanying proteins, enzymes, and alkaloids that otherwise aid digestion or protect against side-effects in active extracted chemicals. Human biology has yet to catch up with human inventions such as supernormal foods and medicines that may flood receptors, overwhelming the body’s normal satiation mechanisms. This volume discusses how biosemioticians can come to terms with these networks of meaning, providing a valuable and provocative compendium for semioticians, medical researchers and practitioners, sociologists, cultural theorists, bioethicists and scholars investigating the interdisciplinary questions stemming from food and medicine. (shrink)

By axiological memory I mean the capacity of a society to establish a set of fundamental values in the memory of its people, so that these values become indelible and unforgettable. The thesis that I will argue in this essay is that aesthetic ideas, which are closely related to Kant’s theory about genius and taste from the Critique of Aesthetic Judgement, are values that the genius creates and translates into works of art in order to be set in the collective (...) memory. Aesthetic ideas shape the tastes of others so that the collection of works and especially masterpieces of a particular civilization forms a genuine support for the axiological memory. (shrink)

Summary Humans know when they themselves experience beauty, even though the term itself has been difficult to define adequately for a variety of reasons. Given this centuries’ old failure to give an adequate definition of beauty, perhaps the time has come to enquire whether the experience of beauty, regardless of its source, can be defined in neural terms.

How do we form aesthetic judgements? And how should we do so? According to a very prominent tradition in aesthetics it would be wrong to form our aesthetic judgements about a particular object on the basis of anything other than first-hand acquaintance with the object itself (or some very close surrogate) and, in particular, it would be wrong to form such judgements merely on the basis of testimony. Further this tradition presupposes that our actual practice of forming aesthetic judgements typically (...) meets, or at least approximates, this ideal. In this paper I target this descriptive claim and argue—by appeal to some empirical work concerning belief polarization and echo chambers in aesthetics—that our actual practice of forming aesthetic judgements is heavily dependent on social sources such as testimony. I then briefly consider what normative implications this descriptive claim may have. (shrink)

Hackles have been raised in biosemiotic circles by T. L. Short’s assertion that semiosis, as defined by Peirce, entails “acting for purposes” and therefore is not found below the level of the organism (2007a:174–177). This paper examines Short’s teleology and theory of purposeful behavior and offers a remedy to the disagreement. Remediation becomes possible when the issue is reframed in the terms of the complexity sciences, which allows intentionality to be understood as the interplay between local and global aspects of (...) a system within a system. What is called “acting for purposes” is not itself a type of behavior so much as a relationship between a dynamic system that “exists for a purpose” and its microprocesses that “serve purposes.” The “intentional object” of philosophy is recast here as the holistic self-organized dynamics of a system, which exists for the purpose of self-maintenance, and that constrains the parts’ behaviors, which serve the purpose of forming the system. (A “system” can be any emergent, e.g. an abiotic form, an adapted species, a self, a conditioned response, thought, or a set of ideas.) The self-organized whole, which is represented to the parts in their own constrained behaviors, assumes the guiding function so long attributed to the mysterious “intentional object.” If emergent self-causation is not disallowed, creative originality, as well as directionality, becomes part of the definition of purposeful behavior. Thus, key tools used here, required for understanding emergence, come from poetics rather than semoitics. In the microprocesses of self-organization, I find what I call “accidental” indices and icons — which are poetic in the sense that they involve mere metonymic contiguity and metaphoric similarity — and which are preferentially selected under constrained conditions allowing radically new connections to habituate into an “intentional” self-organized system that, not coincidentally, has some of the emergent characteristics of a conventional symbolic system. (shrink)

Gender greatly impacts access to opportunities, potential, and success in corporate leadership roles. We begin with a general presentation of why such discussion is necessary for basic considerations of justice and fairness in gender equality and how the issues we raise must impact any ethical perspective on gender in the corporate workplace. We continue with a breakdown of the central categories affecting the success of women in corporate leadership roles. The first of these includes gender-influenced behavioral factors, such as the (...) requirements and expectations of gendered verbal and nonverbal communication styles as well as appearance. We move on to address the impact of family on corporate leadership opportunities and success, discussing the asymmetrical evaluation of an individual’s potential, authority, and competence based on gender stereotypes of familial obligations and expectations. Finally, we address how gender impacts access to networking and sponsorship opportunities and the long-term effects of systematic limitations on women’s inclusion in the upper echelons of corporate leadership. We conclude with a summary of the questions and issues raised by our discussion and direct individuals to consider how different ethical systems and moral requirements might influence their interpretations of gender and leadership in the corporate workplace. (shrink)

ABSTRACT Western creativity is usually entrusted to the human imagination, regarded as a mental power capable of envisioning eternally original artefacts, while in the East creativity is entrusted to nature-in-the human, what Taoist philosophy calls qi, a spiritual power capable of reflecting the passing changes of nature in paintings, poems, and other forms of art. It is the intention of this paper to explore and elucidate these differences between the Western and Eastern conceptualizations of creativity, ending with a suggestion of (...) one feature they may have in common. (shrink)

To view a work knowingly gives understanding but not hope Rorty, "The Necessity of Inspired Reading" I cannot count one. I know not the first letter of the alphabet. Thoreau, Walden.

This article deals with a phenomenological standpoint on paradoxicality of image-consciousness, i.e., an analogical representation in which an image possesses material support. Contrary to tradition, E. Husserl thought of imagination as being both an intuitive and a mediate act. Husserl’s opinion results from paradoxical nature of an image itself: an image appears but it doesn’t exist, while the exhibited thing does exist but doesn’t appear in proper sense. The paradoxicality of an image results in its double conflict — with actual (...) present and with Bildsujet. Initially, Husserl considered that the more analogous features an image possesses the less conflict exists between it and Bildsujet, but then his own experience made him change his mind. Examining a wax figure example, he came to the conclusion that this perfectly human-like object is rather a fiction than an image for it is constituted in a position-taking intention, not in a neutralized one. However, despite we’ve got knowledge of illusory nature of such an object our consciousness keeps on fluctuating between an imaging intention and a perceptual one. Unlike Husserl neither J.-P. Sartre nor M. Richir draws a distinction between an image and an illusion. Sartre considers the imaginary in its radical form to be a world of schizophrenic. As for Richir, he supposes the imaginary to be a mass-consumption product being used for ideological manipulations. He follows Plato’s intellectual strategy and characterizes an image as εἴδωλον which represents the reality instead of reaching it. Being saturated by visible an image lacks any gap that would give an impulse to a work of imagination. At the same time, Richir admits that simulacre does relate to art, whereas an artefact doesn’t. An artefact is made by technical device which imitates not reality but consciousness. Thus, an artefact in its turn is not a reality illusion but an illusion of a reality illusion. Its hallucinatory effect makes us believe that we look into a mirror of reality as if a technical agent had better access to it than a human eye does. (shrink)

In this paper, I discuss the neo-Aristotelian approaches, which usually reinterpret Aristotle’s ideas on form and/or borrow the notion of formal cause without engaging with the broader implications of Aristotle’s metaphysics. In opposition to these approaches, I claim that biosemiotics can propose an alternative view on life’s form. Specifically, I examine the proposals to replace the formal cause with gene-centrism, functionalism, and structuralism. After critically addressing these approaches, I discuss the problems of reconciling Aristotelianism with the modern view of life’s (...) organization. I claim that the notion of the final cause proposes a cosmological hierarchy and that this is the main problem with applying the formal cause to biology. An alternative categorization of conceptualizing life’s form involves the processual identity, relational property clusters, and context-dependent transmission of representational units. The third category points to a semiotic basis of the form of life. In this context, I offer to readjust the focus of the problem of matter-form duality by pointing out that form is primarily an issue of the subject-object relation. Biosemiotics helps to understand the constructive role of symbolic representation in living systems, which is crucial to extend the analysis of the form from cognitive representations to external phenomena. Emergence of subjectivity and perspectivity of interactions are key elements to bridge the form and actual processes within a non-hylomorphic account. To demonstrate transitions from the physical influence of shapes to the organic recognition of forms, I address the biological studies on the synchronization of coincidental inputs and enzyme specificity. (shrink)

This article seeks to recover a neglected chapter in the historical and theoretical background of social theory in general and critical theory in particular with a view to refining the understanding of the presuppositions of a cognitively enhanced critical social science appropriate to our troubled times. For this purpose, it offers a brief reconstruction of the mathematical-philosophical tradition from ancient to modern times by extrapolating that part of it that is marked by the ideas of infinity, infinite processes and limit (...) concepts. It gives suggestive indications not only of how these ideas relate to extant social-theoretical thought, but especially also of the two related cognitive directions – the weak-naturalistic and the socio-cultural – in which such thought is currently challenged to go. (shrink)