The concept of experience by John Dewey revisited: conceiving, feeling and “enliving”. Dewey takes a few steps towards a differentiation of the concept of experience, such as the distinction between primary and secondary experience, or between ordinary (partial, raw, primitive) experience and complete, aesthetic experience. However, he does not provide a systematic elaboration of these distinctions. In the present text, a differentiation of Dewey’s concept of experience is proposed in terms of feeling, “enliving” (a neologism proposed in this paper) and (...) conceiving. Feeling refers to the basic mode of experience where action, emotion, cognition and communication constitute an original unity. Enliving, aesthetic experience, constitutes the lifeworld, as a person-in-world experience. Even though enliving is holistic and relational, a certain distance emerges between action, emotion and cognition which allows contemplation and choice. Conceiving, on the other hand, refers to the isolating and abstracting understanding of the world with even greater distance between action, emotion and cognition. Such a differentiation provides a clearer understanding of the scope of education. It avoids the risks of regressive tendencies in the concept of experience, and it helps to include conceiving within the realm of experience. (shrink)

The context of an operational description is given by the distinction between what we consider as relevant and what as irrelevant for a particular experiment or observation. A rigorous description of a context in terms of a mathematically formulated context-independent fundamental theory is possible by the restriction of the domain of the basic theory and the introduction of a new coarser topology. Such a new topology is never given by first principles, but depends in a crucial way on the abstractions (...) made by the cognitive apparatus or the pattern recognition devices used by the experimentalist. A consistent mathematical formulation of a higher-level theory requires the closure of the restriction of the basic theory in the new contextual topology. The validity domain of the so constructed higher-level theory intersects nontrivially with the validity domain of the basic theory: neither domain is contained in the other. Therefore, higher-level theories cannot be totally ordered and theory reduction is not transitive. The emergence of qualitatively new properties is a necessary consequence of such a formulation of theory reduction (which does not correspond to the traditional one). Emergent properties are not manifest on the level of the basic theory, but they can be derived rigorously by imposing new, contextually selected topologies upon context-independent first principles. Most intertheoretical relations are mathematically describable as singular asymptotic expansions which do not converge in the topology of the primary theory, or by choosing one of the infinitely many possible, physically inequivalent representations of the primary theory (Gelfand–Naimark–Segal-construction of algebraic quantum mechanics). As examples we discuss the emergence of shadows, inductors, capacitors and resistors from Maxwell’s electrodynamics, the emergence of order parameters in statistical mechanics, the emergence of mass as a classical observable in Galilei-relativistic theories, the emergence of the shape of molecules in quantum mechanics, the emergence of temperature and other classical observables in algebraic quantum mechanics. (shrink)

In his novel Remembrance of Things Past, Marcel Proust argues that conventional descriptions of the phenomenology of consciousness are incomplete because they focus too much on the highly-salient sensory information that dominates each moment of awareness and ignore the network of associations that lies in the background. In this paper, I explicate Proust’s theory of conscious experience and show how it leads him directly to a theory of aesthetic perception. Proust’s division of awareness into two components roughly corresponds to William (...) James’ division of the stream of thought into a “nucleus” and “fringe.” Proust argues that the function of art is to evoke the underlying associative network indirectly in the mind of the observer by using carefully chosen sensory surfaces to control the stream of thought. I propose a possible neural basis for this Proustian/Jamesian phenomenology, and argue that the general principles of Proustian aesthetics can be applied to all forms of art. I conclude that a scientific theory of art should follow in a straightforward manner from a scientific theory of consciousness. (shrink)

Ethik und Seelsorge sind Bereiche, in denen menschliches Sein und Handeln reflektierend begleitet wird, um Orientierung, Unterstützung oder Trost zu geben. Bei Berufen, in denen Menschen auf eine gewaltverstrickte Lebenswelt treffen, ihrerseits staatlich legitimiert Gewalt ausüben und selbst von Gewalt betroffen sind, tauchen dabei besondere Widersprüche und Sinnfragen auf. Diese Herausforderungen in den Blick zu nehmen und an der Schnittstelle von Philosophie und praktischer Theologie zu erörtern, so wie es der Münsteraner Theologe Werner Schiewek richtungsweisend vorgezeichnet hat, ist das Ziel (...) des vorliegenden Bandes. (shrink)

Susanne K. Langer is best known as a philosopher of culture and student of Ernst Cassirer. In this chapter, however, I argue that this standard picture ignores her contributions to the development of analytic philosophy in the 1920s and 1930s. I reconstruct the reception of Langer’s first book *The Practice of Philosophy*—arguably the first sustained defense of analytic philosophy by an American philosopher—and describe how prominent European philosophers of science such as Moritz Schlick, Rudolf Carnap, and Herbert Feigl viewed her (...) as one of the most important allies in the United States. In the second half of this chapter, I turn to Langer’s best-selling *Philosophy in a New Key* and reconstruct her attempts to broaden the scope of the, by then, rapidly growing U.S. analytic movement. I argue that her book anticipated various developments in analytic philosophy but was largely ignored by her former colleagues. I end the chapter by offering some clues as to why New Key did not incite the same laudatory responses from analytic philosophers as her earlier work. (shrink)

The article presents Hanslick’s aesthetic formalism as the starting point of the contemporary aesthetics of music. His book, written in the 19th century, is considered contemporary because it still proves to be influential and fruitful in the contemporary theoretical circles, especially in the modern analytic aesthetics of music, where it is widely cited and discussed. The article positions Hanslick’s book in relation to his nearest predecessors Kant and Herbart, and to the neighbouring area where the formalistic view appeared, namely in (...) Fidler’s visual formalism in fine arts. It is shown that by being the first piece of writing to attempt to systematically and comprehensively determine the essence and the content of music, and the criteria for evaluation of musical worth, Hanslick’s book sets the foundation for a rigorous examination of the aesthetics of music, and also breaks off with the widely ingrained preconceptions of music, which were in themselves an obstacle to establishing the aesthetics of music as a scientific discipline. (shrink)

The Joker both fascinates and repels us. From his origin in Detective Comics in 1940, he has committed obscene crimes, some of the worst the Batman universe has ever known, and, conversely, fans have made him the topic of erotic and pornographic “fan fiction.” Speculation about the Joker abounds, where some fans have even claimed that the Joker is “queer coded.” This work explores various popular claims about the Joker, and delves into the history of comic books, and of other (...) popular media from a semiotic viewpoint to understand “The Clown Prince of Crime” in the contexts in which he existed to understand his evolution in the past. From his roots as a “typical hoodlum,” The Joker even starred in his own eponymous comic book series and he was recently featured in a non-canonical movie. This work examines what it is about the Joker which fascinates us. (shrink)

This is a two page handout specifying approaches, or methods, used in interpreting Judith Butler. The methods of various analytic philosophers are identified.

Despite the popularity that the embodied cognition thesis has gained in recent years, explicit memories of events personally experienced are still conceived as disembodied mental representations. It seems that we can consciously remember our personal past through sensory imagery, through concepts, propositions and language, but not through the body. In this article, I defend the idea that the body constitutes a genuine means of representing past personal experiences. For this purpose, I focus on the analysis of bodily movements associated with (...) the retrieval of a personal memory, which have certain features that make them different from procedural memories, pragmatic actions and common gestures, as well as other forms of embodied memories found in recent literature. I refer to these as “kinetic memories” and analyse their representative nature as well as their adaptive functions. Kinetic memories are bodily movements in which some event or action that took place in the past can be seen, because they are an externalisation of the subject’s inner intention of representing a past personal experience. Kinetic memories represent a past experience sometimes by imitation of a past movement, and other times through embodied symbols and metaphors. Furthermore, although sometimes they present direct pragmatic benefits, such as communicative benefits, they seem to enhance the whole reexperience of the past event and memory recall, which I argue is one important adaptive value. (shrink)

The aim of this paper is to refer basic philosophical approaches to the problem of musical meaning and, on the other hand, to describe some examples of the research on musical meaning found in the field of cognitive neuroscience. By looking at those two approaches together it can be seen that there is still no agreement on how musical meaning should be understood, often due to several methodological problems of which the most important seem to be the possibility of inter-theoretical (...) reduction and application of an accurate theory of explanation. I am suggesting that the application of some form of the mechanistic model of explanation might be found useful for clarifying reductionism-antireductionism dispute concerning musical meaning, and more importantly, for providing some answers for the debate in music-as-language controversy. (shrink)

In twentieth-century continental philosophy, German philosophical anthropology can be seen as a sort of conceptual laboratory devoted to human/animal research, and, in particular, to the discontinuity between human and non-human animals. Its main notion—the idea of the special position of humans in nature—is one of the first philosophical attempts to think of the specificity of humans as a natural and qualitative difference from non-human animals. This school of thought correctly rejects both the metaphysical and/or religious characterisations of humans, and the (...) positivistic gradualism, that sees the human being as an animal endowed with a greater degree of certain faculties. At the same time, German philosophical anthropology still takes it for granted that such natural-qualitative novelty is unique in the realm of the living, that in correspondence with humans there is the hiatus, the discontinuity par excellence. The semiotic side of this view is the distinction between signs and symbols developed by Ernst Cassirer and Susanne Langer: animal signs would be mere proxies for perceptive elements or stimuli, whereas only human symbols could convey complex representation of objects and situations. The goal of this contribution is to criticise the alleged uniqueness of the hiatus and its semiotic implications through the opposite approach of the diffuse discontinuities. This approach that focuses on the semiotic traits of different species-specific environments can be traced back to Jakob von Uexküll’s biosemiotical phenomenology, which thinks of discontinuities as a normal phenomenon of animal life. (shrink)

In this short paper I critically analyze Marc Leman’s embodied approach to musical meaning and representation, suggesting that its explanatory value is not sufficient in order to be a good alternative for theories encompassing the concept of representation.

This article develops a biosemiotic ´hyper-narrative model´ for the purposes of investigating emergent motor behaviors. It proposes to understand such behaviors in terms of the following associations: the organization of information acquired from the environment, focusing on narrative; the organizational dynamics of epigenetic mechanisms that underly the neural processes facilitating the processing of information; and the evolution of emergent motor behaviors that enable the informational acquisition. The article describes and explains these associations as part of a multi-ordered and multi-causal generative (...) principle of biological phenotype emergence that supersedes the theory of the arbitrary coding of life. Preceeding from narrative’s operations in a biological dimension, the article presents scientific research dealing with the associations of action-oriented organization of narrative information and underlying psychological and physiological dynamics and depicts the relations with a distributed multi-directional mapping dynamic. The article presents the explanatory implications of such a hyper-narrative dynamic model on an example of emergent motor behaviors – bruxism. Central to this discussion is the exploration of the possible mechanisms of emergence and etiopathogenesis of bruxism, based on its neurobiology. The article takes the perspective that complex systems dynamics themselves with a tendency to narrative form are found not to be underlain merely by arbitrary coded mechanisms but, rather, biological neural networks (e.g. neuro-epigenetic network) that render context-dependent bio-informational mapping analogous to that of the narrative possible. (shrink)

Summary It is about 100 Years ago that the German-American philosopher Susanne K. Langer started a bold and courageous appearance on the stage of consciousness-research - until then exclusively dominated by male and paternalistic figures. This contribution is to highlight SK Langers work and impact on the theory of consciousness, especially on her final three volume publication: “Mind. An Essay on Human Feeling” (1967, 1972, 1982) which, until now, has not been translated into German. What stands out in Langer’s work (...) is her intuitive closeness to many Gestalt-theorists and the overriding importance she attributes to symbolization in the specific make-up of the human mind. Her main focus is centered on presentative symbolics; meaning those early forms of human expression (prior or along the development of human language) in magic rituals, rhythm, music, painting and sculpturing, early collective work experience, formalized playing or funeral activities. Langers view on symbols goes far beyond the typical meaning of reference towards a much more sophisticated intertwinement of form, event and being in a matrix of “living tensions”. I would like to point out that her research is of important value to a revised thinking on mental health and mental crisis in reshaping the complex interaction between image, Gestalt and Symbol. (shrink)

The self-domestication hypothesis suggests that, like mammalian domesticates, humans have gone through a process of selection against aggression – a process that in the case of humans was self-induced. Here, we extend previous proposals and suggest that what underlies human social evolution is selection for socially mediated emotional control and plasticity. In the first part of the paper we highlight general features of human social evolution, which, we argue, is more similar to that of other social mammals than to that (...) of mammalian domesticates and is therefore incompatible with the notion of human self-domestication. In the second part, we discuss the unique aspects of human evolution and propose that emotional control and social motivation in humans evolved during two major, partially overlapping stages. The first stage, which followed the emergence of mimetic communication, the beginnings of musical engagement, and mimesis-related cognition, required socially mediated emotional plasticity and was accompanied by new social emotions. The second stage followed the emergence of language, when individuals began to instruct the imagination of their interlocutors, and to rely even more extensively on emotional plasticity and culturally learned emotional control. This account further illustrates the significant differences between humans and domesticates, thus challenging the notion of human self-domestication. (shrink)

We focus on a key IR Theory article by Alexander Wendt (1992) and two Jackson Pollock paintings. Our aim is to identify meanings Pollock’s art communicates and reveals for Wendt (1992). It derives from an appeal to visual imagination and a desire for semiotic interpretation of Constructivist view of anarchy. The visual sign is an association such that there is Wendt’s theoretical claim on the one hand and an abstract painting on the other. We do not gaze at Wendt’s claim, (...) we read it. We do not read a painting, look at it. This remark does not imply a one-way relationship. We can argue that a specific painting comes to life in our mind where colored movements are inextricably mixed up when we read the constructivist claim. Both Pollock paintings selected for our sign-making effort confirm the dynamic character of Constructivism and reveal not only three but countlessly many anarchies in international relations. They foment our assessments of abrupt changes of intersubjectivity among states. Cyclicality of dripped paints provides an anchor to fix Wendt’s anarchy conceptualization in these structural-abstract paintings. As to Wendt’s concept of anarchy, it acts as a helper, as a standard, against which interpretations of Pollock’s artwork construct meanings. (shrink)

This article discusses the status of transcripts in Conversation Analysis. Repeatedly, the function and the epistemic state of transcripts have been the subject of discussions and reflections in Conversation Analysis. Drawing on a range of empirical examples taken from various authors, this article discusses the question of how present forms of visuality and multi-modality in the data material or the handling of artifacts can be captured in transcripts and how the problem of ‘representation’ of complex and interactive situations can be (...) solved. It turns out that the evolution of recording media along with the medium shift in Conversation Analysis has altered the status of transcripts, effecting a twofold ‘in-between-ness’: transcripts inhabit the conceptual space between orality and literacy on the one hand and between artwork and figure on the other hand. This oscillating hybrid nature proves to be the central property of transcripts in present-day Conversation Analysis. Transcripts are described as scientific ‘objects of knowledge’ and discussed with respect to their methodological and epistemic status. (shrink)

Branding has long been seen as an effective means of marketing products. The use of brand-based marketing campaigns, however, has come under intense scrutiny over the past 10 years for its power to facilitate deception and emotional manipulation. As a way of proceeding through the many differing moral assessments, this paper turns for insight to the tradition of writing on social ethical issues within the Roman Catholic Church. The author suggests that Catholic Social Teaching offers a distinctive approach to advertising (...) ethics that charts a middle course between the two poles of the debate on branding. This article introduces readers to the approach to advertising developed within Vatican documents on media, highlighting the basic values at stake and the particular moral norms for advertising that are articulated. The article then applies these values and norms to the case of brandbased advertising, ultimately suggesting that advertisers approach their work through the virtue of solidarity. (shrink)

Grace de Laguna was a philosopher working in the first part of the twentieth century on analytic and speculative philosophy, as well as on the psychology and philosophy of language, especially the social function of language. Joel Katzav’s lead essay focuses mainly on the former part of her work, while my commentary focuses mostly on the latter. Katzav shows how her work played a role in the development of analytic philosophy, I try to show how her work played a role (...) in the development of pragmatic linguistics, whose development overlapped with some aspects of analytic philosophy. I situate it in the context of an emerging ‘pragmatic Weltanschauung’ that was embraced by many working in linguistics, philology, philosophy, psychology, anthropology and what would later be called linguistic pragmatics. (shrink)

This book develops a naturalistic aesthetic theory that accounts for aesthetic phenomena in mathematics in the same terms as it accounts for more traditional aesthetic phenomena. Building upon a view advanced by James McAllister, the assertion is that beauty in science does not confine itself to anecdotes or personal idiosyncrasies, but rather that it had played a role in shaping the development of science. Mathematicians often evaluate certain pieces of mathematics using words like beautiful, elegant, or even ugly. Such evaluations (...) are prevalent, however, rigorous investigation of them, of mathematical beauty, is much less common. The volume integrates the basic elements of aesthetics, as it has been developed over the last 200 years, with recent findings in neuropsychology as well as a good knowledge of mathematics. The volume begins with a discussion of the reasons to interpret mathematical beauty in a literal or non-literal fashion, which also serves to survey historical and contemporary approaches to mathematical beauty. The author concludes that literal approaches are much more coherent and fruitful, however, much is yet to be done. In this respect two chapters are devoted to the revision and improvement of McAllister’s theory of the role of beauty in science. These antecedents are used as a foundation to formulate a naturalistic aesthetic theory. The central idea of the theory is that aesthetic phenomena should be seen as constituting a complex dynamical system which the author calls the aesthetic as process theory. The theory comprises explications of three central topics: aesthetic experience, aesthetic value and aesthetic judgment. The theory is applied in the final part of the volume and is used to account for the three most salient and often used aesthetic terms often used in mathematics: beautiful, elegant and ugly. This application of the theory serves to illustrate the theory in action, but also to further discuss and develop some details and to showcase the theory’s explanatory capabilities. (shrink)

The aim of this dissertation is to offer a new theory of humor that takes seriously both the universality and power of humor in culture. In the first chapter, I summarize historical and contemporary theories, and show how each either 1) fails to give any definition of humor, 2) fails as a theory of humor, and/or 3) underappreciates, dismisses, or does not consider the power of humor in experience. The second chapter explains the failures of prior theories by understanding the (...) problem in terms of Ernst Cassirer’s philosophy of symbolic forms. These forms of culture are perspectives through which we express and understand our world, and each presents its own unique perspectives through which we can understand ourselves and the world. In the third chapter, I argue that humor is one of these necessary and universal symbolic forms of culture. I argue that confusions in the philosophy of humor stem from approaches to humor that understand it as part of some other symbolic form rather than as a form itself. In the fourth chapter, I argue for the function of humor as that which reveals and exposes epistemic vices –laziness, arrogance, and closed-minded thinking about ourselves and the world. I support this argument by showing not only that all previous theories of humor have within them epistemic revelation as a consistent commonality, but also by showing that this revelation is necessary to the form of humor while it is, at best, accidental to other forms. In my final chapter, I suggest that we ought to approach humor objectively, and that the normativity of the symbolic forms guides us toward such an approach. I offer two objective questions to ask about a given instance of humor: 1) does the humor idealize a liberated end? and 2) does the humor fulfil the cultural function of the symbolic form it represents by disrupting epistemically vicious thinking? If the answer to both of these questions is affirmative, then it is likely that the humor in question is morally praiseworthy. I conclude by offering suggestions for further study. (shrink)

Peirce was a thinker who claimed that his mind had been thoroughly formed by his rigorous training in the natural sciences. But he was also the author who proclaimed that nothing is truer than true poetry. In making the case for Peirce’s relevance to issues of education, then, it is necessary to do justice to the multifaceted character of his philosophical genius, in particular, to the experimentalist cast of his mind and his profound appreciation for the aesthetic, the imaginative, and (...) (more narrowly) the metaphorical in their myriad guises. My aim in this paper is to go some distance, however small, toward doing such justice to Peirce. (shrink)

Educational theory does not oppose educational practice, as manyseem to think; instead it is a form of practice and the action oftheory exists at two levels. At a cultural level theory ischaracterized by linguistic forms of action and at a social level it is characterized by the day to day practices thatorganize and reward the work of producing educational philosophy.While the social practices that govern the production ofphilosophy certainly beg for ethnographic attention,any consideration anthropologists or philosophers giveit will eventually find (...) its way to the page and hence tothe cultural forms of linguistic action that are thesubject of this paper. Focusing on how educationalphilosophers see the things that they do, as opposedto what they see, I will suggest that the wayeducational philosophy is fashioned is an importantpart of what is fashioned. Ironically, as I will show,the ``way'' of educational philosophy can flow with oragainst the ``what'' of it – an author, that is, can saythat they are for or against this or that, but their stylized way of saying it can contradict the literalmeaning of their words. (shrink)

This paper focuses on the emergent neo-Jamesian perspective concerning the phenomenology of art and aesthetic experience. Starting from the distinction between nucleus and fringe in the stream of thought described by William James, it can be argued that our appreciation of a work of art is guided by a vague and blurred perception of a much more powerful content, of which we are not fully aware. Accordingly, a work of art is seen as a kind of metaphor of our mental (...) life, objectified to be able to reach out to a much larger audience. However, it is a “realistic” theory rooted in evolutionary psychology, which claims that our mind developed within a framework shaped by environmental pressures. The aesthetics illustrated by several novelists develops a paradigm for this theory. The search for the neuronal correlates of stream of consciousness allows to make a comparison with the recent findings of neuroaesthetics and to reject its claim that it is unnecessary to take phenomenology and psychology into account. (shrink)

Susanne K. Langer contributed an exhaustive account of aesthetics, Feeling and Form, in which she articulated her schema of the virtual and wove together the aesthetic elements of music, visual arts, dance, and literature/theater. This analysis of her work centers on two key concepts within her philosophy: the virtual as the aesthetic effect of the work and the perception of the work through intuition. In this paper, I re-read Langers philosophy through a perspective built on intersections between phenomenology, pragmatism, and (...) post-structuralist theory in order to reveal the relevance of her work to current understandings of how the dancing body produces and conveys meaning. I endeavor to show how her work provides a practical, conceptual system for understanding dance as an a-linguistic form of meaning-making, bodily experience, and knowledge. (shrink)

Argues that truth, moral right, political right, and aesthetic value may be understood as arising out of a naturalist account of humanity, if naturalism is rightly conceived.

Employing grounded theory methodology informed by microethnographic discourse analysis, studies the classroom conversations, interviews with students and teachers, and students' written texts in a high stakes test preparation program for tenth graders to determine the effects students and teachers have upon one another's epistemological beliefs concerning the source of knowledge. Students were preparing for the Connecticut Academic Performance Test.

Music is at the centre of what it means to be human – it is the sounds of human bodies and minds moving in creative, story-making ways. We argue that music comes from the way in which knowing bodies (Merleau-Ponty) prospectively explore the environment using habitual 'patterns of action' which we have identified as our innate ‘communicative musicality’. To support our argument, we present short case studies of infant interactions using micro analyses of video and audio recordings to show the (...) timings and shapes of intersubjective vocalisations and body movements of adult and child while they improvise shared narratives of meaning. Following a survey of the history of discoveries of infant abilities, we propose that the gestural narrative structures of voice and body seen as infants communicate with loving caregivers are the building blocks of what become particular cultural instances of the art of music, and of dance, theatre and other temporal arts. Children enter into a musical culture where their innate communicative musicality can be encouraged and strengthened through sensitive, respectful, playful, culturally informed teaching in companionship. The central importance of our abilities for music as part of what sustains our well-being is supported by evidence that communicative musicality strengthens emotions of social resilience to aid recovery from mental stress and illness. Drawing on the experience of the first author as a counsellor, we argue that the strength of one person’s communicative musicality can support the vitality of another’s through the application of skilful techniques that encourage an intimate, supportive, therapeutic, spirited companionship. Turning to brain science, we focus on hemispheric differences and the affective neuroscience of Jaak Panksepp. We emphasise that the psychobiological purpose of our innate musicality grows from the integrated rhythms of energy in the brain for prospective, sensation-seeking affective guidance of vitality of movement. We conclude with a Coda that recalls the philosophy of the Scottish Enlightenment, which built on the work of Heraclitus and Spinoza. This view places the shared experience of sensations of living – our communicative musicality – as inspiration for rules of logic formulated in symbols of language. (shrink)

This paper presents the work of philosopher Susanne Langer and argues that her conceptualization of the human mind can provide psychoanalysts with a unique framework with which to theoretically combine interpretive and biological approaches to their work. Langer’s earlier work in the philosophy of symbols directs her investigation into the biological sciences along the lines of sentience and imagination, which in turn become the cornerstones of her theory of mind. Langer’s understanding of the continuing transformation of affect into language is (...) a decisive contribution yet to be built upon by others. (shrink)

This article analyses the concept of ?aesthetic emotion? in John Dewey's Art as experience. The analysis shows that Dewey's line of investigation offers valuable insights as to the role of emotion in experience: it shows emotion as an integral part and structuring force, as a cultural and historical category. However, the notion of aesthetic emotion is characterized by a fundamental ambiguity. There is a conflict between a mechanical and an organic understanding of emotion, a confusion of emotion as structure and (...) of emotion as process, of emotion as content and as agency. The central problem may consist of the conception of aesthetic experience as the ideal. While evil and despair are thereby excluded from the art, everyday life is left wanting, as it cannot live up to the ideal. (shrink)

At the turn of 1960s and 1970s, Stanisław Lem devoted some of his non-fiction writing to a discussion and considerations of semiotics. Most of them were expressions of a critical approach mainly directed against structuralism. However, Lem also formulated some positive statements although they were not developed systematically. The article offers an analysis of Lem’s semiotic ideas from the perspective of semiotic functionalism of Jerzy Pelc, mainly considering its two main components: contextualism and typological approach. Special attention is paid to (...) the latter because both Pelc and Lem proposed some original solutions in this respect. What is meant here is the multidimensional typology of symbolic uses of signs developed by Pelc and Lem’s multidimensional typology of the situations of the reception of texts. Although they are independent form each other, these proposals show some convergence both in their ways of construction and roles they are supposed to perform. Henceforth, one can say that Lem was a crypto-functionalist. (shrink)

Some forms of argumentation are best performed through words. However, there are also some forms of argumentation that benefit most from being presented visually. Thus, in this paper I will examine the virtues of visual argumentation. What makes visual argumentation distinct from verbal argumentation? What can be considered especially beneficial of visual argumentation, in relation to both effect and ethics?

To understand the evolution of imaginative culture, we need to understand its unique affective power. The purpose of this article is to explain our enjoyment of imaginative culture from the standpoint of a distinctive theoretical approach to understanding affect in terms of the dynamic and energetic features of consciousness. This approach builds upon John Dewey’s view of enjoyment as the enrichment of experience, adding perspectives from studies of the dynamics of consciousness and from ecological psychology. Its main thesis is that (...) positive affect is determined by the causal enrichment of experience, which is defined as the differentiated-ness of conscious states. This approach suggests that the affective power of imaginative culture lies in the way it affords experiences of enriched meaning, as exemplified by our enjoyment of highly nuanced emotion in music. (shrink)

The continual possibility of aesthetic experience throughout history has prompted philosophical reflections about its nature and meaning in human life. This article outlines some neuroscientific ways of understanding its functioning, focusing specifically on Susanne Langer’s contribution. Commonly subsumed under the heading ‘philosophy of mind’ – especially due to the trilogy Mind: An Essay on Human Feeling – Langer’s interests in the human mind developed already in the 1950s, as witnessed by the paper The Deepening Mind. A Half-Century of American Philosophy. (...) Following these lines, the article discusses Langer’s philosophical approach from the perspective of a (neuro)aesthetic inquiry, emphasizing particularly the importance of the non-discursive realm of the mind. It also shows how Langer’s account might be seen as going beyond that of John Dewey, which is often referred to as an advancement in the historical development of neuroaesthetics. (shrink)

This article demonstrates how Iranian classical music and Persian medieval poetry, taken as separate semiotic systems, form together, in certain contexts, a single hybrid semiotic system with overlapping structural features and shared aesthetic principles. Hjelmslev’s description of connotative semiotic systems serves as a theoretical framework to show the modalities of this hybridization. This phenomenon can be observed through comparative analysis of the interdependence of poetry and music in the Persianate World from a semiotic point of view. On the one hand, (...) the quantitative (chronemic) meter of the Persian classical versification, called ‘aruz, as well as its extraordinarily heavy use of rhyme display a formal structure that evokes that of a musical phrase. On the other hand, the dependence of the structure of the Iranian musical system upon the rhythmic structure of classical poetry suggests a unique character of which few examples exist. This interdependence manifests itself particularly in the mystic (Sufi) poetry of the medieval period, specifically in the work of such renowned poets as Rumi, Sa’di Shirāzi, and Hāfez, who are among the best-known in the West. Examples of their lyric works are examined here to demonstrate occurrences of the collusion between the two semiotic systems. (shrink)

This art-science-interaction article focuses on moral implications of a recent science announcement. Against the background of literary and cultural theories, it compares a YouTube story with narratives employed in fictional stories.

This study examines the piano teaching methodologies used to train final-year undergraduate performance students at four tertiary institutions in Hong Kong. As there is a hierarchical relationship among the philosophies, principles, and methodologies of teaching, this study discusses two chief areas of philosophy, five principles, and six aspects of teaching methodologies that were identified in the literature as being important in the teaching of piano performance. The philosophies include both philosophical ideas and philosophies that are derived from practical experience. The (...) philosophical ideas investigated include rationalism, empiricism, and pragmatism, and the philosophies derived from practical experience cover the issues of inculcating in students an abiding enjoyment and love of music; acknowledgement of the place of aesthetic education in the teaching of piano; recognition of the teacher’s and performer’s roles in transmitting to others musical knowledge, personal insights, and a significant expression of culture; ideally, the need for pianists to be well-balanced intellectually and emotionally and not narrowly focused; the importance of instilling in students a sense of humanity that goes beyond their role as a mere pianist and, ideally, gives them a world perspective. The five principles identified relating to the teaching of piano performance majors include: the need to nurture in students an ability to express emotions and ideas; the importance of pianists producing a considered and appropriate tonal quality; the importance of developing the imagination and nurturing creativity; recognizing the need for encouragement and stimulation in teaching; and committing to quality teaching. These ideas provide the foundation for the discussion of the methodologies of teaching piano performance, which is divided into the six aspects of technique, style, memorization, practicing, acute listening skills (or extending aural ability), and devising solutions to stage fright. The information in this research was collected from the four tertiary institutions in Hong Kong that offer a Bachelor degree in music. The participants included the heads of department, the teachers of final-year undergraduate piano performance students, and undergraduate students of piano. Case studies of the ten teachers’ are presented that include their philosophies, their principles, and the teaching methodologies that they used to teach technique, style, memorization, practice, and the development of aural ability, and to solve the problem of stage fright. The data from the heads of department, teachers, and students were analyzed, and the findings from this analysis are presented. Models of philosophies, principles, and methodologies of piano teaching are proposed, and recommendations are offered for teachers, students, and institutions to improve the quality of piano performance teaching. (shrink)

The main goal of the paper is to show that Cassirer’s philosophy of symbolic forms may be viewed as a culmination of efforts of those thinkers who at the turn of the 19 th and 20 th century were a part of the so called anti-positivist movement. The paper focuses fore and foremost on those philosophers who in their attempts of grounding and defining Geisteswissenschaften were following the initial idea of Immanuel Kant’s transcendental philosophy. Cassirer’s symbolical monism is presented as (...) an attempt of identifying that “original need of human mind”, an attempt which ultimately paved way for determining and establishing a distinctively different type of reflection than the one found in natural sciences, despite all the multifariousness of seemingly unreconcilable results arrived at by different thinkers. The author argues that Cassirer’s conception – unlike those found in the works of Droysen, Dilthey, Rickert or Windelband – strives to ground Geisteswissenschaften’s conditions of possibility not on the Kantian concept of determining judgment, but on a concept of reflective judgment, i.e., not on the Kantian concept of the scheme, but on concept of symbol which in turn makes it possible to establish a methodological and symbolic-cultural unity of both natural sciences and humanities. (shrink)

The issue discussed in this paper, although controversial, is cognitively nontrivial. Namely, we shall be interested in the matter of possibility to use certain semiotic conceptions in research conducted in the area of a certain group of specific sciences, that is humanities. The aim of this work is to show the possibility of adopting in humanities ready-made conceptions of symbol created on the grounds of the analytical philosophy of language and logical semiotics. Also, we wish to outline the actual state (...) of assimilating and using the mentioned philosophical conceptions by scientists who represent the sciences under consideration. (shrink)

This research proposes the comparative analysis of the symbolic representations of Maidan in the Ukrainian and Polish media outlets that comprise tabloid and quality publications. Different types of symbols are identified in the news analysis, reports, and feature stories on Maidan. The typology of symbols is worked out on the basis of the Cassirer’s philosophy of symbolic forms and Langer’s symbol theory. The coded types of symbols include symbol-products, symbol-concepts, symbol-slogans, symbol-situations, symbol-processes, and symbolic actions. With the help of the (...) content analysis it is found that some most visible symbols in the media coverage of Maidan coincide in the Ukrainian and Polish print media. These are the symbol-concept “barricade”, the symbol-concept “Berkut”, and the symbol-process “dispersal of Maidan”. However, there are symbols that have either quantitative or qualitative significance in the Polish press and are absent in the Ukrainian media at all, namely, the symbol-product “blood”, the symbol-concept “solidarity”, the symbol-concept “freedom”. (shrink)

In this essay I develop a case for games as a primitive form of culture and an early arrival at our ancestors’ cultural gates. I analyze the modest intellectual prerequisites for game behavior including the use of metaphor, a reliance on constitutive rules, and an ability to understand the logic of entailment. In arguing for its early arrival during the late Middle and Upper Paleolithic, I develop a case for its powerful adaptive qualities in terms of both natural and sexual (...) selection. I accept ecological dominance coupled with an increasing sense of self as primary sources of selection pressure. I show how these two factors threatened homeostatic balances ranging from low arousal and atrophy to malaise, depression, and anomie. I suggest that an antidote or adaptation was found in culturally-enhanced forms of play — that is, formal, rule-governed games. The upshot of this analysis is a broadened discussion of cultural adaptation from one that often focuses on cooperation, social complexity, and language to other fundamental issues related to survival — namely, increased leisure time, enhanced arousal needs, and the health and physical skills required for a hunter-forager existence. (shrink)

This dissertation explores the practices of emotion work in the financial services industry as they are constructed in interviews with people employed in different financial organizations. The issues of emotion work in organizations are generally investigated in terms of emotion management, impression formation and negotiation or accomplishment. The previous research has also uncovered that emotions and market moods influence how people make financial decisions under conditions of fundamental uncertainty. In this study, I adopt a critical-interpretive approach and seek to develop (...) an in-depth understanding of organizational practices through which people employed in the financial services industry maintain emotion-reason dualism. This approach allows us to shift the analysis from categorizing what counts as rational versus emotional decision making to examining discourses that constitute claims of preferred rationality and devalue the significance of emotions at work. The transcripts of 23 interviews with 17 people employed in different financial organizations constituted the data for this study. The analysis of the interview discourse shows that emotions are conceptualized as an antipode to rationality, threat, weakness and as a source of stress. On one hand, the strategies of internal emotional control reflect the participants’ desire to take control over their feelings in order to fit into the discourse of preferred rationality. The concept of emotion also shapes the tactics of impression management. The interviewees were consciously aware of which feelings they wanted to display, and how to use emotions in order to build and maintain networks of relationships with different market participants. On the other hand, the simultaneous co-existence of negation and practical utility of feelings at work in the participants’ narratives suggests that meanings associated with preferred rationality and marginalized emotionality fluctuate along the following dimensions: absence-presence, chaos-order/discipline, weakness-power and subjectivity-objectivity. These findings open up a new space to explore the concepts of emotionality and rationality as socially constructed phenomena that are reproduced in the practices of emotion work. The focus on discourse not only offers a communication centered model of rationalized emotion, but also unveils social aspects of financial management. (shrink)