This paper examines the role of formal, aesthetic elements in motivating moral action. It proposes that Blumenberg’s analysis of the existential settings of myth and metaphor provide a useful framework to consider the conception and function of the aesthetic symbol in Kantian moral philosophy. In particular, it explores the hypothesis that Blumenberg’s analysis of ‘pregnance’ and ‘rhetoric’ are useful for identifying and evaluating the processes involved in self-persuasion to the moral perspective.

Perceptual similarity is one of the most fiercely debated topics in the philosophy and psychology of perception. The documented history of the issue spans all the way from Plato – who regarded similarity as a key factor for human perceptual experience and cognition – through to contemporary psychologists – who have tried to determine whether, and if so, how similarity relationships can be established between stimuli both within and across the senses. Recent research on cross-sensory associations, otherwise known as crossmodal (...) correspondences – that is, the existence of observable consensual associations, or mappings, between stimuli across different senses – represents an especially interesting field in which to study perceptual similarity. In fact, most accounts of crossmodal association that have been put forward in the literature to date evoke perceptual similarity as a key explanatory factor mediating the underlying association. At the same time, however, these various accounts raise several important theoretical questions concerning the very nature of similarity, with, for example, the sensory, affective, or cognitive underpinnings of similarity judgements remaining unclear. We attempt to shed light on these questions by examining the various accounts of crossmodal associations that have been put forward in the literature. Our suggestion is that perceptual similarity varies from being phenomenologically-based to conceptually-based. In particular, we propose that the nature of the associations underlying similarity judgements – whether these associations are phenomenologically-, structurally-, emotionally-, or conceptually-based – may be represented in a two-dimensional space with associative strength on one axis, and cognitive penetrability on the other. (shrink)

Buddhism has always produced epistemological systems, and those of the Mahāyāna, in particular, always showed knowledge and perception to be inherently delusive. “Higher” forms of Buddhism have a degenerative philosophy of history according to which a sort of Golden Age was disrupted by the rise and gradual development of knowledge and the delusion inherent in it, which have reached their apex in our time – the final phase of the “Era of Darkness.” From this standpoint, this paper intends to show (...) science, in which Marcuse saw an inherent instrumental/technological interest, to have been developed by delusion and to have simultaneously furthered the development of delusion, to the point at which they begot the deadly ecological crisis proper to this concluding phase of the Era of Darkness – which reveals as such the delusion at its root, achieving the latter’s empirical reductio ad absurdum and offering us the possibility of eradicating it and thus healing our minds and, hopefully, our world. (shrink)

In order to explain some of the paradoxes and mysteries of the artist's cross cultural experience in Kiribati, he constructed an Artist's Book depicting through visuality, anecdote and reflection, his research process, engaging with current visual perceptions through negotiation with the past. In Kiribati previous encounters with Europeans and Islanders was dominated by English and I Kiribati with significant contributions by French missionaries. Each viewed the other through cultural filters of identity, which were informed by concepts of myth-historical, often heroic (...) pasts, modified by contemporary purpose such as power, trade, evangelism or personal gain. The method of transmission of beliefs about the past differed fundamentally as the Europeans were predominately informed by writing and the I-Kiribati by orality and performance. The non-literary epistemology of the I Kiribati contributed to a cosmology of non-iconic symbols that defined belief systems and social structures. These symbols connected place and space with time, self and group identities. The research found that the all surrounding visual symbol system of sacred meeting house, dwelling and canoe ) could be partly understood as an ongoing struggle since Deep Time, between the forces of the Ocea n represented by Bakoa, The Shark, and that of the triumph of the coming onto the Land and its people represented by Tabakea, The Turtle. The performative outcome of this triumph and the spirit of identity it engenders is expressed primarily in the ubiquitous I Kiribati Dance. The Artists Book is inspired by the creative classic I Kiribati form of oratory known as Te Kuna, using a structure analogous to the symbolic forms of narrative of Oceanic Voyaging traditionally employed by the I Kiribati. Differences in visual perceptions across cultural interface are understood not only as having the potential for conflict but also as providing positive dynamic force by the interchange of understood differences. The project contributes specifically to the ethnography of English and I Kiribati, semiotic systems and visual epistemologies, indicating directions towards positive outcomes in cross-cultural encounters. (shrink)

Works in science and technology studies have repeatedly pointed to the importance of the visual in scientific practice. STS has also explicated how embodied practice generates scientific knowledge. I aim to supplement this literature by pointing out how sound and hearing are integral aspects of experimentation. Sound helps define how and when lab work is done, and in what kinds of spaces. It structures experimental experience. It affords interactions between researchers and instruments that are richer than could be obtained with (...) vision alone. And it is a site for tacit knowledge, providing a resource for the replication of results, and the transmission of knowledge, and the construction of social boundaries within instrumental communities. (shrink)

There is a contemporary scepticism towards vision-based metaphors in management and organization studies that reflects a more general pattern across the social sciences. In short, there has been a shift away from ocularcentrism. This shift provides a useful basis for metatheoretical analysis of the philosophical discourse that informs organizational analysis. The article begins by briefly discussing the vision-generated, vision-centred interpretation of knowledge, truth, and reality that has characterized the western philosophical tradition. Taking late 18th-century rationalism as the high-point of ocularcentrism, (...) the article then presents a metatheoretical framework based on three trajectories that critiques of ocularcentrism have subsequently taken. The first exposes the limits of the metaphor by, paradoxically, taking it to its limits. The second trajectory seeks to displace the primordial position of the ocular metaphor and replace it with an alternative lexicon based on other human senses. Last, the third trajectory describes how the Enlightenment ocular characterization of the visual and mental worlds has effectively been inverted in the postmodern moment. (shrink)

Dis/Abling Practices: Rethinking Disability The paper discusses how ordinary acts of everyday life make up the complex and contingent scenarios of disabilities that create enabling and disabling (dis/abling) practices. Drawing on qualitative empirical data the societal visibility and relevance of dis/abling practices are analyzed by connecting disability studies and sociological ideas with insights from Science and Technology Studies (STS). The essay explores how (visual) dis/ability is the outcome of human and non-human configurations and suggests that dis/ability can be understood neither (...) as an individual bodily impairment nor as a socially attributed disability. Rather, dis/ability refers to complex sets of heterogeneous practices that (re-)associate bodies, material objects, and technologies with sensory practices. These practices, the paper concludes, draw attention to the multiple processes that (re-) concatenate the conduct of human affairs. (shrink)

Ever since Big Data became a mot du jour across social fields, optical metaphors such as the microscope began to surface in popular discourse to describe and qualify its epistemological impact. While the persistence of optics seems to be at odds with the datafication of vision, this article suggests that the optical metaphor offers an opportunity to reflect about the material consequences of the modes of seeing and knowing that currently shape datafied worlds. Drawing on feminist new materialism, the article (...) investigates the optical metaphor as a material-discursive practice that actively constitutes the world, as metaphors imply modes of thinking, knowing and doing that have material enactions. Expanding visual culture theories, the notion of ‘optical unconscious’ is taken up to discuss the tensions between displacement and persistence of optics within datafied worlds, that is, how optical vision is displaced but also mobilised and repurposed by data-driven knowledge. In dialogue with feminist science and technology studies and speculative ethics, I suggest that the datafication of vision offers a chance to reconceptualize the sense of sight towards a sensorial engagement with Big Data premised on responsibility, care, and an ethics of unknowability. Within this framework, vision may be conceived differently, perhaps not only as enhancement and control, but as generator of new possibilities. Ultimately, the article proposes that the visual theories after which Big Data is being imagined matter not only for our understanding of Big Data's epistemic potential, but also for the possibility of shaping emerging data worlds. (shrink)

Attention is drawn to the movements of the body and to the ethical imperative that emerges in compelling, flowing moments of teaching. Such moments of teaching are not primarily intellectual, discursive events, but physical, sensual experiences in which the body surrenders to its own movements. Teaching is recognized momentarily as a carnal intensity embedded in and emerging from the flesh. The ethical imperative to this teaching is felt proprioceptively and kinaesthetically when one holds in self-motion the well-being of another as (...) being of the same flesh. The teaching caress offers a primary example. This gesture of intimacy discloses an embodied ethic that contrasts with the transcendental ethics of curricular prescriptions, professional codes of conduct, and the presumptions of self-monitoring behavior. It is a gesture of care for another person, without fastidious carefulness. It is a gesture of pure duration, without sanctimonious purity, in its contact with the beauty, truth and value of the teachable moment. From earliest engagements with children to the dynamics of the university classroom, what makes for good teaching is essentially attentiveness to intimate gestures, such as the caress, that guide teachers kinethically in the moment. (shrink)

The invention of photography in the early 19th century changed the way that we see the world, and has played an important role in the development of western science. Notably, photographic vision is implicated in the definition of a new temporal relation to the natural world at the same time as modern biological science emerges as a disciplinary formation. It is this coincidence in birth that is central to this study. I suggest that by examining the relationship of early photography (...) to nature, we can gain some insight into the technological and epistemological underpinnings of biological vision. To this end, this article is primarily concerned with the role of photographic technology in the genealogy of biological vision. I argue that photography has always been ambiguously located between art and science, between nature and culture, and between life and death. Hence, while it may be a technological expression of the scientific desire to know and to control nature, photographic vision has continually disrupted and frustrated the ambitions of biological technoscience. The technovision of early biological science illustrates that the elusive temporality of nature has always been central to the production of knowledge of life. (shrink)

Fugue and chaos are used in their contemporary meaning. Elements of the fugue, albeit a ‎small number of universals, will be demonstrated in the area of visual and verbal colors. ‎Chaos dominates the internet, fashion, and everyday life. The visual and verbal colors are ‎differentiated and their communicative potential is indicated alongside the diachronic changes. The prototypes of colors are the interface between visual and verbal colors.‎.

This study places Nāgārjuna and Plato in dialogue regarding how both seek to orient philosophy in the face of indeterminacy observed at the elemental level of existence, specifically, the indeterminacy of fire’s light. Looking to the elemental within Chōra and Śūnyatā, a directive becomes discernible for calibrating philosophy to this indeterminacy, and crucial limitations are disclosed, which expand philosophy by enabling a productive relation to the non-philosophical. What emerges are directives for language, which serve to modify philosophy’s violence towards the (...) world by striking a middle way between the binaries of reification and nihilism, speech and silence. (shrink)

Feminine beauty was implicated in colonial ways of seeing Indigenous peoples. The Australian ‘Native Belle’, as the feminine type of the noble savage, caught the European imagination at the time that European women such as Mary Wollstonecraft inaugurated a critique of feminine beauty as enslaving. Representations of the native belle were disseminated through new forms of communication and were implicated in prevailing discourses of Indigenous peoples such as ethnology. The native belle demonstrates a European longing for feminine beauty that was (...) natural and unaffected. This type also demonstrates that ideas of visual identity as manifest in feminine beauty were important descriptors of racial difference. (shrink)