: Philosophical naturalism is ambiguous between conjoining philosophy with science or with nature understood scientifically. Reconciliation of this ambiguity is necessary but rarely attempted. Feminist science studies often endorse the former naturalism but criticize the second. Karen Barad's agential realism, however, constructively reconciles both senses. Barad then challenges traditional metaphysical naturalisms as not adequately accountable to science. She also contributes distinctively to feminist reinterpretations of objectivity as agential responsibility, and of agency as embodied, worldly, and intra-active.

Philosophical naturalism is ambiguous between conjoining philosophy with science or with nature understood scientifically. Reconciliation of this ambiguity is necessary but rarely attempted. Feminist science studies often endorse the former naturalism but criticize the second. Karen Barad's agential realism, however, constructively reconciles both senses. Barad then challenges traditional metaphysical naturalisms as not adequately accountable to science. She also contributes distinctively to feminist reinterpretations of objectivity as agential responsibility, and of agency as embodied, worldly, and intra-active.

In Voir l'invisible Michel Henry applies his philosophy of autoaffection (which is both inspired by, and critical of, Husserl) to the realm of aesthetics. Henry claims that autoaffection, as non-objective experience, is essential not only to self-experience, but also to the experience of objects and their qualities. Intentionality tempts us to experience objects merely from the 'outside', but aesthetic experience returns us to the inner life of objects as a lived experience. On the basis of an examination of Henry's aesthetic (...) theory in the light of Husserl's analysis of our experience of visible objects, I conclude that revisions are required in both Husserl's and Henry's approaches: Husserl's noema must be considered to be a lived-through experience, and non-objective lived-through experience must be recognized as primordial evidence; Henry's claim that intentionality makes unreal all that it objectifies must be replaced by a recognition of the interdependence between autoaffection and heteroaffection. (shrink)

Terry Horgan and Mark Timmons’ work implies four criteria that moral phenomenology must be capable of meeting if it is to be a viable field of study that can make a worthwhile contribution to moral philosophy. It must be (a) about a unifed subject matter as well as being, (b) wide, (c) independent, and (d) robust. Contrary to some scepticism about the possibility or usefulness of this field, I suggest that these criteria can be met by elucidating the very foundations (...) of moral experience or what I call a moral ontology of the human person. I attempt to partially outline such an ontology by engaging with Robert Sokolowski's phenomenology of the human person from a moral perspective. My analysis of Sokolowski's thought leads me to five core ideas of a moral ontology of the human person: well-being, virtue, freedom, responsibility, and phronesis. Though I do not by any means boast a complete moral ontology of the human person, I go on to demonstrate how the account I have presented, or something like it, can go a long way to helping moral phenomenology meet the criteria it requires to be a viable and worthwhile pursuit. (shrink)

In the sense of phenomenology, actions are special cases of acts of consciousness. Within semiotics, first Jan Mukařovský and then A. J. Greimas have established, in different terms, a distinction between instrumental actions and actions which carry their meaning in themselves. But this is insufficient to account for the variety of actions which comprises everything from the creation of artefacts, dance, sporting events, theatre, rituals, and much else. Already those actions mentioned relate in different ways to instrumentality and intrinsic meaning, (...) as well as to iconicity and plasticity. In this paper, I will be particularly concerned with dancing, especially classical ballet, trying to delimit it from sporting events and theatre. Apart from the sign function and the spectacular function, I will notably have recourse to what I have elsewhere term secondary iconicity as well as to plasticity. In the process, I hope to be able to throw some light also on the nature of sport, by comparing and contrasting it to dance, as well as to the theatre as well as, more incidentally, to some other types of action. In a wider perspective, my ambition is to contribute to a general inquiry into the semiosis of actions. (shrink)