Poetry is the most complex and intricate of human language used across all languages and cultures. Its relation to the worlds of human experience has perplexed writers and readers for centuries, as has the question of evaluation and judgment: what makes a poem "work" and endure. The Poem as Icon focuses on the art of poetry to explore its nature and function: not interpretation but experience; not what poetry means but what it does. Using both historic and contemporary approaches of (...) embodied cognition from various disciplines, Margaret Freeman argues that a poem's success lies in its ability to become an icon of the felt "being" of reality. Freeman explains how the features of semblance, metaphor, schema, and affect work to make a poem an icon, with detailed examples from various poets. By analyzing the ways poetry provides insights into the workings of human cognition, Freeman claims that taste, beauty, and pleasure in the arts are simply products of the aesthetic faculty, and not the aesthetic faculty itself. The aesthetic faculty, she argues, should be understood as the science of human perception, and therefore constitutive of the cognitive processes of attention, imagination, memory, discrimination, expertise, and judgment. (shrink)

It is often believed that the only alternative to an idealist conception of natural phenomena excludes both the presence of objective universal forms and their progression towards higher forms as the finality of processes in the natural world. Realism regarding the universal and teleological approaches regarding processes are signs of idealism. Therefore, materialism, it would seem, must conform to a nominalist and mechanical view of nature. However, an intelligent materialist reading of idealism’s classics reveals a more complex scenario. A real (...) fact is expressed in a mystical fashion in idealism’s conceptions of objective universals and teleology. This article attempts to show such a real fact in its authentic (materialist) form. With that goal in mind, the present article discusses the notion of nature’s alienation, the distinction between abstract and concrete universals, and the concept of dialectical interaction. The natural-historical emergence of a higher form of matter’s organization assimilates, as its organs, the conditions that preceded it in time, transforming itself into an active producer of such conditions. That is the secret glimpsed but not correctly understood by idealism that a consistent materialist should not ignore. (shrink)

Plato claimed that the regular solids are the building blocks of all matter. His views, commonly referred to as the geometric atomistic model, had enormous impact on human thought despite the fact that four of the five Platonic solids can not fill space without gaps. In this paper we quantify these gaps, showing that the errors in Plato’s estimates were quite small. We also develop a mean field approximation to convex honeycombs using a generalized version of Plato’s idea. This approximation (...) not only admits to view convex mosaics in$$d=3$$d=3dimensions as a continuum but we also find that it is quite accurate, showing that Plato’s geometric intuition may have been remarkable. (shrink)

Plato treats of the topic justice in the Republic, offering the concept of harmony as a perspective from which to examine this difficult concept. An ideal existing in a realm that is separate from the human and physical cosmos, justice is difficult to explain and even more so to achieve. Plato's disenchantment with his beloved city urges him on in this difficult task, especially difficult because the word harmony refers to tuning patterns for lyres and not to agreeable blending of (...) musical notes. Does he achieve his goal? (shrink)