When we cook, by meticulously following a recipe, or adding a personal twist to it, we sometimes care not only to (re-)produce a taste that we can enjoy, but also to give our food a certain aftertaste. This is not surprising, given that we ordinarily take aftertaste to be an important part of the gustatory experience as a whole, one which we seek out, and through which we evaluate what we eat and drink—at least in many cases. What is surprising (...) is that aftertastes, from a psychological point of view, seem to be analogous to afterimages, and thus have little or no epistemic import. In this paper we tackle this puzzle, and argue that we are right in treating aftertastes seriously. The moral is that both from a metaphysical and an epistemic point of view aftertastes should be categorized differently from afterimages. (shrink)

Abstract- Presentism And Temporal Experience Intuitively, we all believe that we experience change and the passage of time. Presentism prides itself as the most intuitive theory of time. However, a closer look at how we would experience temporality if presentism was true reveals that this is far from obvious. For if presentism was really so intuitive, then it would do justice to these intuitions. In the course of this article I examine how presentism fares when combined with various leading theories (...) of perception and temporal perception. I focused on two Central Questions. Can presentism, given theory X, account for experiences of change and duration? And can presentism, given theory X, account for experiences of time as passing? I argue that there is no possible combination which allows for an experience of time as passing. This result alone undermines the alleged intuitive advantage of presentism and with it the motivation for the view. Presentism, it remains safe to say, is not as intuitive a theory as its adherents like to portray it. (shrink)

The project of my dissertation was to advance the metaphysical debate about temporal passage, by relating it to debates about the perceptual experience of time and change. It seems true that we experience temporal passage, even if there is disagreement whether time actually passes, or what temporal passage consists in. This appears to give the defender of dynamic time an advantage in accounting for our experience. I challenge this by arguing that no major account of temporal perception can accommodate experiences (...) of temporal passage such that we could infer passage from them. This shows that static theories of time are at no disadvantage in accounting for the phenomenology of temporality. The conclusion has far reaching consequences: for instance, an important motivation for holding an A-theory of time is precisely the psychological intuition that we experience temporal passage. By undermining that intuition, I undermine the motivation for holding an A-theory. (shrink)

We develop a theory about the metaphysics of time and modality that combines the conceptual resources devised in recent sympathetic work on ontological pluralism (the thesis that there are fundamentally distinct kinds of being) with the thought that what is past, future, and merely possible is less real than what is present and actual (albeit real enough to serve as truthmakers for statements about the past, future, and merely possible). However, we also show that despite being a coherent, distinctive, and (...) prima facie appealing position, the theory succumbs to what we call the “problem of mixed ontological status”. We conclude that the proponents of the theory can only evade these problems by developing ontological pluralism in a radically different way than it has been by its recent sympathizers. (shrink)

The author discusses the relationship between art and the body, as exemplified by the similarities and differences in the works of: two Japanese artists, Matsui Chie (b. 1960) and Higashikage Tomohiro (b. 1978); and the Polish artist, Mirosław Bałka (b. 1958). These examples are referred to in the context of a unique project recently conducted in Japan — the Tatsuno Art Project 2013. Held with the support of the Agency for Cultural Affairs of Japan, the project aims to present contemporary (...) art to people from across Japan and around the globe, and to capitalize on the region’s unique cultural heritage, creating opportunities for people to communicate with local residents and making Tatsuno a more dynamic and popular place to visit. This paper considers various connections between art and the body by focusing on a selection of works included in the Tatsuno Art Project 2013: Arts and Memories. Known in past centuries as the ‘little Kyoto’ of Harima Province, Tatsuno is an atmospheric old castle town. It is mild and relatively warm all year round, with the climate of the nearby Seto Inland Sea region, said to be similar to that of the Mediterranean. Thanks to the support of numerous people, the organizers were able to hold the 2013 event which represented the culmination of their efforts over the past few years, being the largest ever in terms of scale with nine invited artists, eleven other participating artists, and one contemporary musician, for a total of 21 creators contributing works. With new spaces added to create a total of 16 venues, the community‑wide project truly achieved its goal of presenting the ‘historic castle town as a museum’. The project curators were also able to strengthen Tatsuno’s international ties by inviting artists from France and Poland to take part, as well as Japanese artists residing in the UK and Spain. (shrink)

This report highlights and explores four questions that arose from the workshop on temporal experience at the University of Toronto, May 20th and 21st, 2013.

This is an excerpt from a report on the Temporal Experience Workshop at the University of Toronto in May of 2013. This portion of the report explores the question: Do we have one central clock for time, or different clocks for each sense modality?

This is an excerpt from a report on the Temporal Experience Workshop at the University of Toronto in May of 2013. This portion of the report explores the question: What sorts of mechanisms underlie the perceived duration of external events?

This is an excerpt from a report on the Temporal Experience Workshop at the University of Toronto in May of 2013. This portion of the report explores the question: What can we learn about the nature of time from the nature of ordinary experience?

This is an excerpt from a report on the Temporal Experience Workshop at the University of Toronto in May of 2013. This portion of the report explores the question: What is the relationship between time as represented in experience, the timing of the experiential act, and the timing of the neural realizer of the experience?

Recentes estudos em história da ciência têm apresentado indícios de que é impossível estabelecer uma clara distinção entre estudos de óptica e de perspectiva linear quando nos referimos aos séculos XVI e XVII. Embora a perspectiva linear lidasse com a representação geométrica do espaço numa superfície bidimensional, estava, entretanto, estreitamente ligada a questões relativas à natureza da visão humana. Devemos considerar que, naquela época, o termo perspectiva era a tradução latina da palavra grega optikè, denotando a visão direta e distinta (...) que, para os gregos, revelava as coisas. Seu significado coexistiu com outros que designavam a técnica pictórica e, para distingui-los, era comum opor a perspectiva "comum” ou “natural” à perspectiva artificialis dos pintores. Essas diferentes expressões de perspetiva relacionaram-se de diferentes maneiras, cobrindo um largo espectro de possibilidades. Contudo, à medida em que se encerrou o século XVI, essas duas expressões de conhecimento passaram, gradativamente, a se referir a diferentes disciplinas. Parte desse processo esteve ligado às novas práticas matemáticas em que a óptica, a geometria e as artes buscaram redefinir seus campos de investigação, considerando questões de ordem teórica ligadas à visualização e à representação do espaço. Neste artigo, apresentamos alguns aspectos da estreita conexão entre perspectiva naturalis e artificialis, tendo por base um conjunto de documentos relativos à óptica e à perspectiva linear publicado nos séculos XVI e XVII. (shrink)

Kohei Saito, a Japanese Marx researcher and editor of the historical-critical edition of Marx and Engels’s complete works (Marx-Engels-Gesamtausgabe or MEGA), is known to Anglophone readers for his...

the two-and-a-half years that Dewey lived in Japan and China offered him an East-West comparative standpoint to examine Euro-American presuppositions. In subsequent work, he took steps in the direction of a global philosophical outlook by promoting a fusion of aesthetic refinements with democratic experimentalism. The year 2021 marks the centennial of Dewey’s return to the United States, yet philosophers in this country have only begun to take in an emerging global philosophical scene that includes unfamiliar questions, angles, idioms, and emphases. (...) This includes American pragmatists. In a sense, as Gregory Pappas has observed in the context of Latin American philosophies, pragmatism did not “grow up” in the United... (shrink)

This reference essay surveys recent work in the emerging sub-discipline of everyday aesthetics, which builds on the work of John Dewey to resist sharp distinctions between art and non-art domains and argue that aesthetic concepts are properly applied to ordinary domains of experience.

Original source :「委員会の論理」『世界文化』[Culture du monde], n° 13, janvier 1936, 2–17 ; n° 14, février 1936, 16–33 ; n° 15, mars 1936, 12–25. Repris dans nmz 1 : 46–108. La version des œuvres complètes présente un certain nombre de variantes par rapport à la première publication en 1936. « La logique des comités » a été traduit en espagnol par Agustín J. Zavala. Je remercie vivement Saitō Takako pour sa relecture et ses précieuses remarques.

The culturally pervasive tendency to identify aspects of the body as aesthetically imperfect harms individuals and scaffolds injustice related to disability, race, gender, LGBTQ+ identities, and fatness. But abandoning the notion of imperfection may not respect people’s reasonable understandings of their own bodies. I examine the prospects for a practice of aesthetic assessment grounded in a notion of the body’s function. I argue that functional aesthetic assessment, to be respectful, requires understanding the body’s functions as complex, malleable, and determined by (...) the projects and interests of the person whose body it is. Aesthetically relevant functions, on this account, are determined neither by the body’s status as organism nor by cultural assumptions about how bodies should function or be used. (shrink)

This chapter will introduce everyday aesthetics and conceptions of happiness, explore their interconnections, and indicate some ways they might relate to depression. I introduce the main claims and concerns of everyday aesthetics and illustrate these with examples from the Indian, Chinese, and Japanese philosophical traditions. I then consider two popular accounts of happiness – ‘hedonic’ and ‘life-satisfaction’ theories – and offer an alternative phenomenological account of happiness. Aesthetic appreciation and agency and happiness, it is argued, depend on a phenomenologically fundamental (...) capacity to experience different kinds of significant possibility. It is the loss or disruption of that capacity which characterises experiences of depression. (shrink)

When Dewey scholars and educational theorists appeal to the value of educative growth, what exactly do they mean? Is an individual's growth contingent on receiving a formal education? Is growth too abstract a goal for educators to pursue? Richard Rorty contended that the request for a “criterion of growth” is a mistake made by John Dewey's “conservative critics,” for it unnecessarily restricts the future “down to the size of the present.” Nonetheless, educational practitioners inspired by Dewey's educational writings may ask (...) Dewey scholars and educational theorists, “How do I facilitate growth in my classroom?” Here Shane Ralston asserts, in spite of Rorty's argument, that searching for a more concrete standard of Deweyan growth is perfectly legitimate. In this essay, Ralston reviews four recent books on Dewey's educational philosophy—Naoko Saito's The Gleam of Light: Moral Perfectionism and Education in Dewey and Emerson, Stephen Fishman and Lucille McCarthy's John Dewey and the Philosophy and Practice of Hope, and James Scott Johnston's Inquiry and Education: John Dewey and the Quest for Democracy and Deweyan Inquiry: From Educational Theory to Practice—and through his analysis identifies some possible ways for Dewey-inspired educators to make growth a more practical pedagogical ideal. (shrink)