Foucault’s later writings continue his analyses of subject-formation but now with a view to foregrounding an active subject capable of self-transformation via ascetical and other self-imposed disciplinary practices. In my essay, I engage Foucault’s studies of ancient Greco-Roman and Christian technologies of the self with a two-fold purpose in view. First, I bring to the fore additional continuities either downplayed or overlooked by Foucault’s analysis between Greco-Roman transformative practices including self-writing, correspondence, and the hupomnemata and Christian (...) ascetical and epistolary practices. Second, I add exegetical support to recent arguments denying Foucault’s advocacy for the death of the subject per se. In fact, my analyses show that Foucault’s ethico-aesthetic turn and its corresponding concern with self-transformation and self-(re)constitution via ascetical practices assumes a subject with rational and volitional capacities. Without these capacities, the art of living Foucault describes is not possible. (shrink)

The central task of this book is to map a subtle but significant addition to the political discourse on liberty since the early modern period; a gradual shift of focus form the individual secure in spheres of non-interference, or acting in accordance with authentic desires and beliefs, to the actions of a self at liberty. Being free stands opposed, classically, to being in someone else’s power, being subject to the will of another – in particular, to being constrained by (...) the intentional actions of others. “Constrained” usually means having choices or opportunities taken away or limited by the designs of others. But what if we press the connection between intentions and constraints a bit further, focusing less on negative constraints and more on enabling ones? Constrained or unfree, that is, not simply through a limitation of choices or options, but where free choices and intentions themselves become the object of theoretical and practical attention. What does it mean to be free or unfree in relation to these kinds of “constraints”? (shrink)

The rejection of a “characterless” moral self is central to some of Bernard Williams’ most important contributions to philosophy. By the time of Truth and Truthfulness, he works instead with a model of the self constituted and stabilized out of more primitive materials through deliberation and in concert with others that takes inspiration from Diderot. Although this view of the self raises some difficult questions, it serves as a useful starting point for thinking about the process of (...) developing an authentic moral point of view in the context of contemporary living. In what follows, I begin to fill out and extend this picture of the self and its related notion of authenticity by exploring some of the “technologies of the self” at play in Rachel Cusk’s recent work (primarily, the Outline trilogy, Coventry, Second Place, and “The Stuntman”) that ask us to rethink the possibility and importance of stability; seek a way of constituting oneself and one’s values outside the confining structures of traditional narrative (focusing instead on a framework that might be provided by the visual arts); and give a different role to the sort of internalized other Williams sees as being at work in the mechanisms of shame. (shrink)

This contribution focuses on three aspects of Nietzsche’s art of living that have become relevant today especially in the United States (but not only here): first, regarding some facets of the economic-political conditions of any contemporary art of living; second, the widespread adoption of Nietzsche’s notion of self-overcoming and artistic self-design in entrepreneurship and individual’s lives; and third, how his notion of ‘incorporation’ has been further developed in current approaches to habit design. Eventually I will show via the (...) example of Anthony Robbins that some notions of Nietzsche’s art of living have become most popular outside of academia, namely in the commercial industries of what has been called ‘self-growth’ or ‘self-development.’. (shrink)

There is a general impression among Kant scholars that he has no robust theory of work. Most of his references to the topic appear in his historical and anthropological writings, where he tells us that work is burdensome, and valuable only for the sake of whatever we produce. In this paper, I argue that Kant has an under-explored theory of work in the third Critique. This theory bears little resemblance to his depiction of work in the historical and anthropological writings. (...) The third Critique will depict work as self-expressive, creative, and free, features Kant will go on to associate with art. Kant’s contention is that when work resembles art, it is both agreeable and something we enjoy for its own sake. However, when work fails to resemble art — when it is, in Kant’s words, natural, scientific, and mercenary — it is both disagreeable and constrained, and begins to sound like his description of work from the historical and anthropological writings. Kant’s theory of work in the third Critique has a number of important implications. The first is that it provides a new foundation for a contemporary philosophy of work that places freedom and creativity at the center of the labor process. My analysis also engages a part of Kant scholarship that has, until recently, been largely neglected. It is only in the last decade that the English-language Kant literature has taken up the question of how to make sense of Kant’s remarks about work. However the focus is rarely on Kant’s aesthetic theory of work, but rather on the place of work in his moral and political philosophy. I discuss the implications of Kant’s third Critique theory of work for these other debates, as well as for our understanding of the third Critique as a whole. (shrink)

It is a matter of fact that Europe is facing more and more crucial challenges regarding health and social care due to the demographic change and the current economic context. The recent COVID-19 pandemic has stressed this situation even further, thus highlighting the need for taking action. Active and Assisted Living technologies come as a viable approach to help facing these challenges, thanks to the high potential they have in enabling remote care and support. Broadly speaking, AAL can be referred (...) to as the use of innovative and advanced Information and Communication Technologies to create supportive, inclusive and empowering applications and environments that enable older, impaired or frail people to live independently and stay active longer in society. AAL capitalizes on the growing pervasiveness and effectiveness of sensing and computing facilities to supply the persons in need with smart assistance, by responding to their necessities of autonomy, independence, comfort, security and safety. The application scenarios addressed by AAL are complex, due to the inherent heterogeneity of the end-user population, their living arrangements, and their physical conditions or impairment. Despite aiming at diverse goals, AAL systems should share some common characteristics. They are designed to provide support in daily life in an invisible, unobtrusive and user-friendly manner. Moreover, they are conceived to be intelligent, to be able to learn and adapt to the requirements and requests of the assisted people, and to synchronise with their specific needs. Nevertheless, to ensure the uptake of AAL in society, potential users must be willing to use AAL applications and to integrate them in their daily environments and lives. In this respect, video- and audio-based AAL applications have several advantages, in terms of unobtrusiveness and information richness. Indeed, cameras and microphones are far less obtrusive with respect to the hindrance other wearable sensors may cause to one’s activities. In addition, a single camera placed in a room can record most of the activities performed in the room, thus replacing many other non-visual sensors. Currently, video-based applications are effective in recognising and monitoring the activities, the movements, and the overall conditions of the assisted individuals as well as to assess their vital parameters. Similarly, audio sensors have the potential to become one of the most important modalities for interaction with AAL systems, as they can have a large range of sensing, do not require physical presence at a particular location and are physically intangible. Moreover, relevant information about individuals’ activities and health status can derive from processing audio signals. Nevertheless, as the other side of the coin, cameras and microphones are often perceived as the most intrusive technologies from the viewpoint of the privacy of the monitored individuals. This is due to the richness of the information these technologies convey and the intimate setting where they may be deployed. Solutions able to ensure privacy preservation by context and by design, as well as to ensure high legal and ethical standards are in high demand. After the review of the current state of play and the discussion in GoodBrother, we may claim that the first solutions in this direction are starting to appear in the literature. A multidisciplinary debate among experts and stakeholders is paving the way towards AAL ensuring ergonomics, usability, acceptance and privacy preservation. The DIANA, PAAL, and VisuAAL projects are examples of this fresh approach. This report provides the reader with a review of the most recent advances in audio- and video-based monitoring technologies for AAL. It has been drafted as a collective effort of WG3 to supply an introduction to AAL, its evolution over time and its main functional and technological underpinnings. In this respect, the report contributes to the field with the outline of a new generation of ethical-aware AAL technologies and a proposal for a novel comprehensive taxonomy of AAL systems and applications. Moreover, the report allows non-technical readers to gather an overview of the main components of an AAL system and how these function and interact with the end-users. The report illustrates the state of the art of the most successful AAL applications and functions based on audio and video data, namely lifelogging and self-monitoring, remote monitoring of vital signs, emotional state recognition, food intake monitoring, activity and behaviour recognition, activity and personal assistance, gesture recognition, fall detection and prevention, mobility assessment and frailty recognition, and cognitive and motor rehabilitation. For these application scenarios, the report illustrates the state of play in terms of scientific advances, available products and research project. The open challenges are also highlighted. The report ends with an overview of the challenges, the hindrances and the opportunities posed by the uptake in real world settings of AAL technologies. In this respect, the report illustrates the current procedural and technological approaches to cope with acceptability, usability and trust in the AAL technology, by surveying strategies and approaches to co-design, to privacy preservation in video and audio data, to transparency and explainability in data processing, and to data transmission and communication. User acceptance and ethical considerations are also debated. Finally, the potentials coming from the silver economy are overviewed. (shrink)

This paper begins with a discussion of Foucault's examination of Seneca's epistles in his late essay, "Self Writing." I argue that Foucault offers an accurate and interesting account of the practices Seneca employs in his epistles pursuant to his art of living. This paper then considers Foucault's interpretation of Seneca's art of living as an aesthetics of existence. I argue that this interpretation is unsatisfactory, instead suggesting that Seneca's art of living is a plausible response to the problem of (...) suffering. I close by arguing that such a conception of Seneca's art of living makes it relevant for present-day human beings, who, like Seneca, are subject to the problem of suffering. (shrink)

The current issue of Argument: Biannual Philosophical Journal (2015, vol. 5, no. 1) provides a platform for cross‑cultural studies of the human body, the embodied mind, agency, intentionality, and various axiological aspects of the human psychophysical identity. Out of the twenty articles that compose this issue, thirteen original papers address the leading theme, namely Psychophysical integrity of the human self. Comparative approach: philosophy, literature and art. The multidisciplinary and comparative perspectives include references to Western and eastern cultural traditions, as (...) well as juxtaposing a variety of views on human corporeality and the mind‑body relationship, discussed from the perspectives of philosophical theories (Venieri, Jakubczak, Kamińska, Kołdrzak, King, Wachowski), literary works (Kamińska, Milewska) and visual artefacts (King, Staniszewska, Wałek, Popczyk, Romanowicz, Lipowicz). (shrink)

The philosophy of the art of living asks the age-old question of orienting one’s own life: ‘How can I live well?’ An art of living is always called for when people do not know what to do and how to go on, when the ways of life are no longer self-evident, when traditions, conventions, rules, and norms lose their plausibility and individuals begin to worry about themselves. The art of living and of its philosophy has a practical aim: It (...) is not concerned with ethical principles, but with the concrete practice of people’s everyday life, with their individual and successful lives. Friedrich Nietzsche, as he often did, pushed the problem of the art of living to the extreme, making it palpable both in its dignity and in its force. For him, the modern uncertainty of human orientation caused by nihilism pointed to art and aesthetics, which, he supposed, makes life if not justifiable, at least bearable. The arts open up a multi-perspectival seeing and hearing, they experiment with alternative forms and techniques, and create the finest sensibilities for both – Nietzsche himself, with his rich forms of philosophical writing, is an outstanding example of this. -/- The volume we present here, entails contributions of German-speaking scholars on Nietzsche and the ways of living he proposes, especially, but not alone in Dawn. The papers are selected from a book series on the common issue “Critical Art of Living,” edited by Günter Gödde, Jörg Zirfas, and others, and translated on behalf of the Foundation for Philosophical Orientation. (shrink)

This study aimed to trace the 2015 to 2019 MAME graduates in the College of Teacher Education for Graduate Studies of the University of Northern Philippines in terms of their personal profile, their work-related profile before and after taking their master’s degree, reasons of taking up the program, competency level before and after taking the program, appraisal of the most useful courses offered in the program, evaluation on the contribution of the program to their personal and professional growth and assessment (...) on the features of the program and suggestions of how to improve the program. The researcher utilized mixed method of research. The subjects were the MAME graduates, and a questionnaire and open-ended questions were sent to them thru various online flat forms. Based on the findings of the study, the following conclusions are derived: pursuing graduate studies chooses no sex, civil status or age as long as there is a will to improve one's self; students have math- related educational background and finished the program within the prescribed number of years; having master’s degree could contribute greatly in landing a permanent teaching job in public schools; professional and personal growth and development is the strongest drive to pursue advance education; the program offers subjects that are useful which enhanced the teaching competencies of the graduates and consequently contribute to the holistic development of the graduates; and that there are areas needing improvement in the MAME program. (shrink)

More than thirty-five years after its first release in 1971, Don McLean’s “American Pie” still resonates deeply with music listeners and consumers of popular culture. In a 2001 public poll sponsored by the National Endowment for the Arts and the Recording Industry Association of America, McLean’s eight-and-a-half-minute masterpiece was ranked number 5 among the 365 “most memorable” songs of the twentieth century. In 2002, the song was voted into the Grammy Hall of Fame. In 1997, Garth brooks performed “American Pie” (...) at a concert in Central Park, and in 2000, pop icon Madonna performed her own version of “American Pie” on the soundtrack of her movie The Next Best Thing. In 1999, American Pie became the title of a popular – and irreverently comical – coming-of-age movie starring Jason Biggs (the movie American Pie was followed by American Pie 2 in 2001, American Wedding in 2003, and American Pie Present – Band Camp in 2005). Like the movie to which it lent its name, the song “American Pie” presents a coming-of-age narrative; and, also like the movie, the song appealed strongly and immediately to its contemporary audience. Three months after its release in November of 1971, the song reached the number one slot on the charts in January of 1972, and it remained in the Top 40 for a total of seventeen weeks (longer than any other single during the year of 1972). Unlike the movie, however, the song “American Pie” is highly nuanced and sophisticated, containing multiple allusions and layers of meaning which challenge and heighten our understanding of rock ’n’ roll music and the possibility of self-reflection and self-critique in popular culture. (shrink)

In the present essay I suggest that the main reason why history failed to develop societies in harmony with Nature, including our internal nature as well, is that we failed to evaluate the exact basis of the factor ultimately governing our thoughts. We failed to realise that it is the worldview that ultimately governs our thoughts and through our thoughts, our actions. In this work I consider the ultimate foundations of philosophy, science, religion, and art, pointing out that they were (...) and can be again in harmony with each other if their ultimate tasks are specified. I specify here the first task of philosophy as considering the philosophical significance of the ultimate principles of physics, biology and man/society. These ultimate principles are in direct connection with the ultimate questions of religion. I show that the fundamental nature of art makes it able to perceive the ultimate destination of mankind and the Universe, the world-to-be. I propose that philosophy, religion and art together are able to supply us with an inter-subjective picture of the world-process, including the inter-subjective picture of the future of mankind and the Universe. Care is taken to enlighten the possible role of values in founding scientific research in the frame of present wide-ranging discussions. The result is found that universal values of respect for existence, life and reason represent the inevitable basis of science. The exact foundations of a new, integral worldview are outlined, involving the worldprocess-picture, Nature-picture, images of man, society, self, history and manipulation. A list of our common tasks for founding the Integral Culture is proposed. (shrink)

The article will be divided into three parts: 1. Explain the literary origins of the nesting pattern and its relationship to cinema narrative, and analyse the nesting tactics commonly used in films under Hollywood’s classical narrative. 2. Describe the variations in nested structures in films made in the 1990s, focusing on self-reflexive nesting, which emerged as a new model beyond conventional nesting during this period. 3. Distinguish the literary style of embedded narratives from the visual recognition mode and provide (...) an example of how the latter is used in films to create impossible puzzles. (shrink)

This paper explores the ontology of the beautiful from the standpoint of competing logics, i.e., ways of speaking the Logos. The first is a theo-logic centered on the analogy of being, which uniquely regards reality as Logos—a structured hierarchy of the real, a ‘Who’ rather than a ‘What’—which provides an ontology of beauty as desirable being, and ultimately, the desirable Being. The correct response to reality is thus holiness, the sacral separateness of God imparted to, and thus borrowed by and (...) reflected through, creatures. The competing logic is what Baudrillard calls the simulacral, in which the real is suspended by its own model; the image exposes the poverty of the real and causes it to disappear altogether, revealing a transaesthetics of banality and indifference, a totalizing counterfeit of the real that is beyond real difference, beyond Logos—and therefore beyond structured hierarchy, beyond beauty and ugliness. The simulated real is thus the world of the spectacle, the world as product of consumer gaze. A way to repudiate the simulation, the murderous image, to uncover the real always and already grounding the image is to return to Logos: to emplace the image in a hierarchically relational context within Logos. The upshot is that, when so emplaced, the gaze of the image tells a different story: the world is not one of consumerist spectacle but of mutual self-gifting. Amidst the barbarism of the dislocated consumer ego, we can conscientiously commune with neighbor and turn away from what Augustine termed "fellowship with the demons.". (shrink)

From the beginning, Augustine's "Confessions" presents itself as a dialogue with God. Taking a cue from Ludwig Feuerbach’s "The Essence of Christianity [Das Wesen des Christentums]," this dialogue can easily be dismissed as a projection of the self. This would imply that the divine otherness is nothing more than a mirror of one’s own fears and preferences. “Does this critique,” I asked myself in this piece, “really do justice to a position like that of Augustine?” For a long time, (...) I did not know how to approach what I had — provisionally — called Augustine’s dialogue with God. It appeared to me that Augustine, in an accidental and indirect way, had re-invented the Platonic dialogue and had turned it into a new Christian genre. “It is true,” I told myself, “that the genre of the Confessions shows family resemblances with the hagiography and the autobiography. But most certainly it cannot be reduced to these genres.” The Greek words ‘hagios’ (holy) and ‘autos’ (self) are in flagrant contradiction with the intention of the Confessions. Augustine tries to stay clear of any claim of holiness and only highlights his own ‘self’ to immediately question it. “Is the Platonic dialogue,” I asked myself, “not a far more appropriate predecessor for Augustine’s dialogue with God?” Both types of dialogues can be seen as true dia logoi in which at least two different voices emerge. However, contrary to what one would expect, it is not the dialogue form itself that frames these two voices. Instead the two voices emerge within the discourse of a single speaker, incorporating true otherness within the discourse of the self. Building on these reflections, I explore how Augustine's dialogue with God succeeds in eluding Feuerbach's charge of self-projection. (shrink)

In Foucault, thought is spatial, and unfolds within the density of becoming, in the void that separates the subject and the object. It is ontologically independent from the authority of the contemplating self, the ‘I’. Thought is a being of its own, and comes from the outside – the world of relationships. The present study poses to itself the following question: if thinking indeed comes from the outside, then under what condition thinking can encounter itself – its colour, texture (...) and topography? That is, under what condition can man encounter himself and the world? Since this problem does not have its origin in Foucault’s work, this work does not arrive at any conclusion merely by analysing and evaluating his work alone. Rather, it aims to explore how Foucault has incorporated Kant and Nietzsche into his thinking, on the one hand, and contextualises him within the Western tradition in general and his responses to contemporaries Deleuze and Derrida, in particular, on the other. Consequently, this study is limited by the sheer weight of its own problematisation. However, the problem of ‘under what condition thought encounters itself?’ is here posed not for the sake of constituting a form of knowledge on it, but rather, it is asked from the point of view of ethics. This, in fact, demands a reordering of the forms of ontology that Foucault has developed at different stages of his career. There are three forms of ontology in Foucault’s work: the first analyses man as the subject of truth; the second takes up man as the subject of power; and the third analyses man as an ethical being. The present study reverses the order and examines his work in its totality from the standpoint of his later writings that deal with the problem of truth and ethics. It tries to connect two problems that pop up at different stages of Foucault’s career. The Order of Things asks the question, “what is man?” and in his later writings Foucault labours on the question, “how should I live my life?” This study tries to relate these two questions, as it unfolds itself. (shrink)

For Hölderlin and Adorno, the power to transcend one’s being-in-nature in order to capture nature in an image, is both the most dangerous and the most beautiful aspect of the human being. Hölderlin develops a model of reconciliation of man with nature where the transcendental power, as soon as it achieves a vision of nature, violates true nature by virtue of its finitude and so must pay for this “hybris” through self-sacrifice. Adorno appropriates this model for the work of (...) art. Nature can never be captured directly, but only indirectly, by the attempt and failure to capture it directly. This is the role of the work of art. A good work of art is one which criticizes its own appearing quality. It recognizes its own hybris and “explodes” its appearance. In the afterglow of this explosion, true nature “expresses itself.” Hölderlin limits this sacrificial model to Greek humanity. Modern humanity does not follow this negative dialectical model of reconciliation with nature. It conditions nature through its movement away from its source. The Modern poem also becomes a type of movement, a pathway involving an alternation of representations or tones. Each poetic “path” creates truth in the process of its own movement. There is no longer any true nature to reconcile with, but nature is transformed by the particular path chosen and followed. In this way, each work of art creates its own destiny. Adorno misses this aspect of Hölderlin. Whereas Adorno needed the sacrificial dynamic to provide a place for philosophical reflection at a safe distance from the work of art, Hölderlin’s Modern dynamic places any philosophical reflection within the material destiny of any individual work. It is Walter Benjamin who recognizes this Modern dynamic and his disagreements with Adorno are reflected in the difference between their interpretations of Hölderlin. What I hope to show most strikingly in this dissertation is the manner in which the work of art is a material thing, a direction, a process and a destiny, and how any engagement with the work operates along its destiny. (shrink)

To what extent do aesthetic taste and our interest in the arts constitute who we are? In this paper, we present a series of empirical findings that suggest anAesthetic Self Effectsupporting the claim that our aesthetic engagements are a central component of our identity. Counterfactual changes in aesthetic preferences, for example, moving from liking classical music to liking pop, are perceived as altering us as a person. The Aesthetic Self Effect is as strong as the impact of moral (...) changes, such as altering political partisanship or religious orientation, and significantly stronger than for other categories of taste, such as food preferences (Study 1). Using a multidimensional scaling technique to map perceived aesthetic similarities among musical genres, we determined that aesthetic distances between genres correlate highly with the perceived difference in identity (Study 2). Further studies generalize the Aesthetic Self Effect beyond the musical domain: general changes in visual art preferences, for example from more traditional to abstract art, also elicited a strong Self Effect (Study 3). Exploring the breadth of this effect we also found anAnaesthetic Self Effect.That is, hypothetical changes from aesthetic indifference to caring about music, art, or beauty are judged to have a significant impact on identity. This effect on identity is stronger for aesthetic fields compared to leisure activities, such as hiking or playing video games (Study 4). Across our studies, the Anaesthetic Self Effect turns out to be stronger than the Aesthetic Self Effect. Taken together, we found evidence for a link between aesthetics and identity: we are aesthetic selves. When our tastes in music and the arts or our aesthetic interests change we take these to be transformative changes. (shrink)

In ‘Burnt Norton’, the first of his ‘four quartets’, Eliot selected two Heraclitus’ fragments as epigraphs. In quoting fragment B 60 (‘the way up and the way down are one and the same’) he was reminding his readers that entrance into a spiritual life calls for both engagement and withdrawal, for both descending and ascending. And in quoting B 2 he reaffirmed Heraclitus’ conviction that most people fail to recognize the truth even when it is directly presented to them. In (...) his later Cocktail Party Eliot revisited these themes by converting a depiction of a failed social gathering into an exploration of forms of authenticity. He also exploited the dual nature of the Heraclitean daimôn—as external overseer and as the soul which lies within each person—to transform an account of a gathering of friends and strangers into an extended reflection on the conflicts lying within each human soul. (shrink)

Some philosophers of mind, cognitive scientists, phenomenologists as well as Buddhist philosophers have claimed that an awareness of an object is not just an experience of that object but also involves self-awareness. It is sometimes argued that being aware of an object without being aware of oneself is pathological. As anyone who has been involved in martial arts, as well as any sports requiring quick responses such as cricket and tennis, can testify, however, awareness of the self at (...) the time of acting becomes problematic: you would not be able to respond to the slight movement of your opponent if you were aware of yourself responding to it. This suggests that it must be possible for us to be aware without being aware of ourselves. The aim of this paper is to clarify the notion of self-awareness and its relation to the self by investigating the phenomenology of the martial artist who is ‘in the act’. I shall argue that we can make sense of self-awareness without invoking awareness of oneself. (shrink)

Psychoanalysis, particularly as articulated by figures like Freud and Lacan, highlights the inherent division within the human subject—a schism between the conscious and unconscious mind. It could be said that this suggests that such an internal division becomes amplified in the context of generative art, where technology and algorithms are used to generate artistic expressions that are meant to emerge from the depths of the unconscious. Here, we encounter the tension between the conscious artist and the generative process itself, which (...) may yield unexpected, even uncontrollable results. -/- This paper, therefore, seeks to address this division within the modern subject and its relationship to technology, wherein the division within the living body is revealed through the presence of prosthetic elements, which mirrors the division brought about by the incorporation of language as a signifier. I argue that the amplification of this internal schism does not necessarily lead to a more fractured subject. Instead, generative art, bolstered by advancements in AI and machine learning, offers a unique opportunity for individuals to externalize and explore their minds in novel ways. -/- By examining contemporary works such as Hal Foster’s Prosthetic Gods, which stands as a pivotal exploration of the convergence between modernist art and psychoanalytic theory and Isabel Millar’s Psychoanalysis of Artificial Intelligence, this paper elucidates the profound implications of Freud’s vision of modern -/- subjectivity as Prothesengott (Prosthetic God) and address the questions concerning this technological imbrication of the human mind and body through the Lacanian framework. Although for Freud, Man does not become a real God, rather, the potential to transcend one’s limitations ascribes us to God-like qualities by seeking to generate new forms of life that go beyond merely reproducing nature — a transcention of the natural. Millar emphasizes that Freud observes that this is evidenced by the fact that these additional organs remain distinct from the organism and can never assimilate into it. One continually falls short of realizing the fantasy he envisions, opting instead to use his supplementary artificial organs to endlessly revolve around the objects of the drive. -/- This evolving relationship that the drive has with its technological objects, resounds in Lacan’s conception of “lathouse” which allows extimate objects to convert interiority (unconscious) into exteriority (conscious) and exteriority into interiority. The thesis of this paper seeks to employ this underutilized concept to understand the nature of human subjectivity and its bodily and structural relationship to generative art. Therefore, this paper emphasizes what really happens when we enter into this relationship with the lathouse, whereby this artificial object has effects in the "real of jouissance", where these Lathouses create a network, namely the Alethosphere. My goal is to argue that generative art as a technological development, can be seen as an extension to the development of the drive. Conclusively, I make the claim for generative art's potential to externalize the human creative drive by emphasizing the interplay between randomness and structure, and how it offers a means to surpass our inherent limitations by presenting an avenue for self-expression that transcends traditional modes of art. (shrink)

Unlike Derrida’s ‘there is no outside text, Lacan approaches the Real, that which lies beyond language, from two sides: the imaginary and the symbolic. In the first part of this work, by drawing upon the imaginary side of Lacanian Real, which is object petit a and by considering some literary and philosophical definitions of the pre-symbolic abyss, it is attempted to illustrate the non-representation artworks’ illustration of the pre-linguistic bodily urges and sensations. Next, by drawing upon symbolic side of the (...) Lacanian Real, which is sinthome, it will be shown how some artists create their own symbolic order and the New by approximating a point of idiomaticty just like what Lacan did with his mathemes. In the second part of the paper, Joe Weight’s Darkest Hour (2017) is analyzed to show how Winston Churchill first turns into an object petit a, and plugs the gap of the symbolic order by being elected as a prime minister; however, the impending fall of England by Nazi attacks strip Churchill of his self-confidence, then he resorts to people and by their hands, he rewrites himself anew turning himself into a sinthome and like Joyce and Lacan, who have created their own symbolic order, Churchill temporarily turns England into his own symbolic order to win the war. (shrink)

This paper presents a new account of aesthetic pleasure, according to which it is a distinct psychological structure marked by a characteristic self-reinforcing motivation. Pleasure figures in the appreciation of an object in two ways: In the short run, when we are in contact with particular artefacts on particular occasions, aesthetic pleasure motivates engagement and keeps it running smoothly—it may do this despite the fact that the object we engagement is aversive in some ways. Over longer periods, it plays (...) a critical role in shaping how we engage with objects to get this kind of pleasure from them. This account is yoked to a broadly functional understanding of art: it is not the nature of the object that makes it art, but the nature of the response that it is designed to elicit. The view does not, however, rest on individual psychology alone, as some other functional accounts do. Crucially, it is argued that shared cultural context is a key determinant of the pleasure we derive from aesthetic artefacts. The pleasure of art is always communal and communicative. (shrink)

This paper examines a largely unrecognized mental disorder that is essentially a disability of values. It is their daily contact with this pathology that leads many university liberal arts faculty to demoralization. The deeply rooted disparity between the world of the traditional liberal arts scholar and today’s college students is not simply a gulf across which communication is difficult, but rather involves a pathological impairment in the majority of students that stems from an exclusionary focus on work, money, and the (...) acquisition of things. It is argued that this state of mind constitutes a self-disabling mental illness, which for a society becomes pathological ideology, and for the individual takes the form of clinical narcissism. (shrink)

This comparative examination of Nietzsche and the Islamic philosopher al-Kindi emphasizes their mutual commitment to the recovery of classical Greek and Hellenistic thought and the idea of philosophy as a way of life. Affiliating both thinkers with the Stoic lineage in particular, I examine the ways in which they appropriate common themes such as fatalism, self-cultivation via spiritual exercises, and the banishing of sorrow. Focusing primarily on their respective conceptions of self and nature, I argue that the antipodal (...) worldviews of al-Kindi and Nietzsche can be understood as a bifurcation of Stoic philosophy. (shrink)

Bill Cosby’s immorality has raised intriguing aesthetic and ethical issues. Do the crimes that he has been convicted of lessen the aesthetic value of his stand-up and, even if we can enjoy it, should we? This article first discusses the intimate relationship between the comedian and audience. The art form itself is structurally intimate, and at the same time the comedian claims to express an authentic self on stage. After drawing an analogy between the question of the moral character (...) of comedians and the aesthetic value of their stand-up and the debate over the ethical criticism of art, this article argues that it is reasonable to find a comedian’s performance less funny, because stand-up’s artistic success relies on this intimacy. It contrasts the comedy of Bill Cosby with that of Louis C.K. C.K.’s moral flaws are much more present in his comedy, and it is therefore more difficult to find him funny. Last, it is ethically permissible to enjoy their comedy, if no harm to others results, both because it does not corrupt the audience’s character and because amusement is valuable. (shrink)

[First paragraphs: This essay takes its practical orientation from my experiences as a member of a philosophy reading group on death row at Riverbend Maximum Security Penitentiary in Nashville, Tennessee. Its theoretical orientation comes from W. E. B. Du Bois’ lecture-turned-essay, “Criteria of Negro Art,” which argues that the realm of aesthetics is vitally important in the war against racial discrimination in the United States. And since, according to Michele Alexander’s critically-acclaimed The New Jim Crow: Mass Incarceration in the Age (...) of Colorblindness, the prison system should be the primary front today in this war, my essay’s ultimate aim is t/o articulate a new criterion of the present-day “Negro” art being created by a prison population that is still overwhelmingly constituted by persons of color. In my first section, I will show how Du Bois’ insights in “Criteria of Negro Art” remain relevant today, especially in the prison context, and argue that it is thus appropriate for my new criterion to be shaped by his distinctive conception of “propaganda.” In my second section, through a close reading of two texts by Michel Foucault (the pivotal thinker of modern imprisonment), I will flesh out this new criterion, “self-torsion,” defined as the effect of prisoners’ attempts at self-care within a prison system that distorts those attempts into further exploitation of both prisoners and the outside world that imprisons them. And my final section, in an attempt to illustrate this new criterion’s efficacy as a form of propagandistic resistance to contemporary racism, will deploy self-torsion as a critique of two artworks created by imprisoned members of my reading group at Riverbend penitentiary. (shrink)

Connecting research and production, art research represents a breaking of the barrier between creation and academia. However, there is also a contradiction contained in this kind of research deriving from its methods, since the process of art-based practice must, by its very nature, involve the subjectivity of the artist. I use my own studies as the research object to discuss this issue, and this article presents the problems I encountered during my artistic practice and research of ambiguous roles. This paper (...) has two main points of focus. First, I explore how the fallacy of self-referentiality is presented in paintings and films, and, second, I draw on my short film practice during my master’s study period to explain how the shots present a continuum in relation to the “absent one” and produce interface effects. However, the second point is not necessarily the result of the first one. This kind of connection and contradiction between practice and cognition in the process of art research is that I will analyse and discuss here. (shrink)

This chapter presents the formalist account of the moral status of an artwork as an aesthetically significant and autonomous form, with due emphasis on the Anglo-American art-for-art’s-sake aesthetic, as it developed between 1870 and 1960. The author shows that the formalist art-is-above-morals approach is a substantive moral stance in itself. Formalist aesthetics is usually presented in the literature as evincing a purist indifference to ethics, construing moral properties as external to art, in opposition to the internal pure properties of art’s (...) composition. The chapter demonstrates that this is a misrepresentation of the complex formalist prescriptive idea of the relations between art and ethics. Through its autonomy and imperviousness to external co-opting—which is accomplished by due focus on aesthetic form—art on the formalist account is held to be a paradigm of the liberalist principles of individual freedom and self-fulfillment, thus an inherent means to the good. (shrink)

The principle of self-organization has acquired a fundamental significance in the newly emerging field of computational philosophy. Self-organizing systems have been described in various domains in science and philosophy including physics, neuroscience, biology and medicine, ecology, and sociology. While system architecture and their general purpose may depend on domain-specific concepts and definitions, there are (at least) seven key properties of self-organization clearly identified in brain systems: 1) modular connectivity, 2) unsupervised learning, 3) adaptive ability, 4) functional resiliency, (...) 5) functional plasticity, 6) from-local-to-global functional organization, and 7) dynamic system growth. These are defined here in the light of insight from neurobiology, cognitive neuroscience and Adaptive Resonance Theory (ART), and physics to show that self-organization achieves stability and functional plasticity while minimizing structural system complexity. A specific example informed by empirical research is discussed to illustrate how modularity, adaptive learning, and dynamic network growth enable stable yet plastic somatosensory representation for human grip force control. Implications for the design of “strong” artificial intelligence in robotics are brought forward. (shrink)

Eighteenth-century art historian Johann Joachim Winckelmann (1717-1768) shared with Hegel a profound admiration for the art and culture of ancient Greece. Both viewed ancient Greece as, in some sense, an ideal to which the modern world might aspire—a pinnacle of spiritual perfection and originality that contemporary civilization might, through an understanding of ancient Greek culture, one day equal or surpass. This rather competitive form of nostalgia suggests a paradoxical demand to produce an original and higher state of culture through the (...) imitation of another. In Hegel’s writings, this paradox goes beyond the relation of the modern world to the ancient world—he exposes the same paradox in ancient Greece’s relation to its own predecessors. The solution to the latter paradox—the possibility of the realization of ancient Greece as an original and self-contained civilization despite its cultural debts—would also, then, be the key to repeating the success of the ancient world in the modern, the overcoming of modern Europe’s cultural debt to the ancient world. The present essay examines how this paradox is revealed and resolved in the writings of Winckelmann and Hegel, and shows how this strategy of culture production—as imputed to the ancient world and aspired to in the modern—simultaneously attempts to justify and conceal a self-deceptive practice of cultural and political conquest. My focus will be on the two writers’ interpretations of ancient Greek art since, as I will suggest, their solution to the paradox of culture production turns out to be modeled upon the role of ancient Greek art in the invention and actualization of a cultural ideal of beauty, unity, and self-containment. (shrink)

I develop a phenomenological account of racialized encounters with works of art and film, wherein the racialized viewer feels cast as perpetually past, coming “too late” to intervene in the meaning of her own representation. This points to the distinctive role that the colonial past plays in mediating and constructing our self-images. I draw on my experience of three exhibitions that take Muslims and/or Arabs as their subject matter and that ostensibly try to interrupt or subvert racialization while reproducing (...) some of its tropes. My examples are the Jean-Joseph Benjamin-Constant exhibition at the Montreal Museum of Fine Arts (2015), the exposition Welten der Muslime at the Ethnologisches Museum in Berlin (2011–2017), and a sculpture by Bob and Roberta Smith at the Leeds City Art Gallery, created in response to the imperial power painting, General Gordon’s Last Stand, that is housed there. My interest is in how artworks contribute to the experience of being racialized in ways that not only amplify the circulation of images but also constitute difficult temporal relations to images. Drawing on Frantz Fanon’s Black Skin, White Masks, I argue that such racialized images are temporally gluey, or stuck, so that we are weighted and bogged down by them. This essay received Honorable Mention from the American Society for Aesthetics Feminist Caucus Committee in the Feminist Research Essay prize in 2020. (shrink)

Abstract The awakening of art to self-awareness and the statement of its autonomy are modern phenomena. The way we think about art in the modern age may be derived from the Kantian “beauty without concept”. Beautiful art is the work of the genius, who creates a work of art that is valuable in itself and is admired in museums by the public. That which I call here “the modern paradigm of art” is based on an absence: the non-conceptuality of (...) the beautiful, i.e., the fact that objective qualities cannot define the beautiful. This absence establishes originality as the essential requirement for modern art and creates the possibility for artists to push the boundaries of the modern paradigm. Thus, the 20thcentury sees the appearance of strategies for overriding or substituting originality. The artist withdraws from behind her work, and the work of art is no longer an unapproachable object with an aura, just as the museum is also no longer the temple of the arts. But do these experiments overcome the frontiers of art’s modern paradigm? And, more generally, can this paradigm be overcome at all? Here I deduct three elements of the modern paradigm of art from the idea of “beauty without concept”: (1) the original artist, who is seen as a genius, (2) the work of art with an aura, and (3) the museum as the temple of art. Then I present how artists, based on the requirement of originality, worked on dismantling the frontiers of the modern paradigm. (shrink)

In this article, I outline various ways in which artifacts are interwoven with autobiographical memory systems and conceptualize what this implies for the self. I first sketch the narrative approach to the self, arguing that who we are as persons is essentially our life story, which, in turn, determines our present beliefs and desires, but also directs our future goals and actions. I then argue that our autobiographical memory is partly anchored in our embodied interactions with an ecology (...) of artifacts in our environment. Lifelogs, photos, videos, journals, diaries, souvenirs, jewelry, books, works of art, and many other meaningful objects trigger and sometimes constitute emotionally laden autobiographical memories. Autobiographical memory is thus distributed across embodied agents and various environmental structures. To defend this claim, I draw on and integrate distributed cognition theory and empirical research in human-technology interaction. Based on this, I conclude that the self is neither defined by psychological states realized by the brain nor by biological states realized by the organism, but should be seen as a distributed and relational construct. (shrink)

The conditions of hunting and gathering through which one line of primates evolved into humans form the basis of what I term the wild self, a self marked by developmental needs of prolonged human neoteny and by deep attunement to the profusion of communicative signs of instinctive intelligence in which relatively “unmatured” hominids found themselves immersed. The passionate attunement to, and inquiry into, earth-drama, in tracking, hunting, foraging, rhythming, singing, and other arts/sciences, provided the trail to becoming human, (...) and provide external grammatical structures that became the basis of human language and animate mind. I outline my new philosophy of history as a progress in precision, counteracted by a regressive contraction of mind. The progress associated with history since the beginning of agriculturally-based civilizations can be considered as a regressive contraction from animate mind of our hunter-gatherer evolutionary past, to anthropocentric mind, and finally to the ghost in the machine world-view of mechanico-centric mind. Contemporary consumption culture represents an inversion of the original conditions of the human self, and indeed, targets aspects of developmental neoteny to condition conformity to its rational-mechanical system imperatives. (shrink)

Arthur Danto’s analytic theory of art relies on a form of artistic interpretation that requires access to the art theoretical concepts of the artworld, ‘an atmosphere of artistic theory, a knowledge of the history of art: an artworld’. Art, in what Danto refers to as post-history, has become theoretical, yet it is here contended that his explanation of the artist’s creative style lacks a theoretical dimension. This article examines Danto’s account of style in light of the role the artistic metaphor (...) plays in the interpretation of the artwork, arguing that it is unable to account for the metaphorical power he claims is embedded within the work of art. An artist’s style issues from a unique perspective, the way an artist inhabits a specific spot in history. Though each person has such a perspective, when applied aesthetically, it is the key to the articulation of a unique historical meaning in the work of art. At the same time, artists’ knowledge of their contribution remains cut off from this perspective, for they are unaware of their self-manifestation of the historical concept of style. This article makes the case that Danto’s notion of style, based on Sartre’s notion of being-for-itself, cannot fulfil the role he allots it in his theory because, at some level, artists must apprehend their style to create a work of art capable of functioning critically as a countertext. It is only through the apprehension of their style, and dialogical activity that takes place between the artist and the beholders, that the unseen body of artworld theory is formed. Without this, when oriented to the aesthetic, style provides no concept or theory for the mind to behold. This article presents an alternative approach to style that recognizes the role of theory in the creation of metaphor, which would circumvent this problem. (shrink)

Numerous scholars, philosophers, and experts in aesthetics have underscored the profound significance of a life enriched by the presence of beauty. Consequently, the appreciation of aesthetic experiences is considered pivotal for achieving self-discovery and self-transcendence (Howell et al. 2017). Despite theoretical prominence, limited qualitative research has been conducted on this topic. To address this gap in research, this study’s objective emphasized two questions guiding the inquiry; What is the role of aesthetic encounters in aiding self-realization or individuation? (...) and, how do these experiences foster self-transcendence? -/- A thematic analysis was performed on the online interviews conducted (N=25), and their results revealed seven themes pertaining to self-realization: a) Losing Yourself to Find Yourself; b) Relatability and Self-Reflection in Art; c) Identity as a Collection of Skills; d) Art as a Medium for Self-Expression and Acknowledgment; e) Aesthetic Genres and Taste as Identity; f) Belonging and Social Identity through Art; and g) Personal Interests and Choices in Artistic Consumption. Furthermore, seven themes for the second research question of self-transcendence were also discovered: a) Mother Nature’s Beauty; b) Intense, Passionate, and Overwhelming Experiences of Heightened Consciousness; c) Sacred Symbolism, Archetypal Imagery, and the Collective Unconscious; d) Collective Effervescence, Social Connection, and Shared Meaning; e) The ‘Profound’ Found in the Mundane; f) Feelings of Spiritual Elevation and Wellbeing; and g) Self-Referential Meaning-Making through Art. These findings evidenced the transformative potential of aesthetic experiences, shedding light on the facets of personal growth and meaning that individuals derive from such encounters. (shrink)

In order to grasp the true ethical meaning of Foucault's aesthetics of existence, I begin by explaining in what sense he was an anti-normativist, arguing that the most important thing about the "final" Foucault is his strong emphasis on the idea of human freedom. I go on with a brief discussion about Foucault's sources of inspiration and a criticism of Rorty's kindred plea for "aesthetic life". I strongly reject the interpretation of Foucault's aesthetics of existence in terms of narcissistic individualism, (...) arguing, on the contrary, that it has a definite communitarian dimension. I also claim that it is rooted in the Socratic and Stoic understanding of "care of the self," at the same time allowing new challenging developments fitted for our "post-duty" historical age, by way of analogy with the process of artistic making. I conclude with some short answers to a few questions regarding the status of this aesthetics of living. (shrink)

To become a public figure or celebrity, I claim, is to exist alongside a zombie version of yourself. This zombie shares the same name and physical likeness but operates independently of its flesh-and-blood counterpart. In fact, public figures do not have any special authority over the zombie version of themselves, and in some contexts, they enjoy less authority over their zombie counterparts than others do. In the US, for example, public figures are not legally entitled to protections against criticism via (...) parody, which can include unauthorized use of their likeness for offensive images, insulting jokes, and other forms of public mockery. As Michel Foucault observed, a work is entitled to become the “murderer” of its author, which suggests that the author’s name exists among the living dead. An artist’s works can bear their name yet operate independently of their attitudes or mental states. In June of 2019, the master rights to Taylor Swift’s first six albums were sold without her knowledge or consent, effectively “murdering” her rights as their author. Swift’s 2019 decision to re-record her first six studio albums can thus be understood as an act of institutional revenge, a way to get back at the people who have wielded power over her and the institutions that enable exploitation—a battle with her zombified works: the “stolen” original albums. In this chapter I sketch an institutional theory of celebrity names to explain the institutional, personal, and political significance of self-appropriation, using Taylor Swift’s act of re-recording her own music as a paradigm case. (shrink)

Ross Cameron's The Moving Spotlight argues that of the three most common dynamical theories of time – presentism, the growing block theory and the moving spotlight theory – his version of the MST is the best. This paper focuses on Cameron's response the epistemic objection. It considers two of Cameron's arguments: that a standard version of the MST can successfully resist the epistemic objection, and that Cameron's preferred version of the MST has an additional avenue open to it for resisting (...) the objection, one that is consistent with an appealing account of truthmaking. I argue that neither argument succeeds....By SMST, I shall mean the view that there exists a static four-dimensional block of events such that if an event ever... (shrink)

DOI:10.20850/9781716645440 -/- An amazing exploration of the mind is now possible for everyone. With the Colors of The Sunrise, the first volume of the series The Psychotherapy of Whole: Aesthetics, Philosophy, Humanism, and Cognitive Science the reader has the opportunity to engage with a book that utilizes the methods and structure of self-help, popular science, and expressive therapies books. -/- Science, psychotherapy, philosophy, music, art and digital reality for the first time come together in a book phenomenon and a (...) series designed during 16 years to provide the first A.I Psychotherapy model internationally, focused on a profound study that has been evaluated by leading names from many of the areas analyzed around the world. -/- The book has been based on the background of advanced academic research, lending from the recent and updated investigations in an extraordinary number of areas. These include but are not limited to the disciplines of social sciences, psychiatry, philosophy, expressive art therapies, exact sciences, history, politics, artificial intelligence, and humanities that are presented from a global perspective. -/- Linguistics, neuroscience, anthropology, robotics, physics, and mathematics reconsidered as positive parts of the universal structures. It is explained the manner of uniting the cognition staying in perfect harmony with the today’s knowledge acquired by cognitive science, and the knowledge that traditionally contributes to the flourishing of the human mind through the philosophical approaches. -/- This manner discovered through the cutting-edge clinical and scientific study of the author. As a Licensed Social Worker and Cognitive Scientist, Anthony N. Skarvelakis devoted many years of professional investigation to reach a cognitive metaprogram as a model that expands human thought, giving the solution searched for years regarding the design of the first complete model of A.I Psychotherapy. (shrink)

This article, which appeared in the Library of Living Philosophers series, is a thought experiment that imagines Danto’s analytical framework reaching well beyond what he had called the “drab” state of philosophy in the early 2000s. It describes, in minimalist terms, what he saw as the fundamental project of all philosophy -- regardless of the specific theoretical content any particular philosopher might put forth. It discusses his central (and still underdeveloped) notion of representation, and his quasi-Hegelian view of how art (...) theory has been altered by its own recently emerging self-consciousness. It draws out the implications of his Argument from Intelligibility, which informs Danto’s interest in human self-consciousness, in autonomy, and (somewhat speculatively) in “spirit.”. (shrink)

In presenting self-preservation as the most general law of nature, set at the summit of the structure of the natural world, Francis Bacon characterized the universal appe- tite for self-preservation as an innate instinct which, in the case of living beings, is primarily associated with the emotion of fear. Bacon’s philosophy offers several tech- niques of self-care to manage the fear of accidents of fortune from which the existence and well-being of the self is under constant (...) threat. This article reconstructs Bacon’s treatment of divinatory arts and their contributions to self-care. We will explore how he adopts traditional divinatory arts and reforms them: oneirocritics, physiognomy, and astrology. We will contend that Bacon’s approach to divinatory arts as techniques for self-care and the management of fortune shows some salient points shared with his natural philosophy: in both cases, the approach is hermeneutical, with the goal of exerting human power. With regard both to nature and to fortune, however, our power to modify the state of things extends only so far. The range of decisions we can make is not unlimited but encompasses only what is “in our power,” that is, what depends on us. (shrink)

This dissertation is an attempt to find a single framework for understanding two seemingly conflicting aspects of Nabokov's Russian novels---the metaphysical and the existential. The metaphysical aspect is analyzed according to Leibniz's "Monadology," with its key concepts of the monad, pre-established harmony, the optimization of the universe, and sufficient reason. The existential aspect is examined according to Sartre's theory of the gaze from "Being and Nothingness"; its main notions are being-for-another, radical individuation and intersubjective struggle. Concern with the level of (...) being is assumed to be the most basic and unifying element of the Nabokovian worldview. It is shown that Nabokov conceives individual being as value, and that he understands self-authorship as self-ownership. The value of individual being is threatened by intersubjective contact: the other, via the gaze, can undermine its property status, and eventually alienate it. All particular plots are derived from these underlying premises. The key Nabokovian themes of blindness, non-transparency, loss, memory and art are demonstrated to refer back to the root concepts of the gaze and self-protection. ;The dissertation develops two original conceptual tools: a theory of unreliable focalization and a theory of paranoid experience ;Close readings of Nabokov's texts have resulted in several philological findings. Structural and textual parallels have been discovered between "Mashen'ka" and Shakespeare's "Hamlet," as well as between "Priglashenie na kazn'" and Descartes' "Meditations." It has also been shown that the protagonist's story in "Zashchita Luzhina" is repeated four times and not two. (shrink)

This paper is a tentative step towards a historical cognitive science, in the domain of memory and personal identity. I treat theoretical models of memory in history as specimens of the way cultural norms and artifacts can permeate ('proto')scientific views of inner processes. I apply this analysis to the topic of psychological control over one's own body, brain, and mind. Some metaphors and models for memory and mental representation signal the projection inside of external aids. Overtly at least, medieval and (...) Renaissance theorists agreed that such models had to allow for, or even guarantee, some conception of cognitive order and discipline. Individual memory traces had to be independent, not mixed up or interfering with others. The long tradition of improving or bypassing 'natural memory' by deliberately internalizing artefactual models was part of an arduous process of self-fashioning. Moral panic about confusion and mixture features centrally in the imposition of cognitive discipline in local memory traditions. (shrink)

De-anthropocentrism is the leitmotif of philosophy in the twenty-first century, encouraging diverse and competing thoughts as to how this goal may be achieved. This article argues that the method by which we may achieve de-anthropocentrism is ethical rather than metaphysical – it must involve a creation of the self, rather than an interpretation of the given human conditions. Through engagements with the thought of Nietzsche, Levinas, and Foucault, and a close reading of Baudelaire’s poem “La Beauté,” I will illustrate (...) three ethical commitments essential to de-anthropocentrism: to abandon the claim to knowledge associated with human reason, to remain in perpetual quest of an object, and to transgress the given perceptual structure through aesthetic experience. In contrast to Kantian philosophy built upon universal human reason, art is the ethical arena where each artist creates their own way to relate to the object, while de-anthropocentrism occurs – this article argues – when the artist includes the self as the field of creation. Object-Oriented Ontology in my assessment is the only branch of philosophy that truly achieves de-anthropocentrism. (shrink)

Using Australia to illustrate the case, in this paper it is argued that the transformation of universities into businesses and the undermining of the liberal arts is motivated by either contempt for or outright hostility to democracy. This is associated with a global managerial revolution that is enslaving nations and people to the global market and the corporations that dominate it. The struggle within universities is the site of a struggle to reverse the gains of the Radical Enlightenment, the tradition (...) of Enlightenment that, committed to upholding and developing the civic humanism of the Renaissance, strove for liberty, understood as democratic self-governance. The central place the liberal arts had in upholding this liberty is shown. Inspired by the Ancient Greek notion of paideia, the liberal arts, which originated in republican Rome, was the form of education required designed for free people, in opposition to the specialist education appropriate for slaves, to inspire them to maintain their liberty and enable them to govern themselves. While not always upholding this ideal, it is argued in this paper that the liberal arts always kept alive this quest for liberty, bequeathing this quest to the Renaissance philosophers and to the proponents of the Radical Enlightenment. With managerialism and the undermining of democracy, such education and the questioning, creative people it produced, are now seen as a threat to the new global corporatocracy who, to achieve cultural hegemony, have coöpted university managers and academics to impose their agenda to cripple the liberal arts. Their goal, never fully articulated as such but successfully prosecuted, is a dumbed-down population. (shrink)

This study is a phenomenological inquiry into several relatively unexplored phenomena, including certain key methodological issues. It seeks to elicit and explicate the grounds of free-fantasy variation, which Husserl insists contains his “fundamental methodological insight” since it articulates “the fundamental form of all particular transcendental methods…” In the course of pursuing the full sense of this method and its grounds, the essay also uncovers the origins and eventual presence of “self” and explores the multiple connections among self, mental (...) life, embodiment and the surrounding world. To that end, it is necessary to take seriously Husserl’s otherwise odd declaration that “‘feigning’ [‘Fiktion’] makes up the vital element of phenomenology as of every other eidetic science…”, and thus that every philosopher must “fertilize” his or her “fantasy” through works of art and history as well as other areas and practices of human life. The essay offers an in-depth probing of several striking but largely unexplored phenomena: exemplifying and possibilizing, and concludes with an exploration of one of the most pervasive themes in phenomenological inquiry: intersubjectivity. (shrink)

I reply to Andrea Baldini's critical discussion of my "Street Art: The Transfiguration of the Commonplaces" (2010) by taking up the question: what is "the street" in street art? I argue that the relevant notion of the street is a space whose function it is to facilitate self-expression. I show how this clarifies and extends the theory developed in Riggle (2010). I then argue, contra Baldini, that street art is not always subversive, and when it is, it is not (...) always in virtue of its challenging the co-opting of public space by commercial art. (shrink)

Relative Energy Deficiency in Sport (RED-S) is a syndrome of impaired health and performance that occurs as a result of low energy availability (LEA). Whilst many health effects associated with RED-S have been widely studied from a physiological perspective, further research exploring the psychological antecedents and consequences of the syndrome is required. Therefore, the aim of this study was to qualitatively explore athlete experiences of RED-S. Twelve endurance athletes (female n= 10, male n= 2; M age = 28.33 years) reporting (...) past or current experiences of RED-S, associated with periods of LEA, took part in semi-structured interviews designed to explore: contexts and mechanisms underpinning the onset of RED-S; the subjective experience of RED-S; and contexts and mechanisms influencing “recovery” from RED-S. Regardless of how RED-S was initiated, all athletes experienced a multitude of physiological impairments, accompanied by significant psychological distress. This paper contributes novel understanding of the complex interplay between physiological and psychological components of RED-S from the perspective of information-rich cases. The findings suggest that system-wide educational prevention and awareness interventions are vital for athletes and support personnel, such as coaches, parents, dieticians, psychologists, and sports medicine staff. (shrink)