How can we distinguish between quasi-realist expressivism and normative realism? The most promising answer to this question is the “explanation” explanation proposed by Dreier (2004), Simpson (2018), and others: the two views might agree in their claims about truth and objectivity, or even in their attributions of semantic content to normative sentences, but they disagree about how to explain normative meaning. Realists explain meaning by invoking normative facts and properties, or representational relations between normative language and the world, the thought (...) goes, while expressivists appeal instead to desire-like mental states in their explanations of meaning. However, I argue that, if we adopt a deflationary approach to representation and other related notions, there need be no such explanatory divide between expressivism and anything recognizable as a plausible notion of normative realism. Any alleged explanatory criterion for realism will either be incompatible with deflationism, or it will fail to capture some standard versions of normative realism. I conclude that, in a deflationary framework, expressivism is compatible with genuine realism. (shrink)

Dancers and dance philosophers report on experiences of a certain form of sense making and bodily thinking through the dancing body. Yet, discussions on expertise and consciousness are often framed within canonical philosophical world-views that make it difficult to fully recognize, verbalize, and value the full variety of embodied and affective facets of subjectivity. Using qualitative interviews with five professional dancers and choreographers, I make an attempt to disclose the characteristics of what I consider to be a largely overseen state (...) of consciousness: embodied reflection. Dancers are familiar with this attentive bodily presence, which constitutes their work mode and heightens their abilities as experts. Detailed descriptions of their daily work at the theatre help us grasp the qualities and understand the enigmas of the absorbed state of bodily thinking. Husserl’s theories on reflection and Merleau-Ponty’s work on motoricity support our understanding of the structures behind embodied reflection. I believe it is a common human resource, and that whether we are experts or not, we all have the ability to reflect non-conceptually through bodily and/or affective activity. (shrink)

Suppose that there are objective normative facts and our beliefs about such facts are by-and-large true. How did this come to happen? This is the reliability challenge to normative realism. As has been recently noted, the challenge also applies to expressivist “quasi-realism”. I argue that expressivism is useful in the face of this challenge, in a way that has not been yet properly articulated. In dealing with epistemological issues, quasi-realists typically invoke the desire-like nature of normative judgments. However, this is (...) not enough to prevent the reliability challenge from arising, given that quasi-realists also hold that normative judgments are truth-apt beliefs. To defuse this challenge, we need to isolate a deeper sense in which normative thought is not representational. I propose that we rely on the negative functional thesis of expressivism: normative thought does not have the function of tracking normative facts, or any other kind of facts. This thesis supports an argument to the effect that it is misguided to expect an explanation of our access to normative facts akin to the explanations available in regions of thought that have a tracking function. We should be content with explanations of our reliability that take for granted certain connections between our psychology and the normative truths. (shrink)

The following scenario seems possible: a community uses concepts that play the same role in guiding actions and shaping social life as our normative concepts, and yet refer to something else. As Eklund argues, this apparent possibility poses a problem for any normative realist who aspires to vindicate the thought that reality itself favors our ways of valuing and acting. How can realists make good on this idea, given that anything they might say in support of the privileged status of (...) our normative concepts can be mirrored by the imagined community? E.g., the realist might claim that using our concepts is what we ought to do if we are to describe normative facts correctly, but members of the other community can claim the same about their concepts, using their own concept of ought. A promising approach to this challenge is to try to rule out the possibility of alternative normative concepts, by arguing that any concepts that have the same normative role must share a reference as well. In this paper I argue that normative quasi-naturalism, a view that combines expressivism about normative discourse with a naturalist metaphysics of normativity, supports referential normativity and solves the problem of alternative normative concepts. (shrink)

It is often claimed that there is an explanatory divide between an expressivist account of normative discourse and a realist conception of normativity: more precisely, that expressivism and realism offer conflicting explanations of (i) the metaphysical structure of the normative realm, (ii) the connection between normative judgment and motivation, (iii) our normative beliefs and any convergence thereof, or (iv) the content of normative thoughts and claims. In this paper I argue that there need be no such explanatory conflict. Given a (...) minimalist approach to the relevant metaphysical and semantic notions, expressivism is compatible with any explanation that would be acceptable as a general criterion for realism. (shrink)

We all could have had better lives, yet often do not wish that our lives had gone differently, especially when we contemplate alternatives that vastly diverge from our actual life course. What, if anything, accounts for such conservative retrospective attitudes? I argue that the right answer involves the significance of our personal attachments and our biographical identity. I also examine other options, such as the absence of self-to-self connections across possible worlds and a general conservatism about value.

Female crested gibbons (genus Nomascus) perform conspicuous sequences of twitching movements involving the rump and extremities. However, these dances have attracted little scientific attention and their structure and meaning remain largely obscure. Here we analyse close-range video recordings of captive crested gibbons, extracting descriptions of dance in four species (N. annamensis, N. gabriellae, N. leucogenys and N. siki). In addition, we report results from a survey amongst relevant professionals clarifying behavioural contexts of dance in captive and wild crested gibbons. Our (...) results demonstrate that dances in Nomascus represent a common and intentional form of visual communication restricted to sexually mature females. Whilst primarily used as a proceptive signal to solicit copulation, dances occur in a wide range of contexts related to arousal and/or frustration in captivity. A linguistically informed view of this sequential behaviour demonstrates that movement within dances is organized in groups and follows an isochronous rhythm — patterns not described for visual displays in other non-human primates. We argue that applying the concept of dance to gibbons allows us to expand our understanding of communication in non-human primates and to develop hypotheses on the rules and regularities characterising it. We propose that crested gibbon dances likely evolved from less elaborate rhythmic proceptive signals, similar to those found in siamangs. Although dance displays in humans and crested gibbons share a number of key characteristics, they cannot be assumed to be homologous. Nevertheless, gibbon dances represent a striking model behaviour to investigate the use of complex gestural signals in hominoid primates. (shrink)

Normative naturalism holds that normative properties are identical with, or reducible to, natural properties. Various challenges to naturalism focus on whether it can make good on the idea that normative concepts can be used in systematically different ways and yet have the same reference in all contexts of use. In response to such challenges, some naturalists have proposed that questions about the reference of normative terms should be understood, at least in part, as normative questions that can be settled through (...) normative inquiry. In this paper I have two goals. First, I argue that these naturalist proposals do not yet allow for radical disagreement on normative matters, or at least do not explain how such disagreement is possible. Secondly, I argue that, in order to account for radical disagreement, naturalists should not only treat normative reference as a normative issue but also adopt a non-representationalist account of normative concepts, on which such concepts are individuated through their practical role. I illustrate this point by showing how a view that combines naturalism and expressivism about normative discourse can vindicate the elasticity of normative concepts, their referential stability, and the objectivity of normative truths. (shrink)

How can we rationally make peace with our past moral failings, while committing to avoid similar mistakes in the future? Is it because we cannot do anything about the past, while the future is still open? Or is it that regret for our past mistakes is psychologically harmful, and we need to forgive ourselves in order to be able to move on? Or is it because moral mistakes enable our moral growth? I argue that these and other answers do not (...) properly resolve the problem of temporal asymmetry in our attitudes toward moral imperfection, and I defend an alternative response, centered on our personal attachments and our biographical identity. (shrink)

Philosophers investigating the experiences of the dancing subject (Sheets-Johnstone 1980, 2009, 2011, 2012; Parviainen 1998; Legrand 2007, 2013; Legrand & Ravn 2009; Montero 2013; Foultier & Roos 2013) unearth vast variations of embodied consciousness and cognition in performing body experts. The traditional phenomenological literature provides us with descriptions and definitions of reflective self-consciousness as well as of pre-reflective bodily absorption, but when it comes to the states of self-consciousness dance philosophers refer to as thinking in movement and a form of (...) reflective consciousness at a bodily level – as well as to dancers’ re- ported experiences of being in a trance and yet hyper-aware – we are challenged in terms of terminology and precise descriptions. After empirical research on dancers’ experiences and studies of the above-mentioned philosophies of dance, aligning this material with Husserl, Zahavi and other phenomenologists’ descriptions of reflection and embodied self-consciousness, I find it plausible to acknowledge the existence of a third form of self- consciousness: embodied reflection, a reflective process experienced through and with the embodied and/or emotional self. In this article I aspire to capture the characteristics of this transcendence of the bodily self. (shrink)

My objective here is to give an account of self-deprecating humor—examining what works, what doesn't, and why—and to reflect on the significance of the audience response. More specifically, I will be focusing not only on the purpose or intention behind self-deprecating jokes, but considering how their consequences might render them successful or unsuccessful. For example, under what circumstances does self-deprecation tend to put listeners at ease, and when is this type of humor more likely to put people off? I will (...) also consider the ways in which self-deprecating jokes are similar to gallows humor, and the extent to which context counts. The target or "butt" of these jokes, in cases of self-deprecation as well as gallows humor, will be explored; as will whether or not the audience bears some responsibility or has a role to play in the ultimate success or failure of a joke. For instance, is the audience role a completely receptive and passive one? Is the joker/jokee relationship one which confers no responsibility on the listener whatsoever? Or, do listeners have an obligation to respond with appreciative laughter to mere attempts at humor, especially the self-deprecating sort, by accepting such levity in the spirit in which it is intended? Does this mean that being a good sport—responding generously or appreciatively when a well-intentioned joke fails to land—would be a habit worth cultivating? If so and courtesy laughter or a playful appreciation of self-deprecating humor is something that can be cultivated, what specifically would that entail? In sum, although I cannot fully or definitively answer each and every one of these questions, I do hope to provide some provisional responses. To better situate the nature of self-deprecation, I will not only provide a brief description of the gallows genre, I will also explore two traditional theories of humor. Those that are particularly relevant, to both gallows and self-deprecating humor are Freud's relief theory and the incongruity view. In addition, I will identify what I believe to be the three essential ingredients of successful self-deprecation and, finally, will conclude with the argument that audiences or listeners do have an important role to play. And, moreover, that generous, appreciative laughter can and should be cultivated—even though this is something that will largely depend on one's personal history and habits, dispositional character and cultural background. (shrink)

La sensibilité cinétique est un concept issu de la phénoménologie qui comprend les sensations des mouvements à l’intérieur et autour du corps. Nous souhaitons réhabiliter ce concept en tant que connaissance, afin de défendre le rôle du corps dans le savoir et de dénoncer certaines injustices épistémiques. Pour appuyer cela, les éthiques du care nous aideront à reconnaître une légitimité politique envers la vulnérabilité de nos mobilités corporelles. L’intérêt pour la sensibilité cinétique est de permettre à l’agent.e de se soucier (...) de sa relation à l’environnement, en développant un accès pédagogique envers son corps et par l’attention portée envers ses possibilités de mouvement. L’agent.e apprend alors à choisir une manière de s’orienter au sein de l’organisation socio-politique présente. Ainsi, nous travaillerons les liens entre la phénoménologie, les éthiques du care2 et l’injustice épistémique dans le but de comprendre l’agentivité de manière incarnée, sensible et vulnérable. (shrink)

Alternative currencies are means of payment that circulate alongside—as an alternative or complement to—official currencies. While these currencies have existed for a long time, both society and academia have shown a renewed interest in their potential to decentralize the governance of monetary affairs and to bring people and organizations together in more ethical or sustainable ways. This article is a review of the ethical and philosophical implications of these alternative monetary projects. We first discuss various classifications of these currencies before (...) analyzing the ethical challenges linked to the way they tackle social and environmental issues. We also examine the incentive-based and coercive mechanisms used by these currencies from an ethical perspective and debate the promises and perils of monetary decentralization and democracy. We conclude by identifying an agenda for future research. (shrink)

Le film d’animation de Jean-François Laguionie "Le voyage du prince" (2019), d’après "Le château des singes" (1999) du même réalisateur, inspiré du livre "Le baron perché", d’Italo Calvino (1957), est marqué par une prégnance végétale forte. Le film nous invite dans un monde de fiction, dans lequel les singes sont l’espèce animale principale – évoquant les humainsles humains les humainsles humains les humainsles humains les humains – représentée à travers des peuples aux modes de vie contrastés. Le monde végétal est (...) présent dans toute sa diversité, et dans la richesse des transactions qui s’établissent entre les espèces. Pourrions-nous alors inventer et réinventer la "nature" ? Nous sommes invités, en suivant le baron et la façon dont le film s’en inspire, à contempler et questionner notre lien aux plantes. Comment les transactions établies avec elles et avec le reste du vivant font-elles le monde ? C’est ce que nous tenterons d’approcher. (shrink)

The purpose of this study is to investigate the pedagogical practices employed by secondary school teachers under the new normal. It also identifies the difficulties teachers face when facilitating modular distant learning. Science high school teacher from North District Butuan City took part in the study. In this study, quantitative methodology was employed. To collect the data for the study, survey questionnaires were distributed. According to the research study's findings, the restricted face-to-face parent orientation is the most used pedagogical practices (...) in the new normal, specifically in modular distance learning is the limited face-to-face parent orientation. Enables teachers to incorporate ICT skills to students’ lessons even in modular distance learning, aids in monitoring students’ learning performance using self- learning modules in modular distance learning. Miscommunication because of the distant mode of instruction and difficulties in reaching students due to pandemic are some of the challenges encountered by the teachers in applying pedagogical practices. To address this issue, the researchers designed a capsule training intervention plan that will help teachers enhance their knowledge in choosing and effective pedagogical practice particularly in modular distance learning. (shrink)

Building Information Modelling (BIM) is a process for managing construction project information in such a way as to provide a basis for enhanced decision-making and for collaboration in a construction supply chain. One impediment to the uptake of BIM is the limited interoperability of different BIM systems. To overcome this problem, a set of Industry Foundation Classes (IFC) has been proposed as a standard for the construction industry. Building on IFC, the ifcOWL ontology was developed in order to facilitate representation (...) of building data in a consistent fashion across the Web by using the Web Ontology Language (OWL). This study presents a critical analysis of the ifcOWL ontology and of the associated interoperability issues. It shows how these issues can be resolved by using Basic Formal Ontology (ISO/IEC 21838-2) as top-level architecture. A set of competency questions is used as the basis for comparison of the original ifcOWL with the enhanced ontology, and the latter is used to align with a second ontology – the ontology for building intelligent environments (DOGONT) – in order to demonstrate the added value derived from BFO by showing how querying the enhanced ifcOWL yields useful additional information. (shrink)

Tout le film est toujours une microphysique du pouvoir, en potence, d’être étudier. Aujourd’hui l'augmentation des productions d'horreur et son public ont fait le film d'horreur une «contreculture» dominante, mais toujours sous l'effet négatif du pouvoir et du savoir qui disqualifient les discours, matérialisée dans ces films, ce qui les rend illégitime et exiler en soi espace filmique, transformée en un lieu adapté pour interdite et marquée par certaines pratiques discursives avec certains dispositifs d'exclusion. Paradoxalement, les types marginaux qui apparaissent (...) dans l'ordre de ces productions occupent les positions de sujets à exercer le pouvoir dans l'horreur et dans le même temps le renforcement de leur marginalité et de son objectivation. Ces aspects et les spécificités qui caractérisent les productions d'une part, nous ont amenés à identifier les pratiques de l'objectivation qui transforment corps dans les sujets dans l'horreur; d'autre part, de démontrer que ces films constituent une nouvelle technologie de contrôle social des corps, mais l'objectif principal de cette étude est d'analyser les relations de pouvoir à travers l'antagonisme des stratégies dans ce discours, qui est, pour savoir ce que cela signifie d'avoir un corps libre, nous examinons ce qui se passe sur le corps subjugué dans les films d'horreur, prenant l'archeogenealogie de Foucault comme base théorique. Cette questionhypothèse aurait un autre groupe: d'où pourrait faire une telle histoire? Nous supposons que dans les moments de crise, les films d'horreur ont beaucoup à prouver, donc nous avons opté pour un très similaire à celui qui Foucault a été invité par les experts de la revue Cahiers du cinéma pour discuter des conditions pour les productions cinématographiques comme Le Chagrin et la Pitié (1969), Portier de nuit (1974) et Lacombe Lucien (1974), quand on a regardé le déclin du gaullisme et l’ascention de Valéry Giscard d'Estaing , le vainqueur de la présidentielle de 1974, avec le soutien de l'ancien droit Tardieu et petainistes, anciens alliés de l'occupation du Führer Hitler de la France, entre 1940 à 1943. Maintenant, les conditions de production sont ceux qui marquent la fin des gouvernements socialistes de Mitterrand et Chirac, et le retour au pouvoir de la droite, à l'ascension politique de Nicolas Sarkozy. Au milieu de la crise économique de l'Union Européenne, flotte dans l'air la peur terrifiante de risque que l'arrivée de l'extrême droite au pouvoir. La présence croissante d'immigrants est aussi dans l'ordre d'une nouvelle crise de l'identité française. Ce sont les conditions de production de À l'intérieur, Frontière (s),Martyrs, Ils, La Meute, Captifs et Derrière les murs et, des films qui font partie de notre corpus. À la methodologie, nous développons les trois concepts opérationnels: le dispositif filmique de la mémoire, de la vérité et de l'objectivité pour traiter la mémoire populaire, recodé dans ces films et soi-disant perçu par nous comme l'un des principaux modes de contrôle des corps d’horreur; la notion d’intericonicité est encore utilisée pour indiquer des images qui renvoient à d'autres, mais tout en réalisant que chaque image a dans sa juxtaposition afin de utopies des hétérotopies. Donc, nous avons décidé de donner une nouvelle forme à cette notion, y compris l'utopique juxtaposés à des espaces hétérotopiques, sous l'influence de la discussion faite par Foucault dans le Corps utopique et Les hétérotopies. Keyword:Mémoire. Corps. Pouvoir. Discours politique. Film français d’horreur. (shrink)

Do claims of taste function as validity claims? Our ordinary use of aesthetic notions suggests as much. When I assert that Rodin’s Camille Claudel is ‘beautiful’ I mean my claim to be, in a sense, correct. I expect others to concur and if they do not I think that they are mistaken. But am I justified in attributing an error to the judgment of someone who, unlike me, does not find Rodin’s Camille Claudel beautiful? Not obviously. For it (...) looks, on the other hand, that my assertion “The sculpture of Camille Claudel is beautiful” is not an assertion about a property of that sculpture, not, that is, about a feature of the world which exists for others as well as for me. Quite the opposite, I seem to base my claim on a subjective response, on a certain feeling of mine. I maintain that the sculpture of Camille Claudel is ‘beautiful’ because it produces a particular effect upon me, namely it pleases me aesthetically. But how can the feeling of pleasure, being a subjective response on my part, serve as a normative ground for a claim? (shrink)