There is a traditional debate in analytic aesthetics that surrounds the classification of film as Art. While much philosophy devoted to considering film has now moved beyond this debate and accepts film as a mass art, a sub-category of Art proper, it is worth re-considering the criticism of film pre-Deleuze. Much of the criticism of film as pseudo-art is expressed in moral terms. T. W. Adorno, for example, critiques film as ‘mass-cult’; mass produced culture which presents a ‘flattened’ version of (...) reality. Adorno worries about the passivity encouraged in viewers. Films are narrative artworks, received by an audience in a context, making the focus on the reception of the work important. The dialogue held between Adorno and Walter Benjamin post-WWII is interesting because, between them, they consider both the possible positive emancipatory and negative politicization effects of film as a mass produced and distributed story-telling medium. Reading Adorno alongside Benjamin is a way to highlight the role of the critical thinker who receives the film. Arguing that the critical thinker is a valuable citizen, this paper focuses on the value of critical thinking in the reception of cinematic artworks. It achieves this by reconsidering Adorno and Benjamin 's theories of mass art. (shrink)

Nelson Goodman's distinction between autographic and allographic arts is appealing, we suggest, because it promises to resolve several prima facie puzzles. We consider and rebut a recent argument that alleges that digital images explode the autographic/allographic distinction. Regardless, there is another familiar problem with the distinction, especially as Goodman formulates it: it seems to entirely ignore an important sense in which all artworks are historical. We note in reply that some artworks can be considered both as historical products and as (...) formal structures. Talk about such works is ambiguous between the two conceptions. This allows us to recover Goodman's distinction: art forms that are ambiguous in this way are allographic. With that formulation settled, we argue that digital images are allographic. We conclude by considering the objection that digital photographs, unlike other digital images, would count as autographic by our criterion; we reply that this points to the vexed nature of photography rather than any problem with the distinction. (shrink)

Following neo-Aristotelians Alasdair MacIntyre and Martha Nussbaum, we claim that humans are story-telling animals who learn from the stories of diverse others. Moral agents use rational emotions, such as compassion which is our focus here, to imaginatively reconstruct others’ thoughts, feelings and goals. In turn, this imaginative reconstruction plays a crucial role in deliberating and discerning how to act. A body of literature has developed in support of the role narrative artworks (i.e. novels and films) can play in allowing us (...) the opportunity to engage imaginatively and sympathetically with diverse characters and scenarios in a safe protected space that is created by the fictional world. By practising what Nussbaum calls a ‘loving attitude’, her version of ethical attention, we can form virtuous habits that lead to phronesis (practical wisdom). In this paper, and taking compassion as an illustrative focus, we examine the ways that students’ moral education might usefully develop from engaging with narrative artworks through Philosophy for Children (P4C), where philosophy is a praxis, conducted in a classroom setting using a Community of Inquiry (CoI). We argue that narrative artworks provide useful stimulus material to engage students, generate student questions, and motivate philosophical dialogue and the formation of good habits which, in turn, supports the argument for philosophy to be taught in schools. (shrink)

The primary concern of our 2014 paper was not notation but the autographic/allographic distinction, not representations as such but works of art. As we see it, Zeimbekis's considerations do not ultimately undermine the position we advanced in 2014— but they do challenge an element of Goodman's own theory of notation that derives from his requirement of recoverability. That requirement can be abandoned without losing the explanatory power of the autographic/allographic distinction as we have refined it.

Heidegger, Art, and Postmodernity offers a radical new interpretation of Heidegger's later philosophy, developing his argument that art can help lead humanity beyond the nihilistic ontotheology of the modern age. Providing pathbreaking readings of Heidegger's 'The Origin of the Work of Art' and his notoriously difficult Contributions to Philosophy, this book explains precisely what postmodernity meant for Heidegger, the greatest philosophical critic of modernity, and what it could still mean for us today. Exploring these issues, Iain D. Thomson examines several (...) postmodern works of art, including music, literature, painting and even comic books, from a post-Heideggerian perspective. Clearly written and accessible, this book will help readers gain a deeper understanding of Heidegger and his relation to postmodern theory, popular culture and art. (shrink)

Clark and Chalmers (1998) defend the hypothesis of an ‘Extended Mind’, maintaining that beliefs and other paradigmatic mental states can be implemented outside the central nervous system or body. Aspects of the problem of ‘language acquisition’ are considered in the light of the extended mind hypothesis. Rather than ‘language’ as typically understood, the object of study is something called ‘utterance-activity’, a term of art intended to refer to the full range of kinetic and prosodic features of the on-line behaviour of (...) interacting humans. It is argued that utterance activity is plausibly regarded as jointly controlled by the embodied activity of interacting people, and that it contributes to the control of their behaviour. By means of specific examples it is suggested that this complex joint control facilitates easier learning of at least some features of language. This in turn suggests a striking form of the extended mind, in which infants’ cognitive powers are augmented by those of the people with whom they interact. (shrink)

This paper argues that the concept and role of ‘institutional racism’ in contemporary discussions of race should be reconsidered. It starts by distinguishing between ‘intrinsic institutional racism’, which holds that institutions are racist in virtue of their constitutive features, and ‘extrinsic institutional racism’, which holds that institutions are racist in virtue of their negative effects. It accepts intrinsic institutional racism, but argues that a ‘disparate impact’ conception of extrinsic conception faces a number of objections, the most serious being that it (...) has no plausible account of what it is that makes extrinsically racist institutions racist. It also argues that claims about the explanatory indispensability of institutional racism are overstated (individual racism is at least as important), critiques structural approaches to racial inequality, and suggests that there is reason to doubt whether institutional reform can provide us with all that morality may require in the racial domain. (shrink)

This article explores the meeting of two approaches towards philosophy and education: the philosophy for children approach advocated by Lipman and others, and Schmid’s philosophical concept of Lebenskunst. Schmid explores the concept of the beautiful or good life by asking what is necessary for each individual to be able to develop their own art of living and which aspects of life are significant when shaping a good and beautiful life. One element of Schmid’s theory is the practical application of philosophy (...) through the notions of Bildung, reflection, prudence and practical wisdom, as well as the requirement for each individual to take responsibility for actively shaping their life as an artwork. In this sense, each person is the artist responsible for living their own beautiful life. We argue that there are useful parallels between Schmid’s concept of the art of living and P4C, such as the ideal of a holistic philosophy that is “lived.” The pragmatic approach of P4C focuses on the embodied learner who practices critical, caring and creative thinking. Both P4C and Schmid’s theory are reminiscent of the Aristotelian notion of practical wisdom, which allows for an approach to an education for life that prepares students to develop their own art of living. (shrink)

A critical note on Christopher Bartel and Jack M. C. Kwong, ‘Pluralism, Eliminativism, and the Definition of Art’, Estetika 58 (2021): 100–113. Art pluralism is the view that there is no single, correct account of what art is. Instead, art is understood through a plurality of art concepts and with considerations that are different for particular arts. Although avowed pluralists have retained the word ‘art’ in their discussions, it is natural to ask whether the considerations that motivate pluralism should lead (...) us to abandon art talk altogether; that is, should pluralism lead to eliminativism? This paper addresses arguments both for and against this move. We ultimately argue that pluralism allows one to retain the word ‘art’, if one wants it, but only in a loose, conversational sense. The upshot of pluralism is that talk of art in general cannot be asked to do theoretical and philosophical work. (shrink)

This discussion note addresses Caleb Hazelwood’s ‘Practice-Centered Pluralism and a Disjunctive Theory of Art’. Hazelwood advances a disjunctive definition of art on the basis of an analogy with species concept pluralism in the philosophy of biology. We recognize the analogy between species and art, we applaud attention to practice, and we are bullish on pluralism—but it is a mistake to take these as the basis for a disjunctive definition.

There are two primary arguments against scientific realism, one pertaining to underdetermination, the other to the history of science. While these arguments are usually treated as altogether distinct, P. Kyle Stanford's ‘problem of unconceived alternatives’ constitutes one kind of synthesis: I propose that Stanford's argument is best understood as a broad modus ponens underdetermination argument, into which he has inserted a unique variant of the historical pessimistic induction. After articulating three criticisms against Stanford's argument and the evidence that he offers, (...) I contend that, as it stands, Stanford's argument poses no threat to contemporary scientific realism. Nonetheless, upon identifying two useful insights present in Stanford's general strategy, I offer an alternative variant of the modus ponens underdetermination argument, one that, although historically informed by science, requires no inductive premises. I contend that this non-inductive but historically informed variant of the modus ponens clarifies and considerably strengthens the case against scientific realism. (shrink)

Artificial Intelligence (AI) is a technology that makes machines smart and capable of doing things that usually require human intelligence. AI works by training machines to learn from data and experiences. Such devices can recognize patterns, understand spoken language, see and understand images, and even make predictions based on their learning. Voice assistants like Siri or Alexa can understand our voice commands, answer questions, and perform tasks for us. AI-based self-driving cars can sense their surroundings, make decisions, and drive safely (...) without a human driver. AI also helps doctors diagnose diseases, detect fraud in financial transactions, and recommend movies or songs based on one’s preferences. Furthermore, AI has started to make its presence felt in Punjabi culture through various avenues. (shrink)

Adorno’s dialectical approach to aesthetics is perhaps understood better in terms of his monumental work, 'Aesthetic Theory,' which attempts to relate the speculative tradition in philosophical aesthetics to the situation of art in twentieth-century society, than in terms of purely theoretical claims. This paper demonstrates that Adorno embraces the Kantian thesis concerning art’s autonomy and that he criticizes transcendental philosophy. It also discusses how Adorno provides the outlines for a dialectical conception of artistic truth in relation to his argument with (...) Hegel. Adorno’s assessment of the Enlightenment is linked to his interpretation of twentieth-century literature. The conclusion of this paper emphasizes the political implications of Adorno’s position when the philosopher approaches art as a sign of historical truth. (shrink)

It has been over two decades since Miranda Fricker labeled epistemic injustice, in which an agent is wronged in their capacity as a knower. The philosophical literature has proliferated with variants and related concepts. By considering cases in popular music, we argue that it is worth distinguishing a parallel phenomenon of art-interpretive injustice, in which an agent is wronged in their creative capacity as a possible artist. In section 1, we consider the prosecutorial use of rap lyrics in court as (...) a central case of this injustice. In section 2, we distinguish art-interpretive injustice from other categories already discussed in recent literature. In section 3, we discuss the relationship between genre discourse and identity prejudice. The case for recognizing the category of art-interpretive injustice is that it allows one to recognize a class of harms as being importantly related in ways that one would otherwise overlook. (shrink)

A critique of popular astrology. The critical examination outlines a number of serious concerns with the theory underlying astrology.

In response to historical challenges, advocates of a sophisticated variant of scientific realism emphasize that theoretical systems can be divided into numerous constituents. Setting aside any epistemic commitment to the systems themselves, they maintain that we can justifiably believe those specific constituents that are deployed in key successful predictions. Stathis Psillos articulates an explicit criterion for discerning exactly which theoretical constituents qualify. I critique Psillos's criterion in detail. I then test the more general deployment realist intuition against a set (...) of well-known historical cases, whose significance has, I contend, been overlooked. I conclude that this sophisticated form of realism remains threatened by the historical argument that prompted it. A criterion for scientific realism Assessing the criterion A return to the crucial insight: responsibility A few case studies Assessing deployment realism. (shrink)

If there is to be any progress in the debate about what sort of positive moral status Kant can give the emotions, we need a taxonomy of the terms Kant uses for these concepts. It used to be thought that Kant had little room for emotions in his ethics. In the past three decades, Marcia Baron, Paul Guyer, Barbara Herman, Nancy Sherman, Allen Wood and others have argued otherwise. Contrary to what a cursory reading of the Groundwork may indicate, Kant (...) thinks the emotions play an important role in the moral life. I want to extend the work of Baron, Guyer, Herman, Sherman and Wood in three ways. First, I will set out in a diagram Kant's taxonomy of feelings and emotions. Agreement on such a taxonomy should make it easier to evaluate debates about Kant and the emotions. Second, I will focus on a certain subclass of emotions – reason-caused affects – that have previously received little attention, even from these Kant scholars. Third, these scholars base much of their defence of Kant on his later works – especially the Metaphysics of Morals and the Anthropology – but Kant's fairly rich taxonomy of the emotions, including reason-caused affects, is clearly in place at least as early as the Critique of Judgment . I believe that the Critique of Judgment is an importantly ignored resource for understanding the moral role of the emotions for Kant. The third Critique makes positive, philosophically interesting claims about the emotions and morality. Kant emphasizes certain roles for emotions in this work that he develops to the same extent nowhere else. Nevertheless, the Critique of Judgment goes all but unmentioned by many who write on these issues. In what follows, I will defend as many of my claims as possible using the third Critique. (shrink)

This paper argues that Hegel attempts to appropriate the irreversible aspects of Romantic aesthetics in four ways: (i) Hegel radicalizes Kantian aesthetics on the basis of a basically textual approach to sublime experience that opens up the question of community as a philosophical one; (ii) without demoting classical conceptions of art, Hegel privileges Romantic conceptions that demonstrate the ascendancy of sign over symbol in a spiraling chain; (iii) Hegel laments the fate of art in the triumph of Romantic subjectivism but (...) also suggests how communities can reconstitute themselves on the horizon of aesthetic dissolution; so that, finally, (iv) art can be reconceived as a emancipatory adventure that redefines metaphysics through its historical unfolding as an unending series of semiotic transformations. (shrink)

Mario Bunge’s Causality and Modern Science is arguably one of the best treatments of the causal realist tradition ever to have been written, one that defends the place of causality as a category in the conceptual framework of modern science. And yet in the current revival of causal realism in contemporary metaphysics, there is very little awareness of Bunge’s work. This paper seeks to remedy this, by highlighting one particular criticism Bunge levels at the Aristotelian view of causation and illustrating (...) its relevance for contemporary powers-based accounts. Roughly, the Aristotelian view depicts interactions between objects as involving a unidirectional exertion of influence of one object upon another. This idea of unidirectional action is central to the Aristotelian distinction between active and passive powers, and its corresponding distinction between active and passive objects. As Bunge points out, modern physics does not recognise the existence of any unidirectional actions at all; all influence comes in the form of reciprocal action, or interaction. If this is right, all notions deriving from or influenced by the idea of unidirectional actions—such as the concept of mutual manifestation and reciprocal disposition partners—risk being false by the same measure. Bunge drew the conclusion that the Aristotelian view is ontologically inadequate, but still advocated its use as the most useful approximation available in science. He considered, but ultimately rejected the possibility of a modified view of causation built on reciprocal action, because, in his view, it couldn’t account for the productivity of causation. Bunge’s critique of this particular aspect of the Aristotelian view cannot be overlooked in contemporary metaphysics, but it is possible to construe a modified view of causation that takes the reciprocity of interactions seriously without loss of productivity. (shrink)

There is a history of thinking that photographs provide a special kind of access to the objects depicted in them, beyond the access that would be provided by a painting or drawing. What is included in the photograph does not depend on the photographer’s beliefs about what is in front of the camera. This feature leads Kendall Walton to argue that photographs literally allow us to see the objects which appear in them. Current generative algorithms produce images in response to (...) users’ text prompts. Depending on the parameters, the output can resemble specific people or things which are named in the prompt. This resemblance does not depend on the user’s beliefs, so generated images are in this sense like photographs. Given this parallel, how should we think about AI-generated images? (shrink)

In this chapter I offer a critique of the received way of thinking about responsibility for collective inaction and propose an alternative approach that takes as its point of departure the epistemic agency exhibited by people navigating impossible situations together. One such situation is becoming increasingly common in the context of climate change: so-called “natural” disasters wreaking havoc on communities—flooding homes, collapsing infrastructures, and straining the capacities of existing organizations to safeguard lives and livelihoods. What happens when philosophical reflection (...) begins here—in places where the institutions and practices that have emerged over the last century seem incapable of addressing the problems communities face now, and where people find themselves turning to one another for the sake of their own survival? (shrink)

Cover versions form a loose but identifiable category of tracks and performances. We distinguish four kinds of covers and argue that they mark important differences in the modes of evaluation that are possible or appropriate for each: mimic covers, which aim merely to echo the canonical track; rendition covers, which change the sound of the canonical track; transformative covers, which diverge so much as to instantiate a distinct, albeit derivative song; and referential covers, which not only instantiate a distinct song, (...) but for which the new song is in part about the original song. In order to allow for the very possibility of transformative and referential covers, we argue that a cover is characterized by relation to a canonical track rather than merely by being a new instance of a song that had been recorded previously. (shrink)

Seeking to determine what it is that incites Kierkegaard’s enthusiasm during Schelling’s early lectures at Berlin, then what it is that thoroughly extinguishes his hope in months to follow, I establish: first, that the criticisms of Hegel in Schelling’s negative philosophy depend upon Kantian distinctions and reflect Kant’s critical methodology; secondly, that the leveling function Schelling assigns to these distinctions corresponds to the notion of irony as a destructive force found in The Concept of Irony; finally, that Kierkegaard will come (...) to concretize an account that adheres more closely to Kant’s transition from negative to positive than to Schelling’s. (shrink)

In this paper I explore Phyllis Rooney’s 2003 chapter, “Feminist Epistemology and Naturalized Epistemology: An Uneasy Alliance,” taking guidance from her critique of naturalized epistemology in pursuing my own analysis of another uneasy alliance: that between feminist epistemology and social epistemology. Investigating some of the background assumptions at work in prominent conceptions of social epistemology, I consider recent analyses of "epistemic bubbles" to ask how closely such analyses are aligned with ongoing research in feminist epistemology. I argue that critical (...) feminist insights in political philosophy are called for here, especially those that focus on multiple politically salient relationships and also emphasize practices of personal transformation as inseparably bound up with broader movements for social transformation. Insofar as feminist epistemology continues to carry another world in its heart, I argue that it will continue to rest uneasily with any effort to align it with—let alone subsume it within—the still emerging field of social epistemology. (shrink)

Event-causal libertarians maintain that an agent’s settling of whether certain states-of-affairs obtain on a particular occasion can be reduced to the causing of events by certain mental events or states, such as certain desires, beliefs and/or intentions. Agent-causal libertarians disagree. A common critique against event-causal libertarian accounts is that the agent’s role of settling matters is left unfilled and the agent “disappears” from such accounts—a problem known as the disappearing agent problem. Recently, Franklin has argued that an “enriched” event-causal (...) account can overcome this problem. Franklin, however, doesn’t consider whether, as Pereboom argues, the agent as decider of “torn decisions” disappears from even enriched accounts. As I show here, Franklin’s enriched account takes some modifying if it is to overcome Pereboom’s torn decision problem—a special case of the disappearing agent problem. However, as I also show, there is a more fundamental problem facing event-causal libertarian accounts. It is implausible that an agent qua event or state simultaneously settles whether and how she intervenes. The upshot is that events and/or states lack an ability essential to completely fulfilling an agent’s role qua settler. This isn’t a problem for agent-causal accounts like the one offered by Steward because in as much as an agent qua substance settles whether her body moves in certain ways on certain occasions she simultaneously settles whether and how she intervenes. As a consequence, event-causal libertarians face a dilemma, or rather several, that agent-causal libertarians do not. This may ultimately be explained by the irreducibility of causation by agents to causation by events. (shrink)

In this paper, I explore and defend the idea that musical works are historical individuals. Guy Rohrbaugh (2003) proposes this for works of art in general. Julian Dodd (2007) objects that the whole idea is outré metaphysics, that it is too far beyond the pale to be taken seriously. Their disagreement could be seen as a skirmish in the broader war between revisionists and reactionaries, a conflict about which of metaphysics and art should trump the other when there is a (...) conflict. That dispute is a matter of philosophical methodology as much as it is a dispute about art. I argue that the ontology of works as individuals need not be dunked in that morass. My primary strategy is to show, contra Dodd's accusation, that historical individuals are familiar parts of the world. Although the ontological details are open to debate, it is the standard opinion of biologists is that biological species are historical individuals. So there is no conflict here between fidelity to art and respectable metaphysics. What suits species will fit musical work as well. (shrink)

Abstract: There is a long tradition of trying to analyze art either by providing a definition (essentialism) or by tracing its contours as an indefinable, open concept (anti-essentialism). Both art essentialists and art anti-essentialists share an implicit assumption of art concept monism. This article argues that this assumption is a mistake. Species concept pluralism—a well-explored position in philosophy of biology—provides a model for art concept pluralism. The article explores the conditions under which concept pluralism is appropriate, and argues that they (...) obtain for art. Art concept pluralism allows us to recognize that different art concepts are useful for different purposes, and what has been feuding definitions can be seen as characterizations of specific art concepts. (shrink)

The psychiatric diagnostic system, as exemplified by the DSM, is a pseudo-scientific framework for diagnosing sick Cartesian isolated minds. As such, it completely overlooks the exquisite context sensitivity and radical context dependence of human emotional life and of all forms of emotional disturbance. In Descartes’s vision, the mind is a “thinking thing,” ontologically decontextualized, fundamentally separated from its world. Heidegger’s existential phenomenology mended this Cartesian subject-object split, unveiling our Being as always already contextualized, a Being-in-the-world. Here I offer a (...) class='Hi'>critique of studies in “phenomenological psychopathology” that presuppose the validity of the psychiatric diagnostic system and leave it unchallenged. In this vein, I contend that all emotional disturbances are constituted in an indissoluble context of human interrelatedness. Specifically, I claim that all emotional disturbances, including those objectified by the DSM, take form in relational contexts of severe emotional trauma. There are no psychiatric entities, only devastating contexts. Additionally, I show that Heidegger’s analyses of Angst, world-collapse, uncanniness, and thrownness into Being-toward-death provide extraordinary philosophical tools for grasping the existential significance of such contexts of emotional trauma. Applying Heidegger’s concept of authenticity, I suggest that emotional health entails an ease of passage—i.e., an absence of dissociation—between the world of trauma and the world of everydayness. (shrink)

Academic study of religion, embracing what at the University of Dhaka is called World Religions and Culture, is a relatively new eld of scholarship in the world. It is only beginning to emerge in Bangladesh and other South asian countries. as distinguished om the theological study of reli‐ gion, which favours one’s own faith tradition, academic study of religion uses the same descriptive, analytic and critical academic criteria and methods to study any form of religious life, including one’s own. In (...) this paper, there has been an e ort to discuss the basic di erences between these two sorts of study. The paper then explores the brief history of academic study of religion in the modern world and how it came into being at Dhaka University (DU) as the Department of World Religions & Culture (WRC) under the faculty of arts. Finally, the crucial role of late Professor Dr. Joseph T. O’Connell (1940–2012) in forming the Department and its a liated Centre for Inter‐religious & Intercultural Dialogue (CIID) as an academic place for the study, teaching and doing research on the di erent religious issues for the promotion of multi‐religious and multi‐ cultural peace and harmony in Bangladesh is discussed. The paper has been written on the bases of the o cial documents of Dhaka University as for the existence of WRC and CIID, academic activities and works of faculty members of WRC, especially of Professor Dr. Joseph T. O’Connell, along with other primary and secondary literary sources relevant to the academic study of religion. (shrink)

De Mul’s central thesis is that Dilthey’s Critique of Historical Reason can be understood as a radicalization of Kant’s recognition of the contingency and finitude of human reason.

In late 2014, the jazz combo Mostly Other People Do the Killing released Blue—an album that is a note-for-note remake of Miles Davis's 1959 landmark album Kind of Blue. This is a thought experiment made concrete, raising metaphysical puzzles familiar from discussion of indiscernible counterparts. It is an actual album, rather than merely a concept, and so poses the aesthetic puzzle of why one would ever actually listen to it.

When confronted with especially complex ecological and social problems such as climate change, how are we to think about responsibility for collective inaction? Social and political philosophers have begun to consider the complexities of acting collectively with a view to creating more just and sustainable societies. Some have recently turned their attention to the question of whether more or less formally organized groups can ever be held morally responsible for not acting collectively, or else for not organizing themselves into groups (...) capable of so doing. In this paper I argue that several questionable assumptions have shaped the character and scope of inquiry to this point, precluding us from grappling with a range of important questions concerning the epistemic dimensions of collective inaction. I offer an overview of recent conversation concerning collective inaction, advance a critique of the picture of responsibility that has emerged from this conversation, and propose an alternative approach to th... (shrink)

Heidegger's interpretation of Nietzsche has been canonized in the philosophical tradition as an almost perfect demonstration of how the forgetfulness of Being continues the dominant positions of modern metaphysics. However, the role of reading in the interpretative process casts a different light on Heidegger's approach to Nietzsche and his relationship to the philosophical tradition. This paper is concerned with three aspects of Heidegger's work, namely, (i) the role of Kant and Schopenhauer in Nietzsche's critique of metaphysics; (ii) Nietzsche's 'inversion' (...) of Platonism; and (iii) Heidegger's contribution to a hermeneutical reappraisal of Nietzsche's thought. (shrink)

This paper is concerned with Maurice Merleau-Ponty’s contribution to the hermeneutical theory of expressive meaning that has been developed on the basis of an ongoing dialogue with traditional phenomenology. The early portion of the paper examines the unstable boundaries between expression and indication as a key to a new approach to expressive meaning. The paper then takes up Merleau-Ponty’s understanding of expressive life as it emerges in ‘Phenomenology of Perception,’ his first attempt to discuss perception, aesthetics, and temporality in comprehensive (...) terms. The third part of the paper examines Merleau-Ponty’s return to the paintings of Paul Cezanne, which not only clarifies his earlier position but also deepens the philosophical meaning of his reflections on language. My final comments are concerned with how phenomenology can be broadened in a way that can become responsive to the hermeneutical theory of expressive meaning. (shrink)

This article demonstrates how a new reading of Rilke’s poetry can provide a basis for comparing and contrasting the aesthetic approach to art and the language-based approach that foregrounds the role of metaphor and materiality in literary production. Lessing’s Laocoön is discussed in terms of an implied dialogue between painting and poetry, which, however, acquires a different valence when the Fifth of Rilke’s Duino Elegies suggests that poetry itself functions as a ‘metaphorical hypoicon’ allowing for shared meanings. My concluding remarks (...) emphasize the importance of the performing self to a complete understanding of Rilke’s semiotic potential. (shrink)

Committing to contribute to promoting the 11th progressive cultural element – environmental-healing value – and building the eco-surplus culture for sustainable development, the AISDL Team (represented by Drs. Minh-Hoang Nguyen and Quan-Hoang Vuong) has collaborated with Discover Sustainability to launch “Environmental Sustainability Needs Humanities” Topical Collection. In contributing to the generation of knowledge that aids the social transitions toward an eco-surplus utopia, the Topical Collection welcomes various types of articles across disciplines, including Research, Reviews, Perspectives, Comments, Brief Communications, Case Studies, (...) Registered Reports, and Data Notes that are related but not limited to these issues: - Socio-cultural and economic issues that help mitigate and adapt to climate change and prevent biodiversity loss - Socio-cultural and economic issues that support the development and implementation of nature-based solutions and artificial technologies for achieving environmental sustainability - Factors that help restore the connection between nature and humans, such as science, art, literature, and lived experiences - The psychology towards climate change, biodiversity loss, social transition, and technological transformation - The roles of creativity, serendipity, and knowledge management in sustainability transformation - Sustainable financing mechanism for climate change mitigation and adaptation as well as biodiversity conservation - The roles of urban and rural humans in addressing climate change and biodiversity loss - Global agreement, national commitments, and local actions for addressing climate change and biodiversity loss. (shrink)

Paul Tillich (1886-1965) is generally considered the most original and influential Christian theologian of the 20th century. What's not as widely recognized, outside of academic circles, is his stature as a first-rate existentialist philosopher—in the lineage of Kierkegaard, Heidegger, Nietzsche, and Pascal. Few people have analyzed more areas of existence: from art and architecture to culture, science, economics, politics, technology, psychology, world religions (particularly Buddhism), history, and health and healing. But one of Tillich's primary and enduring concerns was humanity's troubled (...) relationship with the natural world. It was his belief that empathizing with and defending nature was of vital importance to the human spirit, bringing great depth and meaning to our experience of life itself. -/- Though the 1962 publication of Rachel Carson's "Silent Spring" is seen as a pivotal moment in awakening the environmental movement, Tillich was writing decades before this of the commodification and desecration of the natural world. He witnessed the rise of industrialization and the power of this synthetic world to bend humanity to its demands, and warned that “we are living in the late stage of the self-destruction of industrial society, as a world above the given world of nature." Though creative in many respects, he also saw this technical enterprise impoverishing our spiritual lives and inflicting untold suffering on a defenseless planet and our fellow nonhuman animals. -/- With great implications for environmental ethics, a central part of Tillich’s theology is his “multidimensional unity of life,” a unique scientific and moral perspective that vastly expands our concept of life, granting deep significance to even the inorganic dimension. Perhaps most importantly, Tillich challenges religious views that see life on this planet as subordinate to the "real" lives to come after death, famously stating that “there is no salvation [salvus: to heal and make whole] of man if there is no salvation of nature, for man is in nature and nature is in man." -/- In this timely and original assessment of Tillich, Yunt provides a philosophical bulwark against the modern world's increasing assault on science, reason, and nature. And by examining contemporary environmental movements such as deep ecology and ecopsychology, as well as current issues like climate change and the impact of human diet and new technologies on the planet, Yunt brings clarity to the increasingly obvious fact that humans are within the realm of the natural world, not above it. (shrink)

Boethius first identifies Philosophy in the 'Consolation' as his 'medica', his “healer” or “physician.” Over the course of the dialogue Philosophy exercises her medical art systematically. In the second book Philosophy first gives Boethius “gentler remedies” that are preparatory for the “sharper medicines” that she administers later. This article shows that, philosophically speaking, Philosophy’s “gentler remedies” amount to persuading Boethius toward Stoicism, which functions as an anesthetic for the more invasive philosophical surgery that she performs afterwards. Seeing this, however, requires (...) understanding how Philosophy draws out Boethius’s spiritedness in the first book and how in the second book she sublimates it into an intellectual and volitional apathy toward the things of fortune, i.e., into a Stoic attitude toward that which is other. Significantly, though, the Stoicism to which Philosophy leads Boethius is of a mitigated sort, inasmuch as friendship is not included among the things of fortune to which Boethius is anesthesized, an exception that opens up Boethius to genuine wonder and, consequently, to genuine philosophizing. (shrink)

Contemplative pedagogy is necessary in the dance world because it can be a very dangerous place without it. Dance students who aim to sustain the so-called “right”body image too often develop a physical obsession that leads to dangers like bulimia and anorexia. Moreover, the stresses of performing on stage, combined with other pressures of daily life, may overwhelm dancers to the point where they might feel depressed or even suicidal. Thus, it is vital to develop a pedagogy that thinks about (...) not only the physical but also the spiritual well-being of dancers. The application of mindfulness as a pedagogical tool that focuses on physical and spiritual wellness is ideal in this regard. (shrink)

Manifold expressions of a particular critique appear throughout Søren Kierkegaard’s pseudonymous corpus: for Kierkegaard and his pseudonyms faith is categorically not a first immediacy, and it is certainly not the first immediate, the annulment of which concludes the first movement of Hegelian philosophy. Kierkegaard’s pseudonyms make it clear that he holds the Hegelian dogmaticians responsible for the promulgation of this misconception, but when Kierkegaard’s journals and papers are consulted another transgressor emerges: the renowned anti-idealist F.D.E. Schleiermacher. I address the (...) extent to which this particular indictment is justified; over-against Gerhard Schreiber, I argue that this characterization of Schleiermacher’s view of religion is indeed a de facto critique. I begin by presenting and demonstrating the ubiquity of the phenomenon at the heart of Schleiermacher’s conception of perfect God-consciousness, then proceed to apply criticisms raised by Kierkegaardian pseudonyms Judge William, Vigilius Haufniensis, Johannes Climacus, and Anti-Climacus, supplemented with concerns raised by Kierkegaard himself, in order to demonstrate that these criticisms do indeed apply to and problematize Schleiermacher’s view. (shrink)

Anselm’s 'Proslogion' is, as he says in its Preface, 'unum argumentum', a single line of reasoning, that builds toward the following: “that God is truly,” “that he is the highest good who needs no other,” and that he is the one “whom all things need so that they may be and may be well.” This paper attempts to shed light on how Anselm carries out the threefold task that he sets for himself and way in which his procedure brings unity (...) to the work. Although I do not provide a full account of the unity of the 'Proslogion', I lay the groundwork for such an account by reflecting on the 'Proslogion' in light of the 'Symposium', with a view to bringing a pattern of thinking present in Plato’s work to bear on the 'Proslogion'—an intertextual approach that illuminates aspects of Anselm’s thinking and reveal the rich Platonic and Neoplatonic tradition within which he was working. In the 'Symposium', one discerns a pattern of thinking that consists of three “moments”: a comic moment, a tragic moment, and a philosophic moment. To follow this pattern in one’s inquiry is, as Socrates suggests, to practice 'ta erôtica', “erotics,” the art of erotic thinking. Familiarity with this pattern of erotic thinking helps make sense of Anselm’s thinking in the 'Proslogion', and in this paper I reveal how this is so. (shrink)

This essay argues that Schelling's late transition from Negative to Positive Philosophy constitutes a pointed inversion of the path of systematic ascent mapped by Hegel for the first time in the Phenomenology's Preface, which itself establishes Hegel's development out of and beyond Schelling's early philosophy; that a key notion to inspire the Hegelian vision articulated in the Preface returns to cap off the critique implicit in Schelling's late inversion, where this notion emerges from their divergent readings of Aristotle's Metaphysics; (...) and finally, that while Hegel's theorization of the end of all philosophizing represents his innovative enlargement from within the framework he finds in Aristotle, Schelling's vision of this same end facilitates the crisis of reason which opens unto revelation, and so is akin to the vision which carries Aquinas beyond Aristotle, albeit in Schelling's post‐Spinozist mode of thought. (shrink)

I defend the continuing importance, and attraction of, moral saints. The objective of this paper is twofold; firstly, to critique Wolf’s definition of sainthood, and secondly, to argue against her view that one should not desire to be a moral saint, nor emulate them. In section 1, I argue that moral saints are highly complex moral agents, and that Wolf’s definition does not capture this complexity. My second argument is that Wolf’s account that there are two kinds of saints, (...) loving and rational, leads to a tension. Either: (1) the distinction between loving and rational saints is justifiable; but then argu- ments against the benefits of sainthood ought to be directed independently against each kind of saint which, Wolf does not do; or (2) the distinction is not justifiable, in which case the division is explanatorily impotent. In section 2, I will present Wolf’s argument for why one should not want to be a moral saint, nor even know one. I counter that Wolf over-emphasises non-moral values, to the point that these values have a monopoly on what constitutes a well-rounded life. Wolf must provide a more definitive scope for non-moral values, as the distinction between moral and non-moral values is ambiguous. Finally, I argue that moral saints can serve as moral exemplars and visionaries. By admir- ing and emulating them, we can adapt our own moral behavior, and by example, moral saints can discover new and better ways of pursuing moral goods. (shrink)

On ground shared by environmental hermeneutics, critical social theory, and environmentally minded feminism, this article attempts to conciliate between the nearly antithetical ethical viewpoints of environmental philosophers David Abram and Steven Vogel. It will demonstrate first that Abram’s linguistic arguments for extending ethical considerability to nonhuman nature succumb to two of Vogel’s debilitating critiques, which it labels the social constructivist critique and the discourse ethics critique, and secondly that Abram fails to guard against the problem of human-human oppression. (...) The article also points out, on the other hand, that while Vogel evades the problem of human-human oppression, his view fails to protect against the problem of dangerous anthropocentrism. Operating within the boundaries that Vogel establishes, it will seek to avoid the pitfalls of Abram’s view, to address the underlying ideology that leads to both types of oppression, and to eliminate the problem of dangerous anthropocentrism. To do so it draws upon the arguments of Trish Glazebrook, contending that Abram’s appeals to the “speech” of nature can be more effectively conceptualized as erotic appeals, and that engaging in this call-and-response eros promotes the development of virtues that undermine our current ideology and extend to both the human and the nonhuman. (shrink)

The Centre for Aesthetics, Religion and Contemporary Culture and the Haas Library at the Universitat Pompeu Fabra are pleased to announce the new call for applications for two individual J&M Villavecchia Fellowships for 2022-2023. This call is open to both artists and postdoctoral researchers with original and innovative proposals that make use of the themes and materials of the Haas Library. -/- Fellowships are for a period of three months. One fellowship will be granted for the winter semester (from September (...) to February), and another for the spring semester (from February to July). -/- Applications deadline: March 1st, 2022. (shrink)

In the Nintendo game Animal Crossing: New Horizons, players move to an uninhabited island and quickly become instrumental to the naming, aesthetic development, and biodiversity of the island. In some ways, the game can foster a love for and curiosity about nature. In other ways, the game reinforces harmful colonialist values and attitudes that are ultimately an obstacle to conservation in the real world. Here I critique the game values relevant to conservation, both the values that benefit and the (...) values that hinder conservation. I discuss possibilities for a future version of the game that reinforces values better aligned with conservation. (shrink)

This analysis challenges the discourse of "The New Jim Crow: Mass Incarceration in the Age of Colorblindness." Drawing on prior research and historical literature it offers an in-depth discussion of the flawed contextual framework and fundamental problems of The New Jim Crow. It establishes that The New Jim Crow paradoxically excludes an analysis of mass incarceration’s most central and defining factors, its most salient, affected and revolutionary voices (especially the voices of African Americans), and shows how the book engages in (...) a paradoxical counterrevolutionary protest that misleads readers about the context, causes and possible remedial methods of mass incarceration in the United States. In extension, it suggests that readers, students and would-be agents of social change move “toward détournement of The New Jim Crow,” or toward a discovery of “the strange career of The New Jim Crow.”. (shrink)

One of the moral questions concerning autonomous vehicles (henceforth AVs) is the choice between types that differ in their built-in algorithms for dealing with rare situations of unavoidable lethal collision. It does not appear to be possible to avoid questions about how these algorithms should be designed. We present the results of our study of moral preferences (N = 2769) with respect to three types of AVs: (1) selfish, which protects the lives of passenger(s) over any number of bystanders; (2) (...) altruistic, which minimizes the number of casualties, even if this leads to death of passenger(s); and (3) conservative, which abstains from interfering in such situations. We differentiate between scenarios in which participants are to make their decisions privately or publicly, and for themselves or for their offspring. We aim to answer two research questions: (1) whether the public visibility of the choice of an AV type choice make this choice more altruistic and (2) which type of situation makes it more difficult to choose altruistically: when choosing for society as a whole, when choosing only for oneself, or when choosing only for one’s offspring. Our results show that respondents exhibit a preference for an altruistic strategy for AVs and that it is reinforced when signaled to others. The altruistic preference is strongest when applies to everybody else, weaker when it reflects a solely personal choice, and weakest when choosing for one’s own child. We conclude that a public choice is considerably more likely to pressure consumers into accepting a more socially beneficial solution. (shrink)