Can static pictures depict motion and temporal properties? This is an open question that is becoming increasingly discussed in both aesthetics and the philosophy of mind. Theorists working on this issue have mainly focused on static pictures of dynamic scenes and streaky images – such as futurists’ paintings or long-exposure photographs. And yet, we could ask: if there is some success in creating an illusory impression of movement in a static image - as is the case in optical illusions (...) of movement, such as Bridget Riley’s Fall (1963: Tate, London), or Kitaoka’s Rotating Snakes Illusion - is this to say that such static images depict movement? As far as I know, no one working on the depiction of motion has specifically and systematically tackled motion-based illusions nor tried to answer this question. This paper considers two cases of optical illusions of movement and concludes that one of them is involved in the depiction of movement. While the declared goal of my analysis is to answer a quite circumscribed question, it is also the occasion to tackle motion-based illusions tout court - to account for the complex visual experiences they elicit and related phenomenology. Moreover, this account has interesting consequences for theorizing depiction and pictorial experience in general. In particular, it constitutes a counterexample to resemblance theories of depiction. (shrink)

Sogo/Gakuryu Ishii is one of the pioneers of the punk/cyberpunk movement in Japanese cinema. Though his style changed throughout his career, his early films have been a great influence to filmmakers around the world. His unique filmic style presents questions, observations and interpretations regarding the role of violence as normalized in the daily lives of heavily marginalized punk youth portrayed in an amplified and stylized cyberpunk Japan. What is so captivating about Ishii's style and motivation is that he was (...) not only a filmmaker interested in making embellished political or social commentary, Ishii was also part of the emerging punk movement in Japan and several musicians of punk rock bands were also involved in his films. My main aim in my inquiry into Ishil's early films involves two parts regarding the same concept. The first is the ethical issues that arise both with portrayal of violence in films as well as the intention of such an endeavor in general. The second part is the way in which violence is made to be part of the film in terms of form and style. This may be interpreted as either glorifying and stylizing violence or showing that violence is nothing but a destructive force that the outcasts of society may not be able to escape. To the last statement Ishii seems to be silent but very active. What I mean by this is that the simplistic plot-lines of his early films are contrasted by heavy punk music, fast editing, constant moving camera and rage, fear and disappointment in the faces of the anti-heroes. (shrink)

Exchange rate movement is a mostly debatable issue amongst economists and strategic financial planners in the economies as a vital phenomenon, of every economy in the developing the world. This study sets out to examine the impact of cash conversion cycle, Size, Age, and exchange rate movement on firms’ financial decisions. The estimation used techniques of static panel data analysis in this study; pooled OLS, random effects, and fixed effects. Interaction techniques are applied to check the impact of (...) the exchange rate by multiplying this variable with the main variables of cash conversion cycle, that is receivable in days and payables in days. The results depict there is a significant negative relationship between return on assets and exchanger rate during the period of review while the beta of cash conversion cycle has negative value; age and size are positive and significant at 1% level with return on assets. Therefore, it is recommended that organizations that have some measure to agreement in foreign currencies can adopt some advanced hedging technique to occupy the exchange rate movements risk to improve firm’s performance. (shrink)

Visual imagery is a form of sensory imagination, involving subjective experiences typically described as similar to perception, but which occur in the absence of corresponding external stimuli. We used the Activation Likelihood Estimation algorithm (ALE) to identify regions consistently activated by visual imagery across 40 neuroimaging studies, the first such meta-analysis. We also employed a recently developed multi-modal parcellation of the human brain to attribute stereotactic co-ordinates to one of 180 anatomical regions, the first time this approach has been combined (...) with the ALE algorithm. We identified a total 634 foci, based on measurements from 464 participants. Our overall comparison identified activation in the superior parietal lobule, particularly in the left hemisphere, consistent with the proposed ‘top-down’ role for this brain region in imagery. Inferior premotor areas and the inferior frontal sulcus were reliably activated, a finding consistent with the prominent semantic demands made by many visual imagery tasks. We observed bilateral activation in several areas associated with the integration of eye movements and visual information, including the supplementary and cingulate eye fields (SCEFs) and the frontal eye fields (FEFs), suggesting that enactive processes are important in visual imagery. V1 was typically activated during visual imagery, even when participants have their eyes closed, consistent with influential depictive theories of visual imagery. Temporal lobe activation was restricted to area PH and regions of the fusiform gyrus, adjacent to the fusiform face complex (FFC). These results provide a secure foundation for future work to characterise in greater detail the functional contributions of specific areas to visual imagery. (shrink)

At the end of 2017, Kristen Roupenian’s short story, Cat Person, went viral. Published at the height of the #MeToo movement, it depicted a ‘toxic date’ and a disturbing sexual encounter between Margot, a college student, and Robert, an older man she meets at work. The story was widely viewed as a relatable denunciation of women’s powerlessness and routine victimization. In this paper, I push against this common reading. I propose an alternative feminist interpretation through the lens of Simone (...) de Beauvoir’s notion of narcissism: a form of alienation that consists in making oneself both the subject and the ultimate project of one’s life. Framing Margot as a narcissist casts her as engaging, not in subtly coerced, undesired sex, but rather in sex that is desired in a tragically alienated way. I argue that Beauvoir’s notion of narcissism is an important tool for feminists today – well beyond the interpretation of Cat Person. It presses us to see systematic subordination not just as something done to women, but also as something women do to themselves. This in turn highlights the neglected role of self-transformation as a key aspect of feminist political resistance. (shrink)

The aim of this paper is to investigate Nishida Kitarō’s way of philosophizing in the light of the concept of “transition” in order to deepen our understanding of both Nishida’s philosophy and our thinking about and in transitions, using the concept of “boundary” or “border” (Grenze) as a catalyst. For that purpose, we focus on Nishida’s essay “Place” (「場所」), passing through different parts of the text as if through successive gates on a path of transition between one place and the (...) next, until we reach the final place of “absolute nothingness.” Dwelling on this place, we turn our attention to its internal structure and try to depict it along the outlines of a boundary, following the movements taking place in Nishida’s essay. The second part proposes an interpretation of the place of nothingness as an interminable practice of boundary-crossing that doesn’t come to a halt in a final, all-encompassing place, but dynamically situates itself on countless intersecting planes. After a more or less abstract analysis of the concept of “boundary,” we will apply and concretize this approach by using the example of the skin. To this end, we expose five main features of the skin as boundary: permeability, enclosure, excessiveness, interstitiality and reciprocal self-formation. (shrink)

Research in formal theoretical semantics has recently expanded its scope to include gestural communication, focusing in particular on gestures that contribute to the content of an accompanying utterance, e.g., size gestures (LARGE, WIDE), pointing gestures, and gestures that depict objects (TELESCOPE) or actions (SLAP). At the same time, fruitful inquiries at the intersection of primatology and linguistics have given rise to the hypothesis that human and non-human great apes share a common set of directive (=imperative) gestures. Directive gestures such as (...) STOP or COME-CLOSER, pose non-trivial issues for a semantic analysis: we inherit the challenges that pertain to the analysis of imperative utterances (Come closer!), while adding a further challenge that stems from the underspecified mapping between a directive body movement and its potential counterparts in human language. We begin by outlining the problem and surveying the nascent state-of-the-art with regards to a formal semantics of directive gestures. Particular attention is given to the multifunctionality of directive gestures, which typically have different effects in different contexts; for example, a non-human ape gesture may communicate "Stop that" in some contexts and "Move away" in others, with similar patterns found in humans. We show that this multifunctionality can be derived from a single, rich abstract lexical entry, "Not…!", a candidate for a universal building block of meaning, shared by human and non-human great apes. "Not…!", which incorporates negation/rejection, temporal reference and presuppositionality is more explanatory in comparison to a minimal alternative. This chapter lays out the hypothesis space, addressing the foundational question of how to explain attested gestural overlap between human and non-human great apes. We conclude the chapter by reviewing potential expansions of the analysis to the pragmatic gestures of humans, which are thus placed on the primate gestural meaning continuum and connected to the directive gestures we share with our non-human relatives in the great ape family. (shrink)

A recent version of the view that aesthetic experience is based in empathy as inner imitation explains aesthetic experience as the automatic simulation of actions, emotions, and bodily sensations depicted in an artwork by motor neurons in the brain. Criticizing the simulation theory for committing to an erroneous concept of empathy and failing to distinguish regular from aesthetic experiences of art, I advance an alternative, dynamic approach and claim that aesthetic experience is enacted and skillful, based in the recognition of (...) others’ experiences as distinct from one’s own. In combining insights from mainly psychology, phenomenology, and cognitive science, the dynamic approach aims to explain the emergence of aesthetic experience in terms of the reciprocal interaction between viewer and artwork. I argue that aesthetic experience emerges by participatory sense-making and revolves around movement as a means for creating meaning. While entrainment merely plays a preparatory part in this, aesthetic engagement constitutes the phenomenological side of coupling to an artwork and provides the context for exploration, and eventually for moving, seeing, and feeling with art. I submit that aesthetic experience emerges from bodily and emotional engagement with works of art via the complementary processes of the perception–action and motion–emotion loops. The former involves the embodied visual exploration of an artwork in physical space, and progressively structures and organizes visual experience by way of perceptual feedback from body movements made in response to the artwork. The latter concerns the movement qualities and shapes of implicit and explicit bodily responses to an artwork that cue emotion and thereby modulate over-all affect and attitude. The two processes cause the viewer to bodily and emotionally move with and be moved by individual works of art, and consequently to recognize another psychological orientation than her own, which explains how art can cause feelings of insight or awe and disclose aspects of life that are unfamiliar or novel to the viewer. (shrink)

Both Franz Brentano and Edmund Husserl addressed sound while trying to explain the inner consciousness of time and gave to it the status of a supporting example. Although their inquiries were not aimed at clarifying in detail the nature of the auditory experience or sounds themselves, they made some interesting observations that can contribute to the current philosophical discussion on sounds. On the other hand, in analytic philosophy, while inquiring the nature of sounds, their location, auditory experience or the audible (...) qualities and so on, the representatives of that trend of thought have remained silent about the depiction of sound and the auditory phenomena in the phenomenological tradition. The paper’s intention is to relate both endeavours, yet the perspective carried out is that of analytic philosophy and, thus, I pay special attention to conceptual analysis as a methodological framework. In this sense, I first explain what sound ontology is in the context of analytic philosophy and the views that it encompasses— namely, the Property View (PV), the Wave View (WV) and the Event View (EV)—. Secondly, I address the problems it entails, emphasising that of sound individuation. In a third section, I propose the possibly controversial conjunction of a “Brentano-Husserl Analysis of the Consciousness of Time” (for short “Brentano-Husserl analysis”) and outline the commonalities of both authors, without ignoring its discrepancies. My main focus is Husserl’s 1905 Vorlesungen zur Phänomenologie des Inneren Zeitbewusstseins. While addressing the Brentano-Husserl analysis, I elaborate on the problem of temporal and spatial extension (Raumlichkeit and Zeitlichkeit, respectively) of both consciousness and sound. Such comparison is a key one, since after these two developments, one can notice some theoretical movements concerning the shift of attention from sounds to the unity of consciousness, and how they mirror each other. After examining the controversial claims concerning the temporal and spatial extension of both consciousness and sound, I argue in the concluding paragraphs that while considering the accounts of sound ontology, the Brentano-Husserl analysis would probably endorse a Property View and that this could have interesting consequences for the issue of Sound Individuation. (shrink)

This paper addresses the concept of play concerning human formation, especially as manifested in the philosophies of Gadamer and Schiller. Gadamer depicted understanding as an organic motion that unfolds through seeing differences and characterized play as a flexible back-and-forth movement or interplay between possibilities and transformations. Schiller structured play as the playful impulse similarly as an interactive moving force that connects the two seemingly oppositional impulses of reason and sensation and lets the two affect the other dialogically. Both Gadamer (...) and Schiller suggest that play, as in essence an inter-play, orients us into seeing more possibilities of making a refreshing sense of our intellectual and perceptual abilities and thereby transfiguring our living being into richer and fuller meaningfulness. (shrink)

One of the central strengths of Salem's analysis of Nasserism is that she recognizes both its world-historical significance as a progressive nationalist movement, and its severe limitations. In the first section of this paper, I discuss Salem's notion of the "afterlives" of the Nasserist project by drawing attention to one of the most debilitating legacies of that project, namely the transformation of Egyptian politics into petty bourgeois politics. In the second section, I argue that while Salem does not explicitly (...) draw on Hegel's understanding of tragedy in her account of Nasserism, her analysis of Nasserism essentially amounts to depicting it as a Hegelian tragedy. By placing Salem's book in conversation with Hegel (and his philosophy of action), we can make explicit what I take to be one of the central claims made by Salem, namely that when passing judgment on past and present national liberation movements we should remember that innocence is "only non-action, like the mere being of a stone" [nur das Nichttun wie das Sein eines Steines] (Hegel 1986, 346). In the third section of this paper, I raise some critical points about Salem's characterization of the nationalism that was associated with the Nasserist project, as well as about the deployment of the concept of modernity in her analysis. I argue that her account of modernity in the book does not distinguish between the concept of modernity as it refers to a certain kind of normative philosophical discourse, and modernization theory qua theory of development. Finally, I draw on Salem's use of the concept of hegemony in order to pose a question regarding the political significance of the contemporary cultural hegemony of Islamist movements in Egypt. (shrink)

The paper offers the concept of reversing the medical humanities. In agreement with the call from Kristeva et al. to recognise the bidirectionality of the medical humanities, I propose moving beyond debates of attitude and aptitude in the application and engagement (either friendly or critical) of humanities to/in medicine, by considering a reversal of the directions of epistemic movement (a reversal of the flow of knowledge). I situate my proposal within existing articulations of the field found in the medical (...) humanities meta-literature, pointing to a gap in the current terrain. I then develop the proposal by unfolding three reasons why we might gain something from exploring a reversed knowledge flow. First, a reversed knowledge flow seems to be an inherent—but still to be articulated—possibility in medical humanities and thus provides an opportunity for more knowledge. Second, the current unidirectionality of the field is founded on an inconsistency in the depiction of the connection between medicine and humanities, which risks creating the very divide that medical humanities set out to bridge. Practising a reversal may help avoid this divide. And third, a reversal might help rebalance the internal epistemic power, so as to motivate less external scepticism and in turn displace more external epistemic power towards medical humanities. I end the paper with a remark on precursors for a reversal, and ideas for where to go from here. (shrink)

The neo-liberal upsurge of the last twenty years and the neo-liberal case against the welfare state has gained much of its emotional force from a sub-text which is highly gendered. Whereas social liberalism had contained the promise of more autonomy within the private sphere and more caring values in the public sphere, neo-liberalism depicts the results of social liberalism as a loss of self reliance – through ‘over-protection’ by the state in the public sphere and usurpation of male roles in (...) the private sphere. The identification of the welfare state as female (the ‘nanny state’) helps fuel resentment on the part of those already confused by rapidly changing gender roles. This paper tracks the sex change which took place in the image of the liberal state as it evolved out of the night watchman state – the link between the women's suffrage movement and social regulation, maternal principles of distribution and demands for the public organization of caring. It examines the neo-liberal rejection of the breast and neo-liberal claims that the maternal state is incompatible with ‘self-reliance’ and a barrier to competitiveness in the world market. (shrink)

This article presents a newly discovered votive inscription found during the course of the 2013 survey conducted at the ancient city of Phaselis and in its territory. The inscription was found where the stairs to the acropolis from the southwest of the theatre end, in front of the west wall of the tower structure give access to the acropolis. This inscription in the Doric dialect, on a limestone block measuring 0.315 x 0.77 x 0.61 m., records a dedication to Athena (...) Polias. The letters 0.03 m. high, exhibit Late Archaic - Early Classical Period features ( - - - - ) and, consequently the inscription can be dated to the Vth century B.C. -/- Phaselis and its Chief Goddess Athena Polias From the earliest times of Athena worship, especially in the Aegean Islands and Hellas, this goddess was the protectress of cities, institutions and mythological heroes and she manifested this function in various ways. In one of the earliest recorded examples she carries the epithet ἐρυσίπτολις (guardian of the cities), and in another example, in a Linear B inscription discovered in the Palace of Knossos on Crete as Atana Potnia (a-ta-na-po-ti-ni-ja), the mistress of the palace. But perhaps the most striking myth relating to this role of Athena is undoubtedly that of the Palladion statue, the reason for the fall of Troy and for defeat in the Trojan War. In this context, Troy could resist the Achaeans for as long as it was protected by the Palladion, but after it was stolen by Odysseus and Diomedes, the city was captured by the Achaeans. Subsequently, Athens, Argos and Sparta, the most powerful Greek cities, as later the city of Rome, in order to obtain Athena’s protection and so to gain legitimization for the expansion of their empires, invented their own myths claiming that the Palladion statue from Troy was brought to their cities. In another myth the Goddess became the protectress of Tegea through giving Medusa’s hair as a protective image to a hero of the city. Athena’s frequently used epithets, Polias (Πολιάς), Poliouchos (Πολιοῦχος), and the epithet the protectress of the Athenians (Ἀθηνᾶ Ἀθηνῶν μεδέουσα), employed as a means of religious propaganda by the city of Athens when it established the Delian League which subsequently evolved into an empire, clearly indicate Athena was regarded as guardian of the cities. Particularly during the Archaic and Classical Periods, it was this aspect of Athena that, politically placed the Goddess amongst the most important of deities with Zeus and Apollo, and she is most commonly found with the epithet Polias. The epithet Polias or similar, refers in particular to the heart of these cities, to their acropoleis, where Athena Polias was usually worshipped. Her temples located on the heights of the cities made her role particularly visible as the main protecting goddess. One of the best examples of this “visibility”concerns the earliest record of the epithet Polias as, although she wasn’t the chief deity of Argos, within the sanctuary of Athena Polias located on Larisa hill an inscription was found which supplies us with the text of a cult regulation which is datable to the VIth century. B.C.. The Anatolian goddess of Malija, equal to Athena (in Lycia), was attested in Hittite texts from IInd millennium B.C.. This goddess worshipped in Lycia, close to the city of Phaselis, is similarly in a relationship with cities and acropoleis. The Inscribed Pillar of Ksanthos dating from the Vth century B.C. records that many acropoleis were seized with the help of Athena ptoliporthos (πτολίπορθος) “Sacker of Cities”. In the same inscription the city of Patara was named together with Malija and it may refer to the Patara of Malija as in the example of the Lindian Athena (Lindos, city of Athena). Moreover, the goddess Malija was named with the epithet Wedrẽñni (regional, municipal) the equivalent of the epithet Polias in Rhodiapolis. During the great colonization movements (750-550 B.C.) the colonists brought the cult of Athena Polias to many Mediterranean cities, as was the case for example for Lindos on the island of Rhodos. As a matter of fact the strongest ties between Lindos and the colonies which Rhodes founded was the cult of Athena. In consequence, these cities offered precious gifts to the Temple of Athena in Lindos as a demonstration of both their veneration of the goddess and of loyalty. According to myth, the city of Phaselis was colonized in 691/690 B.C. by a group under the leadership of Lakios from Lindos and the Athena cult of the mother city was brought to Phaselis. Thereafter the Phaselitai dedicated the helmets and sickles to Athena Lindia upon which was inscribed, “Having taken them from the Solymoi, the Phaselitai offered them to Athena Lindia, when Lakios was the leader of the colonists”. In addition to this, the other evidence concerning the presence of Athena in the city confirms that this deity was the chief goddess of Phaselis. During the Classical, and especially in the Hellenistic Period, depictions of Athena’s owl, of her Palladion and of Athena Promachos are found. As mentioned above, the epithet Polias usually draws attention to a city’s acropolis with the temple of Athena Polias located there. In the case of Phaselis, the find spot of these votive inscriptions, reused in a wall of a tower that was built in defense of the acropolis, provides an additional indication for the localization of Athena’s temple to the acropolis. This temple most probably was on the acropolis where there are the ruins of a columned building and large ashlar blocks possibly indicating the site of a temple; however, due to the dense vegetation and in the absence of excavations, at present this localisation cannot be stated with certainty. Another reference indicating that Athena Polias was the chief deity of the city was the presence of a holy relic in the Temple of Athena, the spear of the hero of the Trojan War Achilles. During his campaign against the Persians, Alexander the Great stayed in Phaselis in the winter of 334/333 B.C. and he left Achilles’ spear in the Temple of Athena at Phaselis. During the Hellenistic Period, Hellenistic Kings were mentioned with the chief deities of the Archaic and Classical periods as were the emperors in Roman Imperial Period. And according with this practice, the boule and demos of Phaselis worshipped Athena Polias together with the deified emperors, known from an honorific inscription for a certain Ptolemaios. Evidence from the Late Roman Period, especially from the IIIrd century A.D., records the Palladeios agons (ἀγὼν Παλλάδειος) were held in the city in honour of the Goddess Athena. Consequently, philological, epigraphic as well as numismatic evidence shows the Goddess Athena was the chief deity of the city of Phaselis from the Archaic Period into the Late Roman Period. As the epithet Polias on this votive inscription indicates, the goddess had a temple which should be located on the acropolis where the holy relic (Achilles’ spear) was kept and where the officials of the goddess conducted their functions. This new votive inscription provides record of the role Athena occupied in this early post-colonisation period of the city’s political and socio-cultural history. Further, it is also a physical document dating from the city’s Late Archaic-Early Classical Period, aiding in the evaluation of both Phaselis and of the wider region’s history of settlement. (shrink)

The primary goal of this article is point out certain close parallels between some ideas of the radical feminist theorist Mary Daly and those of the French philosopher Henri Bergson. These similarities are particularly striking regarding distinctions made by both authors between two fundamentally contrasting types of cognitive faculty, of time and temporal experience, and of self and emotion. Daly departs from Bergson inasmuch as she employs these distinctions in her own way. She does not—like Bergson—employ them to depict the (...) result of a natural process of consciousness or life, and the dangers for human freedom and thought of not properly respecting these differences. Rather, she locates these differences within a more liberatory, ethical perspective to ground a sharp, inimical contrast between feminist creative movement on the one hand, and static, fixing, and “fixating” patriarchy, with its “technocratic” pretensions, on the other. My hope is that highlighting the similarities between Daly and Bergson will open new paths of appreciation and critique of Daly’s work. (shrink)

The artwork from Bruno Bettelheim's Empty Fortress supplies a model of resistance to depiction. Little Joey, an autistic patient whose identity was likely forged, is a political agent despite evading representation. By doing so, he contests for authorship of "autistic identity" decades before the neurodiversity movement began.

Jean Delville was a central participant in the Symbolist movement in France and Belgium at the turn of the twentieth century. His monumental work, L’ Ecole de Platon, made its first public appearance at the 1898 Salon d’Art Idealiste in Brussels. Although two contemporary critics showered it with praise, the work has puzzled many viewers. Why, for example, does the central figure (one assumes Plato) bear a striking resemblance to Jesus as he is traditionally depicted? Why are those gathered (...) around Plato (one assumes his students) shown nude or semi-nude, and in this particular arrangement? And how do the unusual colors, flora, and fauna contribute to the message Delville was seeking to convey? I argue that insights into the work can be gained by connecting it with a set of doctrines that go back to the Renaissance philosopher and translator Marsilio Ficino, and beyond Ficino, to the third-century philosopher Plotinus. (shrink)

In this book I show that science suffers from a damaging but rarely noticed methodological disease, which I call rationalistic neurosis. It is not just the natural sciences which suffer from this condition. The contagion has spread to the social sciences, to philosophy, to the humanities more generally, and to education. The whole academic enterprise, indeed, suffers from versions of the disease. It has extraordinarily damaging long-term consequences. For it has the effect of preventing us from developing traditions and institutions (...) of learning rationally devoted to helping us learn how to make progress towards a wiser, more civilized world. On our fragile earth, overcrowded, fraught with injustice, inequality and conflict, menaced by unprecedented and terrifying technological and industrial means for change and destruction, we urgently need to acquire a little more wisdom and civilization if we are to avoid repeating horrors of the kind suffered by so many during the 20th century (and already suffered by many in the first few years of the 21st century). We can ill afford to have in our hands instruments of learning botched and bungled from the standpoint of helping us learn how to live more wisely. It may seem scarcely credible that something as important as our institutions of learning can suffer from wholesale, structural defects. Why has this not been noticed before? Why have not armies of scientists and scholars appreciated the point and, long ago, put the matter right? The answer will emerge as my argument unfolds. I will show that one of the most damaging features of rationalistic neurosis is that it has built-in methodological and institutional mechanisms which effectively conceal that anything is wrong. But there is also an immediately obvious reason: specialization, and the resulting fragmentation of academia, has resulted in a situation in which hardly anyone takes responsibility for the overall ideals, the overall aims and methods, of academic inquiry. Academics, these days, are specialists, furiously trying to keep abreast of developments in their own specialist fields. They have no time, and no inducement, to lift their eyes from their particular disciplines, and look at the whole endeavour. Science has long been under attack, at least since the Romantic movement. Blake objected to “Single vision & Newton’s sleep” and declared that “Art is the Tree of Life... Science is the Tree of Death”. Keats lamented that science will “clip an Angel’s wings” and “unweave a rainbow”. Whereas the Enlightenment had valued science and reason as tools for the liberation of humanity, Romanticism found science and reason oppressive and destructive, and instead valued art, imagination, inspiration, individual genius, emotional and motivational honesty rather than careful attention to objective fact. Much subsequent opposition to science stems from, or echoes, the Romantic opposition of Blake, Wordsworth, Keats and many others. There is the movement Isaiah Berlin has described as the “Counter-Enlightenment” (Berlin, 1979, ch. 1). There is existentialism, with its denunciation of the tyranny of reason, its passionate affirmation of the value and centrality of irrationality in human life, from Dostoevsky, Kierkegaard and Nietzsche to Heidegger and Sartre (see, for example, Barrett, 1962). There is the attack on Enlightenment ideals concerning science and reason undertaken by the Frankfurt school, by postmodernists and others, from Horkheimer and Adorno to Lyotard, Foucault, Habermas, Derrida, MacIntyre and Rorty (see Gascardi, 1999). The soul-destroying consequences of valuing science and reason too highly is a persistent theme in literature: it is to be found in the works of writers such as D.H. Lawrence, Doris Lessing, Max Frisch, Y. Zamyatin. There is persistent opposition to modern science and technology, and to scientific rationality, often associated with the Romantic wing of the green movement, and given expression in such popular books as Marcuse’s One Dimensional Man, Roszak’s Where the Wasteland Ends, Berman’s The Reenchantment of the World and Appleyard’s Understanding the Present. There is the feminist critique of science and conceptions of science: see, for example, Fox Keller (1984) and Harding (1986). And there are the corrosive implications of the so-called “strong programme” in the sociology of knowledge, and of the work of social constructivist historians of science, which depict scientific knowledge as a belief system alongside many other such conflicting systems, having no more right to claim to constitute knowledge of the truth than these rivals, the scientific view of the world being no more than an elaborate myth, a social construct (see Barnes and Bloor, 1981; Bloor, 1991; Barnes, Bloor and Henry, 1996; Shapin and Schaffer, 1985; Shapin, 1994; Pickering, 1984; Latour, 1987). This latter literature has provoked a counter-attack by scientists, historians and philosophers of science seeking to defend science and traditional conceptions of scientific rationality: see Gross and Levitt (1994), Gross, Levitt and Lewis (1996), and Koertge (1998). This debate between critics and defenders of science came abruptly to public attention with the publication of Alan Sokal’s brilliant hoax article ‘Transgressing the boundaries’ in a special issue of the cultural studies journal Social Text in 1996 entitled Science Wars: see Sokal and Bricmont (1998). What does this book have to contribute, given the above avalanche of criticism of science? The criticisms of science developed in this book are diametrically opposed to the above, in so far as the above criticisms oppose scientific rationality, seek to diminish or restrict its influence, or hold that it is unattainable. My central point is that we suffer, not from too much scientific rationality, but from not enough. What is generally taken to constitute scientific rationality is actually nothing of the kind. It is rationalistic neurosis, a characteristic, influential and damaging kind of irrationality masquerading as rationality. Science is damaged by being trapped within a widely upheld but severely defective philosophy of science; free science from this defective philosophy, provide it with a more intellectually rigorous philosophy, and it will flourish in both intellectual and humanitarian terms. And more generally, as we shall see, academic inquiry as a whole is damaged by being trapped within an intellectually defective philosophy of inquiry; free it from this defective philosophy, from its rationalistic neurosis, and it will flourish in intellectual and human terms. It is not reason that is damaging, but defective pretensions to reason — rationalistic neurosis —masquerading as reason. Thus what I seek to do here is the exact opposite of what all those who oppose science and scientific rationality do. I shall argue that Reason, the authentic article, arrived at by generalizing the progress-achieving methods of science, can have profoundly liberating and enriching consequences for all worthwhile, problematic aspects of life, and thus deserves to enter into every aspect of life. The bare bones of the argument of this book can be stated quite simply like this. Science cannot proceed without making the substantial metaphysical assumption that the universe is physically comprehensible (to some extent at least). But this conflicts with the orthodox view that in science everything is assessed impartially with respect to evidence, nothing being permanently assumed independently of evidence. So the metaphysical assumption of comprehensibility is repressed. Science pretends that no such assumption is made. But this damages science. For the assumption is substantial, influential and highly problematic. It needs to be made explicit within science so that it can be critically scrutinized, so that alternatives can be developed and considered. Pretending the assumption is not being made undermines the intellectual rigour of science, its intellectual value and success. And it does not stop there. For science also makes value assumptions. Quite properly, science is concerned to discover that which is of value. New factual knowledge devoid of all value (whether intellectual or practical) does not contribute to science. But the orthodox view of science holds that values have no place within science. As in the case of metaphysics, here too, science pretends that values have no role to play within the intellectual domain of science. And this damages science. For values are, if anything, even more influential and problematic than metaphysics (in influencing the direction of research). Here too, values need to be made explicit within science so that they can be scrutinized, so that alternatives can be developed and assessed. Pretending that values play no role within the intellectual domain damages science; both the intellectual and the practical aspects of science are adversely affected. Science fails to pursue those avenues of research that lie in the best interests of humanity. And it goes further. Science is pursued in a social, cultural, economic and political context. It is a part of various social, economic and political projects which seek to achieve diverse human objectives. But the idea that science is an integral part of humanitarian or political enterprises with political ends clashes, once again, with the official view of science that the aim of science is to improve factual knowledge. The political objectives of science are repressed. And, once again, this damages science. For, of course, the political objectives of science, like all our political objectives, are profoundly problematic. These need to be made explicit so that they can be scrutinized, so that alternatives can be developed and considered. The pretence that science does not have this political dimension once again undermines the intellectual rigour of science, and its human value. It lays science open to becoming a part of economic, corporate and political enterprises that are not in the best interests of humanity. The upshot of the line of argument just indicated is that we need to bring about a revolution in the aims and methods of science, and of academic inquiry more generally. Natural science needs to change; its relationship with the rest of academic inquiry, with social inquiry and the humanities, needs to change; and most importantly and dramatically, academic inquiry as a whole needs to change. The basic task of the academic enterprise needs to become to help humanity learn how to tackle its problems of living in more cooperatively rational ways than at present. We need to put the intellectual tasks of articulating our problems of living, and proposing and critically assessing possible solutions, possible and actual actions, at the heart of academic inquiry. The basic task needs to be to help humanity learn a bit more wisdom – wisdom being the capacity to realize what is of value in life, for oneself and others, wisdom including knowledge and technological know-how, but much else besides. Natural science, despite its flaws, has massively increased our knowledge and technological know-how. This in turn has led to a massive and sometimes terrifying increase in our power to act. Often this unprecedented power to act is used for human good, as in medicine or agriculture. But it is also used to cause harm, whether unintentionally (initially at least) as when industrialization and modern agriculture lead to global warming, destruction of natural habitats and rapid extinction of species, or intentionally, as when the technology of war is used by governments and terrorists to maim and kill. Before the advent of modern science, when we lacked the means to do too much damage to ourselves and the planet, lack of wisdom did not matter too much. Now, with our unprecedented powers to act, bequeathed to us by science, lack of wisdom has become a menace. This is the crisis behind all the other current global crises: science without wisdom. In these circumstances, to continue to pursue knowledge and technological know-how dissociated from a more fundamental quest for wisdom can only deepen the crisis. As a matter of urgency, we need to free science and academia of their neuroses; we need to bring about a revolution in the academic enterprise so that the basic aim becomes to promote wisdom by intellectual and educational means. At present science and the humanities betray both reason and humanity. The argument of this book, which I have just summarized, begins with a discussion of the philosophical and methodological problems that beset theoretical physics. At once, many of those who are concerned about moral, political and environmental issues that plague our world today, will feel impatient. What have the methodological problems of theoretical physics to do with third world poverty, war and the threat of war, pollution, extinction of species, the menace of conventional, chemical, biological and nuclear armaments? I can only plead with such a reader: patience. The root cause of the sickness of our times does indeed lie, I claim, with a methodological sickness of natural science or, even more specifically, of physical science. What makes the modern world so utterly different from all previous ages is our possession of modern science and technology. This is the instrument that has changed the conditions of human life almost beyond all recognition, and put unprecedented, and sometimes terrifying, powers into our hands. One should not dismiss out of hand the suggestion that a part of our problem may lie with this instrument, this engine, of rapid change. We see, here, too, the way in which intellectual specialization, referred to above, has effectively concealed from view the nature and extent of the problem that confronts us. The argument that I shall develop in what follows begins with physics, with problems concerning the aims and methods of physics. But it then leaps to social science, to philosophy, to the humanities, to education, to psychotherapy, and to politics: in the end there is scarcely an aspect of modern life that is not touched and, potentially, affected by the argument. How many academic experts are prepared to follow, to take seriously, an argument that ranges so recklessly across such a wide range of academic disciplines? How many non-academic non-experts? But just this is what the argument and message of this book requires. I hope that the reader will endure with patience the somewhat esoteric discussion concerning the aims and methods of physics pursued in chapter one. This may not seem to have anything much to do with the urgent problems of our times, but it does. This is in part how the intellectual disaster I seek to expose in this book conceals itself from view: it buries itself in the obscure, recondite field of the philosophy of physics. Those who devote their lives to the philosophy of physics are, by and large, too myopic to see how their specialized field of study has anything to do with the great and dreadful humanitarian problems and disasters of our age; and those who are above all concerned with these humanitarian disasters have no time at all for abstruse issues concerning the aims and methods of physics. And so the connection is never made. As it happens, the methodological neurosis of physics, with which we begin in chapter one, is actually a quite simple matter to grasp. It does not require any real knowledge of physics to understand. Indeed, physicists and philosophers of physics are much more likely to find the argument difficult to follow than are non-experts. We non-scientists can stand back and see the whole wood; scientists, trained to think in terms of the current orthodox conception of science, trapped in the thickets of research, will find this much harder to do. In an attempt to take this peculiar circumstance into account, I have arranged the exposition as follows. In chapter one I give a simple exposition of the case for declaring natural science to suffer from what I call "rationalistic neurosis"; this avoids all technicalities, and goes straight to the heart of the matter. In the appendix I tackle a host of more technical objections that may be made to the elementary argument of chapter one. So, those experts in the fields of the philosophy of physics and philosophy of science who find the argument of chapter one naïve and unconvincing, should consult the appendix before tossing the book away in disgust. I write in the hope that there will be a few who will not dismiss out of hand the suggestion that the question of how we are to go about learning how to live in wiser and more civilized ways might have something to learn from scientific learning, and will take the trouble to pursue the line of argument traced out in this book. I write in the hope that these few will grasp just how desperate our situation is, how urgent the need to change the status quo, and will do everything in their power to alert others to the need to heal the methodological sickness from which our institutions and traditions of learning at present suffer. To begin with, we need a campaigning organization, modelled perhaps on "Friends of the Earth", which might be called something like "Friends of Wisdom". (shrink)

This volume compiles international contributions that explore the potential risks and chances coming along with the wide-scale migration of society into digital space. Suggesting a shift of paradigm from Spiral of Silence to Nexus of Noise, the opening chapter provides an overview on systematic approaches and mechanisms of manipulation – ranging from populist political players to Cambridge Analytica. After a discussion of the the juxtaposition effects of social media use on social environments, the efficient instrumentalization of Twitter by Turkish politicans (...) in the course of the US-decision to recognize Jerusalem as Israel’s capital is being analyzed. Following a case study of Instagram, Black Lives Matter and racism is a research about the impact of online pornography on the academic performance of university students. Another chapter is pointing out the potential of online tools for the successful relaunch of shadow brands. The closing section of the book deals with the role of social media on the opinion formation about the Euromaidan movement during the Ukrainian revolution and offers a comparative study touching on Russian and Western depictions of political documentaries in the 2000s. (shrink)

Philippine folk dances can be dated back as early as the pre-colonial period which inherited by our forefathers and passed through several generations of Filipinos. These traditional dances are considered treasures of our homeland for they depict the humble beginnings of our native countrymen and serve as a symbol of national identity. The study utilized focused ethnography and was limited on the documentation of the ethnic dance of Ayta Ambala’s tribe, their cultural values along with its cultural heritage situated at (...) Barangay Tubo-Tubo, Dinalupihan, Bataan which were considered unpublished, especially their respective dance patterns or movements. There were ten (10) informants involved in the study. Five (5) were key informants (KIs) who represent the emic perspective while five (5) were general informants (GIs) who represent the etic perspective of the paper. Findings revealed that Dances of Ayta Ambala include: Courtship (Sayaw Magligaw), Ceremonial (Sayaw Talipe), and Occupational (Sayaw Pangangaho). The said dances reflect different activities that are commong among the tribe. It also includes the historical background, costume, time signature, props, structural formation, dance steps, and figures. Although the values are not directly presented, these are still manifesting through the themes of their dances. Included in the cultural values are bravery, respect, and gratitude which are also part of the embodiment of different dances of Ayta Ambala. As observed, the other two emerging themes are also connected to the cultural heritage of Ayta Ambala. This means, their dances mirror their surroundings, their daily activities, and their identity as tribes. The emerging themes on cultural heritage are religious beliefs, courtships, and livelihood. (shrink)

There are many consonances between George Kelly’s personal construct psychology and post-Cartesian perspectives such as the intersubjective phenomenological project of Merleau-Ponty, hermeneutical constructivism, American pragmatism and autopoietic self-organizing systems theory. But in comparison with the organizational dynamics of personal construct theory, the above approaches deliver the person over to semi-arbitrary shapings from both the social sphere and the person’s own body, encapsulated in sedimented bodily and interpersonally molded norms and practices. Furthermore, the affective and cognate aspects of events are artificially (...) split into functionally separated entities, and then have to be pieced together again via interaction. By contrast, pushes and pulls are conspicuously lacking from Kelly’s depiction of the relationship between the construing subject and their world. Kelly complements Heidegger in offering a radically temporal phenomenology and a strongly anticipative stance. Both authors abandon the concept of subject and world in states of interaction, in favor of a self-world referential-differential in continuous self-transforming movement. A paradoxical implication of Kelly’s radical temporal grounding of experience is that it is at the same time more fully in motion and transition than embodied inter-subjective models, and maintains a more intimate and intricate thread of self-continuity and self-belonging. (shrink)

The mythical bronze creature Talos (Greek: Τάλως) was worshiped initially as the god of light or the sun in the Hellenic Island of Crete. He is supposed to have lived in the peak Kouloukona of the Tallaia Mountains in the Gerontospelio cave. His relation towards bronze and fire and his continuous voyage circling the island of Crete most probably introduces the concept of the change of the four seasons. The sun was considered in the area of the South-East Mediterranean nations (...) as just judge, a guardian who monitors and judges from above all the actions of the commoners, a controller for the faithful application of laws in Crete [1]. Hesychios in his Lexicon notes that talos means sun and that the name Tallaios was initially attributed to Zeus [2]. The birth of the Olympian gods forged a new Pantheon and nomenclature forcing some of the old gods to fell into lower deities. This happened to Talos who soon became a mythical hero [1]. According to Apollodorus, the bronze creature was forged by the magnificent constructor Hephaestus as a gift to the mythical King Minoa to help him guard the island [3]. Although the verb “peritrohazo” (Greek: περιτροχαζω) was used, meaning a movement in a steady orbit (track), some depictions image him as a winged being. To protect the island, he was throwing rocks into unknown ships or in the case of a foreign landing he was burning with fire or with his flamed bronze body the intruders. He was holding copper plates with the laws of the island and his circle allowed him to pass all island sores three times daily [1,4-6]. Plato, speaks of him as a real person, suggesting he was the brother of King Rhadamanthys, thus a son of Zeus [5]. Talos may be considered as the token of the Cretan power, a symbol of technological development in the field of metalworking in prehistoric and Minoan times. An animated, programmed gigantic android to enforce its will. A primitive robot for basic actions having a power source, fire and ichor (Greek: ιχώρ) the sacred fluid in the vessels of the gods. The first manufactured being with his individual intelligence, a primary concept of artificial intelligence (AI) [7]. -/- Homer was the first to introduce the term automata (Greek: αυτόματα), to describe ingenious machines built by the supreme blacksmith god of invention and technology, God of metal and fire, Hephaestus, manufactured devices “acting of one’s own will” as the Hellenic word indicates [8]. Eons later, the humanoid automaton the “Automa cavaliere” (English: Automaton knight) appeared in the court of the nobleman and Duke of Milan Ludovico Maria Sforza. It was the year 1495, when Leonardo da Vinci presented his robotic knight, an innovative construction operated by a series of pulleys and cables, presenting though no individual mind. Although it was manufactured by a highly intelligent polymath, it could only be operated through an outer intelligence [9]. Advancements made during the Fourth Industrial Revolution allowed modern technology to manufacture intelligent machines to aid the field of invasive surgery. One of those most sophisticated devises is the da Vince Surgical Tower. -/- Launched in the setting of the 21st century, the DaVinci System is one of the most commonly employed tools/systems, which has prevailed in the field of robotic-assisted surgery [10]. One could claim that it practically reshaped the concept of surgery, providing doctors with immense capabilities, aiming towards the optimal post-operative outcome. Through visual augmentation, high resolution 3D video, enhanced precision and reduced complication rates [11] the DaVinci Si and the latest DaVinci Xi system have been implemented in a variety of surgeries, including but not limited to general, urologic, gynecologic, thoracic and even cardiac procedures; valve and coronary artery bypass graft operations [12,13]. Da Vinci is cleared globally for cardiosurgery and came in vogue to fulfill the dream of cardiac surgeons to operate in closet chest. It offers in patients the same benefits as those that open chest incision surgery procedures do [14]. -/- The more recent DaVinci Xi model was introduced to counteract commonly known drawbacks of the Si system, such as the inability to simultaneously manipulate the different abdominal quadrants [10]. It consists of four boom mounted robotic arms along with a mobile platform and a master console. The latter with the adaptable intraocular distance, the cushioned headrest, the modifiable arm bars and the flexible finger loops, is meticulously designed to meet the surgeon´s “demands” [12]. Every robotic arm has three degrees of freedom, which combined with the EndoWrist technology to imitate the delicate motion of the surgeon´s hand, acquires an extra seven degrees of freedom. Evidently, the combination of the user-friendly interface, the high-quality 3D intraoperative images, the multiple joints and sensors, as well as the surgeon himself, who can learn to handle the DaVinci Xi Surgical System in a relatively short period of time, has established the model in the surgical armamentarium, paving the way towards a continuously progressive future of minimally invasive and robotic surgery (Figure 1) [12]. -/- History testifies that the nomination of the AI surgical tower as da Vinci was wrongfully given to commemorate a majestic historical figure. It is clear that the mythical creature Talos which was fabricated by the ingenious god Hephaestus was the first true automaton in the line of AI origins. (shrink)

This article tries to make sense of the concept of repetition in Søren Kierkegaard’s works. According to Kierkegaard repetition is a temporal movement of existence. What is repetition and what is its meaning for human existence? In answering this question the Danish philosopher depicts repetition by comparing three different approaches to life. Throughout the article I try to develop a coherent argument on ‘the new philosophical category’by analysing the three types of repetition and their corresponding human prototypes. I consider (...) repetition a key concept in summarizing Kierkegaard’s theory of existence, where existence pictures the becoming of the human-self that follows several stages. Constantin Constantius’s repetition is an unsuccessful attempt, an aesthetic expression of human-life. The young lover’s repetition is spiritual, albeit not yet authentic, religious, but more poetic, even if he regains his self. Only Job’s repetition is an authentic movement of existence, an expression of a spiritual trial and of genuine faith. (shrink)

Development ethics is concerned with the justification of development in terms of different normative issues. Mahatma Gandhi was the greatest among all who contributed to the Indian nationalism movement. The focus of this article is to show that Mahatma Gandhi can be regarded as a third world precursor of development ethics. To facilitate the purpose, the writer will try to show first that Gandhi’s theory of ahimsa acts as a foundational ethics of his entire development thought, because it is (...) against arbitrary consumerism and unsustainable resource use. Then the writer will analyze three important concepts of Gandhi – sarvodaya, swadeshi and satyagraha – which are the three principles of sustainable development, an important aspect of development ethics. Through its preference to the essential unity and equality of all earthly creatures, the principle of sarvodaya shows an empathetic approach towards natural world. The swadeshi spirit is handy in getting support for the national economic planning. To fight against injustices, Gandhi resorted to the method of satyagraha. Hence it became a technique that made the foundation of development ethics (that is, ahimsa) practical. Before drawing the conclusion, the writer will briefly evaluate Gandhi’s development thought that will also depict how Gandhi pioneered development ethics. (shrink)

Pictures are 2D surfaces designed to elicit 3D-scene-representing experiences from their viewers. In this essay, I argue that philosophers have tended to underestimate the relevance of research in vision science to understanding the nature of pictorial experience. Both the deeply entrenched methodology of virtual psychophysics as well as empirical studies of pictorial space perception provide compelling support for the view that pictorial experience and seeing face-to-face are experiences of the same psychological, explanatory kind. I also show that an empirically informed (...) account of pictorial experience provides resources to develop a novel, resemblance-based account of depiction. According to what I call the deep resemblance theory, pictures work by presenting virtual models of objects and scenes in phenomenally 3D, pictorial space. (shrink)

An account of depiction should explain its key features. I identify six: that depiction is from a point of view; that it represents its objects as having a visual appearance; that it depictive content is always reasonably detailed; that misrepresentation is possible, but only within limits; and that the ability to interpret depictions co-varies, given general competence with pictures, with knowledge of what the depicted objects look like. All this suggests that picturing works by capturing appearances, but how more precisely (...) does it operate? I show how to use the notion of experienced resemblance in outline shape to analyse depiction in such a way as to answer this question, and to explain the six key features above. (shrink)

Depiction and imagination are intimately linked. In this article, I discuss the role imagination (as well as inference and knowledge/belief) plays in depiction, with a focus on photographic depiction. I partly embrace a broadly Waltonian view, but not always, and not always for Walton's own reasons. In Walton's view, imagination plays a crucial role in depiction. I consider the objection to his view that not all cases of depiction involve imagination – for instance, documentary photographs. From this discussion, two points (...) will emerge: first, we will see that it is an unnecessary mistake to insist too heavily on the fact that photographs are produced in a mechanical way (as opposed to, say, paintings), and second, we will see that the notion of "imagining-seeing", as it is articulated by Walton, is perhaps too strong and does not entirely do justice to the external character of the role imagination plays here. Focusing mainly on photographs, I then illustrate the view I want to advocate by a series of different cases, where the nature of the role that imagination, knowledge/belief, and inference play in depiction will become apparent. (shrink)

This paper shows that direct-object perceptual verbs, such as "hear", "smell", "taste", "feel", and "see", share a collection of distinctive semantic behaviors with depictive verbs, among which are "draw'', "paint", "sketch", and "sculpt". What explains these behaviors in the case of depictives is that they are causative verbs, and have lexical decompositions that involve the creation of concrete artistic artifacts, such as pictures, paintings, and sculptures. For instance, "draw a dog" means "draw a picture of a dog", where the latter (...) occurrence of "draw" denotes a creative activity. While perceptual verbs are not obviously causatives, they have analogous decompositions involving noun phrases that denote modality-specific sense-objects, such as a sounds, smells, flavors, touches, and sights. Thus, "hear a trumpet" means "hear the sound of a trumpet", and the same holds, mutatis mutandis, for verbs denoting the other sensory modes. If we take this analogy at face value, our perceptual reports will commit us to a form of the sense-datum theory of perception. While the analogy can be resisted, resistance requires taking on unexpected commitments. (shrink)

By defining both depictive and linguistic representation as kinds of symbol system, Nelson Goodman attempts to undermine the platitude that, whereas linguistic representation is mediated by convention, depiction is mediated by resemblance. I argue that Goodman is right to draw a strong analogy between the two kinds of representation, but wrong to draw the counterintuitive conclusion that depiction is not mediated by resemblance.

How is it possible for a picture to depict a picture? Proponents of perceptual theories of depiction, who argue that the content of a picture is determined, in part, by the visual state it elicits in suitable viewers, that is, by a state of seeing-in, have given a plausible answer to this question. They say that a picture depicts a picture, in part, because, under appropriate conditions of observation, a suitable viewer will be able to see a picture in the (...) picture. In this article, I first argue that this answer is in conflict with the way in which some of the most influential perceptual theories of depiction – Robert Hopkins's version of the experienced resemblance theory and Dominic Lopes's version of the recognition theory – construe seeing-in. I then formulate a version of the recognition theory that avoids this conflict and show how it can explain the depiction of pictures. (shrink)

In this paper, I discuss the influential view that depiction, like language, depends on arbitrary conventions. I argue that this view, however it is elaborated, is false. Any adequate account of depiction must be consistent with the distinctive features of depiction. One such feature is depictive generativity. I argue that, to be consistent with depictive generativity, conventionalism must hold that depiction depends on conventions for the depiction of basic properties of a picture’s object. I then argue that two considerations jointly (...) preclude depiction from being governed by such conventions. Firstly, conventions must be salient to those who employ them. Secondly, those parts of pictures that depict basic properties of objects are not salient to the makers and interpreters of pictures. (shrink)

Published in extended form as "Endurants and Perdurants in Directly Depicting Ontologies", -/- We propose an ontological theory that is powerful enough to describe both complex spatio-temporal processes and the enduring entities that participate in such processes. For this purpose we distinguish between ontologies and metaontology. Ontologies are based on very simple directly depicting languages and fall into two major categories: ontologies of type SPAN and ontologies of type SNAP. These represent two complementary perspectives on reality and result (...) in distinct though compatible systems of categories. In a SNAP (snapshot) ontology we have the enduring entities in a given domain as they exist to be inventoried at some given moment of time. In a SPAN ontology we have perduring entities such as processes and their parts and aggregates. We argue that both kinds of ontology are required, together with the meta-ontology which joins them together. On the level of meta-ontology we are able to impose constraints on ontologies of a sort which can support efficient processing of large amounts of data. (shrink)

A distorted representation of one's own body is a diagnostic criterion and core psychopathology of both anorexia nervosa (AN) and bulimia nervosa (BN). Despite recent technical advances in research, it is still unknown whether this body image disturbance is characterized by body dissatisfaction and a low ideal weight and/or includes a distorted perception or processing of body size. In this article, we provide an update and meta-analysis of 42 articles summarizing measures and results for body size estimation (BSE) from 926 (...) individuals with AN, 536 individuals with BN and 1920 controls. We replicate findings that individuals with AN and BN overestimate their body size as compared to controls (ES= 0.63). Our meta-regression shows that metric methods (BSE by direct or indirect spatial measures) yield larger effect sizes than depictive methods (BSE by evaluating distorted pictures), and that effect sizes are larger for patients with BN than for patients with AN. To interpret these results, we suggest a revised theoretical framework for BSE that accounts for differences between depictive and metric BSE methods regarding the underlying body representations (conceptual vs. perceptual, implicit vs. explicit). We also discuss clinical implications and argue for the importance of multimethod approaches to investigate body image disturbance. (shrink)

Traditionally, the structure of a language is revealed by constructing an appropriate theory of meaning for that language, which exhibits how – and whether – the meaning of sentences in the language depends upon the meaning of their parts. In this paper, I argue that whether – and how – what pictures represent depends on what their parts represent should likewise by revealed by the construction of appropriate theories of representation for the symbol system of those pictures. This generalisation, I (...) argue, reveals a much cited disanalogy between depiction and description is illusory: the structure of pictures, like language, is compositional. (shrink)

It is a platitude that whereas language is mediated by convention, depiction is mediated by resemblance. But this platitude may be attacked on the grounds that resemblance is either insufficient for or incidental to depictive representation. I defend common sense from this attack by using Grice's analysis of meaning to specify the non-incidental role of resemblance in depictive representation.

This paper argues against definitions of depiction in terms of the syntactic and semantic properties of symbol systems. In particular, it is argued that John Kulvicki's definition of depictive symbol systems in terms of relative repleteness, semantic richness, syntactic sensitivity and transparency is susceptible to similar counterexamples as Nelson Goodman's in terms of syntactic density, semantic density and relative repleteness. The general moral drawn is that defining depiction requires attention not merely to descriptive questions about syntax and semantics, but also (...) to foundational questions about what makes it the case that depictions have the syntactic and semantic properties they do. (shrink)

Exploring the intimate tie between body movement and space and time, Lee begins with the position that body movement generates space and time and explores the ethical implications of this responsibility for the situations one’s body movements generate. Whiteness theory has come to recognize the ethical responsibility for situations not of one’s own making and hence accountability for the results of more than one’s immediate personal conscious decisions. Because of our specific history, whites have developed a particular embodiment (...) and body movement that generates places that can only be characterized as more comfortable and more enabling to whites. (shrink)

This paper involves constructive exegesis. I consider the contrast between morality and art as sketched in Philippa Foot's 1972 paper of the same name, ‘Morality and Art’. I then consider how her views might have shifted against the background of the conceptual landscape afforded by Natural Goodness, though the topic of the relation of art and morality is not explicitly explored in that work. The method is to set out some textual fragments from Natural Goodness that can be arranged for (...) a tentative Footian ‘aesthetics’. I bring them into conversation with some ideas from Iris Murdoch to elucidate what I think the import may be, for Foot, of depicting human form. (shrink)

A picture provides both configurational content concerning its design features, and recognitional content about its external subject. But how is this possible, since all that a viewer can actually see is the picture's own design? I argue that the most plausible explanation is that a picture's design has a dual function. It both encodes artistically relevant design content, and in turn that design content encodes the subject content of the picture--producing overall a double content structure. Also, it is highly desirable (...) that a resulting double content theory for pictures should be closely integrated with a related double content account of perceptual content generally, so as to avoid suspicions of ad hoc theorizing that would apply only to pictorial content. The resulting theory should also be able to explain the inevitable ambiguities involved in abstracting two levels of visual content from a single visible surface, as well as explaining the systematic relations between the two kinds of content. I provide an orientational theory--based on a recently developed spatial logic of orientational concepts--for this purpose, and show how depictive and perceptual content in general can be usefully explained in these orientational terms. This account of picturing also integrates well with a previously developed, more generic double content theory of art, and it is also plausible in cognitive science terms. (shrink)

The primary purpose of depictive works of pornography, we take it, is sexual arousal through sexually explicit representations; what we callprototypical pornography satisfies those aims through the adoption of a ceteris paribus maximally realistic depictive style. Given that the purpose of sexual arousal seems best fulfilled by establishing the most robust connections between the viewer and the depictive subject, we find it curious that not all works of pornography aspire to prototypical status. Accordingly, we target for philosophical scrutiny several non-standard (...) but putatively pornographic forms: Tijuana Bibles, hentai manga, and slash-fiction. We find that works of these genres possess certain depictively or fictively oriented properties that appear at least prima facie incompatible with prototypical pornography, and thereby to pose two pressing questions that anyprima facie viable analysis of pornography must answer: the depiction question and the fiction question. By answering these questions, we can not only arrive at a deeper understanding of the aims of pornography and the reasons for which significant sub-genres of pornography might diverge from the prototypical ideal, but also perhaps better understand what lies at pornography’s edge, and so better understand the ways in which pornography might relate to what lies beyond. (shrink)

In this paper I argue for the usefulness of the concept of ‘movement compression’ for understanding sport and games, and particularly the differences between traditional sport and eSport (as currently practised). I suggest that movement compression allows us to distinguish between different activities in terms of how movement quality (in the sense of the qualities the movement possesses, rather than that the movement is of ‘high quality’) affects outcome. While it applies widely, this concept can (...) in particular help us to understand the persistent idea that eSports are in some key way distinct from traditional sports. (shrink)

This book provides a historical and theoretical analysis of the Ayotzinapa social movement from the perspective of Latin American philosophy. The author addresses questions such as how a social movement is born, how (and if) the distinct social movement organizations should be defined, and what (if any) should be the extent of these organizations.

This paper develops Richard Wollheim’s claim that the proper appreciation of a picture involves not only enjoying a seeing-in experience but also abiding by a standard of correctness. While scholars have so far focused on what fixes the standard, thereby discussing the alternative between intentions and causal mechanisms, the paper focuses on what the standard does, that is, establishing which kinds, individuals, features and standpoints are relevant to the understanding of pictures. It is argued that, while standards concerning kinds, individuals (...) and features can be relevant also to ordinary perception, standards concerning standpoints are specific to pictorial experience. Drawing on all this, the paper proposes an ontology of depiction according to which a picture is constituted by both its visual appearance and its standard of correctness. (shrink)

For me, as a teacher in a theological faculty, the discussion about ecumenical movement and interfaith usually crosses roads with colleagues or students. There is no occasion in which these two are not placed under the same roof, overlaid or confused. That is why the sudden preoccupation to settle this topic as clear as I can so that it can stand for a groundwork when researching about this relationship. Their overlapping is probably the most common hindrance and at the (...) same time indictment for the DIR movement of its “least-connoisseurs”, namely that DIR is a new figment of promoting ecumenical globalization. After I myself faced in classroom students with these assumptions, I thought it is appropriate to add this chapter and explain why DIR is nothing of what the ecumenical movement wanted to be. (shrink)

Recent research has begun to investigate sensory processing in relation to nonclinical variation in traits associated with the autism spectrum disorders (ASD). We propose that existing accounts of autistic perception can be augmented by considering a role for individual differences in top-down expectations for the precision of sensory input, related to the processing of state-dependent levels of uncertainty. We therefore examined ASD-like traits in relation to the rubber-hand illusion: an experimental paradigm that typically elicits crossmodal integration of visual, tactile, and (...) proprioceptive information in an unusual illusory context. Individuals with higher ASD-like traits showed reduced effects of the rubber-hand illusion on perceived arm position and reach-to-grasp movements, compared to individuals with lower ASD-like traits. These differences occurred despite both groups reporting the typical subjective experience of the illusion concerning visuotactile integration and ownership for the rubber hand. Together these results suggest that the integration of proprioceptive information with cues for arm position derived from the illusory context differs between individuals partly in relation to traits associated with ASD. We suggest that the observed differences in sensory integration can be best explained in terms of differing expectations regarding the precision of sensory estimates in contexts that suggest uncertainty. (shrink)

The technological revolution and appropriation of internet tools began to reshape the material basis of society and the urban space in collaborative, grassroots, leaderless, and participatory actions. The protest squares’ representation on Television screens and mainstream media has been broad. Various health, governmental, societal, and urban challenges have marked the advent of the Covid-19 virus. Inequalities have become more salient as poor people and minorities are more affected by the virus. Social distancing makes the typical forms of protest impossible to (...) carry out. Under social distancing, some state-led policies took advantage of social media to focus on the Covid-19 pandemic to silence social and political activities, censor criticism, and control the press. However, during the pandemic era, the movements for social justice have been particularly active, focusing on defending workers’ rights, mutual aid and solidarity, monitoring policymakers, and popular education. These progressive movements combined concrete practices and experiences to confront the reactionary, capitalist, and governmental actors that sought to shape and envision the world. Through different case studies of protest movements during the pandemic in Europe, the UK, and Asia, this paper argues that at the time of rising racial, social, and economic inequalities, the social activities adapted to the circumstances determined by the social distancing and the impossibility of people gathering in physical spaces. Subsequently, the people in different countries had various individual and collective responses to the support of health workers, systemic inequalities, loss of jobs, and other societal and financial challenges imposed by the governments. It means that, rather than disappearing, the social movements have adapted to the unexpected situations during the pandemic outbreak. The pandemic broke the new digital global wave of protests in this sense. (shrink)

Despite their theoretical attractiveness, global egalitarian arguments for open borders face the worry that open borders would in fact exacerbate inequality. In this paper, I offer a response to such egalitarian consequentialist concerns. I argue that they fail to attend to the larger political and economic forces that create and maintain inequality. Even in cases where immigration conflicts with egalitarian goals, the conflicts tend to be due to contingent circumstances that egalitarians have reason to change. As such, they do not (...) pose a deep challenge for egalitarian defenses of open borders. However, they do illuminate an important and overlooked point: egalitarians should construe open borders as part of a broad and coherent global egalitarian program, both politically and philosophically. This is in contrast to an approach that sees the border question as an isolated and abstract philosophical question. Furthermore, egalitarians would do well to engage the political economic factors that drive migration in our world, and to buttress their concerns of distributive justice with arguments emphasizing the negative effects of the global border regime on social and relational equality. (shrink)

The main task of this paper is to understand if and how static images like photographs can represent and/or depict temporal extension (duration). In order to do this, a detour will be necessary to understand some features of the nature of photographic representation and depiction in general. This important detour will enable us to see that photographs (can) have a narrative content, and that the skilled photographer can 'tell a story' in a very clear sense, as well as control and (...) guide the attention of the spectator of the photograph. The understanding and defence of this claim is a secondary aim of this paper, and it will then allow us to provide a good treatment of the particular case of photographic representation and depiction of temporal extension. (shrink)