Albert Einstein's bold assertion of the form-invariance of the equation of a spherical light wave with respect to inertial frames of reference became, in the space of six years, the preferred foundation of his theory of relativity. Early on, however, Einstein's universal light-sphere invariance was challenged on epistemological grounds by Henri Poincaré, who promoted an alternative demonstration of the foundations of relativity theory based on the notion of a light-ellipsoid. Drawing in part on archival sources, this paper shows how an (...) informal, international group of physicists, mathematicians, and engineers, including Einstein, Paul Langevin, Poincaré, Hermann Minkowski, Ebenezer Cunningham, Harry Bateman, Otto Berg, Max Planck, Max Laue, A. A. Robb, and Ludwig Silberstein, employed figures of light during the formative years of relativity theory in their discovery of the salient features of the relativistic worldview. (shrink)

The volume Conceptual Figures of Fragmentation and Reconfiguration is a collection of revised versions of the papers presented at a research seminar which took place at the School of Social Sciences and Humanities, Universidade NOVA de Lisboa, between January and June 2019. The seminar is one of the core activities of the project “Fragmentation and Reconfiguration: Experiencing the City between Art and Philosophy”, based at IFILNOVA – Nova Institute of Philosophy in Lisbon. This volume strives to reassess the relationship between (...) fragmentation and reconfiguration, the contemporary relevance of which can be appreciated by focusing on the experience of the city, in particular the aesthetic experience of the city. Following the structure of the original seminar presentations, and drawing on key philosophical authors such as Goethe, Benjamin, Wittgenstein, Foucault, Deleuze, Joyce, Proust, and Perec, each of the nine contributors focuses on a specific conceptual figure: Catastrophe (Gianfranco Ferraro); Ruins (Maria Filomena Molder); Chaosmopolitanism (Bartholomew Ryan); Morphogenesis (Maurizio Gribaudi); Atlas (Nélio Conceição); Archive (João Duarte); Collection (Maria João Gamito); Panoramic Presentation (Alexandra Dias Fortes); and Aesthetic Experience (Nuno Fonseca). (shrink)

We think and speak in figures. This is key to our creativity. We re-imagine one thing as another, pretend ourself to be another, do one thing in order to achieve another, or say one thing to mean another. This comes easily because of our abilities both to work out meaning in context and re-purpose words. Figures of speech are tools for this re-purposing. Whether we use metaphor, simile, irony, hyperbole, and litotes individually, or as compound figures, the uses are all (...) rooted in literal meanings. These uses invite us to explore the context to find new meanings, new purposes, beyond the literal. -/- This special issue of Philosophical Studies brings together eight papers on various aspects and applications of figurative speech including: David Hills, Mitch Green, Liz Camp, Ofra Magidor, Larry Horn, Ken Walton, Stephen Barker, and Mihaela Popa-Wyatt. (shrink)

Provides an overview and examples of what impossible figures are, and explains their interest to many different disciplines including philosophy, psychology, art and mathematics.

Compound figures are a rich, and under-explored area for tackling fundamental issues in philosophy of language. This paper explores new ideas about how to explain some features of such figures. We start with an observation from Stern that in ironic-metaphor, metaphor is logically prior to irony in the structure of what is communicated. Call this thesis Logical-MPT. We argue that a speech-act-based explanation of Logical-MPT is to be preferred to a content-based explanation. To create this explanation we draw on Barker’s (...) expressivist speech-act theory, in which speech-acts build on other speech-acts to achieve the desired communicative effects. In particular, we show how Barker’s general ideas explain metaphor as an assertive-act, and irony as a ridiculing-act. We use Barker’s notion of proto-illocutionary-acts to show how metaphorical-acts and ironic-acts can build one on the other. Finally, we show that while an ironic-act can build on a metaphorical-act, a metaphorical-act cannot build on an ironic-act. This restriction on how they can be composed establishes Logical-MPT via a different route. (shrink)

This book offers a much-needed new political theory of an old phenomenon. The last decade alone has marked the highest number of migrations in recorded history. Constrained by environmental, economic, and political instability, scores of people are on the move. But other sorts of changes—from global tourism to undocumented labor—have led to the fact that to some extent, we are all becoming migrants. The migrant has become the political figure of our time. Rather than viewing migration as the exception (...) to the rule of political fixity and citizenship, Thomas Nail reinterprets the history of political power from the perspective of the movement that defines the migrant in the first place. Applying his "kinopolitics" to several major historical conditions and figures of migration, he provides fresh tools for the analysis of contemporary migration. (shrink)

It’s natural for hyperbole to mix with metaphor and irony, and other figures of speech. How do they mix together and what kind of compound, if any, arises out of the mixing? In tackling this question, I shall argue that thinking of hyperbolic figures along the lines familiar from ironic metaphor compounds is a temptation we should resist. Looking in particular at hyperbolic metaphor and hyperbolic irony, I argue, they don’t yield a new encompassing compound figure with one (...) class='Hi'>figure building on another. Instead, what we have is one dominant figure colored with hyperbolic tinges. So what does hyperbole bring to the mixing pot? I suggest we should think of hyperbole in hyperbolic figures as being an interpretive effect, modulating the working of the partner figure and thus rendering more emphatic. (shrink)

Ambiguous figures pose a problem for representationalists, particularly for representationalists who believe that the content of perceptual experience is non-conceptual (MacPherson in Nous 40(1):82–117, 2006). This is because, in viewing ambiguous figures, subjects have perceptual experiences that differ in phenomenal properties without differing in non-conceptual content. In this paper, I argue that ambiguous figures pose no problem for non-conceptual representationalists. I argue that aspect shifts do not presuppose or require the possession of sophisticated conceptual resources and that, although viewing ambiguous (...) figures often causes a change in phenomenal properties, this change is accompanied by a change in non-conceptual content. I illustrate the case by considering specific examples. (shrink)

Demographic diversity might often be present in a group without group members noticing it. What are the epistemic effects if they do? Several philosophers and social scientists have recently argued that when individuals detect demographic diversity in their group, this can result in epistemic benefits even if that diversity doesn’t involve cognitive differences. Here I critically discuss research advocating this proposal, introduce a distinction between two types of detection of demographic diversity, and apply this distinction to the theorizing on diversity (...) in science. Focusing on ‘invisible’ diversity, I argue that in one common kind of group in science, if group members have full insight into their group’s diversity, this is likely to create epistemic costs. These costs can be avoided and epistemic benefits gained if group members only partly detect their group’s diversity. There is thus an epistemic reason for context-dependent limitations on scientists’ insight into the diversity of their group. (shrink)

I argued in Nanay 2010 that we cannot characterize perceptual content without reference to attention. Here, I defend this account from three objections raised by Jagnow 2011. This mainly takes the form of clarifying some details not sufficiently elaborated in the original article and dispelling some potential misunderstandings.

Dance receives relatively little attention in the history of philosophy. My strategy for connecting that history to dance consists in tracing a genealogy of its dance-relevant moments. In preparation, I perform a phenomenological analysis of my own eighteen years of dance experience, in order to generate a small cluster of central concepts or “Moves” for elucidating dance. At this genealogical-phenomenological intersection, I find what I term “positure” most helpfully treated in Plato, Aristotle and Nietzsche; “gesture” similarly in Condillac, Mead and (...) Kristeva; “grace” in Avicenna, Schiller and Dewey; and “resilience” in Fanon, (Judith) Butler and Deleuze. With these analyses in place, I apply the four Moves in analyzing various forms of dancing (including salsa dancing and the pollen dance of the honeybee) and coordinate them to outline a comprehensive philosophy of dance. This philosophy points to certain conditions for an ideally flourishing, dancing society. And these conditions create the possibility for a coalition of sympathetic discourses (including critical race theory, queer theory, disability studies and democratic theory) united in pursuit of political virtue. The development of a philosophy of dance offers a deeper understanding of the intellectual values of a practice often identified with bodily immediacy and therefore judged uninteresting. It also reinvigorates philosophy with the dynamism and bodily relevance of the practice of dancing. Most important, it demonstrates the meaningful intersection of aesthetics and political ethics, by exploring how aesthetic practices underlie and inspire human flourishing. (shrink)

A close reading of the five mathematical studies Socrates proposes for the philosopher-to-be in Republic VII, arguing that (1) each study proposes an object the thought of which turns the soul towards pure intelligibility and that (2) the sequence of studies involves both a departure from the sensible and a return to it in its intelligible structure.

Albert Einstein’s bold assertion of the form invariance of the equation of a spherical light wave with respect to inertial frames of reference became, in the space of 6 years, the preferred foundation of his theory of relativity. Early on, however, Einstein’s universal light-sphere invariance was challenged on epistemological grounds by Henri Poincaré, who promoted an alternative demonstration of the foundations of relativity theory based on the notion of a light ellipsoid. A third figure of light, Hermann Minkowski’s lightcone (...) also provided a new means of envisioning the foundations of relativity. Drawing in part on archival sources, this paper shows how an informal, international group of physicists, mathematicians, and engineers, including Einstein, Paul Langevin, Poincaré, Hermann Minkowski, Ebenezer Cunningham, Harry Bateman, Otto Berg, Max Planck, Max von Laue, A. A. Robb, and Ludwig Silberstein, employed figures of light during the formative years of relativity theory in their discovery of the salient features of the relativistic worldview. (shrink)

La Divine Comédie est le récit poétique d'une vision, d'une expérience surnaturelle qui se fait toujours plus intense, et que le langage peine toujours davantage à traduire. La mission de Dante consiste à rapporter cette vision. La question que nous pose la Divine Comédie réside dans la différence entre l'intraduisible et l'indicible: y a-t-il un intraduisible dicible? Ou en d'autres termes : quelle est, au-delà du topos de l'indicible poétique, et au-delà de la figure rhétorique de la prétérition, la (...) signification conceptuelle de l'expression du "dire" dans la Divine Comédie? (shrink)

Dans l’œuvre de Platon, l’image du rêve semble d’abord servir à désigner l’état d’ignorance du commun des mortels qui « rêvent » leur vie. Cet usage métaphorique ne saurait correspondre parfaitement à la pensée platoni- cienne du phénomène onirique, particulièrement lorsqu’on l’envisage d’un point de vue éthique (qu’advient-il de la vertu de l’homme dans son sommeil ?), plutôt qu’épistémologique ou ontologique. Dans la République, le sommeil apparaît essentiellement comme l’endormissement d’une partie de l’âme – la rationnelle – au profit d’une (...) autre – la désirante. Platon laisse pourtant entendre que, sous certaines conditions, les visions qui s’y manifestent ne sont pas nécessairement mensongères et pourraient même, pour certaines, avoir une origine divine. Le rêve doit donc être compris non seulement comme un moment de séparation de l’âme et du corps, mais aussi de différenciation des facultés ou parties de l’âme elles-mêmes qui acquièrent là leur autonomie propre et déploient, sans se limiter l’une l’autre, leur plein pouvoir. In Plato’s works the image of a dream at first seems to serve the purpose of indicating the state of ignorance of ordinary humans who « dream » their way through life. This metaphorical usage does not reflect perfectly Plato’s thought on the phenomenon of dreams, especially when it is considered from an ethical point of view (what happens to human virtue during sleep?) rather than an epistemological or ontological one. In the Republic sleep appears to be essen- tially where a part of the soul goes asleep – namely the rational part – to the advantage of the desiring part. However, Plato implies that under certain condi- tions the visions that occur in sleep are not necessarily false and could even, in some cases, have a divine origin. Dreams must therefore be understood not merely as a moment of separation of soul and body, but also of differentiation of the faculties or parts of the soul themselves, which acquire their own autonomy in dreams and deploy their full power without limiting one another (transl. J. Dudley). (shrink)

At the end of the fifth century B.C.E., the character of Odysseus was scorned by most of the Athenians: he illustrated the archetype of the demagogic, unscrupulous and ambitious politicians that had led Athens to its doom. Against this common doxa, the most important disciples of Socrates (Antisthenes, Plato, Xenophon) rehabilitate the hero and admire his temperance and his courage. But it is most surprising to see that, in spite of Odysseus' lies and deceit, these philosophers, who condemn steadfastly the (...) sophists' deceptions, praise his rhetorical ability, his polutropia. The word polutropia is ambiguous: for Antisthenes, it means either "diversity of styles and discourses" or "diversity of dispositions, characters, or souls". It is argued that the same distinction is implicitly at work in Plato's Hippias Minor, where Socrates defends Odysseus' polutropia against the pseudo "simplicity" of Hippias' favourite hero, Achilles. However, whereas Antisthenes tries to clarify these different meanings, Plato's Socrates exploits the ambiguity to confuse his interlocutor. Such a distinction sheds a new light on the Hippias Minor: Odysseus is polutropos in the first (positive) sense, while the simplicity of Achilles should be understood as a bad kind of polutropia. It provides an explanation for the first paradoxical thesis of the dialogue which many commentators do not admit as an expression of the true Socratic view, on the ground of its supposed immorality: that he who voluntary deceives is better than he who errs, for falsehood is, in one case, only in words, while in the other, it is falsehood in the soul itself. It is thus proposed that Odysseus' skill in adapting his logos to his hearers was probably a model for Socrates himself. The analogy between the hero and Socrates is especially clear in Plato's dialogues, which show the philosopher in an Odyssey for knowledge. (shrink)

Abraham has played a prominent role in recent developments in phenomenology and, in particular, continental philosophy of religion. This paper examines the importance that the scene of Genesis 22 plays in both Jacques Derrida and Jean-Luc Marion’s contributions to continental philosophy of religion. Specifically, I argue that Derrida and Marion turn to this scene of the binding of Isaac in order to describe the way in which our ethical life is structured religiously around the theme of sacrifice. In this, sacrifice (...) brings an impetus to ethical life that includes a comportment to the other but also extends beyond the other to include the givenness of phenomena themselves. (shrink)

As figurational sociologists and sociolinguists, we need to know that we currently find support from other fields in our efforts to construct a sociocultural science focused on interdependencies and processes, creating a multidimensional picture of human beings, one in which the brain and its mental and emotional processes are properly recognized. The paradigmatic revolutions in 20th-century physics, the contributions made by biology to our understanding of living beings, the conceptual constructions built around the theories of systems, self-organization and complexity, all (...) these implore that we reflect on social sciences paradigms in the light of the great changes in these other disciplines. The application of metaphors or theoretical images of complexity and figurational sociology in understanding language and socio-communication phenomena is of great use, since language is not an ‘object’, but a ‘complex’; it exists simultaneously in and among different domains. ‘Languaging’ and interaction are co-phenomena. The former exists within the latter, and the latter within the former. By visualizing, for instance, the different levels of linguistic structure not as separate entities but rather as united and integrated within the same theoretical frame, by seeing their functional interdependencies, by situating them in a greater multidimensionality that includes what for a long time was considered ‘external’ – the individual and his or her mind-brain, the sociocultural system, the physical world, etc. – and expanding in this way our classical view, we should be able to make important, if not essential, theoretical and practical advances. (shrink)

The laws which predict how the perceptual quality of figure-ground can be extracted from the most elementary visual signals were discovered by the Gestaltists, and form an essential part of their movement (see especially Metzger, 1930, and Wertheimer, 1923 translated and re-edited by Lothar Spillmann, 2009 and 2012, respectively). Distinguishing figure from ground is a prerequisite for perception of both form and space (the relative positions, trajectories, and distances of objects in the visual field. The human brain has (...) an astonishing capacity for selecting and combining a few critical visual signals to accurately represent both form and space. (shrink)

The purpose of this work is to address what notion of geometrical object and geometrical figure we have in different kinds of geometry: practical, pure, and applied. Also, we address the relation between geometrical objects and figures when this is possible, which is the case of pure and applied geometry. In practical geometry it turns out that there is no conception of geometrical object.

Time was perceived by ancient philosophy as a cosmological enigma. The search for truth beyond time determined Greek thought. A true definition, says Aristotle (384-322 BC), expresses “the what-it-is-to-be” (τὸ τί ἦν εἶναι) of a thing, it is an account of the essence, and essence is identity. The principle of non-contradiction was considered by Aristotle as the first principle of the inquiry into Being. As such, it cannot be demonstrated, since this would lead to an infinite regress. Instead, the noncontradiction (...) principle is the first axiom of ontology. But time seems to question this tautology. Aristotle discusses time in the Physics. He begins with the questions about time’s existence which stem from his contemporaries’ conceptions. (shrink)

The fourth of eight chapters from my recently published book "Grace and Gravity: Architectures of the Figure." The argumentation builds on terminology introduced in the first three chapters, the most important being the phased structure of the figure: prefiguration, figuration, and transfiguration. Also, the earlier developed interdependence of movement and standstill, which we find both in beauty and in grace, is here expanded in the relationship between the mineral, animal, and vegetable.

This essay undertakes a reexamination of the notion of the receptacle/chōra in Plato's Timaeus, asking what its value may be to feminists seeking to understand the topology of the feminine in Western philosophy. As the source of cosmic motion as well as a restless figurality, labile and polyvocal, the receptacle/chōra offers a fecund zone of destabilization that allows for an immanent critique of ancient metaphysics. Engaging with Derridean, Irigarayan, and Kristevan analyses, Bianchi explores whether receptacle/chōra can exceed its reduction to (...) the maternal-feminine, and remain answerable to contemporary theoretical concerns. (shrink)

Focused attention is needed to perceive change (Rensink et al., 1997; Psychological Science, 8: 368-373) . But how much attentional processing is given to an item? And does this depend on the nature of the task? To answer these questions, "flicker" displays were created, where an original and a modified image continually alternated, with brief blanks between them. Each image was an array of simple figures, half being horizontal and the other half vertical. In half the trials, one of the (...) items changed orientation; in the remainder, all items remained the same. Observers were asked to detect whether a change was occurring in each trial. -/- Within-observer comparisons for different shapes of items yielded two classes of speed: relatively fast search (50 ms/item) for simple lines, and slower search (90 ms/item) for compound figures made of two or more lines. Evidently, more processing was given to compound figures, even though shape was irrelevant to the task. A similar set of experiments asked observers to detect changes in contrast polarity. Here, no differences were found for different shapes, indicating that geometric information is not processed as much when the task involves only nongeometric properties. (shrink)

On chercherait en vain dans l’œuvre de Platon des développements explicites sur le silence. Mais le génie littéraire de Platon lui fait une place, et la mise en scène des dialogues, comme les interactions des personnages, mettent en jeu différentes figures du silence par lesquelles se dévoilent d’autres aspects des réflexions socratico-platoniciennes sur le langage. Les silences du philosophe s’opposent, en effet, à ceux de ses interlocuteurs, autant que la pratique philosophique du dialogue aux discours sophistiques. Car le silence véritable (...) n’est pas que l’absence de voix, ni même simplement l’attente d’une parole à venir, mais, en dernière analyse, un retour à la source du logos : la pensée et l’être même. (shrink)

One of Fabio Rossi’s most important works analyses the themes of evil and suffering in 20th-century French philosophy. Among others, Rossi presents Louis Lavelle’s contribution on such themes and his reading of the mutual influences between philosophical reflection, emotional experience and religious transcendence. The article aims to make use of some of the conceptual tools made available by Rossi and Lavelle in order to understand François Mauriac’s treatment of evil and suffering in some of his novels, namely Le Mystère Frontenac, (...) Noeud de vipères and Le Mal. The role of family bonds, social rules, the body and its weaknesses, and nature are among the themes around which Mauriac centers his reflection about suffering and its inevitable presence in human life. (shrink)

This paper argues that twentieth-century philosopher Cornelius Castoriadis’ innovative concept of imagination is closely related to his treatments of dance. More specifically, it revolves around his concept of “figure,” which thereby suggests a productive partnership with my own philosophy of dance, which I call “Figuration.” The first and second sections below review the interpretations of Castoriadis’ imagination in the two book manuscripts on him in English, Jeff Klooger’s Psyche, Society Autonomy (which supplements Castoriadis with Fichte) and Suzi Adams’ Castoriadis’ (...) Ontology (which supplements him with hermeneutics). My final section defends Castoriadis against these two critical supplements through a close reading of his magnum opus, The Imaginary Institution of Society. There I re-choreograph Castoriadis’ use of the Freudian concept of “leaning on” (Anlehnung, from the Greek anaclisis) as “bending back” (anaclasis, following Klooger’s misspelling of anaclisis). In short, the imagination is like a dancer, bending back to nature understood as “the region which resists” (to varying degrees) the social. (shrink)

My goal in this paper is to reconstruct Anthony Collins’ challenge to the authority of orthodox Anglican figures, which arises due to arguments Collins develops in his Vindication of the Divine Attributes (1710) and Discourse on Free-Thinking (1713). In addition to shedding light on a hitherto underappreciated argument by Collins, my reconstruction allows me to propose a solution to the interpretive problem posed by §§16–22 of the fourth dialogue of Berkeley’s Alciphron (1732). While it has been acknowledged that Collins looms (...) large in the background of these sections, Berkeley’s argumentative strategy has remained perplexing to commentators, particularly his references to several Scholastic thinkers. I argue that we can make sense of Berkeley’s strategy and references if we appreciate that these sections are intended to evade Collins’ challenge. (shrink)

Poorly saturated colors are closer to a pure grey than strongly saturated ones and, therefore, appear less “colorful”. Color saturation is effectively manipulated in the visual arts for balancing conflicting sensations and moods and for inducing the perception of relative distance in the pictorial plane. While perceptual science has proven quite clearly that the luminance contrast of any hue acts as a self-sufficient cue to relative depth in visual images, the role of color saturation in such figure-ground organization has (...) remained unclear. We presented configurations of colored inducers on grey ‘test’ backgrounds to human observers. Luminance and saturation of the inducers was uniform on each trial, but varied across trials. We ran two separate experimental tasks. In the relative background brightness task, perceptual judgments indicated whether the apparent brightness of the grey test background contrasted with, assimilated to, or appeared equal (no effect) to that of a comparison background with the same luminance contrast. Contrast polarity and its interaction with color saturation affected response proportions for contrast, assimilation and no effect. In the figure-ground task, perceptual judgments indicated whether the inducers appeared to lie in front of, behind, or in the same depth with the background. Strongly saturated inducers produced significantly larger proportions of foreground effects indicating that these inducers stand out as figure against the background. Weakly saturated inducers produced significantly larger proportions of background effects, indicating that these inducers are perceived as lying behind the backgrounds. We infer that color saturation modulates figure-ground organization, both directly by determining relative inducer depth, and indirectly, and in interaction with contrast polarity, by affecting apparent background brightness. The results point towards a hitherto undocumented functional role of color saturation in the genesis of form, and in particular figure-ground percepts in the absence of chromatostereopsis. (shrink)

Although symmetry has been discussed in terms of a major law of perceptual organization since the early conceptual efforts of the Gestalt school (Wertheimer, Metzger, Koffka and others), the first quantitative measurements testing for effects of symmetry on processes of Gestalt formation have seen the day only recently. In this study, a psychophysical rating study and a “foreground”-“background” choice response time experiment were run with human observers to test for effects of bilateral symmetry on the perceived strength of figure-ground (...) in triangular Kanizsa configurations. Displays with and without bilateral symmetry, identical physically-specified-to-total contour ratio, and constant local contrast intensity within and across conditions, but variable local contrast polarity and variable orientation in the plane, were presented in a random order to human observers. Configurations with bilateral symmetry produced significantly stronger figure-ground percepts reflected by greater subjective magnitudes and consistently higher percentages of “foreground” judgments accompanied by significantly shorter response times. These effects of symmetry depend neither on the orientation of the axis of symmetry, nor on the contrast polarity of the physical inducers. It is concluded that bilateral symmetry, irrespective of orientation, significantly contributes to the, largely sign-invariant, visual mechanisms of figure-ground segregation that determine the salience of figure-ground in perceptually ambiguous configurations. (shrink)

How should we respond to historical figures who played an important role in their country’s history but have also perpetrated acts of great evil? Much of the existing philosophical literature on this topic has focused on explaining why it may be wrong to celebrate such figures. However, a common response that is made in popular discussions around these issues is that we should not judge historical figures by today’s standards. Our goal in this paper is to examine the most plausible (...) way to understand this objection. We will examine three different interpretations of this argument. First, we will examine a view we call Temporal Moral Relativism, according to which moral standards are relative to particular points in time. Next, we outline Blame Relativism, the view that people from the past may be excused from blame for acts of conventionalized wrongdoing. Finally, we outline Ideals Relativism, according to which our moral ideals are partially relative to the time in which we live. We argue that Ideals Relativism provides the most plausible interpretation of this argument. (shrink)

The Afro-Latin dance known as ‘salsa’ is a fusion of multiple dances from West Africa, Muslim Spain, enslaved communities in the Caribbean, and the United States. In part due to its global origins, salsa was pivotal in the development of the Figuration philosophy of dance, and for ‘dancing with,’ the theoretical method for social justice derived therefrom. In the present article, I apply the completed theory Figuration exclusively to salsa for the first time, after situating the latter in the dance (...) studies literature. My first section explores Juliet McMains’ recent history, Spinning Mambo into Salsa, with an emphasis on the dynamics of class, race and sex therein. My second section explores a resonant Afro-Latin dance history, Marta E. Savigliano’s Tango and the Political Economy of Passion, where she deploys salsa’s sister-dance (tango) as a ‘counter-choreography’ to the choreography of postmodern neocolonialism. And my third section applies Figuration’s four central aspects of dance (or ‘Moves’) to salsa qua member of its ‘societal’ family of dance. In conclusion, through partnering with salsa, Figuration emerges as a member of its own ‘discursive’ family of dance, while salsa emerges as a gestural discourse capable of helping reconstruct a more socially-just world from the postmodern ruins of today. (shrink)

Although Whitehead’s particular style of philosophizing--looking at traditional philosophical problems in light of recent scientific advances--was part of a trend that began with the scientific revolutions in the early 20th century and continues today, he was marginalized in 20th century philosophy because of his outspoken defense of what he was doing as “metaphysics.” Metaphysics, for Whitehead, is a cross-disciplinary hermeneutic responsible for coherently integrating the perspectives of the special sciences with one another and with everyday experience. The program of such (...) a meta-discipline is challenging to philosophical orthodoxy because it enlarges, rather than narrows, the range of empirical evidence that philosophy must acknowledge. This places Whitehead’s philosophy in a perennial tradition that seeks to resolve fundamental antinomies through synthesis and reconciliation rather than reduction or elimination. (shrink)

The popularity of logos derived from the Tennessee flag can be explained by its obvious and relevant symbolism, but also by the phenomenon of pragmatic unity through which the Tennessee flag evokes the Confederate flag, as well as by the phenomenon of visual synecdoche, which allows observers to associate the three-star element with the entire flag and its associated meanings.

Relocating the figure of Jikaku (Self-Consciousness) in Nishida’s Intuition and Reflection in Self-consciousness.

The theoretical use of representation faces, among others, two types of inconsistencies, namely: a representation requires the figure of the agent to which it will be representative, which leads either to circularity or to infinite return; and the resulting one, which is the difficulty in reconciling a description, in representative terms, with other more fundamental scientific categories. The proposal of the present study for the solution of these problems was the identification of a referential process starting from the correlation (...) between states of a physical system. It will present an inference about how the superposition of causal history moments of a system can result in a self-referential structure. (shrink)

The reason for Aristotle’s treatment of (traditional) fourth figure syllogisms as first figure syllogisms with inverted terms in the conclusion is the following: To disprove the conclusiveness of a premiss pair Aristotle formulates two triplets of true propositions such that two of them correspond to the premiss pair in question and that the third proposition corresponding to a conclusion is an a-proposition in the first case, an e-proposition in the other. Since the truth of an a-proposition grants the (...) falsity of the contrary e- and of the contradictory o-proposition, the first triplet offers two counter-instances for invalid syllogisms with true premisses and false conclusions. Similarly the true e-proposition grants the falsity of an a- and an i-conclusion. Since an a-proposition can be converted to an i-proposition and an e-proposition is equivalent to its converse, these first figure triplets also disprove any first figure syllogism with converted conclusions, with the exception of o-conclusions. The invalidity of the latter ones, however, can be shown by using premiss conversions of (invalid) second and third figure syllogisms. The proposed explanation also makes clear why there are no rejection proofs for invalid syllogisms of (traditional) fourth figure syllogisms in the Analytics. (shrink)

Settler colonialism is structured in part according to the principle of civilizational progress yet the roots of this doctrine are not well understood. Disparate ideas of progress and practices related to colonial dispossession and domination can be traced back to the Enlightenment, and as far back as ancient Greece, but there remain unexplored logics and continuities. I argue that civilizational progress and settler colonialism are structured according to the opposition between politics governed by reason or faith and the figure (...) of the child as sinful or bestial. Thus, it is not contingent, but rather necessary that justificatory frameworks of European empire and colonialism depict Indigenous peoples as children. To illustrate how the theoretical link between Indigenous peoples and children emerges not as a simple analogy, but rather, as the source of the premodern/modern and savage/civilized binaries, I trace the various historical iterations of the political/childhood opposition through the classical, medieval, enlightenment, and modern eras. I show how the model of civilizational progress from a premodern and savage state of childhood continues to serve as the model for settler colonial exclusion and domination of Indigenous peoples. (shrink)

In this paper, we will make explicit the relationship that exists between geometric objects and geometric figures in planar Euclidean geometry. That will enable us to determine basic features regarding the role of geometric figures and diagrams when used in the context of pure and applied planar Euclidean geometry, arising due to this relationship. By taking into account pure geometry, as developed in Euclid’s Elements, and practical geometry, we will establish a relation between geometric objects and figures. Geometric objects are (...) defined in terms of idealizations of the corresponding figures of practical geometry. We name the relationship between them as a relation of idealization. This relation, existing between objects and figures, is what enables figures to have a role in pure and applied geometry. That is, we can use a figure or diagram as a representation of geometric objects or composite geometric objects because the relation of idealization corresponds to a resemblance-like relationship between objects and figures. Moving beyond pure geometry, we will defend that there are two other ‘layers’ of representation at play in applied geometry. To show that, we will consider Euclid’s Optics. (shrink)

On the basis of a revision of the real dynamics of Greek poiesis and autopoiesis as evolutionary processes of meaning and knowledge-of-the-World evaluative-construction, Cognitive Poetics proposes key philological, ontological and cultural adjustments to improve our understanding of thought, conceptual activity, and the origins and social nature of language. It searches for an integrated theory of social problems in general Cognitive Science: from Linguistics or Psychology, through Anthropology, Neurophilosophy or Literary Studies, to Neurobiology or Artificial Life Sciences. From an essential turn (...) to the real thing, cognition as (social) action, it provides new unforeseen accounts of the complex dynamics of human essentially creative understanding studying and analyzing all form of texts as active fossils as mentils (Guerra 2009). (shrink)

This article demonstrates a novel conceptualization of sublimity: the sublime in the pedestrian. This pedestrian mode of sublimity is exemplified by the Biblical Abraham, the central figure of Kierkegaard’s pseudonymous Fear and Trembling. It is rooted in the analysis of one of the foundational stories of the three monotheistic religions: Abraham’s averted sacrifice of his son Isaac. The defining feature of this new, pedestrian mode of sublimity is that is remains hidden behind what I call a total incognito. It (...) is similar to the classical ‘elevated mode of sublimity’ as developed by Burke, Kant, and Schiller insofar as it denotes two contrasting feelings at once: repulsion and attraction. It is different insofar as Kierkegaard’s pedestrian mode of sublimity remains hidden from view and can only be shown indirectly. This article expounds the new, pedestrian mode of sublimity by investigating the relation between the incognito and the sublime in Fear and Trembling. It achieves that goal by engaging three perspectives: (1) the sublime failure that comes to the fore in the incognitos of an imaginary Abraham; (2) the ‘fear without being afraid’ that is invoked by God’s incognitos; (3) the total incognito of the pedestrian which conceals Abraham’s sublimity. (shrink)

In this paper, I elucidate the scapegoat construct and its necessary psychological presence within theistic and atheistic variations of the narrative self, as well as the Chinese and Japanese variations of the Buddhist no-self, and enumerate the ritual processes undertaken by these practitioners to create, banish, and sacrifice their respective motifs of applied blame. I attempt to substantiate the inward and outward transcendent manifestations of this construct as the identifying qualities of the Christ figure, and the harmful external manifestations (...) as evidence of the Yahweh figure later in the work. As a sort of Neo-Jungian approach to comparative religion, I guarantee that this work will instantiate significant theoretical value in the mind of the reader, qualified as the transcendent end of my self-sacrifice and banishment of slothfulness necessary for its completion. (shrink)

An essay, which I wrote for the catalog to the exhibition “ARCHESCAPE: the Piranesi Flights,” organized by the Dutch Piranesi scholar Gijs Wallis de Vries. The text, which is necessarily kept short, uses notions of the magnificent and the tragic that I discovered in Hartshorne’s Aesthetic Diagram as discussed in “The Ages of Beauty.”.

An important artistic topic of Italian Renaissance painting was the rendering of the human figure. As leading actors in a painted narrative, figures had to convince beholders of the reality of the matter depicted with appropriated attitudes and gestures. This article is about two ways of drawing or rather constructing the human figure artists developed to achieve this goal. The first was only an adaptation to an old method: because of the rather simple and coarse elements used, constructions (...) often resulted in faulty pictures and were for that matter often criticized. As this article will show, the second method involved a new and very successful drawing skill, which not just required a different kind of knowledge of visual forms but of procedures of moving the hand, too. (shrink)

One of the dominant themes structuring the trajectory of Jean-François Lyotard's philosophical work is his concern to think the event in a way that renders it intelligible, but that also respects the alterity and the uncanniness that are essential to it. In this paper I defend Lyotard's earlier understanding of the event, articulated most thoroughly in Discours, figure, from the criticisms of the later Lyotard, articulated most thoroughly in The Differend. More specifically, I attempt to demonstrate that the event, (...) as disruption of the stable system of signification, is given immediately with the signification that it disrupts. (shrink)

If we compare it with the fellow notion of liberty, equality has an ambivalent place in modern political thinking. Whilst it counts as one of the fundamental norms, many think that equality is valuable only as a way to realise some features of liberty. I take a historical perspective on this issue, and try to identify some of the pre-modern roots of such an ambivalent attitude towards equality. I do this by using Jacques Rancière’s political model as an analytical framework (...) and by taking a visual route, focusing on classical iconographic representations in which equality was present in the images’ subtexts. Ambrogio Lorenzetti’s allegory of good government is one iconic exposition of equality as a positive condition of civil peace. Already there, however, the positive value of equality is counterposed to the figure of violent retributive justice. Similarly, in the Christian narrative, equality is endorsed as the original condition of creatures under God, but is also associated with violent death. This signals one pre-modern root behind the ambivalence towards equality, particularly when the latter is understood dynamically, as levelling. Such a reversal of value finds an apotheosis, I suggest, in the revolutionary icon of the guillotine, a dramatic representation of equalisation that had a strong influence on modern political thinking. In J. E. Millais’ first painting, of Jesus in the House of his Parents, I find a more positive legacy of Christian equality in modern political thinking. (shrink)