The central role of gestural language in Buddhism is widely acknowledged, as in the story of the Buddha pointing at the moon, the point being the student’s seeing beyond the finger to its gesture. Gesture’s role in dance is similarly central, as noted by scholars in the emerging interdisciplinary field of dance studies. Unsurprisingly, then, the intersection of these two fields is well-populated, including the formal gestures Buddhism inherited from classical Indian dance, and the masked dance of the (...) Mani Rimdu Festival. In this investigation, I will articulate a new Buddhist philosophy of gestural language, based on a new conception of emptiness that I locate in the work of contemporary U.S. choreographer Deborah Hay, as influenced by Nāgārjuna and Zen. And this, finally, suggests that contemporary Western philosophy should incorporate this compassion as a normative dimension to its own theorizing and practice. (shrink)

This study aims to corroborate Merleau-Ponty’s interpretations of fundamental ideas from Saussure’s linguistics by linking them to works that were independently elaborated by Jan Mukařovský, Czech structuralist aesthetician and literary theorist. I provide a comparative analysis of the two authors’ theories of language and their interpretations of thought as fundamentally determined by language. On this basis, I investigate how they conceive linguistic innovation and its translation into changes in the constituted language and other social codes and institutions. (...) I explain how they elaborate on Saussure’s idea of language as a system of oppositions by interpreting cultural innovation as a systematic variation of pre-established social norms and, similarly, linguistic innovation as gesturing within language. Connectedly, I show how Mukařovský’s works help clarify Merleau-Ponty’s focus on the gestural dimension of language. By discussing the two thinkers’ arguments in favour of linguistic innovation, I explore what could be called phenomenological limits of structuralism. (shrink)

Gottlob Frege’s conception of works of art has received scant notice in the literature. This is a pity since, as this paper undertakes to reveal, his innovative philosophy of language motivated a theoretically and historically consequential, yet unaccountably marginalized Wittgenstinian line of inquiry in the domain of aesthetics. The element of Frege’s approach that most clearly inspired this development is the idea that only complete sentences articulate thoughts and that what sentences in works of drama and literary art express (...) are ‘mock thoughts’ (Schiengedanken). The early Wittgenstein closely followed Frege’s lead on this theme. One sees this, for example, in the Tractatus, where Wittgenstein announces that only sentential propositions model (‘picture’) states of affairs whereas works of art are objects we perceive sub specie aeternitatis (1961, 83). By the 1930s, however, Wittgenstein began to revise his view beyond his initial Frege-inspired standpoint. He came to insist that works of art can convey thoughts as well, but that thoughts do not model (picture) the world of facts and hence do not convey information about measurable objects and events. Rather, his contention was that aesthetically configured thoughts that artworks communicate impart information about our perspective on reality and reconfigure our view of life. To be more explicit, successful (gelungene) or ‘good’ works of art (ibid.), in Wittgenstein’s view, can supply aesthetically instructive ‘gestures’ that open to living experience promising new ways of being. It is in this respect, he held, that artists ‘have something to teach’ (1980, 36). (shrink)

This paper explores how Wundt’s and Bühler’s respective conceptions of gestural expression have implications for how each conceives of what, in broad terms, may be understood as a ‘grammar of gestures’: that is, the rules for the formation and performance of gestures with and without speech. Unlike previous scholarship that has looked at the relationship of Wundt and Bühler, the aim here will be to give particular attention to the relevance of their respective accounts for current philosophical and linguistic (...) research on gesture. Building off of Bühler, we can offer an alternative to the psychologistic and solipsistic model of gestural expression that can be found in Wundt and that seems to be resurgent today in work by McNeil and others. Via Bühler’s notions of diacrisis and of the underlying functions that guide human communication, we propose an understanding of the relationship between gestures and speech that aims to render accurately both the highly contextualised and the highly structured conditions of their mutual employment. (shrink)

By examining the evolution of Husserl’s philosophy from 1901 to 1914, this essay reveals that he possessed a more robust philosophy of gestures than has been accounted for. This study is executed in two stages. First, I explore how Husserl analyzed gestures through the lens of his semiotics in the 1901 Logical Investigations. Although he there presents a simple account of gestures as kinds of indicative signs, he does uncover rich insights about the role that gestures play in communication. Second, (...) I examine how Husserl augmented his theory of gestures in his 1914 Revisions to the Sixth Logical Investigation. Husserl describes some gestures as signals, which are experienced as intersubjective communication, as having a temporally diachronic structure, and as possessing an obliging tendency. Husserl also contrasts gestures to language by showing how language habitually leaves traces on us. (shrink)

In this article, I explore the relationship between dance and the work of Nelson Goodman, which is found primarily in his early book, Languages of Art. Drawing upon the book’s first main thread, I examine Goodman’s example of a dance gesture as a symbol that exemplifies itself. I argue that self-exemplifying dance gestures are unique in that they are often independent and internally motivated, or “meta-self-exemplifying.” Drawing upon the book’s second main thread, I retrace Goodman’s analysis of dance’s relationship to (...) both notation in general and also Labanotation in particular. My argument is that dance gives the false impression of being notational, or is “meta-notational.”. (shrink)

This essay—part of a larger project of constructing a new, historically informed philosophy of dance, built on four phenomenological constructs that I call “Moves”—concerns the second Move, “gesture,” the etymology of which reveals its close connection to the Greek word “metaphor.” More specifically, I examine the treatments of gesture by the philosophers George Herbert Mead and Etienne Bonnot de Condillac, both of whom view it as the foundation of language. I conclude by showing how gesture can be used in (...) analyzing various types of dance, which in turn suggests transformational potential for philosophy, dance, and society as a whole. (shrink)

American Sign Language, or ASL as its acronym is commonly known, is a fascinating language, and many people outside of the Deaf community have begun to recognize its value and purpose. It is a visual language consisting of coordinated hand gestures, body movements, and facial expressions. Sign language is not a universal language; it varies by country and is heavily influenced by the native language and culture. The American Sign Language alphabet and the (...) British Sign Language alphabet are completely contrary. Fingerspelling is one-handed in ASL and two-handed in BSL, with the exception of the letter C. AI technologies, particularly deep learning, can play an important role in breaking down communication barriers between deaf or hearing-impaired people and other communities, significantly contributing to their social inclusion. Recent advances in sensing technologies and AI algorithms have paved the way for the development of a wide range of applications aimed at meeting the needs of the deaf and hearing-impaired communities. To that end, the purpose of this paper is By attempting to translate sign language using artificial intelligence algorithms, we focused in this paper on a transfer learning technique based on deep learning using a ResNet algorithm and compared it to previous papers in which we used VGG19[1]and mobileNet [2], where we get in the ResNet algorithm on the degree of Accuracy 93,48% e number of images (43500 in the dataset in size 64*64 pixel ) and the data split training data into training dataset (70%) and validation dataset(15%) and testing dataset(15%) and 20 epoch. (shrink)

Enactivist approaches claim that cognition arises through a dynamic interaction between an acting organism and its environment. An ongoing challenge for these approaches is the problem of accounting for normativity while avoiding overly reductionist outcomes. This article examines a few proposed solutions, including agent-environment dynamics, participatory sense-making, radical enactivism, the skillful intentionality framework, and enactivist cultural psychology. It argues that good examples of enacted normativity are gestures of appreciation/disapproval performed in the aesthetic domain. Both Wittgenstein and Dewey explore this issue (...) and their ideas could be productively worked upon in an enactive account. (shrink)

A typical device in film is to have a character narrating what is going on, but this narration is not always a reliable guide to the events. According to Maier, distortions may be caused by the narrator’s intent, naivety, use of drugs, and/or cognitive disorder/illness. What is common to these various causes, he argues, is the presence of a point of view, which appears in a movie as shots. While this perspective-based account of unreliability covers most cases, I unpack its (...) methodological consequences and gesture at a possibility that Maier’s analysis overlooks. A narration, I suggest, can be unreliable simply because it is ill-timed with the events shown on screen. In such a case, the distortion is not due to any character’s point of view; rather, it comes from the film medium’s ability to divorce what is seen and what is heard. As a consequence of this mismatch, it is possible to have a reliable narrator but an unreliable narration. Since voice and context of utterance usually match in ordinary speech, I conclude that philosophy of language may be ill-suited to properly understand this particular phenomenon. (shrink)

Lexical innovations (e.g., zero-derivations coined on the fly by a speaker) seem to bear semantic content. Yet, such expressions cannot bear semantic content as a function of the conventions of meaning in force in the language, since they are not part of its lexicon. This is in tension with the commonplace view that the semantic content of lexical expressions is constituted by linguistic conventions. The conventionalist has two immediate ways out of the tension. The first is to preserve the (...) conventionalist assumption and deny that lexical innovations bear semantic content. The second is to dynamicize the conventionalist assumption, that is, argue that presentations of unattested expressions trigger an augmentation of the standing semantic resources of the language and instantiate content as a result of this underlying update. Building on a comparison with the production of novel onomatopoeic words, iconic pseudowords and pro-speech gestures, the paper argues that the issue is best addressed by suspending the conventionalist assumption, and describes the metasemantic implications of the claim. (shrink)

Numerous evolutionary linguists have indicated that human pointing behaviour might be associated with the evolution of language. At an ontogenetic level, and in normal individuals, pointing develops spontaneously and the onset of human pointing precedes as well as facilitates phases in speech and language development. Phylogenetically, pointing behaviour might have preceded and facilitated the evolutionary origin of both gestural and vocal language. Contrary to wild non-human primates, captive and human-reared nonhuman primates also demonstrate pointing behaviour. In (...) this article, we analyse the debates on pointing and its role it might have played in language evolution from a meta-level. From within an Applied Evolutionary Epistemological approach, we examine how exactly we can determine whether pointing has been a unit, a level or a mechanism in language evolution. (shrink)

The study examines English as Foreign Language (EFL) students’ attitude towards developing their speaking abilities at KRI University in order to better understand the disparities in speaking competency among undergraduates. The study utilized a quantitative approach and employed a 4-item interview survey to gather data for the study. The survey interview questionnaire was adopted from Wang, Kim, Bong, and Ahan (2013) and administered to 100 students in the departments of English of six universities in Iraq's Kurdistan Region. A semi-structured (...) interview was developed for EFL students. The questionnaire was online and an open-ended one. The data from the participants was analyzed using thematic analysis with (SPSS) software. The finding revealed a perceived failure in EFL students' English-speaking skills and this was reported along with causes of the perceived difficulty. The finding also revealed a poor level of speaking ability among EFL undergraduates as well as little education in the skill at the university level. Apart from these, the study discovered some major challenges for EFL students such as lack of confidence, lack of planning, a demotivating atmosphere, incorrect word choice, poor gestures, and incorrect style which made the students not to be successful in their speaking abilities. The study suggested that EFL learners' competency should be securitized to strengthen their speaking abilities in the light of the results of the study. Speaking is a crucial ability in language acquisition and EFL teachers should help their students acquire it. As a means of improving students' communicative ability, task-based instruction should be utilized in educational institutions and universities. The implication of this paper is that speaking difficulties among EFL students in the Iraqi Kurdistan Region institution can be solved by putting greater focus on this ability. There are several issues to consider, including teachers, instructional methodologies, the curriculum, extracurricular activities, and assessment rules. (shrink)

One of the most important contributions in Roland Posner’s work (1993) was the extension and development of the Gricean paradigm on meaning (1957) in a systematic framework, providing thus a general foundation of semiotic phenomena. According to this approach, communication consists in behaviors or artifacts based on reciprocal assumptions about the intentions and beliefs of the subjects involved in a semiotic exchange. Posner’s model develops with clarity the hierarchical relationships of semiotic phenomena of different complexity, from simple pre-communicative behaviors (like (...) indicating or signaling) to full communicative acts. Not only limited to linguistic communication, this framework can be successfully extended in the description of all kind of sign production, from gestures to artifacts. This article discusses a key point of this paradigm, namely our faculty to at-tribute mental states to other individuals through the observation of their behavior, artifacts or texts. New insights from neuropsychology and developmental psychology are discussed in supporting the validity of this model of communication. (shrink)

A number of contemporary philosophers think that the unqualified statement “X is unspeakable” faces the danger of self-referential absurdity: if this statement is true, it must simultaneously be false, given that X is speakable by the predicate word “unspeakable.” This predicament is in this chapter formulated as an argument that I term the “ineffability paradox.” After examining the Buddhist semantic theory of apoha (exclusion) and an apoha solution to the issue, I resort to a few Chinese Buddhist and Hindu philosophical (...) materials to rationally reconstruct a strategy for resolving the paradox. By introducing the mode of expression termed “indication,” together with the relevant notions of superimposition and of gesturing beyond the horizon, I show that expressing the ineffable does not necessarily involve irresoluble contradiction. It is also suggested that philosophers may need to acknowledge the relevance of the notion of ineffability for contemporary philosophizing. (shrink)

To explore the question of physical thinking – using the body as an instrument of cognition – we collected extensive video and interview data on the creative process of a noted choreographer and his company as they made a new dance. A striking case of physical thinking is found in the phenomenon of marking. Marking refers to dancing a phrase in a less than complete manner. Dancers mark to save energy. But they also mark to explore the tempo of a (...) phrase, or its movement sequence, or the intention behind it. Because of its representational nature, marking can serve as a vehicle for thought. Importantly, this vehicle is less complex than the version of the same phrase danced ‘full-out’. After providing evidence for distinguishing different types of marking, three ways of understanding marking as a form of thought are considered: marking as a gestural language for encoding aspects of a target movement, marking as a method of priming neural systems involved in the target movement, and marking as a method for improving the precision of mentally projecting aspects of the target. (shrink)

In his Vermischte Bemerkungen 43, Wittgenstein notices that he was also influenced by Oswald Spengler. The paper deals with the question of in which way Spengler influenced Wittgenstein’s late works and if it really was influence or only a coincidence of ideas. It is put forward that Spengler’s rather unknown philosophy of language influenced Wittgenstein’s philosophy of language, especially the concepts of family resemblance, antiessentialism, and language-game (Sprachspiel). A picture of the famous Neapolitan gesture of “negation” which (...) motivated Wittgenstein to give up the picture theory of language is also shown with an example taken from Andrea de Jorio, La mimica degli antichi investigala nel gestire napoletano, Napoli 1832. (shrink)

Despite the popularity that the embodied cognition thesis has gained in recent years, explicit memories of events personally experienced are still conceived as disembodied mental representations. It seems that we can consciously remember our personal past through sensory imagery, through concepts, propositions and language, but not through the body. In this article, I defend the idea that the body constitutes a genuine means of representing past personal experiences. For this purpose, I focus on the analysis of bodily movements associated (...) with the retrieval of a personal memory, which have certain features that make them different from procedural memories, pragmatic actions and common gestures, as well as other forms of embodied memories found in recent literature. I refer to these as “kinetic memories” and analyse their representative nature as well as their adaptive functions. Kinetic memories are bodily movements in which some event or action that took place in the past can be seen, because they are an externalisation of the subject’s inner intention of representing a past personal experience. Kinetic memories represent a past experience sometimes by imitation of a past movement, and other times through embodied symbols and metaphors. Furthermore, although sometimes they present direct pragmatic benefits, such as communicative benefits, they seem to enhance the whole reexperience of the past event and memory recall, which I argue is one important adaptive value. (shrink)

We argue that formal linguistic theory, properly extended, can provide a unifying framework for diverse phenomena beyond traditional linguistic objects. We display applications to pictorial meanings, visual narratives, music, dance, animal communication, and, more abstractly, to logical and non-logical concepts in the ‘language of thought’ and reasoning. In many of these cases, a careful analysis reveals that classic linguistic notions are pervasive across these domains, such as for instance the constituency (or grouping) core principle of syntax, the use of (...) logical variables (for object tracking), or the variety of inference types investigated in semantics/pragmatics. The aim of this overview is to show how the application of formal linguistic concepts and methodology to non-linguistic objects yields non-trivial insights, thus opening the possibility of a general, precise theory of signs. (An appendix, found in the online supplements to this article, surveys applications of Super Linguistics to animal communication.). (shrink)

In this paper I will investigate Kristeva’s conception of dance in regard to the trope of the borderline. I will begin with her explicit treatments of dance, the earliest of which occurs in Revolution in Poetic Language, in terms of (a) her analogy between poetry and dance as practices erupting on the border of chora and society, (b) her presentation of dance as a phenomenon bordering art and religion in rituals, and (c) her brief remarks on dance gesturality. I (...) will then follow this latter movement to the 1969 essay “Gesturality,” to critically examine where Kristeva situates the powers and limits of gesture (and thereby dance) in relation to language. Next, I will move to the later text, The Sense and Non-Sense of Revolt, where the image of dance figures prominently in what I will term Kristeva’s joyful re-choreographing of Freud’s text Totem and Taboo. I will also see how her treatment of dance links more directly to Kristeva’s feminist concerns, insofar as she understands the process of choreography as a kind of maternal function neglected in most psychoanalytic thought. (shrink)

Wittgenstein’s later remarks on music, those written after his return to Cambridge in 1929 in increasing intensity, frequency, and elaboration, occupy a unique place in the annals of the philosophy of music, which is rarely acknowledged or discussed in the scholarly literature. These remarks reflect and emulate the spirit and subject matter of Romantic thinking about music, but also respond to it critically, while at the same time they interweave into Wittgenstein’s forward thinking about the philosophic entanglements of language (...) and the mind, and also his pervasive pessimism as a philosopher of culture. In this essay I explore and explicate some of the major tenets of this unique position. I argue that Wittgenstein appropriates the Romantic focus on the specificity of musical expression by means of the idea that gesture consists in complex vertical interrelations between language games. Understanding what a musical passage is about logically presupposes a myriad of correlate moves in the entire range of our language-games. Wittgenstein explicates the notion of musical aboutness in terms of intransitive understanding, which expresses an internal relation conjoining musical gesture and our culture, our entire life in practice, whereupon the related concepts cannot be identified independently of the relation which holds them together. Wittgenstein responds to the Romantic focus on the unique knowledge of human life which is afforded by musical experience with his idiosyncratic later notion of Menschenkenntnis. I conclude that, in the context of Wittgenstein’s late work, ineffability pertaining to musical meaning is not a shortcoming, but rather constitutional of the type of games, which admit what Wittgenstein calls ‘imponderable evidence’, or indefiniteness. (shrink)

This article explores the norms that govern regular users’ acts of sharing content on social networking sites. Many debates on how to counteract misinformation on Social Networking Sites focus on the epistemic norms of testimony, implicitly assuming that the users’ acts of sharing should fall under the same norms as those for posting original content. I challenge this assumption by proposing a non-epistemic interpretation of (mis) information sharing on social networking sites which I construe as infrastructures for forms of life (...) found online. Misinformation sharing belongs more in the realm of rumour spreading and gossiping rather than in the information-giving language games. However, the norms for sharing cannot be fixed in advance, as these emerge at the interaction between the platforms’ explicit rules, local norms established by user practices, and a meta-norm of sociality. This unpredictability does not leave us with a normative void as an important user responsibility still remains, namely that of making the context of the sharing gesture explicit. If users will clarify how their gestures of sharing are meant to be interpreted by others, they will implicitly assume responsibility for possible misunderstandings based on omissions, and the harms of shared misinformation can be diminished. (shrink)

A Confederacy of Dunces (Confederacy) by John Kennedy Toole portrays an interplay between competing definitions of humanism. The one school of humanism—called by some the Modernist Paradigm—saw the Italian Renaissance as the origin of nineteenth- and twentieth-century modernist views that celebrated science, technology, and individual human freedom. The other school, led by Paul Oskar Kristeller, sought to historicize humanism by establishing that Renaissance writers and thinkers were generally conservative and preserved the philosophical ideas of the medieval era. Kristeller was the (...) President of the Renaissance Society of America and was at the height of his influence at Columbia University during the late 1950s, when Toole studied for his Master’s degree there. The main character in Confederacy, Ignatius J. Reilly, presents a parody of Kristeller’s position, which he uses to critique modern society. Ignatius also plays the part of a child of the planetary god Saturn, both by acting out the ancient astrological tradition of associating Saturn with misfortune and disorder and by being a parody of the Renaissance concept of the Genius as a Child of Saturn begun by the Renaissance philosopher whom Kristeller studied most, Marsilio Ficino. Ignatius’s worldview is an antithesis of the Modernist Paradigm. Confederacy is critical of both Modernist humanism with its attendant materialism and its antithesis—Ignatius’s dysfunctional version of Kristeller’s Renaissance philosophy. When the community expels Ignatius as a scapegoat, Toole appears to gesture toward a dialectical synthesis of the two concepts of humanism in the novel’s happy ending. (shrink)

Current research on the origin of DNA and RNA, viruses, and mobile genetic elements prompts a re-evaluation of the origin and nature of genetic material as the driving force behind evolutionary novelty. While scholars used to think that novel features resulted from random genetic mutations of an individual’s specific genome, today we recognize the important role that acquired viruses and mobile genetic elements have played in introducing evolutionary novelty within the genomes of species. Viral infections and subviral RNAs can enter (...) the host genome and persist as genetic regulatory networks. Persistent viral infections are also important to understand the split between great apes and humans. Nearly all mammals and nonhuman primates rely on olfaction, i.e., chemoreception as the basis of the sense of smell for social recognition, group membership, and the coordination of organized social life. Humans, however, evolved other means to establish social bonding, because several infection waves by endogenous retroviruses caused a loss of odor receptors in human ancestors. The human independence from olfaction for social recognition was in turn one driver of the rather abrupt human transition to dependence on visual information, gesture production, and facial recognition that are at the roots of language-based communication. (shrink)

Logicism is, roughly speaking, the doctrine that mathematics is fancy logic. So getting clear about the nature of logic is a necessary step in an assessment of logicism. Logic is the study of logical concepts, how they are expressed in languages, their semantic values, and the relationships between these things and the rest of our concepts, linguistic expressions, and their semantic values. A logical concept is what can be expressed by a logical constant in a language. So the question (...) “What is logic?” drives us to the question “What is a logical constant?” Though what follows contains some argument, limitations of space constrain me in large part to express my Credo on this topic with the broad brush of bold assertion and some promissory gestures. (shrink)

From playing basketball to ordering at a food counter, we frequently and effortlessly coordinate our attention with others towards a common focus: we look at the ball, or point at a piece of cake. This non-verbal coordination of attention plays a fundamental role in our social lives: it ensures that we refer to the same object, develop a shared language, understand each other’s mental states, and coordinate our actions. Models of joint attention generally attribute this accomplishment to gaze coordination. (...) But are visual attentional mechanisms sufficient to achieve joint attention, in all cases? Besides cases where visual information is missing, we show how combining it with other senses can be helpful, and even necessary to certain uses of joint attention. We explain the two ways in which non-visual cues contribute to joint attention: either as enhancers, when they complement gaze and pointing gestures in order to coordinate joint attention on visible objects, or as modality pointers, when joint attention needs to be shifted away from the whole object to one of its properties, say weight or texture. This multisensory approach to joint attention has important implications for social robotics, clinical diagnostics, pedagogy and theoretical debates on the construction of a shared world. (shrink)

I present empirical evidence suggesting that an infant first becomes aware of herself as the focal center of a caregiver's attending. Yet that does not account for her awareness of herself as agent. To address this question, I bring in research on neonatal imitation, as well as studies demonstrating the existence of a neural system in which parts of the same brain areas are activated when observing another's action and when executing a similar one. Applying these findings, I consider (...) class='Hi'>gestural exchanges between infant and caregiver, such as reciprocal smiles and imitative vocalizations. Lacking self-awareness at first, the infant is unaware of her own agency. By returning her unwitting gesture, the caregiver singles out for her—thanks to neural matching—the gesture's kinesthesis. Moreover, the caregiver's smile, imitative vocalization, or other gesture is the form that focusing takes. The kinesthesis of the infant's gesture, in being singled out, is experienced by the infant as what the caregiver is focusing on. It is experienced as being within the focal center. In this way, the infant becomes aware of herself as a bodily entity acting toward the caregiver. Exchanges that involve matching are at first essential, I argue, in making the infant present to herself in action. Matching will cease to be necessary, but self-awareness continues to depend fundamentally on others until the acquisition of language, when the child becomes capable of talking to herself as if she were the caregiver. (shrink)

In this essay, I reply to critiques of my article “In Defense of Transracialism.” Echoing Chloë Taylor and Lewis Gordon’s remarks on the controversy over my article, I first reflect on the lack of intellectual generosity displayed in response to my paper. In reply to Kris Sealey, I next argue that it is dangerous to hinge the moral acceptability of a particular identity or practice on what she calls a collective co-signing. In reply to Sabrina Hom, I suggest that relying (...) on the language of passing to describe transracialism is potentially misleading. In reply to Tina Botts, I both defend analytic philosophy of race against her multiple criticisms and suggest that Botts’s remarks risk complicity with a form of transphobia that Talia Mae Bettcher calls the Basic Denial of Authenticity. I end by gesturing toward a more inclusive understanding of racial identity. (shrink)

This essay is divided into two parts, deeply intermingled. Part I examines not only the origin of conscious experience but also how it is possible to ask of our own consciousness how it came to be. Part II examines the origin of experience itself, which soon reveals itself as the ontological question of Being. The chief premise of Part I is that symbolic communion and the categorizations of language have enabled human organisms to distinguish between themselves as actually existing (...) entities and their own immediate experience of themselves and their world. This enables them to reflect upon abstract concepts, including “self,” “experience,” and “world.” Symbolic communication and conceptualization grow out of identification, the act of first observing conscious experiencing and intimating what it is like, mimesis, a gestural protolanguage learned through imitation, and reflection, seeing oneself through the eyes of others. The step into actual intentional speech is made through self-assertion, narrative, and intersubjectivity. These three become the spiral of human cultural development that includes not only the adaptive satisfaction of our biological needs, but also the creativity of thought. With the mental-conceptual separation of subject and object – of self and world – the human ability to witness the universe (and each other) is the ground of our genuinely human quality. Consciousness gives human life its distinctively human reality. It is, therefore, one and the same ability that enables us to shape planet Earth by means of conceptual representations (rather than by means of our hands alone) while also awakening us to the significance of being. -/- Looking beyond human self-consciousness to investigate the origin and nature of awareness itself in Part 2, reductive objective materialism is found to be of little use. Direct experience also falls short in that, in order to be transformed into objective knowledge about itself, it must always be interpreted through and limited by the symbolic contexts of culture and the idiosyncratic conceptualizations of the individual. Awareness-in-itself must thus be considered ultimately unexplainable, but this may more indicate its inexpressible transcendence of all symbolic qualifiers than its nonexistence. It is suggested that awareness is not “self-aware” (as in deity) but is instead unknowing yet identical with the only true universal: the impetus of creative unfolding. Our human knowledge, as an expression of this unfolding, is seen to emerge from our conscious experiencing and, in turn, to have the power – and enormous responsibility – of directing that experience. Our underlying symbolic worldviews are found to be autopoietic: They limit or open our conscious experience, which, in turn, confirms those worldview expectations. As we explore a future of unforeseeable technological breakthroughs on an ailing planet who patiently copes with our “success,” truly vital decisions about the nature, meaning, extent, and future of conscious experience will have to be made. (shrink)

As formal theoretical linguistic methodology has matured, recent years have seen the advent of applying it to objects of study that transcend language, e.g., to the syntax and semantics of music (Lerdahl & Jackendoff 1983, Schlenker 2017a; see also Rebuschat et al. 2011). One of the aims of such extensions is to shed new light on how meaning is construed in a range of communicative systems. In this paper, we approach this goal by looking at narrative dance in the (...) form of Bharatanatyam. We argue that a semantic approach to dance can be modeled closely after the formal semantics of visual narrative proposed by Abusch (2013, 2014, 2021). A central conclusion is that dance not only shares properties of other fundamentally human means of expression, such as visual narrative and music, but that it also exhibits similarities to sign languages and the gestures of non-signers (see, e.g., Schlenker 2020) in that it uses space to track individuals in a narrative and performatively portray the actions of those individuals. From the perspective of general human cognition, these conclusions corroborate the idea that linguistic investigations beyond language (see Patel-Grosz et al. forthcoming) can yield insights into the very nature of the human mind and of the communicative devices that it avails. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:This Universalism Which Is Not OneLinda M. G. Zerilli (bio)Ernesto Laclau. Emancipation(s). London: Verso, 1996.Judging from the recent spate of publications devoted to the question of the universal, it appears that, in the view of some critics, we are witnessing a reevaluation of its dismantling in twentieth-century thought. One of the many oddities about this “return of the universal” 1 is the idea that contemporary engagements with it are (...) more or less of a piece, and that they reflect a growing consensus that poststructuralist political theories are incapable of generating a viable alternative to the collective fragmentation that characterizes late modernity. 2 The putative return to the universal marks, on this view, both a homecoming to Enlightenment ideals—purified of their more poisonous elements, of course—and a reconciliation of sorts between those who refuted these ideals and those who sought to realize them. Now that “we” all know and agree that poststructuralism is critically valuable but politically bankrupt; now that we all know and agree that the “old universal” was indeed a “pseudo-universal,” so the homecoming narrative goes; we can get on with the project of constructing a “new universal.” 3 This authentic universal would really be inclusive of all people, regardless of race, class, gender, sexuality, ethnicity, nationality, and whatever else attaches to the “embarrassing etcetera” that, as Judith [End Page 3] Butler reminds us, inevitably accompanies such gestures of acknowledging human diversity.Before signing on to this felicitous agreement about “the necessity of universalism,” we may wish to know whether we have anything like a minimal agreement in language, that is, whether we who speak of this universal are even speaking about the same thing. Apart from the not insignificant problem of translating from a philosophical to a political idiom, the whole question of this agreement is virtually occluded by the rush to rescue politics from the virulent particularisms that admit no common ground or sense of collective belonging. Presented in terms of the familiar binary couple, the choice between universalism and particularism seems settled by merely pointing to global and domestic political realities. Universalism is the only alternative to social fragmentation, wild child of the collapse of communism, the rise of deadly nationalisms, and the multiculturalist romance with particularism. To invoke the name of the universal in any affirmative sense is already to sign on to the political diagnosis and its solution.One of the many virtues of Ernesto Laclau’s Emancipation(s) is that it offers both an alternative to the binarisms spawned by the “return” to the universal (for example, false universalism/true universalism) and a trenchant critique of the original binary couple itself (universalism/ particularism). Demonstrating the imbrication of the universal and the particular, Laclau shows why it is a matter not of choosing one over the other but of articulating, in a scrupulously political sense, the relation between the two. He thus explicitly rejects the notion that this relation is one of mutual exclusion, and shows that the tendency to see it as just that has led to the impasse of the contemporary debate, an impasse that is glossed over in some highly visible academic cases by proclaiming the necessary return to the universal. Although the language of universalism as spoken by Laclau searches for some common ground between particularists and universalists, it is more by way of articulating their mutual contamination, that is, how each is rendered impure by the irreducible presence of the other.The Problem of UniversalsLaclau situates his collection of essays in the context of the increasingly polarized debate over multiculturalism, a debate in which the classical universalism of the philosophical tradition has come under serious question. Reading his essays, one comes to see the deep dependence of the entire contemporary discussion on this tradition, even when its metaphysical assumptions are explicitly rejected (as, say, in the work of Seyla Benhabib) or insufficiently comprehended (as in most of the popularized political discourse). Laclau’s book can help us to see that the political question of universalism cannot be posed properly as long as it remains tethered to the classical philosophical “problem of universals.” At stake in sorting out the affinities and... (shrink)

“Black Star” music video was released two days before Bowie’s death. It bears various implications of dying and the notion of mortality is both literal and metaphorical. It is highly autobiographical and serves as a theatrical stage for Bowie to act both as a music performer and as a self-conscious human being. In this paper, we discuss the signs of mortality in Bowie’s “Black Star” music video-clip. We focus on video’s cinematic techniques and codes, on its motivic elements and on (...) its narrative in relation with music, lyrics, characters, and gestures. We also discuss the video’s intertextual references and the broader signification of the black star figure. We adopt a quasi-semiotic approach considering “Black Star” music video-clip as a text which can be investigated through its signs, codes, and conventions of the musical, visual, and cinematic languages as well. Our interdisciplinary tools derive from visual semiotics and audiovisual analysis models, without leaving outside Bowie’s musical-artistic and personal history. As it turns out, Bowie created a video clip that is philosophical in nature and poetic in structure, preserving the role of protagonist. With the visuals creating a psychedelic atmosphere, the lyrics often are heard as a personal confession. They both generate cognitive and emotional responses that influence the way the viewers-listeners may experience, decompose, and interpret Bowie’s artistic endeavor bridging life and death. (shrink)

Marta Suria writes *Ella soy yo* as part of her response to the irruption of the memories of the sexual aggressions she had suffered since childhood. She is convinced that the way she narrates her experience will transform and liberate her. How is it at all possible that a certain kind of narrative may transform and li- berate us? In this paper, we will first describe the conception of the relationship between language and experience that lies behind this perplexity (...) and, secondly, we will sketch an alternative conception that will hopefully allow us to account for the transformative power of certain kinds of narratives. This alternative conception will hinge on the idea of expression and on the concept of aspect perception. For this purpose, we will firstly argue that language can be used not only to describe or evaluate our experience, but also to express it; we will, then, defend the view that linguistic or gestural expressions of our experiences not only announce or manifest them, but contribute to shaping and modulating them; finally, we will highlight the transformative, humanizing power of certain expressive uses of language. (shrink)

Post-Fregean theorists use 'quotation' to denote indifferently both colloquially called quotations (repetitions of prior utterances) and what I call 'displays': 'Rot' means red. Colloquially, quotation is a strictly historical property, not semantic or syntactic. Displays are semantically and syntactically distinctive sentential elements. Most displays are not quotations. Pure echo quotations (Cosmological arguments involve "an unnecessary shuffle") aren't displays. Frege-inspired formal languages stipulate that enquotation forms a singular term referring to the enquoted expression (type). Formalist enquotations differ semantically and syntactically from (...) natural language displays. Call them autonomes, and mark them with stars: *Rot* means red. In formal languages, an unenstarred expression has only one meaning, and an autonome has only one meaning viz., a name (or indexical) designating the unenstarred expression (type). Stars have semantic content and can’t disambiguate. Display punctuation only disambiguates; it says only: This material is displayed. Displays have a semantic function; their marks don't.nDisplays are not terms or lexical items. Displays are objects incorporable into utterances. Such incorporation enables them to be linguistically appropriated much as we appropriate speech-external objects by extrasentential supplementation (e.g., gesturing) to identify the extension of a term by ostending the object -- but now without any extrasentential supplement. Displays are always adjunctive to an (implicit or explicit) ostensionable term, a term whose extension is identifiable by ostending an object. The display-ostensionable term extension relations are various. A display may (1) be the term's referent, or (2) represent the term's extension by (a) replicating or (b) instantiating or (c) expressing the term's referent, or (e) instantiating the property the term predicates. (shrink)

Relations occupy a shadowy place in Spinoza's metaphysics while they play a distinguished role in our mental lives and possess a complex epistemological status at the interface between being and its representation in the mind. This chapter attempts to disentangle Spinoza's concept of relations from his concept of universals. It suggests that there are grounds for regarding universals as a separate type of “metaphysical being." The chapter focuses on two of Spinoza's early works, the Short Treatise (KV) and the Metaphysical (...) Thoughts (CM). Spinoza subsumes relations under the category of ‘beings of reason’ in multiple early texts. Spinoza's denial that relations have the status of ideas of the natures of existing objects can be viewed in light of the putative purchase of language on metaphysical reality. The chapter ends with some brief concluding remarks, gesturing toward Spinoza's mature conception of relations in the Ethics. (shrink)

Heidegger’s analysis of the use of tools under the rubric of the ready to hand , or handiness, introduced in the first division of Being and Time, has been an important influence on Lee Braver’s thinking. Braver reads Heidegger’s ready to hand alongside the later Wittgenstein’s language games as articulations of a mode of creativity he describes as absorbed, engaged coping. This mode is both more immediate and more fundamental than representational, conceptual thinking. In this paper, I compare Heidegger’s (...) account of the ready to hand with Braver’s model of engaged coping. My contention is that Heidegger’s radically temporal understanding of the gesture of the ideal, the empirical and their relation differs significantly from Braver’s existentialist reading of him. The latter’s analysis of mindful and mindless coping falls within the orbit of the metaphysical epoch Heidegger called the age of the world picture. This causes Braver to misread Heidegger’s concept of world projection as the formation of worldviews. As a consequence, Braver understands sameness and otherness, mindfulness and mindlessness in such a way as to reverse the roles concepts such as conspicuousness and inconspicuousness, concealment and unconcealment play in Heidegger’s texts. Whereas when Braver studies the machinations of technology or the conformity of Das Man, he sees only the exclusion of alterity and subversive becoming, Heidegger sees a privative, dimmed down mode of understanding that nevertheless enacts self-transformative movement every moment. (shrink)

How do conventions of communication emerge? How do sounds or gestures take on a semantic meaning, and how do pragmatic conventions emerge regarding the passing of adequate, reliable, and relevant information? My colleagues and I have attempted in earlier work to extend spatialized game theory to questions of semantics. Agent-based simulations indicate that simple signaling systems emerge fairly naturally on the basis of individual information maximization in environments of wandering food sources and predators. Simple signaling emerges by means of any (...) of various forms of updating on the behavior of immediate neighbors: imitation, localized genetic algorithms, and partial training in neural nets. Here the goal is to apply similar techniques to questions of pragmatics. The motivating idea is the same: the idea that important aspects of pragmatics, like important aspects of semantics, may fall out as a natural results of information maximization in informational networks. The attempt below is to simulate fundamental elements of the Gricean picture: in particular, to show within networks of very simple agents the emergence of behavior in accord with the Gricean maxims. What these simulations suggest is that important features of pragmatics, like important aspects of semantics, don't have to be added in a theory of informational networks. They come for free. (shrink)

In this essay I take the opportunity to recast some insights from my extensive study over the last decade of Wittgenstein’s remarks on music into a coherent and concise portrayal of Wittgenstein’s philosophical underpinning and upshots pertaining to his perception of the modern music scene in interwar Austria. The gist of the present essay is to show that, for better or for worse, Wittgenstein’s personal taste in music was powered by philosophical reasoning, which was organic to his philosophical development, and (...) that ultimately his philosophical attitude to the music scene of interwar Austria manifests a deeply probing gradation. I are argue that we can distinguish between four varieties of the absurd in the music of interwar Austria, according to Wittgenstein. First is the nonsensical absurd of the incapability of seeing that the nonsensicality of the form of progress is incomprehensible. This category pertains to music which straightforwardly tries to emulate the various maxims and formulations derived from the form of progress. Such nonsensically absurd music typifies progressive Romantic composers such as Richard Strauss, Max Reger, and the early Arnold Schoenberg. Second is the vacuous absurd of the incapability of seeing what the form of progress renders incomprehensible. This category pertains to music which denounces the predominantly nonsensical maxims and formulations of modernity, thus destining itself to keeping on groping for something which it cannot express. Such vacuously absurd music is best exemplified, in Wittgenstein’s mind, by Josef Labor. Third is the philosophical absurd of rendering what is incomprehensible (from the perspective of a cultured person) comprehensible within the same purview. For Wittgenstein, Mahler’s music betokens such incommensurability, evoking a relativist philosophical puzzle: whether cultural progress is real, and it is us who have been left behind, or whether culture has really been vanquished, and we are the only ones left to notice it. The very thought of an artwork of “a totally different sort” remains invariably hypothetical. Fourth is the praxeological absurd of giving rise to an auxiliary, praxeologically dislodged musical language, replacing the transparency of human gesture with exact rules of comprehensibility. From Wittgenstein’s perspective, the shunning of the expanse of lived experience in a musical language fit for the meaning-blind would be the inglorious spot assigned to Arnold Schoenberg’s vision of the music of the future. (shrink)

This dissertation lays the foundation for a new theory of non-relational intentionality. The thesis is divided into an introduction and three main chapters, each of which serves as an essential part of an overarching argument. The argument yields, as its conclusion, a new account of how language and thought can exhibit intentionality intrinsically, so that representation can occur in the absence of some thing that is represented. The overarching argument has two components: first, that intentionality can be profi tably (...) studied through examination of the semantics of intensional transitive verbs (ITVs), and second, that providing intensional transitive verbs with a nonrelational semantics will serve to provide us with (at least the beginnings of) a non-relational theory of intentionality. This approach is a generalization of Anscombe's views on perception. Anscombe held that perceptual verbs such as "see" and "perceive" were ITVs, and that understanding the semantics of their object positions could help us to solve the problems of hallucination and illusion, and provide a theory of perception more generally. I propose to apply this strategy to intentional states and the puzzles of intentionality more generally, and so Anscombe's influence will be felt all through the dissertation. -/- In the first chapter, titled "Semantic Verbs are Intensional Transitives", I argue that semantic verbs such as "refers to", "applies to", and "is true of" have all of the features of intensional transitive verbs, and discuss the consequences of this claim for semantic theory and the philosophy of language. One theoretically enriching consequence of this view is that it allows us to perspicuously express, and partially reconcile two opposing views on the nature and subject-matter of semantics: the Chomskian view, on which semantics is an internalistic enterprise concerning speakers' psychologies, and the Lewisian view, on which semantics is a fully externalistic enterprise issuing in theorems about how the world must look for our natural language sentences to be true. Intensional Transitive Verbs have two readings: a de dicto reading and a de re reading; the de dicto reading of ITVs is plausibly a nonrelational reading, and the intensional features peculiar to this reading make it suitable for expressing a Chomskian, internalist semantic program. On the other hand, the de re reading is fully relational, and make it suitable for expressing the kinds of word-world relations essential to the Lewisian conception of semantics. And since the de dicto and de re readings are plausibly related as two distinct scopal readings of the very same semantic postulates, we can see these two conceptions of semantics as related by two scopal readings of the very same semantic postulates. -/- In chapter two, titled "Hallucination and the New Problem of Empty Names", I argue that the problem of hallucination and the problem of empty names are, at bottom, the same problem. I argue for this by reconstructing the problem of empty names in way that is novel, but implicit in much of the discussion on empty names. I then show how, once recast in this light, the two problems are structurally identical down to an extremely fine level of granularity, and also substantially overlap in terms of their content. If the problems are identical in the way I propose, then we should expect that their spaces of solutions are also identical, and there is signi cant support for this conclusion. However, there are some proposed solutions to the problem of hallucination that have been overlooked as potential solutions to the problem of empty names, and this realization opens new non-relational approaches to the problem of empty names, and to the nature of meaning more generally. -/- In chapter three, titled "Intensionality is Additional Phrasal Unity", I argue for a novel approach to the semantics of intensional contexts. At the heart of my proposal is the Quinean view that intensional contexts should, from the perspective of the semantics, be treated as units, with the material in them contributing to the formation of a single predicate. However, this proposal is subject to a number of objections, including the criticism that taken at face value, this would render intensional contexts, which seem to be fully productive, non-compositional. I begin by discussing the concept of the unity of the phrase, and pointing to various ways that phrases can gain additional unity. I then proposes that the intensionality of intensional transitive verbs is best construed as a form of semantic incorporation; ITVs, on their intensional readings, meet all of the criteria for qualifying as incorporating the nominals in their object positions. I then give a semantics for ITVs that builds on existing views of the semantics of incorporation structures, and gesture at how this can be extended to intensional clausal verbs, including the so-called propositional attitude verbs. (shrink)

What is it for a sound or gesture to have a meaning, and how does it come to have one? In this paper, a range of simulations are used to extend the tradition of theories of meaning as use. The authors work throughout with large spatialized arrays of sessile individuals in an environment of wandering food sources and predators. Individuals gain points by feeding and lose points when they are hit by a predator and are not hiding. They can also (...) make sounds heard by immediate neighbours in the array, and can respond to sounds from immediate neighbours. No inherent meaning for these sounds is built into the simulation; under what circumstances they are sent, if any, and what the response to them is, if any, vary initially with the strategies randomized across the array. These sounds do take on a specific function for communities of individuals, however, with any of three forms of strategy change: direct imitation of strategies of successful neighbours, a localized genetic algorithm in which strategies are ‘crossed’ with those of successful neighbours, and neural net training on the behaviour of successful neighbours. Starting from an array randomized across a large number of strategies, and using any of these modes of strategy change, communities of ‘communicators’ emerge. Within these evolving communities the sounds heard from immediate neighbours, initially arbitrary across the array, come to be used for very specific communicative functions. ‘Communicators’ make a particular sound on feeding and respond to that same sound from neighbours by opening their mouths; they make a different sound when hit with a predator and respond to that sound by hiding. Robustly and persistently, even in simple computer models of communities of self-interested agents, something suggestively like signalling emerges and spreads. Keywords: meaning, communication, genetic algorithms, neural networks. (shrink)

Kafka’s The Trial describes how K slowly loses his familiar language. He does speak a language but his language becomes monologic towards others and the language of others becomes monologic towards K. There seems to be no other person who, in a private and professional life, can respond to K’s words and gestures in a manner which K can understand. The others embody their own meanings into K’s words. Such meanings only possess value within the discourses (...) of self-styled legal experts and officials who act in K’s name. The officials and experts assume that their own meanings are authoritative. K fails to gain access to their meanings. The question posed by Husserl’s phenomenology of language is ‘why?’ Conklin argues that K’s experiences seem not unlike Lyotard’s sense of a different or ‘untranslatable gap’. K remains on the fringe or outside what the experts take as an authoritative language. As a consequence, K’s experiential body slowly dies. This death paradoxically occurs at the same moments that the experts believe that they are addressing ‘K’s case’. Conklin explains the paradox by retrieving Husserl’s sense of a meaning-conferring act and the failure of K’s meaning-conferring acts from being fulfilled in the language of the legal experts. (shrink)

Augustine’s Confessions is the autobiographical story of his conversion. So long as conversion is the beginning of a life lived in gratitude towards divine mercy, it is closely connected with confession. Conversion, in fact, is the condition that makes confession possible, while confession is the condition that makes conversion intelligible. As Sacred Scripture teaches, confession can be seen as an act of repentance for sins committed and as an act of praise given to God. It is not a question, however, (...) of two alternative senses, since one implies the other. When man accuses himself of his sins, he thanks God for having created him blameless; when he praises God, he honors his magnificence. In both cases, moreover, the initiative is God’s, inasmuch as his mercy is immense and his virtue incalculable. And man, given his condition as a finite being, could say nothing about it. Since, therefore, God is the true motive, man, in praising him, does no more than repeat, by way of response, the appeal that God himself has addressed to him through the silent language of Sacred Scripture. All this makes conversion intelligible, because it makes it consisting of the creature’s disposition to surrender entirely to the mercy of the Creator who dwells in the depths of his soul. For this reason, praise of God in Augustine’s Confessions resounds as an act of thanksgiving, a gesture of gratitude, a testimony of love for God and for his infinite goodness. (shrink)

Drawing from Bakhtin and Habermas, I will show how the different voices in Gordimer's novel seem to be enacting a democratic public sphere in which no voice is granted authority over others – a public sphere which carries the promise of countering the social and political hierarchies established by the racist South African regime. The promise, however, turns out to be an illusion. As I will demonstrate, the possibility of an Enlightenment bourgeois public sphere which the novel seems to be (...) gesturing at is being irreparably undermined by racism. In a country where the Enlightenment aspiration to universalism and equality before the law are glaringly contravened by racism, Rosa Burger is painfully aware of her inability to fully access the predicament of the blacks. As such, Burger’s daughter remains only Burger’s daughter, and the children of Soweto the children of Soweto; at no point in the novel do they truly intermingle. Despite the fact that both are fighting racism – and the novel is devoted to the “coming-of-age” of both kinds of children – Rosa Burger remains only the daughter of a Bürger at the end of the novel, not the daughter of South Africa, much less to say the daughter of Black South Africa. She has finally “come into her own,” but the “self” she manages to realize is at best that of a disillusioned bourgeois individual (that of a disillusioned Bürger, so to speak) – a “self” that recalls Hegel’s “beautiful soul.” To appropriate György Lukács’s language, Bürger’s Daughter could be described as “modern bourgeois literature bear[ing] witness against bourgeois society.”. (shrink)

Common to different versions of social constructionism is the definition of discourse as taking place between persons. Experiences which take place in the absence of immediate others, such as thinking to oneself or reading a text, are treated as secondary phenomena, as introjected versions of social utterance-gestures. This article asserts that representative constructionist articulations of between-person relationality rest on abstractions masking a more primary locus of sociality. I offer an alternative formulation of the social as the embodiment of sensate experience, (...) borrowing from Merleau-Ponty's and Gendlin's accounts. Sensate experience is already radically relational before and beyond any notion of sociality as between-person voices-gestures, generating more intimate and mobile possibilities of interpersonal understanding than is offered via discursive readings of terms like social, language and embodiment. Note; Although this paper pertains to social constructionist positions, my central criticism of these approaches applies as well to Deleuze's bio-political notion of sociality. While constructionists restrict their focus to inter-personal communication, Deleuze broadens the notion of language to include the living and material world, which includes the body. This places the site of otherness and sociality within intentionality itself via its entanglement with affect. Nevertheless, Deleuze's treatment of affective-intentional dynamics, rather than dismantling social constructionism's between-person abstractions, manages to import them into bodily process. (shrink)

Post-Fregean theorists use 'quotation' to denote indifferently both colloquially called quotations (repetitions of prior utterances) and what I call 'displays': 'Rot' means red. Colloquially, quotation is a strictly historical property, not semantic or syntactic. Displays are semantically and syntactically distinctive sentential elements. Most displays are not quotations. Pure echo quotations (Cosmological arguments involve "an unnecessary shuffle") aren't displays. Frege-inspired formal languages stipulate that enquotation forms a singular term referring to the enquoted expression (type). Formalist enquotations differ semantically and syntactically from (...) natural language displays. Call them autonomes, and mark them with stars: *Rot* means red. In formal languages, an unenstarred expression has only one meaning, and an autonome has only one meaning viz., a name (or indexical) designating the unenstarred expression (type). Stars have semantic content and can’t disambiguate. Display punctuation only disambiguates; it says only: This material is displayed. Displays have a semantic function; their marks don't. Displays are not terms or lexical items. Displays are objects incorporable into utterances. Such incorporation enables them to be linguistically appropriated much as we appropriate speech-external objects by extrasentential supplementation (e.g., gesturing) to identify the extension of a term by ostending the object -- but now without any extrasentential supplement. Displays are always adjunctive to an (implicit or explicit) ostensionable term, a term whose extension is identifiable by ostending an object. The display-ostensionable term-extension relations are various. A display may (1) be the term's referent, or (2) represent the term's extension by (a) replicating or (b) instantiating or (c) expressing the term's referent, or (e) instantiating the property the term predicates. (shrink)

Upon the relation between significant, subject and history, Materialistic Discourse Analysis –theoretical and methodological framework of the present research –confronts itself perennially with the analytical material in order to understand language in the movement of the social. The theory only takes place when it is in front of the analytical procedures of a specific object, which, in this investigation, it may be identified as: the discourses about the self in the authorial composition of vlogs, YouTube videos characterized as a (...) language ritual in which the subject, as he texts (himself) in digital space, affects the stabled relations of privacy, the other and the meanings of authorship. Besides the exponent authors of discourse studies –namely Michel Pêcheux and Eni Orlandi –, the research also consulted specific works about the imbrication of different significant materialities (Suzy Lagazzi), about the contemporary functioning of the digital (Solange Gallo and Cristiane Dias), about the law from a critical-Marxist perspective (Bernard Edelman, Márcio Naves and Celso Kashiura), in addition to a materialistic background supported by Louis Althusser. Aiming to analyze the discourse(s) about the 'self' in the authorial composition of vlogs, the proceduresare driven by the question Which interpretation gestures about the 'self' are mobilized in the confluence between the significant formulation in the digital space of the vlog reading and the subject that publicizes what is represented as particular? The analytical framework is built on the support of comprehending vlogs as a place of saying that runs in digital space and is crossed by tenuous frontiers as creating equivocal ties with the social in the imbrication of symbolical and political. Mediante a relação entre significante, sujeito e história, a Análise de Discurso Materialista, aporte teórico e metodológico da pesquisa proposta, confronta-se constantemente com o material analítico para compreender a linguagem no movimento do social. A teoria somente se realiza perante os procedimentos de análise de um objeto específico, que nesta investigação é delimitado como: os discursos sobre o eu na composição autoral dos vlogs, vídeos do YouTube caracterizados como ritual de linguagem em que o sujeito, ao (se) textualizar no espaço digital, mexe com as relações estabilizadas de privacidade, com o outro e com os sentidos de autoria. Além de estudos sobre o discurso, tendo Michel Pêcheux e Eni Orlandi como expoentes da área, a pesquisa recorreu aos trabalhos específicos sobre a imbricação de diferentes materialidades significantes (Suzy Lagazzi), sobre o funcionamento contemporâneo do digital (Solange Gallo e Cristiane Dias), sobre o direito a partir de umas perspectiva crítico-marxista (Bernard Edelman, Márcio Naves e Celso Kashiura), além de um embasamento materialista ancorado em Louis Althusser. Com o objetivo de analisar o(s) discurso(s) sobre o „eu‟ na composição autoral dos vlogs, os procedimentos se guiam pela pergunta Que gestos de interpretação sobre o „eu‟ são suscitados no encontro entre a formulação significante no espaço digital de leitura do vlog e o sujeito que publiciza o que é representado como particular? O dispositivo analítico construído tem como suporte a compreensão dos vlogs como um lugar de dizer funcionando no espaço digital e atravessado por fronteiras tênues na criação de laços equívocos com o social na imbricação do simbólico com o político. (shrink)

Social cognition researchers have become increasingly interested in the ways that behavioral, physiological, and neural coupling facilitate social interaction and interpersonal understanding. We distinguish two ways of conceptualizing the role of such coupling processes in social cognition: strong and moderate interactionism. According to strong interactionism (SI), low-level coupling processes are alternatives to higher-level individual cognitive processes; the former at least sometimes render the latter superfluous. Moderate interactionism (MI) on the other hand, is an integrative approach. Its guiding assumption is that (...) higher-level cognitive processes are likely to have been shaped by the need to coordinate, modulate, and extract information from low-level coupling processes. In this paper, we present a case study on Möbius Syndrome (MS) in order to contrast SI and MI. We show how MS—a form of congenital bilateral facial paralysis—can be a fruitful source of insight for research exploring the relation between high-level cognition and low-level coupling. Lacking a capacity for facial expression, individuals with MS are deprived of a primary channel for gestural coupling. According to SI, they lack an essential enabling feature for social interaction and interpersonal understanding more generally and thus ought to exhibit severe deficits in these areas. We challenge SI’s prediction and show how MS cases offer compelling reasons for instead adopting MI’s pluralistic model of social interaction and interpersonal understanding. We conclude that investigations of coupling processes within social interaction should inform rather than marginalize or eliminate investigation of higher-level individual cognition. (shrink)

Developed through a series of conceptual analyses (Edmund Husserl, Vilém Flusser, Ludwig Wittgenstein and Walter Benjamin) and case studies (Fernando Lopes’s Belarmino and Jeff Wall’s Mimic), this article delves into the relationship between gesture, attunement and atmosphere and how it unfolds in photographic works dealing with urban space. The first section focuses on the role played by photography in the film Belarmino, which raises questions about both the representation of urban phenomena and issues related to expression and gesture in boxing. (...) The second section discusses Husserl’s thinking on image consciousness and his surprising reference to a “photograph” of a boxer, which reveals the relevance of his phenomenological approach when it comes to defining the aesthetic properties of gesture-images. The third section examines the principles of Flusser’s philosophy of gestures, focusing on the semantic field of attunement and its connection with various elements related to photography, gesture, moods and affects. The question of gesture in photography—both the gestures of the photographed and those of the photographer—can be articulated with the notions of attunement and atmosphere, which go beyond semiological, psychological and communicational approaches and are important for our understanding of aesthetic and artistic experiences. Finally, if photography is a privileged way of studying atmospheres and gestures (as suggested by the Benjaminian notion of optical unconscious) and their connection with the inner life of the subject, in relation to urban space this study often acquires an intersubjective, social and political dimension, as in Jeff Wall’s Mimic. (shrink)

This essay identifies and intervenes in the limitations of both the social and the medical models of disability in the postcolonial context, suggesting that those limitations may apply to theorizations of disability more broadly. It suggests that Bessie Head's novel A Question of Power, which represents mental illness and disability without positing a stable etiology for them, illustrates the inapplicability of these ways of thinking about disability under instances of extreme precarity. As such, Head offers a test case for how (...) mental illness and disability writ large might be theorized without the suppositions implicit to the liberal subject. (shrink)

Douglas Yacek’s recent book The Transformative Classroom proposes a useful aspirational model of transformative education. In this critical commentary, I review this model and suggest that while it succeeds in overcoming some ethical shortcomings of other dominant models of transformative education, I would like to suggest that focusing on more subtle transformative gestures could have the benefit of being less dependent of the teacher’s intention to transform and of being less constrained by the expectation that transformation should take place primarily (...) in the classroom. When transformation is conceived as an educational fiction, it may be conceived as a retroactive experience constructed around memories of the teacher’s transformative gestures, thereby adding to Yacek’s aspirational model by allowing for transformation to continue beyond the walls of the classroom. (shrink)