Global climate change has been characterised as the crisis of reason (Val Plumwood), imagination (Amitav Ghosh) and language (Elizabeth Rush), to mention some. The 'everything change', as Margaret Atwood calls it, arguably also impacts on how we aesthetically perceive, interpret and appreciate nature. This article looks at philosophical theories of nature appreciation against global environmental change. The article examines how human-induced global climate change affects the 'scientific' approaches to nature appreciation which base aesthetic judgment on scientific knowledge and the competing (...) 'non-scientific' approaches which emphasise the role of emotions, imagination and stories in the aesthetic understanding of environment. The author claims that both approaches are threatened by global climate change and cannot continue as usual. In particular, he explores aesthetic imagination in contemporary times when our visions about environment are thoroughly coloured by worry and uncertainty and there seems to be little room for awe and wonder, which have traditionally characterised the aesthetic experience of nature. Finally, he proposes that art could stimulate environmental imagining in this age of uncertainty. (shrink)

Biodiversity loss is an immense ecological crisis of our time. But while “biodiversity” has become a buzzword in media and policy, conservationists have found it difficult to build a common understanding on the nature and severity of biodiversity loss and the means to tackle it. Perhaps surprisingly, many biologists and philosophers have proposed that biodiversity might be best defended with reference to its aesthetic value. This article explores whether aesthetic values could provide strong support for biodiversity conservation. By exploring the (...) question from the viewpoints of species diversity, ecosystem diversity, and genetic diversity, we argue that there is a mismatch between apparent and real biodiversity and that aesthetics can, at best, give only limited support for biodiversity conservation. (shrink)

A key dispute in environmental aesthetics concerns the role of scientific knowledge in our aesthetic appreciation of the natural environment. In this article, I will explore this debate by focusing on the aesthetic experience of forests. I intend to question reductive forms of the scientific approach and support the role of imagination and stories in nature appreciation.

In today’s world, technology seems to touch every aspect of our lives. Our processes for so many things have become automated and digitalized. The use of networked computational devices by both end users and corporations has become, in a word, ubiquitous. In many ways, the era of rapid technological growth we find ourselves in currently can be traced back to the work of the pioneering computer scientist, Mark Weiser. It is widely accepted among technologists today that his original vision of (...) “ubiquitous computing” played a large part in setting these events into motion in the first place. Yet the emergence of our technologies and the ways we use them has turned out to be something radically different from what Weiser had in mind. -/- As John Tinnell carefully explains in The Philosopher of Palo Alto, Weiser had in fact hoped for a future that would place computation all around us. Devices would perform specialized tasks regularly to enhance and improve our quality of life. The goal, however, according to Weiser’s view, was for these technologies to function always on the periphery of human perception. They were never meant to place any unreasonable demand on our attention. Operating in this manner, the devices designed to support human affairs could do so, and at the same time leave space for us to connect with the world and each other in essentially human ways. (shrink)

A review of Jukka Mikkonen's 'Philosophy, literature and understanding: On reading and cognition' (2021).

To the memory of Prof. Grigori Mints, Stanford UniversityBorn: June 7, 1939, St. Petersburg, RussiaDied: May 29, 2014, Palo Alto, California.

Sa bawat aklatan o sabihin pang mga bookstores, hindi talaga nawawala ang sikat na sikat na mga aklat ni Ambeth Ocampo. Isa na rito ang labintatlong tomo ng Looking Back na tumatalakay sa iba’t ibang paksa sa kasaysayan ng Pilipinas. Noong mga panahong nag-aaral pa ang may-akda sa PUP ng kursong Kasaysayan, walong serye pa lamang ng Looking Back ang nailathala at sabihin pang nabasa niya—Looking Back (2010); Dirty Dancing (2010); Death by Garrote (2010); Chulalongkorn’s Elephants: The Philippines in Asian (...) History (2011); Rizal’s Teeth, Bonifacio’s Bones (2012); Prehistoric Philippines (2012); Storm Chasers (2014); at Virgin of Balintawak (2014). Hindi naglaon, tila bagang isang palos ang pagkakalathala ng mga sumunod pang mga akda—Demonyo in Tables: History in Artifacts (2015); Two Lunas, Two Mabinis (2015); Independence X6 (2016); Quezon’s Sukiyaki (2016); at Guns of the Katipunan (2017). Sa mga nabanggit na akda ni Ambeth Ocampo, ang Chulalongkorn’s Elephants: The Philippines in Asian History ang higit na pinagtuunan ng pansin at diin ng rebyuwer. Sa kasalukuyang pagkakataon, ilalatag ng rebyuwer sa papel na ito ang kanyang mga natatanging komendasyon (kalakasan) at kritik (kahinaan) hinggil sa 102-pahinang aklat ni Ocampo. Sisipatin din ang kanyang pagkakadalumat sa ugnayan ng Pilipinas sa mga Asyanikong bansa na siya naman talagang dapat maging tunguhin ng rebyung ito. (shrink)

Estoy muy acostumbrado a libros extraños y gente especial, pero Hawkins se destaca debido a su uso de una técnica simple para probar la tensión muscular como una clave para la "verdad" de cualquier tipo de afirmación-es., no sólo para si la persona que está siendo probada lo cree, sino si es realmente cierto! Lo que es bien sabido es que las personas mostrarán respuestas fisiológicas y psicológicas automáticas e inconscientes a cualquier cosa a la que estén expuestos: imágenes, sonidos, (...) toques, olores, ideas, personas. así que, lectura muscular para descubrir sus verdaderos sentimientos no es radical en absoluto, a diferencia de usarlo como un palo doble (más lectura muscular) para hacer "ciencia Paranormal". Hawkins describe el uso de la tensión decreciente en los músculos de un brazo en respuesta a aumentos en la carga cognitiva causando así que el brazo caiga en respuesta a la presión constante de los dedos de alguien. No parece consciente de que existe un largo y vasto esfuerzo de investigación en psicología social que se hace referencia por frases como ' cognición implícita ', ' automaticidad ', etc., y que su uso de la ' Kinesiología ' es una sección diminuta. Además del tono muscular (utilizado con poca frecuencia) los psicólogos sociales miden el EEG, la respuesta galvánica de la piel y las respuestas verbales más frecuentes a las palabras, oraciones, imágenes o situaciones en momentos que varían de segundos a meses después del estímulo. Muchos, como Bargh y Wegner, toman los resultados para significar que somos autómatas que aprenden y actúan en gran medida sin conciencia a través de S1 (sistema automatizado 1) y muchos otros como Kihlstrom y Shanks dicen que estos estudios son defectuosos y somos criaturas de S2 (sistema deliberativo 2). Aunque Hawkins parece no tener idea, como en otras áreas de la psicología descriptiva del pensamiento de mayor orden, la situación con respecto a "automaticidad" sigue siendo tan caótica como lo fue cuando Wittgenstein describió las razones de la esterilidad y la barrendez de la psicología en los años 30. Sin embargo, este libro es una lectura fácil y algunos terapeutas y maestros espirituales pueden encontrarlo de uso. Aquellos que deseen un marco completo hasta la fecha para el comportamiento humano de la moderna Dos Sistemas Punto de Vista puede consultar mi libro 'La estructura lógica de la filosofía, la psicología, la mente y lenguaje En Ludwig Wittgenstein y John Searle ' 2Nd Ed (2019). Los interesados en más de mis escritos pueden ver 'Monos parlantes--filosofía, psicología, ciencia, religión y política en un planeta condenado--artículos y reseñas 2006-2017' 3a Ed (2019) y otras. (shrink)

Wittgenstein once wrote, “a wheel that can be turned though nothing else moves with it, is not part of the mechanism,” and Nyberg’s explanation as to why Hilary Putnam’s answer to the question of whether we might intelligibly suppose ourselves to be “brains in a vat” is wrong takes us, by way of Wittgenstein’s statement, to the intersection of metaphysics and epistemology, i.e., to the very cornerstone of western philosophy, where we find, waiting for us, the absolute I of solipsism. (...) Yet, it is the solipsistic I which in its articulation most obviously violates the private language argument’s stricture against criterionless reference, though the solipsist has available a reply of sorts – the reply of silence, a complete silence which shrouds equally the blank slates of absolute solipsism and pure realism. Through silence, the I of solipsism becomes the eye of realism and, no longer visible even to itself, vanishes from the realm of analytic discourse, only to be reborn at the correspondent point of each successive incarnation of the paradigm. Other methods of philosophy must, thus, be adopted if we are ever to escape the analytic paradigm’s cyclic limits. It is here, at the point where analysis alone can carry us no further, that “Zen” transitions from an unusually-structured but still traditional philosophic essay into something else entirely, with the incorporation into its closing pages of 15 poetic pieces, each drawn from Nyberg’s 100, a longer text of philosophical poetry which takes up where “Zen” leaves off. [email protected] Iowa City, Iowa/Palo Alto, California/New York, New York/Los Angeles, California/Rapid City, South Dakota June 1982-January 2020 . (shrink)