Many of us agree that we ought not to wrong future people, but there remains disagreement about which of our actions can wrong them. Can we wrong individuals whose lives are worth living by taking actions that result in their very existence? The problem of justifying an answer to this question has come to be known as the non-identity problem.[1] While the literature contains an array of strategies for solving the problem,[2] in this paper I will take what I call (...) the harm-based approach, and I will defend an account of harming—which I call the existence account of harming—that can vindicate this approach. -/- Roughly put, the harm-based approach holds that, by acting in ways that result in the existence of individuals whose lives are worth living, we can harm and thereby wrong those individuals. An initially plausible way to try to justify this approach is to endorse the non-comparative account of harming, which holds that an event harms an individual just in case it causes her to be in a bad state, such that the state’s badness does not derive from a comparison between that state and some alternative state that the individual would or could have been in. However, many philosophers argue that the non-comparative account of harming is inadequate,[3] and one might be tempted to infer from this that any harm-based approach to the non-identity problem will fail. My proposal, which I call the existence account of harming, will show that this inference is faulty: we can vindicate the harm-based approach without relying on the non-comparative account of harming. (shrink)

The lack of gender parity in philosophy has garnered serious attention recently. Previous empirical work that aims to quantify what has come to be called “the gender gap” in philosophy focuses mainly on the absence of women in philosophy faculty and graduate programs. Our study looks at gender representation in philosophy among undergraduate students, undergraduate majors, graduate students, and faculty. Our findings are consistent with what other studies have found about women faculty in philosophy, but we were able to add (...) two pieces of new information. First, the biggest drop in the proportion of women in philosophy occurs between students enrolled in introductory philosophy classes and philosophy majors. Second, this drop is mitigated by the presence of more women philosophy faculty. (shrink)

A complete theory of harming must have both a substantive component and a formal component. The substantive component, which Victor Tadros (2014) calls the “currency” of harm, tells us what I interfere with when I harm you. The formal component, which Tadros calls the “measure” of harm, tells us how the harm to you is related to my action. In this chapter I survey the literature on both the currency and the measure of harm. I argue that the currency of (...) harm is well-being and that the measure of harming is best captured by a causal account on which harming is causing a harm. A harm for you is the presence of something intrinsically bad for you or the absence of something intrinsically good for you. Thus, although a counterfactual account of the measure of harm need not distinguish between an harm and a harmful event, the causal account reserves the term ‘harm’, not for a harmful event, but only for its effect. Finally, I show how a complete theory of harming can help us to answer questions about whether we can harm people with speech, whether we can harm the dead, and how it is possible to harm future generations. (shrink)

This chapter defends a deontological approach to both the non-identity problem and what is referred to as the “inconsequentiality problem.” Both problems arise in cases where, although the actions of presently living people appear to have harmful consequences for future people, it is difficult to explain why there are moral reasons against such actions. The deontological response to both problems appeals to a distinction between causal and non-causal consequences. By acknowledging the moral importance of such a distinction, deontologists can vindicate (...) the judgment that, collectively and individually, we have harm-based reasons against bringing about bad consequences for future people. (shrink)

According to various “harm-based” approaches to the non-identity problem, an action that brings a particular child into existence can also harm that child, even if his or her life is worth living. In the third chapter of The Non-Identity Problem and the Ethics of Future People, David Boonin surveys a variety of harm-based approaches and argues that none of them are successful. In this paper I argue that his objections to these various approaches do not impugn a harm-based approach that (...) Boonin does not consider, an approach I call the “existence solution to the non-identity problem.” I also argue that the existence solution is more plausible than Boonin’s own proposed solution. (shrink)

Husserl’s philosophy of culture relies upon a person’s body being expressive of the person’s spirit, but Husserl’s analysis of expression in Logical Investigations is inadequate to explain this bodily expressiveness. This paper explains how Husserl’s use of “expression” shifts from LI to Ideas II and argues that this shift is explained by Husserl’s increased understanding of the pervasiveness of sense in subjective life and his increased appreciation for the unity of the person. I show how these two developments allow Husserl (...) to better describe the bodily expressiveness that is the source of culture. Husserl’s account of culture is thoroughly intentionalistic, but it does not emphasize thought at the expense of embodiment. Culture originates not in an abstract subjectivity, but by persons’ expressing themselves physically in the world. By seeing how Husserl develops his mature position on bodily expressiveness, we can better appreciate the meaningfulness and the bodily concreteness of cultural objects. (shrink)

This paper discusses the rhetorical problems teachers face in presenting Socratic activity to students, and it then argues that parallel problems arise in presenting liberal education to many academic colleagues. Given the nature of philosophy and the nature of expertise in today’s academy, most academics will not understand, and perhaps be hostile to, philosophy, and philosophers may sometimes seem to them both arrogant and ignorant. The contemporary academy, dominated by assumptions Weber articulates in "Science as a Vocation," does not make (...) room for philosophical activity and practitioners of philosophy in the classroom (in various departments) must adopt rhetorically appropriate postures in order to create safe spaces for Socratic activity. (shrink)

What types of unity and disunity belong to a group of people sharing a culture? Husserl illuminates these communities by helping us trace their origin to two types of interpersonal act—cooperation and influence—though cultural communities are distinguished from both cooperative groups and mere communities of related influences. This analysis has consequences for contemporary concerns about multi- or mono-culturalism and the relationship between culture and politics. It also leads us to critique Husserl’s desire for a new humanity, one that is rational, (...) cooperatively united, and animated by a universal philosophical culture. Reflecting on culture, a spiritually shaped and shared domain of the world, draws us to reflect also on ourselves as social and rational animals, and to ask, what should we reasonably hope for—and aim for—in a human culture that expresses and supports our shared lives of reason? Aristotle is used for occasional comparisons and contrasts. (shrink)

Daniel Dennett provides many compelling reasons to question the existence of phenomenal experiences in his paper titled Quining Qualia, however, from the perspective of the individual, qualia appear to be an inherent feature of consciousness. The act of reflecting on one’s experiences suggests that subjective feelings and sensations are a necessary element of human life, as personal opinions on various artistic works are apt to demonstrate. This paper argues that by considering subjective experiences from a naturalized functionalist perspective, a comprehensive (...) explanation for qualia can be provided given its origins in evolutionary biology. As information passing through the nervous system, qualia serve to guide the behaviour of individuals to ultimately facilitate survival. Specifically, qualia are representations of environmental features, existing as information messages supported by neural physiology and encoded in electrochemical formats. In addition to addressing the Hard Problem of Consciousness and clarifying the four properties Dennett associates with qualia, this theoretical foundation enables further metaphysical discussion on the nature of consciousness more generally. Although many outstanding questions on the contents of subjective experiences are apt to linger given the explanatory gap, a robust theory for the existence of qualia can be developed through the integration of ideas and concepts from a variety of domains. (shrink)

This chapter offers an overview of the philosophy of Robert S. Sokolowski with a focus on his account of what philosophy is, how philosophy arises out of pre-philosophical life, and how it is related back to pre-philosophical life. It also situates Sokolowsk’s achievements in articulating the relationship between Husserlian phenomenology and modern and pre-modern styles of philosophizing.

Suffering can make sacred, so it may partly be nature, and not culture alone, that leads us to apprehend a sacred aspect in victims of oppression. Those who recognize this sacredness show piety—a special form of respect—toward members of oppressed groups. The result is a system of social constructions often dismissed as “identity politics.” This essay starts with an analysis of the intentionality of piety and sacredness and how they relate to suffering, sacrifice, sanctions, pollution, and purification. It then argues (...) that the sacralization of oppressed groups is an expression of the perennial human disposition to acknowledge sacredness and to respond piously. The essay then analyzes this sacred status as socially constructed. Based on the sacred-making power of suffering, the sacred status elicits piety, gives its bearers special authority, surrounds them with sanctions, and calls for symbolic sacrificial punishments of the impious. By dissecting sacrificial politics as a system of social constructions, we see that, although the oppressed groups are made sacred, certain people in the oppressor groups—“the Pious”—continue to exercise fundamental power. This essay, by displaying the inner logic of this cultural phenomenon, helps us both to sympathize with and to critique the system and then to pose questions about what good or bad the system might be doing. (shrink)

The crucial distinction for ethics is between the good and the apparent good, between being and seeming. Tradition is useful for developing our ability to make this distinction and to live ethically or in self-responsibility, but it is also threatening to this ability. The phenomenology of Husserl and of others in the Husserlian tradition, especially Robert Sokolowski, are helpful in spelling out how tradition works; how the difference between the apparent good and the good is bridged in the experience of (...) moral truth but also a permanent, challenging feature of human life; what ethics requires regarding self-responsibility or authenticity; and what the proper voice of tradition is in the ethical or moral life. (shrink)

This paper puts Searle’s social ontology together with an understanding of the human person as inclined openly toward the truth. Institutions and their deontology are constituted by collective Declarative beliefs, guaranteeing mind-world adequation. As this paper argues, often they are constituted also by collective Assertive beliefs that justify (rather than validate intrainstitutionally) institutional facts. A special type of Status Function-creating ‘Assertive Declarative’ belief is introduced, described, and used to shore up Searle’s account against two objections: that, as based on collective (...) acceptance, Searlean social ontology cannot make sense of dissenters, and that it, as its deontology is all game-like, implies a legal positivism and thus cannot make proper sense of the moral import of sociopolitical institutions. This change is necessary to deepen social ontology’s understanding of human societies and to accurately describe many social, religious, and political institutions as constituted from the perspectives of participants and dissidents. (shrink)

In this dissertation, I explicate some of the moral duties we have to future humans. I defend the view that (DV1) we have pro tanto duties of nonmaleficence and beneficence to and regarding at least some future humans; (DV2) in the present circumstances, this duty of nonmaleficence grounds reasons for us to refrain from damaging certain features of the natural environment; and (DV3) in the present circumstances, this duty of beneficence grounds reasons for at least some of us to bring (...) future humans into existence. I refer to the view consisting of (DV1) - (DV3) as the Duties to Future Humans View (DV). In defense of DV1, I argue that future humans have moral standing, and that their having moral standing is sufficient for our having pro tanto duties of nonmaleficence and beneficence to and regarding them. I take a duty of nonmaleficence to be a duty to refrain from harming and a duty of beneficence to be a duty to benefit. In defense of DV2, I argue that increases in the concentration of carbon dioxide in the atmosphere and numerous species extinctions are harms for future humans. In defense of DV3, I argue that having a life worth living is a benefit to the person who lives that life. One objection to DV is the non-identity problem. In response, I defend substantive accounts of harming and benefiting. The account of harming holds that for any individual having moral standing, S, and any state of affairs, A, (1) A is a harm for S just in case if it were true that both S existed and A did not obtain, then S would have a higher level of lifetime well-being; (2) an action or event harms S just in case it causes a harm for S to obtain; (3) other things being equal, the reason against harming S is stronger, the more similar the world would be if A did not obtain. I argue for a similar account of benefiting. I also argue for a metaphysical distinction between causes and mere conditions. (shrink)

One of the most compelling questions still unanswered in neuroscience is how consciousness arises. In this article, we examine visual processing, the parietal lobe, and contralateral neglect syndrome as a window into consciousness and how the brain functions as the mind and we introduce a mechanism for the processing of visual information and its role in consciousness. We propose that consciousness arises from integration of information from throughout the body and brain by the thalamus and that the thalamus reimages visual (...) and other sensory information from throughout the cortex in a default three-dimensional space in the mind. We further suggest that the thalamus generates a dynamic default three-dimensional space by integrating processed information from corticothalamic feedback loops, creating an infrastructure that may form the basis of our consciousness. Further experimental evidence is needed to examine and support this hypothesis, the role of the thalamus, and to further elucidate the mechanism of consciousness. (shrink)

Understanding the autonomic nervous system and homeostatic changes associated with emotions remains a major challenge for neuroscientists and a fundamental prerequisite to treat anxiety, stress, and emotional disorders. Based on recent publications, the inter-relationship between respiration and emotions and the influence of respiration on autonomic changes, and subsequent widespread membrane potential changes resulting from changes in homeostasis are discussed. We hypothesize that reversing homeostatic alterations with meditation and breathing techniques rather than targeting neurotransmitters with medication may be a superior method (...) to address the whole body changes that occur in stress, anxiety, and depression. Detrimental effects of stress, negative emotions, and sympathetic dominance of the autonomic nervous system have been shown to be counteracted by different forms of meditation, relaxation, and breathing techniques. We propose that these breathing techniques could be used as firstline and supplemental treatments for stress, anxiety, depression, and some emotional disorders. (shrink)

Respiration influences various pacemakers and rhythms of the body during inspiration and expiration but the underlying mechanisms are relatively unknown. Understanding this phenomenon is important, as breathing disorders, breath holding, and hyperventilation can lead to significant medical conditions. We discuss the physiological modulation of heart rhythm, blood pressure, sympathetic nerve activity, EEG, and other changes observed during inspiration and expiration. We also correlate the intracellular mitochondrial respiratory metabolic processes with real-time breathing and correlate membrane potential changes with inspiration and expiration. (...) We propose that widespread minor hyperpolarization occurs during inspiration and widespread minor depolarization occurs during expiration. This depolarization is likely a source of respiratory drive. Further knowledge of intracellular and extracellular ionic changes associated with respiration will enhance our understanding of respiration and its role as a modulator of cellular membrane potential. This could expand treatment options for a wide range of health conditions, such as breathing disorders, stress-related disorders, and further our understanding of the Hering–Breuer reflex and respiratory sinus arrhythmia. (shrink)

The human eyes and brain, which have finite boundaries, create a ‘‘virtual’’ space within our central nervous system that interprets and perceives a space that appears boundless and infinite. Using insights from studies on the visual system, we propose a novel fast processing mechanism involving the eyes, visual pathways, and cortex where external vision is imperceptibly processed in our brain in real time creating an internal representation of external space that appears as an external view. We introduce the existence of (...) a three-dimension default space consisting of intrapersonal body space that serves as the framework where visual and non-visual sensory information is sensed and experienced. We propose that the thalamus integrates processed information from corticothalamic feedback loops and fills-in the neural component of 3D default space with an internal visual representation of external space, leading to the experience of visual consciousness. This visual space inherently evades perception so we have introduced three easy clinical tests that can assist in experiencing this visual space. We also review visual neuroanatomical pathways, binocular vision, neurological disorders, and visual phenomenon to elucidate how the representation of external visible space is recreated within the mind. (shrink)

In this article, we examine phantom limb syndrome to gain insights into how the brain functions as the mind and how consciousness arises. We further explore our previously proposed consciousness model in which consciousness and body schema arise when information from throughout the body is processed by corticothalamic feedback loops and integrated by the thalamus. The parietal lobe spatially maps visual and non-visual information and the thalamus integrates and recreates this processed sensory information within a three-dimensional space termed the ‘‘3D (...) default space.’’ We propose that phantom limb syndrome and phantom limb pain arise when the afferent signaling from the amputated limb is lost but the neural circuits remain intact. In addition, integration of conflicting sensory information within the default 3D space and the loss of inhibitory afferent feedback to efferent motor activity from the amputated limb may underlie phantom limb pain. (shrink)

Recent research has relied on trolley-type sacrificial moral dilemmas to study utilitarian versus nonutili- tarian modes of moral decision-making. This research has generated important insights into people’s attitudes toward instrumental harm—that is, the sacrifice of an individual to save a greater number. But this approach also has serious limitations. Most notably, it ignores the positive, altruistic core of utilitarianism, which is characterized by impartial concern for the well-being of everyone, whether near or far. Here, we develop, refine, and validate a (...) new scale—the Oxford Utilitarianism Scale—to dissociate individual differences in the ‘negative’ (permissive attitude toward instrumental harm) and ‘positive’ (impartial concern for the greater good) dimensions of utilitarian thinking as manifested in the general population. We show that these are two independent dimensions of proto-utilitarian tendencies in the lay population, each exhibiting a distinct psychological profile. Empathic concern, identification with the whole of humanity, and concern for future generations were positively associated with impartial beneficence but negatively associated with instrumental harm; and although instrumental harm was associated with subclinical psychopathy, impartial beneficence was associated with higher religiosity. Importantly, although these two dimensions were independent in the lay population, they were closely associated in a sample of moral philosophers. Acknowledging this dissociation between the instrumental harm and impartial beneficence components of utilitarian thinking in ordinary people can clarify existing debates about the nature of moral psychology and its relation to moral philosophy as well as generate fruitful avenues for further research. (shrink)

The brain is considered to be the primary generator and regulator of emotions; however, afferent signals originating throughout the body are detected by the autonomic nervous system (ANS) and brainstem, and, in turn, can modulate emotional processes. During stress and negative emotional states, levels of cardiorespiratory coherence (CRC) decrease, and a shift occurs toward sympathetic dominance. In contrast, CRC levels increase during more positive emotional states, and a shift occurs toward parasympathetic dominance. Te dynamic changes in CRC that accompany different (...) emotions can provide insights into how the activity of the limbic system and afferent feedback manifest as emotions. The authors propose that the brainstem and CRC are involved in important feedback mechanisms that modulate emotions and higher cortical areas. That mechanism may be one of many mechanisms that underlie the physiological and neurological changes that are experienced during pranayama and meditation and may support the use of those techniques to treat various mood disorders and reduce stress. (shrink)

Throughout the biological and biomedical sciences there is a growing need for, prescriptive ‘minimum information’ (MI) checklists specifying the key information to include when reporting experimental results are beginning to find favor with experimentalists, analysts, publishers and funders alike. Such checklists aim to ensure that methods, data, analyses and results are described to a level sufficient to support the unambiguous interpretation, sophisticated search, reanalysis and experimental corroboration and reuse of data sets, facilitating the extraction of maximum value from data sets (...) them. However, such ‘minimum information’ MI checklists are usually developed independently by groups working within representatives of particular biologically- or technologically-delineated domains. Consequently, an overview of the full range of checklists can be difficult to establish without intensive searching, and even tracking thetheir individual evolution of single checklists may be a non-trivial exercise. Checklists are also inevitably partially redundant when measured one against another, and where they overlap is far from straightforward. Furthermore, conflicts in scope and arbitrary decisions on wording and sub-structuring make integration difficult. This presents inhibit their use in combination. Overall, these issues present significant difficulties for the users of checklists, especially those in areas such as systems biology, who routinely combine information from multiple biological domains and technology platforms. To address all of the above, we present MIBBI (Minimum Information for Biological and Biomedical Investigations); a web-based communal resource for such checklists, designed to act as a ‘one-stop shop’ for those exploring the range of extant checklist projects, and to foster collaborative, integrative development and ultimately promote gradual integration of checklists. (shrink)

Stress profoundly impacts quality of life and may lead to various diseases and conditions. Understanding the underlying physiological and neurological processes that take place during stress and meditation techniques may be critical for effectively treating stress-related diseases. The article examines a hypothetical physiological homeostatic response that compares and contrasts changes in central and peripheral oscillations during stress and meditation, and relates these to changes in the autonomic system and neurological activity. The authors discuss how cardiorespiratory synchronization, which occurs during the (...) parasympathetic response and meditation, influences and modulates activity and oscillations of the brain and autonomic nervous system. Evidence is presented on how synchronization of cardiac and respiratory rates during meditation may lead to a homeostatic increase in cellular membrane potentials in neurons and other cells throughout the body. These potential membrane changes may underlie the reduced activity in the amygdala, and other cortical areas during meditation, and research examining these changes may foster better understanding of the restorative properties and health benefits of meditation. (shrink)

In this paper, I discuss Jenefer Robinson’s personalist account of pictorial expression. [1] According to personalism, a picture possesses the expressive properties we attribute to it because we take it that someone expresses E in the work. Robinson’s particular strategy exploits the concept of an implied persona who ‘unifies’ and ‘specifies’ what is expressed. [2] Dominic Lopes challenges this view by attacking what he takes to be a flawed assumption motivating the personalist account: the priority of figure expression. [3] Once (...) we acknowledge this flaw, he argues, there is no good reason to prefer personalism to an impersonalist theory. I will argue that Robinson qua personalist can pre-empt this strike by clarifying the relation between (a) what a picture expresses and (b) what is depicted as expressing in the picture. Rather than leading with the idea that personalism unifies or determines the meaning, I argue that impersonalism diminishes it and that, should it be accepted, we would be left with an impoverished view of what specific art pieces can mean. (shrink)

When David Hume wrote to Baron de Montesquieu ‘J’ai consacré ma vie à la philosophie et aux belles-lettres’,1 he was not describing himself as having two separate callings. His was a single vocation — one involving the expression of deep thought through beautiful writing.2 This vocation did not come naturally or easily to Hume. He struggled continually to reshape his approach to prose, famously renouncing the Treatise of Human Nature as a literary failure and radically revising the presentation of his (...) philosophy in the Essays and two Enquiries. This essay will focus on Hume’s struggle between two modes of moral-philosophical composition prevalent in his day: the cold, unemotional style associated with experimental science that Hume metaphorically labels anatomy’ and the warm, rhetorical style which he labels ‘painting’. (shrink)

When painter Fritz Janschka arrived from Vienna to teach at Byrn Mawr College in October, 1949, he entered a culture seemingly as alien to his art as one can imagine. Janschka is one of the co­founders of the Vienna School of Fantastic Realism, a group of painters who studied at the Academy of Fine Arts in Vienna shortly after World War Two. The fantastic realists cultivated a precisely controlled craft informed by traditional methods and modernist sensibilities, incorporating collectively the (...) entire range of Western painting, past and present, in their attempts to come to grips with a shattered world. New York Abstract Expressionism and Viennese Fantastic Realism, two mid-twentieth century art movements, represent diametrically opposed ways of painting, yet both schools sprang out of surrealism. The Fantastic Realists were widely known in Europe and hardly known in America. Given the dominant abstractionist tendencies of post-World War Two art this is understandable. For these reasons Janschka’s openness to the techniques of the New York School in the early 1950s forms an unlikely meeting point of seemingly irreconcilable positions, one suggestive of possibilities for the meeting of abstraction and figuration, and more broadly, for addressing contemporary dehumanizing abstractionism, which I discuss in this essay. (shrink)

This special issue consists of four articles, contributed by David Owen; Désirée Lim, Sahar Akhtar and (as co-authors) Mollie Gerver, Miranda Simon, Patrick Lown and Dominik Duell. These contributions address issues related to migration policies with the aim of bringing normative theories of migration and discrimination into dialogue. These theories describe the various types of discrimination inherent in the domestic and global migration systems, as well as assess arguments, pro et contra, about whether these forms of discrimination are permissible.

‘Spirit consonance engendering a sense of life’ (Qi Yun Sheng Dong) as the first law of Chinese painting, originally proposed by Xie He (active 500–535?) in his six laws of painting, has been commonly echoed by numerous later Chinese artists up to this day. Tracing back the meaning of each character of ‘Qi Yun Sheng Dong’ from Pre-Qin up to the Six Dynasties, along with a comparative analysis on the renderings of ‘Qi Yun Sheng Dong’ by experts in Western academia, (...) I establish ‘spirit consonance’ as the rendering of ‘Qi Yun’. By examining texts on painting by significant critics in Chinese art history, and by referring to specific works by painters from the Six Dynasties up to the Yuan Dynasty, I present the merits and demerits of the different interpretations by Western experts, and explore the essence of ‘Qi Yun’. Once the painter successfully captures ‘spirit consonance’ as the essential character or ‘internal reality’ of the object, and transmits it into the work, ‘Qi Yun’ further implies the expressive quality of the work beyond formal representation. Additionally, the fusion of expressive and representative functions also leaves space for further explaining the aesthetic interaction among artist, object, work, and audience. From the Six Dynasties onwards, Chinese painters have practised the expressive pursuit beyond epresentation on the basis of the unification of ‘Qi Yun’ (spirit consonance) and formal representation, although spirit consonance was valued more highly than formal likeness. (shrink)

It is increasingly acknowledged that creativity cannot be fully understood without considering the setting where it takes place. Building on this premise, we use the concepts of niche construction, scaffolding, coupling, and functional integration to expound on the environmentally situated nature of painters’ studio work. Our analysis shows studios to be multi-resource niches that are customized by artists to support various capacities, states, and actions crucial to painting. When at work in these personalized spaces, painters do not need to rely (...) solely on their “inner” powers of imagination, memory, decision making, and technique to execute their paintings. Instead, with the help of carefully selected resources, they can offload elements of creative mentation and action onto the studio niche and enact different forms of a creative agency. To put more flesh on these ideas, we examine how painters use existing artworks, memory aids, and music to scaffold the creative process. Overall, our analysis illuminates underexamined aspects of environmentally situated creativity and demonstrates the broader utility of the applied concepts for future creativity research. (shrink)

Seabed mining, the extraction of minerals from the deep-sea floor, is hotly contested. Policymakers have agreed on the need for a regulatory framework. However, traditional ethical theories and principles are not well equipped for the ethics of the alien deep sea. Engaging with the sea means engaging with something abstract that we can only access indirectly. We argue that this invisibility and alienness of the sea and its inhabitants can give new insights into how ethics are done. Rather than getting (...) even more grip on what is already directly known, considering what is outside our usual moral view may be just as valuable. To do so, art can help us think with these unknown and invisible parts of the ecosystem. For that, we describe three cases. The scientist and artist Eugen Ransonnet engaged with the underwater world in the late 19th century. The Victorian flower painter Marianne North's unruly approach greatly influenced the botanic discourse until today. And finally, Christina Stadlbauer's Institute for the Relocation of Biodiversity and her work with the mollusk Pinna Nobilis in Mar Menor, Spain. We describe the Pinna Nobilis video project and the ethical and political opportunities it opens. We propose that engaging with the arts can pave the way towards including the unknown in ethical reflection and, at the same time, how it can rephrase questions that can help us reconsider what is outside of our moral view. (shrink)

The concept of expression in the arts is Janus-faced. On the one hand expression is an author-centered notion: many Romantic poets, painters, and musicians thought of themselves as pouring our or ex-pressing their own emotions in their artworks. And on the other hand, expression is an audience-centered notion, the communication of what is expressed by an author to members of an audience. Typically the word “expression” is used for the author-centered aspect of expression as a whole, and the word “expressiveness” (...) is used for the audience-centered aspect, and I shall keep to this usage. In this paper I shall argue that although expression is closely related to expressiveness, the two concepts are distinct and, in particular, expressiveness cannot be analyzed in terms of expression, as has been recently suggested by Stephen Davies and Jerrold Levinson. Nonetheless, the richest examples of expression in the arts involve both expression and expressiveness. (shrink)

This paper explores two related questions in late Athenian and Alexandrian Neoplatonism. First, how can a philosopher contemplate the eternal Forms while engaging in practical agency in the world? Second, do Neoplatonists provide a consistent account of the philosopher’s progress through the ‘stages of virtue’ (βαθμοί τῶν ἀρετῶν), the conceptual structure that underpins late antique philosophical curricula and hagiography? These questions interact, I suggest, because later Platonists appeal to the stages of virtue and divine maniai (βαθμοί τῶν μανίων) to explain (...) the philosopher’s ability to alternate gracefully between contemplation and embodied agency, and even to engage in both activities at the same moment. I argue that apparently contradictory evidence for the highest stages of virtue can be reconciled satisfactorily, shedding light on two models of ethical and perceptual transformation that are consistent throughout later Neoplatonism. In the first, 'painterly' model, we alternate between a vision of the paradigmatic model and its expression in the media of place and time; in the second, 'dancerly' model, we contemplate in action all at once, like a dancer moving to the music. (shrink)

Nietzsche’s perspectivism is a philosophical methodology for achieving various epistemic goods. Furthermore, perspectives as he conceives them relate primarily to agents’ motivational and evaluative sets. In order to shed light on this methodology, I approach it from two angles. First, I employ the digital humanities methodology pioneered recently in my recent and ongoing research to further elucidate the concept of perspectivism. Second, I explore some of the rhetorical tropes that Nietzsche uses to reorient his audience’s perspective. These include engaging the (...) audience’s emotions, apostrophic address to the reader, and what I’ve elsewhere called ‘Nietzschean summoning’. Each of these methods tugs at the affects and values of the audience, positioning them to notice, find salient, and be disposed to act in relation to certain (aspects of) things while ignoring, finding less salient, and being disposed to neglect (aspects of) other things. This suggests that, for Nietzsche, perspectivism may have less to do with cognition than the painterly metaphor of a visual perspective suggests. Instead, I’ll argue that for Nietzsche, perspectivism relates primarily to agents’ motivational and evaluative set. (shrink)

Este ensaio estabelece uma comparação estética e fenomenológica entre os pensamentos de Yves-Klein e Merleau-Ponty. Se o pintor materializou as suas reflexões e concepções em obra pictórica, o fenomenólogo francês dissertou na escrita filosófica o resultado da sua reflexão. Da análise conjunta entre um e outro resulta esta fenomenologia e estética comparativa que apresenta alguns conceitos fundamentais que alimentaram essas reflexões, tais como a visibilidade, o corpo, o mundo. Assim, para além dessa comparação, este ensaio viabiliza o diálogo entre ambos. (...) Palavras-chave: Corpo. Mundo. Visibilidade. Merleau-Ponty. Yves Klein -/- Abstract:This essay establishes an aesthetic and phenomenological comparison between the thoughts of Yves-Klein and Merleau-Ponty. If the painter materialized his reflections and concepts in pictorial work, the French phenomenologist disserted in the philosophical writing the result of his reflection. From the joint analysis between one and the other, this phenomenology and comparative aesthetics results, which presents some fundamental concepts that fed these reflections such as visibility, the body, the world. Thus, in addition to this comparison, this essay enables the dialogue between both. Keywords: Body. World. Visibility. Merleau-Ponty. Yves Klein. (shrink)

The article describes the background of Roman Ingarden's 1922 review of Leon Chwistek's book Wielość rzeczywistości, and the back-and-forth that followed. Despite the differences, the two shared some interesting similarities. Both authors had important ties to the intellectual happenings outside Poland and were not considerd mainstream at home. In the end, however, it is these connections that allowed them to gain recognition. Ingarden, who had been a student of Husserl, became the leading phenomenologist in the postwar Poland. For Chwistek, a (...) painter, philosopher, and logician interested in Russell’s work, such connections meant that he won the competition for a professorship at the university in Lwów over Alfred Tarski. Until recently, Chwistek’s place in Polish logic remains unclear and Ingarden’s interactions with Polish logic and the Vienna Circle have not been investigated extensively. A deeper look at this intellectual fracas between Ingarden and Chwistek helps one in the study of the complicated mesh of alliances within the Lwów-Warsaw School. The article also identifies the origins of the split between phenomenology and the analytic philosophical tradition in Poland. The article is also accompanied by the translations of the reviews. (shrink)

The novel "Harry Potter" by J.K. Rowling explores the profound impact of various mother and father figures on the protagonist, Harry Potter, who has lost his parents. This paper explores the impact of mother and father figures in Harry Potter's life. Remus Lupin serves as a compassionate guardian, offering support and a sense of belonging. Molly Weasley embodies the maternal figure, providing love and stability. Sirius Black, an absent father figure, symbolizes love and sacrifice. Albus Dumbledore serves as a wise (...) mentor, offering guidance and moral teachings. Collectively, these figures shape Harry's understanding of family, loyalty, power, and responsibility. The paper highlights the transformative power of nurturing relationships and the enduring influence of love, guidance, and mentorship. (shrink)

The value of up-hill skiing is double, it is first a sport and artistic expression, second it incorporates functional dependencies related to the natural obstacles which the individual aims to overcome. On the artistic side, M. Dufrenne shows the importance of living movement in dance, and we can compare puppets with dancers in order to grasp the lack of intentional spiritual qualities in the former. The expressivity of dance, as for, Chi Gong, ice skating or ski mountaineering is a particular (...) innocence and lightness which is called grace. It is life without the burden of worries. Grace, in slow progression uphill on snow, is as dance for Dufrenne, it has the most central and specific aesthetical quality of life. Others compared dance to a landscape, a landscape is for the sight, what dance is for life, a symbolical space, different from a usual space, where utility and dependency are present. A mountain can be a space of experience of natural beauty. Aesthetical qualities can be closely related to function related qualities as when a climber needs to adjust his movements to the natural convex inclination of the rocks, and avoid slippery forms of inclination, present on the other side of the mountain. The natural object, the quality of the snow or the rock differ from the aesthetical quality of the style of ascent by the absence of neutralization of the object, in case of a purely instrumental approach. On the contrary, grace in the rhythm of the progression of ski climbers needs a difference of attitude, which is not only proper to the playing, and delimited by the conditions of that play, but as a contingency driven attitude, without signification as radical alterity, without any finality. First ascent of the Matterhorn succeeded from the Swiss side, and not from the Italian side because of the different inclination of the rock on both sides. Grace in dance as in martial art or mountaineering is allowing to perceive an autonomy of the expression, as the truth of the perceived object, it puts away a cognitive and practical orientation and replaces it by a new meaning as movement in the whole set of movements done by the climber. This replacement of the functional expression resembles that operated by the painter who chooses a color in the whole set of colors in a painting, or a shape in the whole set of possible existing shapes. -/- Ref. Dufrenne, Mikel, (1989): The Phenomenology of Aesthetic Experience. Studies in Phenomenology and Existential Philosophy, trans. by Edward S. Casey, 1st publ. in 1953, Evanston: Northwestern University Press. (shrink)

St. Anselm is a master of philosophical prose. His writings on God, truth, and free will are models of clarity born of unflagging concern for argumentative precision. He is especially adept at using analogies to cinch his readers' understanding of these recondite matters. Who could forget the light shed upon the concept of existence by the Painter Analogy in the Ontological Argument or how his River Analogy illumines the unification of the Holy Trinity? Such intellectual insights could only be (...) gifts of the Holy Ghost for the edification of Holy Mother Church. I shall discuss here the three splendid analogies that St. Anselm draws in De Concordia in order to reconcile grace and free will, fostering an understanding of co-operation according to which divine assistance must accentuate, rather than nullify, exercises of human freedom. Central to my discussion is The Father of Scholasticism's four-fold distinction between a power, its exercises, the effects of those exercises, and opportunities to bring about those effects. (shrink)

St. Anselm is a master of philosophical prose. His writings on God, truth, and free will are models of clarity born of unflagging concern for argumentative precision. He is especially adept at using analogies to cinch his readers' understanding of these recondite matters. Who could forget the light shed upon the concept of existence by the Painter Analogy in the Ontological Argument or how his River Analogy illumines the unification of the Holy Trinity? Such intellectual insights could only be (...) gifts of the Holy Ghost for the edification of the Holy Mother Church. I shall discuss here the three splendid analogies that St. Anselm draws in De Concordia in order to reconcile grace and free will, fostering an understanding of cooperation according to which divine assistance must accentuate, rather than nullify, exercises of human freedom. Central to my discussion is The Father of Scholasticism's four-fold distinction between a power, its exercises, the effects of those exercises, and opportunities to bring about those effects. (shrink)

The Renaissance architect, moral philosopher, cryptographer, mathematician, Papal adviser, painter, city planner and land surveyor Leon Battista Alberti provided the theoretical foundations of modern perspective geometry. Alberti’s work on perspective exerted a powerful influence on painters of the stature of Albrecht Dürer, Leonardo da Vinci and Piero della Francesca. But his Della pittura of 1435–36 contains also a hitherto unrecognized ontology of pictorial projection. We sketch this ontology, and show how it can be generalized to apply to representative devices (...) in general, including maps and spatial and non-spatial databases. (shrink)

Drawing on Merleau-Ponty’s “Eye and Mind” and Bergson’s Matière et mémoire and “La perception du changement,” I ask what resources are available in vision for interrupting objectifying habits of seeing. While both Bergson and Merleau-Ponty locate the possibility of seeing differently in the figure of the painter, I develop by means of their texts, and in dialogue with Iris Marion Young’s work, a more general phenomenology of hesitation that grounds what I am calling “critical-ethical vision.” Hesitation, I argue, stems (...) from affect and leads to critical memory. In hesitation, the seeming coincidence between my habits of seeing and the visible is decentered, revealing these habits and their social reference as the constitutive horizon of my field of vision. Hesitation, then, provides the phenomenological moment within which vision may become at once critically watchful, destabilizing its objectifying habits, and ethically responsive, recollecting its affective grounds. The critical and the ethical are here inseparable. Critically, this vision is an awareness of the structures of invisibility, diacritical and habitual, social and historical, to which my vision owes—dimensions which institute particular ways of seeing and being as norm while eliding others. Ethically, this is the recognition of how seeing is already seeing with others—others whose affective influence is operative within vision, even as their existence is reductively represented or denied. (shrink)

This paper explores the elusive dialectic between concentration and forgetfulness, consciousness and unconsciousness in spontaneous artistic creation favoured by artists and advocated by critics in Chinese art history, by examining texts on painting and tracing back to ancient Daoist philosophical ideas, in a comparison with Kantian and post-Kantian aesthetics. Although artistic spontaneity in classical Chinese aesthetics seems to share similarities with Kant’s account of spontaneity in the art of genius, the emphasis on unconsciousness is valued by classical Chinese artists and (...) critics inspired by the Daoist idea of ‘Wu Wei’ (acting without conscious intention or effort). As the Qing painter Wang Yuanqi (1642–1715) claimed when admitting his failure to copy the Yuan master Ni Zan (1301–1374), Ni Zan’s success in natural and untrammelled expression lies ‘in between having an intention and not having one’. A similar idea about the dialectic of consciousness and unconsciousness in artistic spontaneity was suggested by Heinrich von Kleist’s On the Marionette Theatre (1880), which demonstrated that while self-consciousness might disturb and hinder the naturalness of artistic expression and thus encourage affectation, it does not mean that there is no role for consciousness. Although the views on unconsciousness in art and the co-play of consciousness and unconscious in artistic creation by Schelling, Schiller, Goethe, and even Nietzsche might get inspirations from Kant’s hidden view of the unconscious, Kant’s emphasis on the harmonious cooperation between imagination and understanding disguises his inexplicit idea of the unconscious. This paper will demonstrate that while in both Classical Chinese and European cultural contexts, artists, critics and philosophers talk about the same elusive relation, the philosophical explanations of the same phenomenon are essentially distinctive. (shrink)

In his Treatise of Human Nature Hume makes clear that it is his aim to make moral philosophy more scientific and properly grounded on experience and observation. The “experimental” approach to philosophy, Hume warns his readers, is “abstruse,” “abstract” and “speculative” in nature. It depends on careful and exact reasoning that foregoes the path of an “easy” philosophy, which relies on a more direct appeal to our passions and sentiments . Hume justifies this approach by way of an analogy concerning (...) the relevance of anatomy to painting. “The anatomist,” he says, “ought never to emulate the painter.” At the same time, the painter cannot afford to ignore the anatomist: An anatomist [...] is admirably fitted to give advice to a painter ... We must have an exact knowledge of the parts, their situation and connexion, before we can design with any elegance or correctness. And thus the most abstruse speculations concerning human nature, however cold and uninteresting, become subservient to practical morality; and may render this latter science more correct in its precepts, and more persuasive in its exhortations. As these remarks suggest, Hume’s anatomy of virtue is not without its own practical aims and objectives. It is advanced with a view to identifying and carefully delineating the true foundations of morality in human nature and correcting our practices in light of this. With this improvement in our understanding of the nature and basis of virtue, we can better appreciate the way in which virtue secures happiness for ourselves and others and may also avoid the distortions and corruptions of morality by religious superstition. (shrink)

This article aims to establish an understanding of Merleau-Ponty’s view of creative expression, and of its phenomenological function, setting out from the intriguing statement in his essay “Cézanne’s Doubt” that the painter (or writer or philosopher) finds himself in the situation of the first human being trying to express herself. Although the importance of primary or creative expression in Merleau-Ponty’s philosophy is well known, there is no consensus among commentators with respect to how this notion is to be understood, (...) and of its apparently paradoxical relation to experience in his philosophy. On the one hand, Merleau-Ponty seems to presuppose that there is an original meaning pre-given in experience; on the other hand, expression is described as a hazardous enterprise, because the meaning to be expressed does not exist before expression has succeeded. In order to resolve this tension, I explore the significance of the precariousness of creative expression, arguing that it must be related to its other side: the constituted, all too often petrified meaning that we must start out from. (shrink)

Plato’s theory of mimesis is expressed clearly and mainly in Plato’s Republic where he refers to his philosophy of Ideas in his definition of art, by arguing that all arts are imitative in nature. Reality according to him lies with the Idea, and the Form one confronts in this tangible world is a copy of that universal everlasting Idea. He poses that a carpenter’s chair is the result of the idea of chair in his mind, the created chair is once (...) removed from reality and since a painter’s chair is imitation of a carpenter’s chair, it is twice removed from reality. Thus, the artist deals in illusion. Plato thus rejected imitative art on the foundation that it is a copy or imitation of the unreal. We may ask; if the Carpenter makes a chair, what does he imitate? And if he imitates reality, can we call him an artist of a kind? This article therefore argues following Plato’s analogy that carpentry is an art of a kind and a carpenter is capable of knowing reality as against the notion that only philosophers are suitable for such a task. (shrink)

What is reality? It is postmodern or poststructuralist philosophers like Roland Barthes, who realized that it only seems that the media present reality in the form of facts, because they actually spread myths. Accordingly, Jacques Derrida made it clear that communication via media is not based on logic, but is characterized by a significant “différance” between a “marque” (trace) of the past and the expectations of the future. Both agreed, that the initial misunderstanding of the concept of reality must be (...) uncovered or "deconstructed". This is more than necessary for them, because media, be it pictures or language, in truth convey values that are culturally and socially significant. They ‘iterate’ these values subliminally, because what shows up are only placeholders and thus mere forms (“structures of graphematic”) that are superficially realised as facts (“stereotypes”). In this way, according to Barthes, we all accept without question the values hidden behind them, so that they can gain a normative power that unconsciously guides our thinking, our decisions and our actions. Afterwards, it is Judith Butler who critically asked: How can we ever escape from this? Given the power of the subliminal dominant discourses, she saw the only effective solution “im Umdeuten” (in reinterpretation) of their subliminal values. In order to finally escape this “parasitic existence at the ritual”, the media philosopher Walter Benjamin already suggested to trigger "Chockwirkungen” (shock effects) in the viewer. It is the German painter Karin Kneffel, so it shall be shown, who has realized this with her series Fruits and Interiors in the most beautiful photorealistic strategy. (shrink)