Human rights may feel self-apparent to us, but less than 80 years ago, one of the most advanced countries at the time acted based on an utterly contrary ideology. The view of social Darwinism that abandoned the idea of the intrinsic value of human lives instead argued that oppression of the inferior is not only inevitable but desirable. One of the many catastrophic outcomes is the medical data obtained from inhuman experiments at concentration camps. Ethical uncertainty over whether the resulting (...) insights should be a part of the medical literature provides a chance to consider the seemingly irreplaceable social construct of human dignity. Would any medical benefit justify the utilization of this illicit data? Would utilization even qualify as an insult to the dignity of the exploited subjects, or is this a question about intersubjective meaning? This work discusses the wisdom in blind adherence to human dignity, the possibility of retrospective insults, moral complicity, contrary viewpoints, and possible resolutions. (shrink)

Artificial Psychology (AP) is a highly multidisciplinary field of study in psychology. AP tries to solve problems which occur when psychologists do research and need a robust analysis method. Conventional statistical approaches have deep rooted limitations. These approaches are excellent on paper but often fail to model the real world. Mind researchers have been trying to overcome this by simplifying the models being studied. This stance has not received much practical attention recently. Promoting and improving artificial intelligence helps mind researchers (...) to find a holistic model of mental models. This development achieves this goal by using multiple perspectives and multiple data sets together with interactive, and realistic models. In this book, the methodology of approximate inference in psychological research from a theoretical and practical perspective has been considered. Quantitative variable-oriented methodology and qualitative case-oriented methods are both used to explain the set-oriented methodology and this book combines the precision of quantitative methods with information from qualitative methods. This is a book that many researchers can use to expand and deepen their psychological research and is a book which can be useful to postgraduate students. The reader does not need an in-depth knowledge of mathematics or statistics because statistical and mathematical intuitions are key here and they will be learned through practice. What is important is to understand and use the new application of the methods for finding new, dynamic and realistic interpretations. This book incorporates theoretical fuzzy inference and deep machine learning algorithms in practice. This is the kind of book that we wished we had had when we were students. This book covers at least some of the most important issues in mind research including uncertainty, fuzziness, continuity, complexity and high dimensionality which are inherent to mind data. These are elements of artificial psychology. This book implements models using R software. (shrink)

The purpose of this paper is to show that images have an ontological support by which they obtain an independent existence from the mind. In accordance with the new theories of aesthetics, we will see that the object of art is taken as an object of thought. Image has an important role in the existence of the work of art; therefore the image becomes an object of thought. To show how the image is independent from the mind or to show (...) how it is not a mind-dependent object, the analysis has to start from the pre-ontological level of the work of art in order to understand the existence of images in correlation with the work of art. At the beginning there is only the object. The object is the work of art before its concretization. It is not nature; it is the natural support of art. From this point of view, the role of the image can be explored in all ontological stages of the work of art. Firstly, it can be argued that the intuition of the artist is the image of the idea underlying the work of art. The intentional image is a subjective image. Secondly, it seems that people can see or have in mind different images (representations) referring to a work of art. This is possible in time and space and implies cultural differences, historical events and so on. A question arises: what supports the intentional image? One answer put forward is that the mind is the support of the image, but it seems that the original intentional image has something that can make other intentional images possible, an infinite number of representations, in other words an infinite number of images. The aim of this paper is to show that we can talk about an original intentional image (the first idea), intentional images (the representations of the work of art in time and space), and the transcendental image which can be defined as the ontological condition for the existence of the intentional image. At the end I will argue that the transcendental image is the support or the entity which offers the ontological conditions necessary for all intentional images. -/- Tags: intentional image, transcendental image, ontology, object and subjectivity. (shrink)

This anthology is about the signal change in Leibniz’s metaphysics with his explicit adoption of substantial forms in 1678-79. This change can either be seen as a moment of discontinuity with his metaphysics of maturity or as a moment of continuity, such as a passage to the metaphysics from his last years. Between the end of his sejour at Paris and the first part of the Hanover period, Leibniz reformed his dynamics and began to use the theory of corporeal substance. (...) This book explores a very important part of the philosophical work of the young Leibniz. Expertise from around the globe is collated here, including Daniel Garber’s work based on the recent publication of Leibniz's correspondence from the late 1690s, examining how the theory of monads developed during these crucial years. Richard Arthur argues that the introduction of substantial forms, reinterpreted as enduring primitive forces of action in each corporeal substance, allows Leibniz to found the reality of the phenomena of motion in force and thus avoid reducing motion to a mere appearance. Amongst other themes covered in this book, Pauline Phemister’s paper investigates Leibniz’s views on animals and plants, highlighting changes, modifications and elaborations over time of Leibniz’s views and supporting arguments and paying particular attention to his claim that the future is already contained in the seeds of living things. The editor, Adrian Nita, contributes a paper on the continuity or discontinuity of Leibniz’s work on the question of the unity and identity of substance from the perspective of the relation with soul and mind. (shrink)

The goals and tasks of neuroethics formulated by Farahany and Ramos (2020) link epistemological and methodological issues with ethical and social values. The authors refer simultaneously to the social significance and scientific reliability of the BRAIN Initiative. They openly argue that neuroethics should not only examine neuroscientific research in terms of “a rigorous, reproducible, and representative neuroscience research process” as well as “explore the unique nature of the study of the human brain through accurate and representative models of its (...) function and dysfunction”, but also its responsibilities or social consequences. In our commentary, we would like to concentrate on problem selection, which is shortly noticed by Farahany and Ramos, and by BRAIN Initiative’s Neuroethics Report itself. The document raises an important issue related to problem selection, which is strengthening or perpetuating existing prejudices and biases by choosing a research subject: “scientists are prompted to consider how the questions they choose to study in the laboratory might amplify existing biases.” This leads to several further problems: what constitutes bias?; how biases may be embedded in the selection of research programs?; is it possible to conduct completely unbiased research?; who should be a gatekeeper in the case of research that may amplify biases? We try to notice possible answers to these questions in the context of the research on differences (e.g., cognitive, medical, behavioral) between human populations. (shrink)

This eighth volume of Collected Papers includes 75 papers comprising 973 pages on (theoretic and applied) neutrosophics, written between 2010-2022 by the author alone or in collaboration with the following 102 co-authors (alphabetically ordered) from 24 countries: Mohamed Abdel-Basset, Abduallah Gamal, Firoz Ahmad, Ahmad Yusuf Adhami, Ahmed B. Al-Nafee, Ali Hassan, Mumtaz Ali, Akbar Rezaei, Assia Bakali, Ayoub Bahnasse, Azeddine Elhassouny, Durga Banerjee, Romualdas Bausys, Mircea Boșcoianu, Traian Alexandru Buda, Bui Cong Cuong, Emilia Calefariu, Ahmet Çevik, Chang Su Kim, Victor (...) Christianto, Dae Wan Kim, Daud Ahmad, Arindam Dey, Partha Pratim Dey, Mamouni Dhar, H. A. Elagamy, Ahmed K. Essa, Sudipta Gayen, Bibhas C. Giri, Daniela Gîfu, Noel Batista Hernández, Hojjatollah Farahani, Huda E. Khalid, Irfan Deli, Saeid Jafari, Tèmítópé Gbóláhàn Jaíyéolá, Sripati Jha, Sudan Jha, Ilanthenral Kandasamy, W.B. Vasantha Kandasamy, Darjan Karabašević, M. Karthika, Kawther F. Alhasan, Giruta Kazakeviciute-Januskeviciene, Qaisar Khan, Kishore Kumar P K, Prem Kumar Singh, Ranjan Kumar, Maikel Leyva-Vázquez, Mahmoud Ismail, Tahir Mahmood, Hafsa Masood Malik, Mohammad Abobala, Mai Mohamed, Gunasekaran Manogaran, Seema Mehra, Kalyan Mondal, Mohamed Talea, Mullai Murugappan, Muhammad Akram, Muhammad Aslam Malik, Muhammad Khalid Mahmood, Nivetha Martin, Durga Nagarajan, Nguyen Van Dinh, Nguyen Xuan Thao, Lewis Nkenyereya, Jagan M. Obbineni, M. Parimala, S. K. Patro, Peide Liu, Pham Hong Phong, Surapati Pramanik, Gyanendra Prasad Joshi, Quek Shio Gai, R. Radha, A.A. Salama, S. Satham Hussain, Mehmet Șahin, Said Broumi, Ganeshsree Selvachandran, Selvaraj Ganesan, Shahbaz Ali, Shouzhen Zeng, Manjeet Singh, A. Stanis Arul Mary, Dragiša Stanujkić, Yusuf Șubaș, Rui-Pu Tan, Mirela Teodorescu, Selçuk Topal, Zenonas Turskis, Vakkas Uluçay, Norberto Valcárcel Izquierdo, V. Venkateswara Rao, Volkan Duran, Ying Li, Young Bae Jun, Wadei F. Al-Omeri, Jian-qiang Wang, Lihshing Leigh Wang, Edmundas Kazimieras Zavadskas. (shrink)

Many philosophers have appealed to the PSR in arguments for a being that exists a se, a being whose explanation is in itself. But what does it mean, exactly, for something to have its explanation ‘in itself’? Contemporary philosophers have said next to nothing about this, relying instead on phrases plucked from the accounts of various historical figures. In this article, I analyse five such accounts – those of Anselm, Aquinas, Descartes, Spinoza, and Leibniz – and argue that none are (...) satisfactory. Should we abandon or restrict the PSR, then? I think that would be hasty, for many reasons. I therefore consider the prospects of explaining everything, including God, given the constraints of certain features of good explanations, and conclude with several observations about future approaches. (shrink)

The standard cognitive theory of art claims that art can be insightful while maintaining that imagining is motivationally inert [Walton 1990] even when some epistemic advantage is claimed for it [Currie 1995]. However, if we assume art as art can be insightful, we also assume that the imagining it occasions has a lasting impact on belief. In this chapter, I argue that imagining of the kind occasioned by art can be held non-occurrently [Schellenberg 2013] without delusion and can motivate behaviour (...) [Gendler 2000, 2003, 2006a/b; Langland-Hassan 2016]. As such, certain features of imagination can be appreciated in a new light. (shrink)

I argue that Social Trinitarians can and should conceive of God as a group person. They can by drawing on recent theories of group agency realism that show how groups can be not just agents but persons distinct from their members – albeit, I argue, persons of a different kind. They should because the resultant novel view of the Trinity – that God is three ‘intrinsicist’ persons in one ‘functional’ person – is theologically sound, effectively counters the most trenchant criticisms (...) of Social Trinitarianism, and enjoys independent theological support from the biblical notion of ‘corporate personality’. (shrink)

Beauty is evil, a surreptitious diversion of earthly delights planted by the devil, according to the third century theologian-philosopher Tertullian. Beauty is a manifestation of the divine on earth, according to another third century philosopher, Plotinus. Could these two really be talking about the same thing? That beauty evokes an experience of pleasure is probably the only point on which all participants in the continuing debate on beauty agree. But what kinds of pleasure one considers relevant to an experience of (...) beauty, is the crux of the problem of beauty. In ancient, medieval and eighteenth century philosophy, the problem of beauty was framed by the larger concern of what constituted a good life. The question regarding the nature of beauty was answered with a view to its role in achieving the good life for those who cultivated its apprehension. In the twentieth century, philosophers framed the problem of beauty as a problem for conceptual analysis. The questions asked were: Is beauty subjective or objective? Are there properties in the object that count towards beauty in all cases; that are sufficient or necessary for an object to be judged beautiful? What kind of pleasure is the pleasure we experience of beauty? I will examine how these questions can be seen to have been answered by earlier philosophical traditions and then I will use these questions as a guide to developing an explanatory theory of beauty based on contemporary theories of perception. (shrink)

Epistemologists have shown increased interest in the epistemic significance of disagreement, and in particular, in whether there is a rational requirement concerning belief revision in the face of peer disagreement. This article examines some of the general issues discussed by epistemologists, and then considers how they may or may not apply to the case of religious disagreement, both within religious traditions and between religious (and non-religious) views.

At a time when professional art criticism is on the wane, the ancient quarrel between art and philosophy demands fresh answers. Professional art criticism provided a basis upon which to distinguish apt experiences of art from the idiosyncratic. However, currently the kind of narratives from which critics once drew are underplayed or discarded in contemporary exhibition design where the visual arts are concerned. This leaves open the possibility that art operates either as mere stimulant to private reverie or, in the (...) more contentful cases, as propaganda. The ancient quarrel between art and philosophy is that art influences surreptitiously while philosophy presents reasons that invite rational scrutiny. As such, in contrast to philosophy, art would undermine our agency. In July 2017, a group of philosophers gathered at the Art Gallery of NSW (AGNSW), in Sydney, Australia, in the presence of two AGNSW curators to explore the basis of their own experiences of selected artworks. Here, those commentaries are reproduced. Each reveal that objective grounds for an experience of art can be based in the community from which one draws one’s terms of reference. In our commentaries we see the expertise of the respective philosophical communities but other communities of culture or expertise might serve the same purpose and hence resolve the ancient quarrel. Before hearing these commentaries, I explain what is at stake when the ancient quarrel between art and philosophy is understood in contemporary terms. This Issue of the Curator also includes an article on the community-based art criticism that emerges from these commentaries followed by an exhibition review which reveals the incorrigible impulse (also demonstrated in the commentaries) to find the basis for the most apt experience of an artwork. A response by the AGNSW curators completes this issue. (shrink)

The sublime is an aspect of experience that has attracted a great deal of scholarship, not only for scholarly reasons but because it connotes aspects of experience not exhausted by what Descartes once called clear distinct perception. That is, the sublime is an experience of the world which involves us in orientating ourselves within it, and this orientation, our human orientation, elevates us in comparison to the non-human world according to traditional accounts of the sublime. The sublime tells us something (...) about our relation to the world rather than anything about the world per se. Nonetheless there is an objective sense of the sublime in that the narratives involved are culturally endorsed rather than invented by an individual. This means that objects can be judged worthy or not of evoking experiences of the sublime. In other words, it is not an idiosyncratic matter. Immanuel Kant’s formulation of this involved explaining how such an experience is possible in terms of his system of the mind. Jane Forsey notes that Kant takes the features of the sublime as given and extrapolates from them certain features of the mind as if any concept of the sublime must implicate the mental architecture of his account (2007). Further to this she argues that in fact the concept of the sublime does implicate a particular system of the mind but neither Kant nor anyone else can successfully formulate it because the concept itself frames certain contradictions. According to Forsey, two consequences follow. First she argues that Kant’s system of the mind does not support the features of the sublime; and secondly that no system could as the very concept is incoherent. If Forsey can show that Kant was mistaken in presenting his account as coherent given his commitments, this would be of interest in its own right. However, her stronger claim is that we cannot separate any concept of the sublime out from Kant’s theoretical underpinnings. That the way the features of the mind are meant to operate in experiences of the sublime are contradictory simply points to the fatal flaws in the whole concept. Her conclusion is that there is no coherent account of the sublime available to us. I will argue that Forsey bases her reasoning on the assumption that a foundational empiricist or direct perception holds; and she interprets Kant’s notions of imagination, understanding and reason as though they are grounded in just such an account of perception. This is revealed in her interpretation of Kant’s phrase “beyond cognition”. Once this foundationalism is replaced with an account of perception more aligned with current research on perception, both philosophical and empirical, then an account of the sublime is available. Further to this however, I argue that what constitutes the narrative of the sublime is historically contingent. Before setting out my arguments, I consider Forsey’s argument in more detail. (shrink)

The question I wish to explore is this: Does idealism conflict with common sense? Unfortunately, the answer I give may seem like a rather banal one: It depends. What do we mean by ‘idealism’ and ‘common sense?’ I distinguish three main varieties of idealism: absolute idealism, Berkeleyan idealism, and dualistic idealism. After clarifying what is meant by common sense, I consider whether our three idealisms run afoul of it. The first does, but the latter two don’t. I conclude that while (...) Moore’s famous common sense critique is sound against external world skepticism, against Berkeleyan idealism and dualist idealism it is unavailing. (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)

Aesthetic autonomy has been given a variety of interpretations, which in many cases involve a number of claims. Key among them are: (i) art eludes conventional conceptual frameworks and their inherent incompatibility with invention and creativity; and (ii) art can communicate aspects of experience too fine‐grained for discursive language. To accommodate such claims one can adopt either a convention‐based account or a natural‐kind account. A natural‐kind theory can explain the first but requires some special scaffolding in order to support the (...) second, while a convention‐based account accommodates the second but is incompatible with the first. Theodor W. Adorno attempts to incorporate both claims within his aesthetic theory, but arguably in his aesthetic theory each is cancelled out by the other. Art’s independence of entrenched conceptual frameworks needs to be made compatible with its communicative role. Jürgen Habermas, in contrast, provides a solution by way of his theory of language. I draw upon the art practice of the contemporary Icelandic‐Danish artist Olafur Eliasson in order to demonstrate this. (shrink)

This paper weaves together a number of separate strands each relating to an aspect of Wittgenstein’s Philosophical Investigations. The first strand introduces his radical and incoherent idea of a private object. Wittgenstein in § 258 and related passages is not investigating a perfectly ordinary notion of first person privacy; but his critics have treated his question, whether a private language is possible, solely in terms of their quite separate question of how our ordinary sensation terms can be understood, in a (...) philosophical context, to acquire meaning. Yet it is no part of his intention to demonstrate logically that ordinary sensations are not intrinsically meaningful. This is a tempting yet misleading picture, the picture also expressed through the idea of Augustine’s child who is conceptually articulateprior to learning how to talk. This picture lies behind the born Crusoe, an idea at the centre of the dichotomy between language as essentially shared and essentially shareable, a dichotomy considered here to result from a misconception of two quite separate but related aspects of Wittgenstein’s treatment offollowing a rule. The notion of a misleading picture, in both its pre-theoretical and philosophical aspects, also plays a crucial role in a treatment of Saul Kripke’s well-known “Postscript: Wittgenstein and Other Minds.”. (shrink)

Similarity and difference, patterns of variation, consistency and coherence: these are the reference points of the philosopher. Understanding experience, exploring ideas through particular instantiations, novel and innovative thinking: these are the reference points of the artist. However, at certain points in the proceedings of our Symposium titled, Next to Nothing: Art as Performance, this characterisation of philosopher and artist respectively might have been construed the other way around. The commentator/philosophers referenced their philosophical interests through the particular examples/instantiations created by the (...) artist and in virtue of which they were then able to engage with novel and innovative thinking. From the artists’ presentations, on the other hand, emerged a series of contrasts within which philosophical and artistic ideas resonated. This interface of philosopher-artist bore witness to the fact that just as art approaches philosophy in providing its own analysis, philosophy approaches art in being a co-creator of art’s meaning. In what follows, we discuss the conception of philosophy-art that emerged from the Symposium, and the methodological minimalism which we employed in order to achieve it. We conclude by drawing out an implication of the Symposium’s achievement which is that a counterpoint to Institutional theories of art may well be the point from which future directions will take hold, if philosophy-art gains traction. (shrink)

Aesthetics is not an area to which the Stoics are normally understood to have contributed. I adopt a broad description of the purview of Aesthetics according to which Aesthetics pertains to the study of those preferences and values that ground what is considered worthy of attention. According to this approach, we find that the Stoics exhibit an Aesthetic that reveals a direct line of development between Plato, the Stoics, Thomas Aquinas and the eighteenth century, specifically Kant’s aesthetics. I will reveal (...) an interpretation of the aesthetic of the Stoics which has more explanatory power for the history of aesthetic theory than a history of aesthetic theory which leaves out the Stoics. (shrink)

<The definitive version is available at www.blackwell-synergy.com > -- In this paper I carve out a space between the concept of "the object" and the seemingly endless ways in which "the object" can be represented pictorially. I will call the aspect of the pictorial representation which is made possible by this space, the pictorial representation's "style". I will explore this space by drawing upon theories of pictorial representation, leaving out, for the sake of my purposes here, a consideration of the (...) artist's intention. That an attribution of "style" can be comprehensive while leaving out a consideration of artists' intentions, I will argue by adopting the conceptual framework of Paul Thom's theory of interpretation. Before embarking on my project, I begin with a brief overview of the rather slippery notion of "style". (shrink)

The aim of this paper is to draw the attention of those conducting research on imagery to the different kinds of visual information deployed by expert drawers compared to non-expert drawers. To demonstrate this difference I draw upon the cognitive science literature on vision and imagery to distinguish between three different ways that visual phenomena can be represented in memory: structural descriptions, denotative descriptions, and configural descriptions. Research suggests that perception and imagery deploy the same mental processes and that the (...) drawing of one's imagery would require the simultaneous deployment of these very processes. I reason that drawing a picture of one's imagery is not possible. I hypothesize that when required to draw a picture from memory, both expert and non-expert drawers access their denotative description of the object rather than their imagery. I then suggest how my hypothesis could be tested and if accurate, how this finding would impact upon the design and interpretation of experiments on imagery when drawing is involved. I also suggest why the constraints that perception places upon the simultaneous deployment of imagery appear not to cause the same constraints in autistic savant drawers and visual agnosia patients. (shrink)

I identify two mutually exclusive notions of formalism in Kant’s Critique of Aesthetic Judgement: a thin concept of aesthetic formalism and a thick concept of aesthetic formalism. Arguably there is textual support for both concepts in Kant’s third critique. I offer interpretations of three key elements in the Critique of Aesthetic Judgement which support a thick formalism. The three key elements are: Harmony of the Faculties, Aesthetic Ideas and Sensus Communis. I interpret these concepts in relation to the conditions for (...) theoretical Reason, the conditions for moral motivation and the conditions for intersubjectivity, respectively. I conclude that there is no support for a thin concept of aesthetic formalism when the key elements of Kant’s Critique of Aesthetic Judgement are understood in the context of his broader critical aims. (shrink)

In this paper I suggest ways in which vision theory and psychology of perception may illuminate our understanding of beauty. I identify beauty as a phenomenon which is (i) ineffable, (ii) subjectively universal (intersubjective), and (iii) manifested in objects as formal structure. I present a model of perception by which I can identify a representation whose underlying principles would explain these features of beauty. The fact that these principles underlie the representation rather than constitute the content of representation, provides an (...) explanation for the ineffability and subjective universality of the perception of beauty in the form of objects. In part one, I set out two models of perception conducive to this approach. In part two, I suggest how such theories can offer a way of explaining and understanding the experience of beauty. (shrink)

High blood pressure is an important component of pre-eclampsia. The underlying mechanism of development of hypertension in pre-eclampsia is complicated and still remains obscure. Several theories have been advanced including endothelial dysfunction, uteroplacental insufficiency leading to generalized vasoconstriction, increased cardiac output, and sympathetic hyperactivity. Increased blood flow and pressure are thought to lead to capillary dilatation, which damages end-organ sites, leading to hypertension, proteinuria and edema. Additional theories have been put forward based on epidemiological research, implicating immunological and genetic factors. (...) None of these theories have been substantiated. Based on a review of literature this paper postulates that the initiating event for the development of preeclampsia is intermittent hypoxia associated with irregular breathing during sleep, hypoapnea, apnea,inadequate respiratory excursions during the waking hours and inadequate cardiopulmonary synchronization (abnormal sympatho-vagal balance). (shrink)

This essay presents the nature of aesthetic judgment, the significance of aesthetic judgment and finally, the relevance of art to understanding aesthetic judgment.

Plato conceived of the Form of Beauty as quite distinct from the Form of the Good. Beauty was a means to the Good. The ascent theory of the Symposium has suggested to some commentators that Plato envisaged two kinds of beauty, the sensuous and the intellectual, and that to reach the Good we must transcend our sensuous desires and cultivate an appreciation of intellectual beauty. However, in the Laws Plato presents us with a third notion of beauty, which is neither (...) sensuous nor intellectual. To experience beauty we need to cultivate our pleasure in harmonious forms. This is where we find a theory of beauty that resonates in Kant’s aesthetic theory. According to the latter, the feeling for beauty is a feeling for harmony that takes us beyond the confines of a world marked out by self-interest. I conclude that Plato’s aesthetic theory anticipates the role that aesthetic judgment would play in Immanuel Kant’s system of the mind. (shrink)

If we conceive of ourselves as animals, it might be accurate to call us visual animals. The visual cortex is much larger in us relative to the size of our brains than in other animals, and large relative to the parts of the cortex responsible for the transmission of signals emanating from the other perceptual transducers. Our ability to recall visual images, recombine them in imagination and enter imaginatively into narratives is linked to this evolved piece of brain architecture. However, (...) what this means within the context of human culture is not so clear. A large visual cortex might not necessarily translate into a heightened susceptibility for fine visual distinctions over auditory or kinetic distinctions, at least not in all cultural contexts. (shrink)

Recent fndings illustrate how changes in consciousness accommodated by neural correlates and plasticity of the brain advance a model of perceptual change as a function of meditative practice. During the mindbody response neural correlates of changing awareness illustrate how the autonomic nervous system shifts from a sympathetic dominant to a parasympathetic dominant state. Expansion of awareness during the practice of meditation techniques can be linked to the Default Mode Network (DMN), a network of brain regions that is active when the (...) one is not focused on the outside world and the brain is restful yet awake (Chen et al., 2008). A model is presented illustrating the dynamic mindbody response before and after mindfulness meditation, and connections are made with prefrontal cortex activity, the cardiac and respiratory center, the thalamus and amygdala, the DMN and cortical function connectivity. The default status of the DMN changes corresponding to autonomic modulation resulting from meditation practice. (shrink)

This paper comments on an article by V.S. Ramachandran and William Hirstein (JCS,1999) in which they purport to be identifying the neurological principles of beauty. I draw attention to the way the problem of beauty is construed in the philosophical literature by Mary Mothersill (1984) and Immanuel Kant (Critique of Judgment). I argue that Ramachandran and Hirsteins' principles do not address the problem of beauty because they do not differentiate between the experience of beauty and other closely related phenomena. I (...) then show how one might address the problem of beauty within the framework that they have adopted. (shrink)

According to the scientific image, aesthetic experience is constituted by private reverie or mindless gratification of some kind. This image fails to fully acknowledge the theoretical and hence cultural aspect of perception, which includes aesthetic experience. This chapter reframes aesthetic reflective judgment in terms of perceptual processes (section 2); intentional pleasure (section 3); non-perceptually represented perceptual properties (section 4); and intersubjectivity (section 5). By clarifying the relevant terms, the liberal naturalist account of the sublime provides the link between the sublime (...) and moral motivation (section 6). (shrink)

Mind-body therapies have been shown to be effective in clinical treatment of disorders such as high blood pressure and stress. Significant differences in the effectiveness of mind–body therapies have been shown and a common link among the therapies has yet to be defined. This article overviews the role of slow rhythmic breathing in physiological as well as therapeutic effects of mind-body therapies. Slow deep breathing practice has important implications as it may underlie the basic mechanism that synchronizes the brain with (...) the autonomic response. This article reviews studies that include the effect of deep slow breathing with or without mind-body therapy exercises. In utero studies that monitor patterns of fetal breathing reveal sympathetic activation with irregular, shallow fast breathing movements compared to slow deep breathing. Recognition of respiratory mechanisms in mind-body therapies can lead to development of more effective relaxation exercises that may incorporate deep slow breathing in clinical applications. (shrink)

In this paper we analyse the ideas implicit in the style of exhibition favoured by contemporary galleries and museums, and argue that unless the audience is empowered to ascribe meaning and significance to artwork through critical dialogue, the power not only of the audience is undermined but also of art. We argue that galleries and museums preside over an experience economy devoid of art, unless (i) indeterminacy is understood, (ii) the critical rather than coercive nature of art is facilitated, and (...) (iii) the conditions for inter-subjectivity are met. (shrink)

Background: Mint is a grassy, perennial plant, belonging to the oral platoon, fast growing and spreading, its leaves are green in color, fragrant, tart, refreshing, square-shaped leg, bifurcated, erect, ranging in height from (10 - 201 cm). Home to Europe and Asia. The mint plant has many benefits, the most important of which are pain relief, treatment of gallbladder disorders, the expulsion of gases, anti-inflammatory, and relaxing nerves. While the mint plant is the ideal option for the start of gardens, (...) it is prone to some common diseases that affect the plant's growth. Objectives: The main goal of this expert system is to get the appropriate diagnosis of disease and the correct treatment. Methods: In this paper, the design of the proposed Expert System was produced to help Farmers and those interested in agriculture in diagnosing many of the Mint diseases such as Mint rust, Verticillium wilt, Anthracnose, Powdery mildew, Black Stem Rot, Stem and stolon canker, Septoria leaf spot. The proposed expert system presents an overview of mint diseases are given, the cause of diseases outlined and the treatment of disease whenever possible is given out. CLIPS Expert System language was used for designing and implementing the proposed expert system. Results: The proposed Mint diseases diagnosis expert system was evaluated by Agricultural Students at AL Azhar University and some friends interested in agriculture and they were satisfied with its performance. Conclusions: The proposed expert system is very useful for Farmers and those interested in agriculture. (shrink)

Scientific hedges are communicative devices used to qualify and weaken scientific claims. Gregor Betz has argued—unconvincingly, we think—that hedging can rescue the value-free ideal for science. Nevertheless, Betz is onto something when he suggests there are political principles that recommend scientists hedge public-facing claims. In this article, we recast this suggestion using the notion of public justification. We formulate and reject a Rawlsian argument that locates the justification for hedging in its ability to forge consensus. On our alternative proposal, hedging (...) is often justified because it renders scientific claims as publicly accessible reasons. (shrink)

Each chapter covers one topic and largely consists of brief summaries of arguments for and against various themes. The topic of the first chapter is whether and on what basis a film can be considered art. Photography is used as an analogy. The arguments range from considering the mechanical form of cinema as an obstacle to arthood to arguments considering cinema’s mechanical nature as essential to its arthood; the former by those who ground art in human agency, the latter by (...) those who ground art in some conception of verisimilitude. Those worried by the former argument, emphasize editing and montage effects as the essential aspects of cinema, the idea being that the less representational veracity a film presented, the more it could be classified as art. On the other hand, for those who equate the art of film with verisimilitude, it is argued that the realism of film is superior to the realism of the other representational arts due to film’s retrieval of images as opposed to merely representing them. (shrink)

This afterword to Species and Beyond provides some reflections on species, with special attention to what I think the most significant developments have been in the thinking of biologists and philosophers working on species over the past 25 years, as well as some bad jokes.

This book is a compilation of papers that Zangwill has had published previously in a number of journals; this journal among them. The topics of these papers centre on the nature of aesthetic properties. Read as such, the papers are, for the most part, erudite and illuminating, presenting as they do a very clear synthesis of various well known positions on the relation of aesthetic properties to non-aesthetic properties; the relation of beauty to other aesthetic concepts; and the nature of (...) the aesthetic. (shrink)

Paul Crowther provides interpretations of key concepts in Kant’s Critique of Aesthetic Judgment, indicating (particularly in very informative footnotes) how his views compare with those of other Kant commentators such as Paul Guyer, Rachel Zuckert, Béatrice Longuenesse, Henry Allison, Donald Crawford, Robert Wicks and others. One might be inclined to ask whether yet another interpretation of Kant’s third critique was needed, yet compared to his other two critiques, Kant’s Critique of Judgment can still be regarded as the neglected sibling. Its (...) relevance to his system as a whole and in particular to his moral theory is still under appreciated. However, if one is after a study of Kant’s third critique along these lines, this is not the place to find it. Crowther has his philosopher of art hat firmly in place in the writing of this study. Even so, adopting this approach Crowther shows us that there is still work to be done. Crowther takes the core of Kant’s thesis and argues that its implications extend far beyond what Kant could have envisaged. (shrink)

Matthew Kieran addresses a number of key topics in aesthetics including the nature of originality, beauty, artistic knowledge and truth, the moral content of art, and the standards of taste. His treatment of each topic is informed by the thesis that the value of art is to be found in the insights that it provides. The structure of each chapter is to canvas a few positions (usually including one that would represent a counter position to his thesis), before presenting an (...) interpretation of the topic that is compatible with his positive thesis regarding art’s value as insight. (shrink)

The essays collected in this volume are written by scholars from a wide range of disciplines (anthropology, archaeology, art history, philosophy and psychology). The papers ostensibly address how to evaluate rock art, but can also be read in the context of offering support for the affirmative in the debate regarding whether aesthetics is a cross-cultural discipline. Two alternative conceptions of the aesthetic provide the underlying antithesis and thesis respectively to all papers. The antithesis holds that the aesthetic pertains to a (...) conception of art that is an historical artefact of eighteenth century Europe. Most of the writers refer to this idea of art in terms of the object of a disinterested gaze (a second-hand reading of Kant), or as ‘art-for-art’s-sake’. The thesis of all papers, be it explicit or implicit, is that the aesthetic is a certain human predisposition or capacity to imbue physical properties with meaning and value; to link the sensuous with the semantic; to find meaning in form (Lamarque pp.27-8, Morphy pp.54, 59.). Some authors extend this beyond the artefact to the perception of nature (see the papers of Heyd, Ogawa, Stone). (shrink)

Matthews discusses the role of our ability to make a judgment of taste (judgment of beauty) within Kant's notion of the structure of the mind. In doing this she does not simply rely upon what we can learn from the first part of the third critique, the 'Critique of Aesthetic Judgment', but draws upon Kant's philosophy as a whole, including the first two critiques and the second part of The Critique of Judgment, the 'Critique of Teleological Judgment'. She looks at (...) how the ability to judge beauty links to other aspects of the mind: in particular to our ability to make moral judgments and to our ability to cognize experience, the latter involving a selection of those aspects of nature which lend themselves to the kind of ordering of which our minds are predisposed. Matthews identifies a link in Kant's thinking between creativity and aesthetic judgment. That is, she understands Kant to be saying that aesthetic judgment makes revolutionary ways of thinking possible (p.71). However, in her introduction she writes 'Beauty need not lead to knowledge or moral activity in order to have value in our lives' (p.1). Matthews points out that her aim in this book is to show that the feeling of beauty serves a larger purpose for Kant. The relevant feature of the experience of beauty is its 'ability to orient rational beings in a sensible world'. Her book is dedicated to explaining how the experience of beauty does this. The feeling of beauty, she writes, 'acts as a mediating link between theoretical and practical reason' (p.1). (shrink)

Kirwan identifies three kinds of beauty theory within the Western tradition. These are: ‘in the eye of the beholder’ theories; neoplatonic theories; and what he refers to as synaesthetic theories; which he discusses in chapters 2, 3 and 4 respectively. He places himself within the synaesthetic tradition whose emphasis is apparently on the interaction between the beautiful object and the perceiver. Kirwan, however, does not analyse this interaction. Nor does he concern himself with what makes the experience of beauty possible, (...) nor what characteristics of an object make it beautiful. Instead, Kirwan’s theory of beauty amounts to a phenomenology of beauty. Kirwan is interested in “the structure of feeling involved in beauty – with respect to which the division between the perceived object and its ground is more important than any formal properties of either “ (p.39). (shrink)

This article tackles the sole surviving ancient commentary on what was perhaps the second most important Platonic work, with special interest for the manner in which the ancients tackled the setting of Plato's dialogues, Socratic ignorance, Socratic eros, the central myth-like Palinode, and the question of oral as against written teaching.

The authors included in this anthology of historical texts on aesthetics and philosophy of art, address the big questions. They attempt to place art within experience generally or within the life of a community; or they attempt to understand the nature of the aesthetic and its role within experience. Topics include mimesis, the relation between art and truth, the metaphysics of beauty, the function of art, and the ontology of art. All of the extracts included were written prior to the (...) middle of this century. The only aspect of this anthology which suggests that it was published recently is the inclusion of three Chinese pieces and one Indian piece. (shrink)

The aim of this book is to promote understanding and enjoyment of the arts. With this aim in mind, Lyas introduces the key issues of philosophical aesthetics through examples drawn from high and popular culture, and from a variety of art forms, from music and painting to literature and poetry. The book is pitched as a springboard into undergraduate courses in aesthetics and as an introduction to philosophical aesthetics for the general reader. It is refreshing to read a book on (...) aesthetics written by someone for whom problems in aesthetics are more than just grist for the academic mill. That this is the case shows not only in his choice of examples but also in the perspective he brings to them. Lyas argues, for example, that one must feel the merit of the work for oneself; rather then simply, as he puts it, assuming 'that certain things are worth studying ("in the canon" as they put it)' and then performing 'various classificatory dances round them' (p.75). The question for appreciation, he reminds us, is why those things in the canon deserve to be there. According to Lyas, teaching aesthetics is not simply a matter of imparting a body of knowledge to the student. Instead, the teacher's role is to develop capacities in the student for an appreciative experiencing (p.131). (shrink)