Getting physical: Empiricism’s medical History Content Type Journal Article DOI 10.1007/s11016-010-9474-4 Authors John Gascoigne, School of History and Philosophy, University of New South Wales, Sydney, NSW 2056, Australia Journal Metascience Online ISSN 1467-9981 Print ISSN 0815-0796.

This essay characterizes the perception of the visual hybrid as nonconceptual, introducing the terminology of nonconceptual content theory to aesthetics. The visual hybrid possesses a radical but nonetheless exemplary aesthetic composition and is well established in culture, art, and even design. The essay supplies a philosophical analysis of the results of cross-cultural experiments, showing that while categorization or conceptual hierarchization kicks in when the visual hybrids are juxtaposed with linguistic descriptions, no conceptual scheme takes effect when participants are presented with (...) mere visual hybrids. In isolation, the hybrids do not lend themselves to classification. I draw four conclusions from these experimental outcomes: 1. The perception of visual hybrids follows the structure of a nonconceptual mental content, because the original categories or concepts of the hybrids’ components are not combined into one, and their properties are not applied to one another, therefore none of the components reconstructs the other such that it is introduced to a new category. 2. Language freezes the hybridity of the visual hybrid into conceptuality. 3. Given that language has a freezing effect in the case of an extreme visual phenomenon such as the hybrid, it is all the more restraining in moderate artistic compositions, such as visual metaphors, in which properties of one component (the source) are applied to the other (the target). In those, nonconceptuality emerges from relatively organized compositions, forms, and relations, and from the dependence of objects and their properties on perceptual context. 4. Thus, the nonconceptualist terminology is suitable for the analysis of aesthetic perception in general and aesthetic perception’s relation to language. Keywords aesthetics, perception, nonconceptual content, hybrids, visual metaphors. (shrink)

This book offers a new definition of metaphor-as an ontological and visual construction, whose roots are external visual forms, and its motivation is our attachment to forms. This definition, which Michalle Gal names “visualist,” challenges the ruling conceptualist theory of metaphors and places a new emphasis on how we experience rather than understand metaphors. In doing so, she responds to the visual turn that is taking place in literature and the media, demanding that the visual become a site of philosophical (...) analysis. This focus on the external visual world allows Gal to employ visual theories to capture the essence of metaphor. She looks beyond conceptual or semantic mechanism, and returns to theories of Arnheim and Gombrich and the current evolution of ideas about the visual or material and embodied cognition. Proposing to see visual metaphors in their basic form, she uses a new externalist terminology of ontology, visuality, composition, affordance, construction, and emergence. Setting out a new theory that takes into account that humans are visual no less than cognitive creatures, Visual Metaphors and Aesthetics lays the foundation for a new vocabulary to talk about metaphors. (shrink)

This chapter presents the meeting points and conflicts between Arthur Danto’s philosophy of art and George Dickie’s avowedly succeeding theory. Its focus is on the internalist-externalist debate on the ontology of the artwork as created and perceived within the artworld. It shows that both Danto and Dickie developed anti-formalist theories, that contributed to the demise of aesthetic modernism. Inverting the formalist distinction between internal and external properties of the artwork, they classified the sensuous properties of the artwork as secondary in (...) its essence and identity. Accordingly, Danto and Dickie’s definitions of art emerged from the challenge “to be consistent with art appearing in every possible way.” Both negated the Neo-Wittgensteinians’s proposal to forgo the project of defining art and found the then-new pluralism to be revealing of the essence of art, directing philosophy to art’s nonexhibited infrastructure – beyond the reach of the eye. Across from this, the chapter presents their opposing ideas as revealed through different analyses of the concept of the “artworld”: as an intellectual sphere by Danto versus an institutional one by Dickie. Danto’s internalist/intentionalist ontology begins with the mental and stretches to its embodying material. Opposing it, Dickie’s externalist ontology points to social practices as constituting the artwork, which is attributed with the status of “arthood” by agents in its social sphere. Accordingly, I claim, Danto’s ontology is more versatile than Dickie’s. -/- . (shrink)

This essay presents the Aestheticism of the 19th century as the foundational movement of modernist-formalist aesthetics of the 20th century. The main principle of this movement is what I denominate “productive opacity”. Aestheticism has not been recognized as a philosophical aesthetic theory. However, its definition of artwork as an exclusive kind of form—a deep, opaque form—is among the most precise ever given in the discipline. This essay offers an interpretation of aestheticism as a formalist theory, referred to here as “deep (...) formalism”, focusing on the thinking of leading aestheticists, Walter Pater, Oscar Wilde, and James Whistler. These three thinkers defined artwork as a form saturated with an inextricable content, viz. opaque form. (shrink)

This chapter presents the formalist account of the moral status of an artwork as an aesthetically significant and autonomous form, with due emphasis on the Anglo-American art-for-art’s-sake aesthetic, as it developed between 1870 and 1960. The author shows that the formalist art-is-above-morals approach is a substantive moral stance in itself. Formalist aesthetics is usually presented in the literature as evincing a purist indifference to ethics, construing moral properties as external to art, in opposition to the internal pure properties of art’s (...) composition. The chapter demonstrates that this is a misrepresentation of the complex formalist prescriptive idea of the relations between art and ethics. Through its autonomy and imperviousness to external co-opting—which is accomplished by due focus on aesthetic form—art on the formalist account is held to be a paradigm of the liberalist principles of individual freedom and self-fulfillment, thus an inherent means to the good. (shrink)

Does morality have a procedure? Unlike law, morality is arguably neither posited nor institutional. Thus, while morality undeniably prescribes various procedures, that morality itself has a procedure is less obvious. Indeed, the coexistence of procedural moral norms alongside substantive moral norms might seem paradoxical, given that they often yield contradictory prescriptions. After all, one may wonder, is morality not substantive all the way down? Nevertheless, the paper argues that morality has a “procedural branch” containing numerous norms that are themselves procedural. (...) These norms comprise what we hold are the three hallmarks of a procedural norm: second-orderness, providing reasons on how to engage with other norms, and outcome-neutrality. In this respect, morality is more like law than what one might have expected. (shrink)

This paper proposes to define metaphor as a visual-material structure, the sphere of which is ontological rather than cognitive or conceptual. It argues that the essence of metaphor, as either an aesthetic or a communicative unit or both, resides in the qualitative dimension and appearance, or even materiality, of the metaphorical medium and its form. The paper thus offers a new theory of metaphor, focusing on the medium of metaphor, which composes and transfigures or reconstructs its target anew: a composition (...) that is prior to understanding or conceptualizing the target. In doing so, the paper presents a formalist ontology of metaphors, established via an externalist account of metaphors, as opposed to the prevailing cognitivist-conceptualist account which I characterize as internalist. The various kinds of metaphor – linguistic, poetic, visual or material – are based on their external structure, rather than an internal-conceptual mechanism of understanding, as assumed by a significant segment of the literature. Visual metaphor, therefore, is the paradigmatic kind of metaphor, the analysis of which can be generalized to other kinds of metaphor. Furthermore, the paper tries to overcome the current discrepancy between the formalist character of the metaphorical medium and the dominance of cognitivist and conceptualist theories of metaphor. Challenging these, I claim that if the identity of metaphor is indeed based on its composition, then it is actually based on its aesthetic qualities. That is to say, not only are there autonomous visual or material metaphors, that are not based on linguistic or conceptual ones, but linguistic and conceptual metaphors are based on visuality: they are enabled by the structural possibilities offered by visual media. (shrink)

The paper analyzes the visual aspect of metaphors, offering a new theory of metaphor that characterizes its syntactic structure, material composition and visuality as its essence. It will accordingly present the metaphorical creating or transfiguring, as well as conceiving or understanding, of one thing as a different one, as a visual ability. It is a predication by means of producing non-conventional compositions – i.e., by compositional, or even aesthetic, means. This definition is aimed to apply to the various kinds of (...) metaphors: conceptual, linguistic, visual, and material. It will thus challenge the definition of metaphor as a conceptual or linguistic phenomenon in nature that is based on its semantic mechanism, broad concepts, and cognitive value. Those definitions have been prevalent since the second half of 20th century, under the influence of the philosophy of language, and later of cognitive studies. (shrink)

Risk propagation encompasses a plethora of techniques for analyzing how risk “spreads” in a given system. Albeit commonly used in technical literature, the very notion of risk propagation turns out to be a conceptually imprecise and overloaded one. This might also explain the multitude of modeling solutions that have been proposed in the lit- erature. Having a clear understanding of what exactly risk is, how it be quantified, and in what sense it can be propagated is fundamental for devising high-quality (...) risk assessment and decision-making solutions. In this paper, we exploit a previous well-established work about the nature of risk and related notions with the goal of providing a proper interpre- tation of the different notions of risk propagation, as well as revealing and harmonizing the alternative semantics for the links used in common risk propagation graphs. Finally, we discuss how these results can be leveraged in practice to model risk propagation scenarios. (shrink)

Human Flourishing, Liberal Theory, and the ArtsMAUTNERMENACHEM routledge. 2018. pp. 198. £125.

In view of the current progress of what has been named the ‘visual turn’ or the ‘pictorial turn’,1 it is exciting to witness Sam Rose’s return to early aesthetic formalist-modernism, which was so passionate about the medium, its appearance, and visuality. Rose’s project shares a recent inclination to think anew the advent of aesthetic modernism.2 It is founded on the presumption that visual art ought to be – and actually has always been – theoretically subsumed under one meta-project. This meta-project (...) does not necessarily have a clear telos, but it does have a history. In support of this view, Rose appeals to Stanley Cavell’s claim that ‘only masters of a game, perfect slaves to that project, are in a position to establish conventions which better serve its essence. This is why deep revolutionary changes can result from attempts to conserve a project, to take it back to its idea, keep it in touch with its history’ (p. 155). According to Rose’s post-formalist view, the idea of art’s meta-project is the idea of form. (shrink)

L’objection la plus ancienne et la plus redoutable à la démocratie fait valoir que le gouvernement par le peuple dessert le gouvernement pour le peuple. Les citoyens manquant pour la plupart de sagesse ou de compétence, le bien commun serait mieux assuré en confiant le pouvoir à un individu éclairé ou à une élite experte. Une réponse commune à cette objection concède la prémisse mais affirme la priorité au gouvernement par le peuple sur le gouvernement pour le peuple : le (...) droit égal à la participation devrait l’emporter sur la promotion de la compétence, même si celle-ci est requise par le bon gouvernement. La démocratie se trouve alors réduite à un ensemble de procédures équitables, traitant les citoyens en égaux ; elle ne se définit plus par la poursuite du bien commun. Il est toutefois une autre réponse à l’objection, qui évite cette dérive vers un procéduralisme étroit. Elle consiste à nier la prémisse et à affirmer la sagesse politique du peuple. Il n’est pas vrai que le gouvernement pour le peuple serait mieux assuré en confiant le pouvoir à un petit nombre de sages ou d’experts, fussent-ils les meilleurs parmi les citoyens. Cette thèse remarquable peut paraître improbable. Sa défense peut pourtant s’appuyer sur l’un des arguments les plus intrigants élaborés par la philosophie politique aristotélicienne, qui inspire et éclaire les controverses philosophiques contemporaines sur la valeur du régime démocratique : l’argument de la sagesse de la multitude. (shrink)

In this paper, we carry out a critical analysis of the concept of technology in the current design of the bio-based economy (BBE). Looking at the current status of the BBE, we observe a dominant focus on technological innovation as the principal solution to climatic instability. We take a critical stance towards this “ecomodernist” worldview, addressing its fundamental assumptions, and ofer an underarticulated explanation as to why a successful transition toward a sustainable BBE—i.e. one that fully operates within the (...) Earth’s carrying capacity—has not yet been reached. Bernard Stiegler has developed a philosophical perspective on the concept of economy, broadening it to include the human condition through the notion of desire. This theory can help to obtain a more profound understanding of why ecomodernist strategies are dominant today. Stiegler’s theory of the libidinal economy ofers an analysis of controlled and exploited human desire as a primary driver behind modern techno-economic structures. Our hypothesis is that a critique of contemporary technofxism as a critique of libidinal economy is a necessary step to take in the discussion around the BBE as a concept, if the BBE is ever to bring about a system that can truly operate within the Earth’s carrying capacity. (shrink)

This paper aims to demonstrate the contemporary relevance of Adorno’s thought for business ethicists working in the critical tradition by showing how his critique of modern social life anticipated, and ofers continuing illumination of, recent technological transformations of capitalism. It develops and extrapolates Adorno’s thought regarding three central spheres of modern society, which have seen radical changes in light of recent technological developments: work, in which employee monitoring has become ever more sophisticated and intrusive; leisure consumption, in which the algorithmic (...) developments of the culture industry have paved the way for entertainment products to dominate us; and political discourse, in which social media has exacerbated the anti-democratic tendencies Adorno warned of in the mid-twentieth century. We conclude by presenting, as a rejoinder to these developments, the contours of an Adornian ethics of resistance to the reifcation and dehumanisation of such developments. (shrink)

Climate change is an existential risk reinforced by ordinary actions in afuent societies—often silently present in comfortable and enjoyable habits. This silence is sometimes broken, presenting itself as a nagging reminder of how our habits fuel a catastrophe. As a case in point, global warming has created a state of urgency among wine makers in Spain, as the alcohol level has risen to a point where it jeopardises wine quality and thereby Spanish viticulture. Eforts are currently being made to solve (...) this problem technologically by developing (non-GMO) strains of yeast that produce less alcohol. If successful, this could help save Spanish viticulture. This kind of technological solution is routinely criticised for ofering simplistic “techno-fx” solutions to solve complex societal problems. However, it is not clear what features are criticised by the notion of techno-fx and hence how to avoid this criticism. In our interpretation, the techno-fx notion is not exclusively used as a dismissive term. The notion points to a general virtue of engineering: to create technological solutions that work silently in the background. This asset of technological solutions might sometimes be problematic and sometimes not. Hence, it needs to be analysed case-by-case by paying attention to the moral relevance of the hidden implications of the technology and of the unrefective actions and habits that they facilitate. Such moral analysis will in turn inform strategies for foregrounding this technology to counteract silencing. We discuss what this means in the case of modifying yeast as a viticultural climate resilience strategy. (shrink)

The aim of this paper is to clarify under what conditions a philosophical problem arises. I will describe two ways in which we might perceive a question as a problem. First, when we fnd ourselves inclined to believe in propositions that appear incompatible with each other. Second, when we fnd ourselves inclined to believe in propositions that seem incompatible with our desires. I will discuss both of these cases and articulate a didactic strategy – the Clash Strategy – which can (...) be used in order to plan and facilitate dialogic inquiry in the classroom. This strategy suggests introducing stimuli that will help students appreciate the clash that drives the philosophical question to be explored during the dialogue. In summary, this paper aims to ofer insights to all teachers interested in promoting dialogic inquiry, whether philosophical or otherwise, in education. (shrink)

Datorită impactului său așteptat în economie și societate, a cincea generație de telecomunicații mobile (5G) este una dintre cele mai importante inovații ale timpului nostru. Așteptările cresc cu capacitățile de bandă largă ale 5G, accesibile tuturor și peste tot, la o calitate și fiabilitate mai bune. Dintr-o perspectivă conceptuală, tehnologia 5G promite să ofere latență scăzută, viteză mare și conexiuni mai fiabile la noile generații de sisteme autonome și dispozitive de ultimă generație, acoperind atât comunicațiile masive, cât și cele critice (...) de tip mașină. -/- IT & C, Volumul 1, Numărul 1, Septembrie 2022, pp. 16-22 ISSN 2821 – 8469, ISSN – L 2821 – 8469, DOI: 10.58679/IT51114. (shrink)

În acest eseu evidențiez principalele aspecte psihologice și filosofice desprinse din filmul Solaris regizat de Andrei Tarkovski, precum și tehnicile cinematografice utilizate de regizor pentru a-și transmite mesajele spectatorului. În ”Introducere” prezint pe scurt elementele relevante din biografia lui Tarkovski și o prezentare generală a romanului Solaris a lui Stanislav Lem și filmul Solaris în regia lui Andrei Tarkovsky. În ”Tehnica cinematografică” vorbesc despre ritmul specific al scenelor, mișcarea radicală declanșată de Tarkovsky în cinematografia modernă, rolul elementelor simbolice și iconice, (...) , și afinitățile cu zona fantastică a literaturii ruse. În ”Aspecte psihologice” analizez problema comunicării într-o societate umană a viitorului considerată de Tarkovsky ca rigidă, obsesia casei, și evoluția personală a lui Kris, Hari, și a relațiilor dintre ei. În ”Aspecte filosofice” se analizează filmul prin prisma filosofiei minții (dualismul cartezian, reducționismul și funcționalismul), a problemei identității personale, a teoriei spațiilor heterotopice dezvoltată de Michel Foucault, și interpretările semantice care se pot deduce din film. De asemenea, se analizează problema identității personale prin prisma filosofiei lui Locke. ”Concluziile” expun ideile generale rezultate din acest eseu, respectiv că Tentativele omului de a clasifica și de a păstra forme de interacțiune cu entități necunoscute vor fi întotdeauna condamnate la eșec și vor reflecta o greșeală majoră în lumea panoptică în care trăim. În acest cadru de analiză a filosofiei minții, funcționalismul pare a fi cel mai intuitiv. Solaris este, totuși, un film care începe ca o căutare a răspunsurilor și ajunge să ofere aceste răspunsuri împreună cu o serie de întrebări cu totul diferite. (shrink)

Analiștii se află în domeniul "cunoașterii". Activitatea de informații se referă la cunoaștere și tipurile de probleme abordate sunt probleme de cunoaștere. Așa că avem nevoie de un concept de lucru bazat pe cunoaștere. Avem nevoie de o înțelegere de bază a ceea ce știm și cum știm, ce nu știm, și chiar ce se poate cunoaște și ce nu se poate cunoaște. Analiza informațiilor implică "transformarea faptelor disparate în concluzii concentrate". Analiza ar trebui să ofere o bază utilă pentru (...) conceptualizarea funcțiilor activității de informații, dintre care cele mai importante sunt "estimarea" și "predicția". DOI: 10.13140/RG.2.2.25534.84807. (shrink)

Analiștii se află în domeniul "cunoașterii". Activitatea de informații se referă la cunoaștere și tipurile de probleme abordate sunt probleme de cunoaștere. Așa că avem nevoie de un concept de lucru bazat pe cunoaștere. Avem nevoie de o înțelegere de bază a ceea ce știm și cum știm, ce nu știm, și chiar ce se poate cunoaște și ce nu se poate cunoaște. Analiza informațiilor implică "transformarea faptelor disparate în concluzii concentrate". Analiza ar trebui să ofere o bază utilă pentru (...) conceptualizarea funcțiilor activității de informații, dintre care cele mai importante sunt "estimarea" și "predicția". DOI: 10.13140/RG.2.2.16758.75845. (shrink)

This tenth volume of Collected Papers includes 86 papers in English and Spanish languages comprising 972 pages, written between 2014-2022 by the author alone or in collaboration with the following 105 co-authors (alphabetically ordered) from 26 countries: Abu Sufian, Ali Hassan, Ali Safaa Sadiq, Anirudha Ghosh, Assia Bakali, Atiqe Ur Rahman, Laura Bogdan, Willem K.M. Brauers, Erick González Caballero, Fausto Cavallaro, Gavrilă Calefariu, T. Chalapathi, Victor Christianto, Mihaela Colhon, Sergiu Boris Cononovici, Mamoni Dhar, Irfan Deli, Rebeca Escobar-Jara, Alexandru Gal, N. (...) Gandotra, Sudipta Gayen, Vassilis C. Gerogiannis, Noel Batista Hernández, Hongnian Yu, Hongbo Wang, Mihaiela Iliescu, F. Nirmala Irudayam, Sripati Jha, Darjan Karabašević, T. Katican, Bakhtawar Ali Khan, Hina Khan, Volodymyr Krasnoholovets, R. Kiran Kumar, Manoranjan Kumar Singh, Ranjan Kumar, M. Lathamaheswari, Yasar Mahmood, Nivetha Martin, Adrian Mărgean, Octavian Melinte, Mingcong Deng, Marcel Migdalovici, Monika Moga, Sana Moin, Mohamed Abdel-Basset, Mohamed Elhoseny, Rehab Mohamed, Mohamed Talea, Kalyan Mondal, Muhammad Aslam, Muhammad Aslam Malik, Muhammad Ihsan, Muhammad Naveed Jafar, Muhammad Rayees Ahmad, Muhammad Saeed, Muhammad Saqlain, Muhammad Shabir, Mujahid Abbas, Mumtaz Ali, Radu I. Munteanu, Ghulam Murtaza, Munazza Naz, Tahsin Oner, ‪Gabrijela Popović‬‬‬‬‬, Surapati Pramanik, R. Priya, S.P. Priyadharshini, Midha Qayyum, Quang-Thinh Bui, Shazia Rana, Akbara Rezaei, Jesús Estupiñán Ricardo, Rıdvan Sahin, Saeeda Mirvakili, Said Broumi, A. A. Salama, Flavius Aurelian Sârbu, Ganeshsree Selvachandran, Javid Shabbir, Shio Gai Quek, Son Hoang Le, Florentin Smarandache, Dragiša Stanujkić, S. Sudha, Taha Yasin Ozturk, Zaigham Tahir, The Houw Iong, Ayse Topal, Alptekin Ulutaș, Maikel Yelandi Leyva Vázquez, Rizha Vitania, Luige Vlădăreanu, Victor Vlădăreanu, Ștefan Vlăduțescu, J. Vimala, Dan Valeriu Voinea, Adem Yolcu, Yongfei Feng, Abd El-Nasser H. Zaied, Edmundas Kazimieras Zavadskas.‬‬. (shrink)

În acest volum, autorul prezintă în mod critic modelele teoretice dezvoltate pentru a reprezenta aplicarea şi aplicabilitatea matematicii în ştiinţe şi universul fizic, oferind soluţii constructive care răspund obiecţiilor fundamentale ridicate la aceste modele. Atenţia principală este acordată modelelor structurale, deoarece noţiunea de structură matematică intervine esenţial atât în caracterizarea matematicii pure, cât şi aplicate, iar procesele mentale implică la rândul lor reprezentări de tip structural. Propunerile făcute, atât ca alternative structurale, cât şi prin noile cadre conceptuale şi metodologiile implicite, (...) vor fi analizate inclusiv în vederea posibilităţii unei unificări teoretice, către un model unic al aplicării şi aplicabilităţii matematicii, care să ofere justificarea metateoretică a utilizării matematicii ca metodă ştiinţifică de prim rang şi să contribuie cu aport explicativ la rezolvarea “misterelor” filosofice care înconjoară aplicabilitatea matematicii. -/- Lucrarea completează primul volum, dedicat puzzle-ului lui Wigner privind ‘eficacitatea iraţională a matematicii’ şi soluţiilor oferite la acesta, adresându-se în special – dar nu exclusiv – matematicienilor, fizicienilor, filosofilor ştiinţei, filosofilor limbajului şi epistemologilor, dar şi studenţilor acestor discipline. (shrink)

Tarkovsky a dezvoltat o teorie a cinematografiei pe care a numit-o "sculptarea în timp". Prin aceasta el a vrut să evidențieze caracteristica unică a cinematografiei ca mediu, aceea de aborda experiența noastră despre timp și de a o modifica. Filmul neregulat transcrie timpul în timp real. Folosind filmări lungi și câteva tăieturi în filmele sale, el a urmărit să ofere spectatorilor un sentiment de trecere a timpului, timpul pierdut și relația dintre un moment de timp și altul. El consideră cinematografia (...) ca o reprezentare a curenților distinctivi sau undelor de timp, transmise în film prin ritmul său intern. Ritmul este în centrul "filmului poetic." DOI: 10.13140/RG.2.2.35151.33447. (shrink)