This article integrates John Dewey’s _Art as Experience_, Mikel Dufrenne’s _Phenomenology of Aesthetic Experience_, and phenomenological interviews with museum visitors to answer what it means to be ‘moved by art’. The interviews point to intense affective and existential experiences, in which encounters with art can be genuinely transformative. We focus on Dufrenne’s notion of ‘adherent reflection’ and Dewey’s notions of ‘doing and undergoing’ to understand the intentional structure and dynamics of such experiences, concluding that being moved contains two merged forms (...) of intentionality: one overt aspect of perceptual intentionality directed at the work, and a covert affective intentionality directed back at oneself in one’s situated existence. These are operational simultaneously but can work in loops, one leading to an intensification of the other and vice versa. As such, these analyses emphasize the value of phenomenological interviews and advance the integration of phenomenological and pragmatist thinking in the context of aesthetic experience. (shrink)

Drama is a relatively unexplored tool in academic science education. This paper addresses in what way the use of drama may allow science students to deepen their understanding of recent developments in the emerging and controversial field of neuro-enhancement, by means of a case study approach. First, we emphasise the congruency between drama and science, notably the dramatic dimension of experimental research. Subsequently, we draw on educational literature to elaborate the potential of using drama as a teaching modality, specifically focusing (...) on the ethical and moral dimensions of future techno-scientific innovations. Our case study consisted of a drama experiment as a module in a philosophy course on human enhancement. Twenty-two students from various science disciplines performed multiple roles, as authors, actors, audience and reviewers. Qualitative data were collected on the educational process and student performance during the course, i.e. observations and video recordings of class discussions, group work and plays, interviews and questionnaires. Our drama experiment proved to be effective in enabling students to explore and relate to a future life world affected by enhancement technologies. It allowed them to deepen their awareness of social and ethical implications of neuro-technologies and of the different viewpoints people may have on this issue in academic, professional or everyday settings. Moreover, drama allowed them to develop a reflexive position of their own in the neuro-enhancement debate by enacting a moral dilemma in front of an audience. Our results confirm the potential of drama as a tool for exploring techno-scientific futures in science education. (shrink)

This is an essay on Kant's neglected late tract On a Recently Adopted Prominent Tone in Philosophy (RTP) and Derrida's oblique commentary on this work in his D'un ton apocalyptique adopté naguère en philosophie. The theme of the essay is metaphilosophical and considers issues concerning the nature of critical philosophy, fanaticism (Schwärmerei), and the use of religious tropes in philosophy. I am primarily interested in the ways in which RTP thematises the legitimacy of speaking in an exalted, quasi-religious (...) class='Hi'>tone apropos of the authority of Reason as a self-legitimising capacity in philosophical speech. An important additional reason for taking a closer look at this text is because the late Jacques Derrida (1930–2004) took a great interest in this work of Kant’s and, indeed, emphasised, rightly I think, that despite its prima facie rhetorically charged, polemical nature this work—which might at first be taken to be merely a lampoon—is anything but insignificant in Kant’s œuvre. Derrida’s On a Recently Adopted Apocalyptic Tone in Philosophy, originally published in 1983, is an oblique commentary on Kant’s RTP, and aims to expose to view the alleged hidden underpinnings of Kant’s polemic against exaltation or fanaticism (Schwärmerei) in philosophy. Derrida tries to show that Kant’s appeal for tonal moderation in philosophy, for a measured speech, which should rein in exalted modes of speech, is itself not neutral and rather fundamentally biased against an exalted, quasi-religious, manner of thought. It is evident that, as he himself notes early on in RTP, Kant is predisposed towards a more Aristotelian, academic kind of philosophy, which adopts a “proper” tone or pitch in philosophical debate, but Derrida claims that Kant himself raises his voice precisely in lampooning exalted thinkers. I am particularly interested in the extent to which Derrida’s critique manifests a fundamental misapprehension of the Kantian mode of moderating critique. By expounding this misapprehension, Kant’s own reasons for his philippic against religious or quasi-religious talk in philosophy are foregrounded, thus showing the nature of properly critical thought. At the same time, I shall show how Derrida underestimates the self-reflexivity, and hence properly critical, self-authorising mode of thinking, underlying his own oblique references to the adieu as a trope for quasi-transcendental intentionality towards the so-called ‘Other’. (shrink)

Bullshit is not the only sort of deceptive talk. Spurious definitions are another important variety of bad reasoning. This paper will describe some of these problematic tactics, and show how Harry Frankfurt’s treatment of bullshit may be extended to analyze their underlying causes. Finally, I will deploy this new account of definition to assess whether Frankfurt’s definition of bullshit is itself legitimate.

The chapter studies the speculative realist critique of the notion of finitude and its implications for the theme of the "end of the world" as a teleological and eschatological idea. It is first explained how Quentin Meillassoux proposes to overcome both Kantian and Heideggerian "correlationist" approaches with his speculative thesis of absolute contingency. It is then shown that Meillassoux's speculative materialism also dismantles the close link forged by Kant between the teleological ends of human existence and a teleological notion of (...) the "end of the world." Speculative materialism no longer sees the end of thought, or the end of the thinking human being, as an insurmountable limit of conceivability, but rather as one contingent and possible event among others. This allows us to conceive an "end of all things" in a positive sense with regard to which the old eschatological hope for the end of the present world of injustice and for the emergence of a new world of perfect, "divine" justice becomes meaningful and legitimate in an entirely new sense. (shrink)

Abstract: If anger is the emotion of injustice, and if most injustices have prominent epistemic dimensions, then where is the anger in epistemic injustice? Despite the question my task is not to account for the lack of attention to anger in epistemic injustice discussions. Instead, I argue that a particular texture of transformative anger – a knowing resistant anger – offers marginalized knowers a powerful resource for countering epistemic injustice. I begin by making visible the anger that saturates the silences (...) that epistemic injustices repeatedly manufacture and explain the obvious: silencing practices produce angry experiences. I focus on tone policing and tone vigilance to illustrate the relationship between silencing and angry knowledge management. Next, I use María Lugones’s pluralist account of anger to bring out the epistemic dimensions of knowing resistant anger in a way that also calls attention to their histories and felt textures. The final section draws on feminist scholarship about the transformative power of angry knowledge to suggest how it might serve as a resource for resisting epistemic injustice. (shrink)

Theories of well-being that give an important role to satisfied pro-attitudes need to account for the fact that, intuitively, the scope of possible objects of pro-attitudes seems much wider than the scope of things, states, or events that affect our well-being. Parfit famously illustrated this with his wish that a stranger may recover from an illness: it seems implausible that the stranger’s recovery would constitute a benefit for Parfit. There is no consensus in the literature about how to rule out (...) such well-being-irrelevant pro-attitudes. I argue, first, that there is no distinction in kind between well-being-relevant and irrelevant pro-attitudes. Instead, well-being-irrelevant pro-attitudes are the limiting cases on the scale measuring how much of a difference pro-attitudes make to the subject’s well-being. Second, I propose a particular scalar model according to which the well-being-relevance of pro-attitudes is measured by either their hedonic tone, or by the subject’s conative commitment. (shrink)

I begin by defending Heinrich Gustav Hotho’s foundational edition of the Lectures on Aesthetics (LA), contra Gethmann-Siebert. In doing so, I also defend Hegel against the common conceit that his comprehension of music was somehow deficient. Reference to Kant’s transcendental aesthetics then allows us to grasp how, in Hegel, meaningful tones arise from the vibratory oscillation between selfhood’s presiding unity and its temporal ideality or self-positing. Further elements of musical architecture, e.g., rhythm, harmony and melody can likewise be traced back (...) to temporal oscillation. Indeterminate meaning arises through beautiful music’s absolute Ur-Ton, which resonates into the soul of the listener. The temporal vanishing of musical tones is a pre-linguistic expression of meaningfulness itself, and its ambiguous oscillation between the human and the divine. -/- . (shrink)

In this chapter I give an account of how our judgments of anger often play out in certain political instances. While contemporary philosophers of emotion have provided us with check box guides like “fittingness” and “size” for evaluating anger, I will argue that these guides do not by themselves help us escape the tendency to mark or unmark the boxes selectively, inconsistently, and erroneously. If anger—particularly anger in a political context—can provide information and spark positive change or political destruction, then (...) we have moral reasons to evaluate it properly. But can we? And what are the limitations and errors we often face when evaluating anger? -/- I will begin by laying out the ways in which we evaluate emotions and the moral and epistemic errors we attribute to the angry agent in judgments of disapproval. Then I attempt to answer the question: How do we judge political anger improperly? An improper evaluation, in my view, does not take into account relevant information that is needed to evaluate the anger. An overly generous, uninformed, biased, or selfish process of evaluation produces an improper evaluation. We see this occur when we immediately evaluate anger. I will also identify two social discursive practices of improper evaluation as well as the moral and epistemic errors committed when anger evaluators participate in these practices. (shrink)

Many scholars claim that Frege's theory of colouring is committed to a radical form of subjectivism or emotivism. Some other scholars claim that Frege's concept of colouring is a precursor to Grice's notion of conventional implicature. I argue that both of these claims are mistaken. Finally, I propose a taxonomy of Fregean colourings: for Frege, there are purely aesthetic colourings, communicative colourings or hints, non-communicative colourings.

In this article I argue that the strong fascination that Wittgenstein has had for artists cannot be explained primarily by the content of his work, and in particular not by his sporadic observation on aesthetics, but rather by stylistic features of his work formal aspects of his writing. Edoardo Paolozzi’s testimony shows that artists often had a feeling of acquaintance or familiarity with the philosopher, which I think is due to stylistic features of his work, such as the colloquial (...) class='Hi'>tone in which Wittgenstein shares his observation with the reader, but also the lack of long-winded arguments or explanations. In the concluding part I suggest that we can read Wittgenstein’s artworks of a specific kind: as philosophical works of art. (shrink)

The words we call slurs are just plain vanilla descriptions like ‘cowboy’ and ‘coat hanger’. They don't semantically convey any disparagement of their referents, whether as content, conventional implicature, presupposition, “coloring” or mode of presentation. What distinguishes 'kraut' and 'German' is metadata rather than meaning: the former is the conventional description for Germans among Germanophobes when they are speaking in that capacity, in the same way 'mad' is the conventional expression that some teenagers use as an intensifier when they’re emphasizing (...) that social identity. That is, racists don’t use slurs because they’re derogatory; slurs are derogatory because they’re the words that racists use. To use a slur is to exploit the Maxim of Manner (or Levinson’s M-Principle) to signal one’s affiliation with a group that has a disparaging attitude towards the slur’s referent. This account is sufficient to explain all the familiar properties of slurs, such as their speaker orientation and “nondetachability,” with no need of additional linguistic mechanisms. It also explains some features of slurs that are rarely if ever explored; for example the variation in tone and strength among the different slurs for a particular group, the existence of words we count as slurs, such as 'redskin', which almost all of their users consider to be respectful, and the curious absence in Standard English of any commonly used slurs—by which I mean words used to express a negative attitude toward an entire group—for Muslims and women. (shrink)

Atheists are frequently demonized as arrogant intellectuals, antagonistic to religion, devoid of moral sentiments, advocates of an "anything goes" lifestyle. Now, in this revealing volume, nineteen leading philosophers open a window on the inner life of atheism, shattering these common stereotypes as they reveal how they came to turn away from religious belief. These highly engaging personal essays capture the marvelous diversity to be found among atheists, providing a portrait that will surprise most readers. Many of the authors, for example, (...) express great affection for particular religious traditions, even as they explain why they cannot, in good conscience, embrace them. None of the contributors dismiss religious belief as stupid or primitive, and several even express regret that they cannot, or can no longer, believe. Perhaps more important, in these reflective pieces, they offer fresh insight into some of the oldest and most difficult problems facing the human mind and spirit. For instance, if God is dead, is everything permitted? Philosophers without Gods demonstrates convincingly, with arguments that date back to Plato, that morality is independent of the existence of God. Indeed, every writer in this volume adamantly affirms the objectivity of right and wrong. Moreover, they contend that secular life can provide rewards as great and as rich as religious life. A naturalistic understanding of the human condition presents a set of challenges--to pursue our goals without illusions, to act morally without hope of reward--challenges that can impart a lasting value to finite and fragile human lives. Collectively, these essays highlight the richness of atheistic belief--not only as a valid alternative to religion, but as a profoundly fulfilling and moral way of life. "This Atheists R Us compilation differs markedly in tone from Hitchens and Dawkins. Excellent fare for Christian small groups whose members are genuinely interested in the arguments raised by atheists." --Christianity Today "Readable, personal, and provocative.... Contrary to the popular image, atheism isn't all rebellious trumpets and defiant drums.... Here we have all the varieties of unreligious experience, a full symphony of unbelief." --Free Inquiry "Compelling and sophisticated arguments that religious people ought to confront." --Tikkun. (shrink)

Slurs’ meaning is highly unstable. A slurring utterance like ‘Hey, F, where have you been?’ (where F is a slur) may receive a wide array of interpretations depending on various contextual factors such as the speaker’s social identity, their relationship to the target group, tone of voice, and more. Standard semantic, pragmatic, and non-content theories of slurs have proposed different mechanisms to account for some or all types of variability observed, but without providing a unified framework that allows us (...) to understand how different contextual factors simultaneously influence slurs’ interpretation. To address this issue, I argue that slurs convey dimensional qualities such as, e.g., ‘negative valence, neutral arousal, high dominance’ instead of discrete emotional categories such as ‘contempt’. Then, I translate this hypothesis into a game-theoretic model of slurs’ interpretation inspired by Heather Burnett’s pioneering work on identity construction. This new model, called ‘Affective Meaning Games’ (AMG), captures the variability of slurs and integrates pragmatic reasoning within an independently motivated psychological understanding of emotional states. (shrink)

When blame is understood to be emotion-based or affective, its emotional tone is standardly identified as one of anger. We argue that this conception of affective blame is overly restrictive. By attending to cases of blame that emerge against a background of a particular kind of hope invested in others, we identify a blaming response characterized not by anger but by sadness: reactive disappointment. We develop an account of reactive disappointment as affective blame, maintaining that while angry blame and (...) disappointed blame are both condemnatory responses, they have distinct evaluative foci and occupy different but complementary roles in our accountability practices. (shrink)

This essay highlights a methodological weakness in Foucault’s genealogy of neoliberalism often mistaken for a biographical shift in his philosophy. Naissance de la biopolitique is sometimes interpreted as evidence for Foucault’s conversion to neoliberalism, whereas its lack of critical acuity stems rather from its methodological limitations. Through a discussion of the “neoliberal conversion”-thesis, I highlight those limitations. Though Foucault’s appreciative tone in his neoliberalism lectures is surprising, his aim is mainly to defamiliarize readers from the dominant mode of neoliberal (...) rationality so that they can affirm the creative potential to foster new conducts, new identities, and new rationalities. Foucault did not convert to neoliberalism, but sought to destabilise it by revealing its historical contingency. However, as Foucault’s surprisingly positive tone shows, this strategy is insufficient for combatting neoliberalism. There is an elective affinity between Foucault’s own politics of creative self-reinvention and neoliberalism’s promise of a non-invasive, post-disciplinary government by indirect economic incentives alone. Foucault’s libertine stance toward subjectivity hence seems easily integrated into a neoliberal conduct of conducts. I propose to supplement Foucault’s genealogical method as he deploys it in Naissance de la biopolitique with an immanent critique of neoliberalism from the perspective of the governed. Rather than investigating neoliberal rationality as a promising endeavour for the future, we can study the real-life implementations of neoliberalism and their effects on subjective conducts. Neoliberal rationality is involved in a permanent struggle to shape the conduct of conducts along entrepreneurial and competitive lines, but subjects are refractory living beings whose conducts are not so simply transformed. Neoliberalism has had to give up its post-disciplinary aspirations and turn to the power of discipline and abandonment to enforce neoliberal norms of conduct. Neoliberalism has transformed into a negative biopolitics that sacrifices the lives of unproductive subjects as collateral damage to the overall welfare of the population. Immanent critique thereby reveals how subjects are pushed beyond their limits until neoliberal norms of conduct become unbearable. This intolerability of neoliberalism cannot be directly deduced from the writings of Becker, Friedman, or Hayek.111 It becomes manifest in the confrontation between neoliberal rationality and the material living bodies of finite human beings unable to be stretched in the ways neoliberalism requires. (shrink)

In his note 'Paul Russell on Hume's "Reconciling Project"' {Mind, 1984, pp. 587-8) Professor Flew makes two criticisms of my note 'On the Naturalism of Hume's "Reconciling Project"' {Mind, 1983, pp. 593-600). They are: (1) that 'nowhere does Russell take note of the fact that Hume left us two treatments "Of Liberty and Necessity", two treatments which are at least in emphases andtone of presentation very different'; and (2) that I must be 'prepared to offer and to defend some alternative (...) reading' of the first three paragraphs of the first Enquiry discussion 'Of Liberty and Necessity' where Hume suggests that 'the wholecontroversy has hitherto turned merely upon words' {EHU, p. 81—my emphasis: this and later page references are to the Selby-Bigge editions). As regards the first criticism, I refer the reader to my second footnote where I do in fact, quite explicitly, note that Hume left us two treatments 'Of Liberty and Necessity'. In this footnote I point out that my description of Hume's arguments as compattbtltst arguments 'accords somewhat more with the "reconciling" spirit of the Enquiry than with that of the Treatise where Hume tends to identify liberty with liberty of indifference' (p. 593). Obviously in any discussion note there is limited space, and therefore I could not discuss at length complexities which were not of immediate relevance to my alternative interpretation. However, contrary to what Flew claims, I do mention that there are two treatments and that they differ in emphases and tone. (shrink)

In our everyday interactions we easily and effortlessly perceive emotions in others’ facial expressions and bodily behavior. How do we do that? Philosophers and psychologists have long argued about the fundamentals of emotion perception and the debate is far from settled. While some insist on the sufficiency of the morphological information contained in facial expressions, others construe the objects of emotion perception as more complex, comprising multimodal information such as touch, tone of voice, body postures, and so on. Others, (...) in turn, have gone so far as to deny that there is a pre-given object in emotion perception in the first place, so that processes of emotion perception must be conceptualized as emergent and co-constructed phenomena in contexts of social interaction. The purpose of this paper is to argue that John Dewey’s pragmatist theory of emotions can help us make significant theoretical advancements in the understanding of emotion perception, according to which emotions are coordinated modes of behavior that we enact with others in the contexts of social interactions. In this picture, perceiving emotions is a matter of participating in a joint activity of socio- affective coordination. This theory allows us to apprehend important insights about emotion perception that appear in these contemporary debates, while at the same time avoiding their pitfalls. (shrink)

It is often held that people have a moral right to believe and say whatever they want. For instance, one might claim that they have a right to believe racist things as long as they keep those thoughts to themselves. Or, one might claim that they have a right to pursue any philosophical question they want as long as they do so with a civil tone. In this paper I object to those claims and argue that no one has (...) such unlimited moral rights. In Part 1 I explore the value of the freedoms of thought and expression. In Part 2 I argue against the unlimited moral right to free expression, focusing in particular on the special obligations and moral constraints that obtain for academics. In Part 3 I argue against the unlimited moral right to free thought. (shrink)

(For English, scroll down) Der Text präsentiert drei miteinander verbundene Thesen. (1) Philosophie der Musik modifiziert philosophische Grundbegriffe. (2) Eine gemeinsame Eigenschaft in der Vielfalt der Musikformen liegt im Effekt einer Wahrnehmungsveränderung: oft subtil, unterschwellig und zuweilen als ekstatisch erlebte Selbst- und Welt-Transformation. (3) Strenggenommen nehmen wir nicht Töne wahr, sondern a) unsere Hör-Physiologie wandelt Schwingungsfrequenzen ab circa 18 Hz in Tonhöhen um und damit Zeit-Organisation in ein Raum-Äquivalent. (Musik mit tiefen Tönen an der Grenze zur Wahrnehmung, etwa mittels großer (...) Orgelpfeifen in Kathedralen oder Ton-Anlagen in Nachtclubs, inszeniert genau diesen physiologischen Umschlag, mit potentiellen Transzendenz-Effekten.) b) Wir nehmen einfache Frequenzverhältnisse wie 1:2, 2:3 etc. als (relativ) konsonant wahr, komplexere Verhältnisse als (relativ) dissonant. Die Folge: c) Musikhören verbindet uns mit physikalischem Verhalten von Materie, einschließlich unserer selbst. Hierin gründen rare, musikalisch herausgehobene Eindrücke von Erkenntnis und Enthüllung: das Universum betreffend und unsere Stellung in ihm. -/- The text presents three related claims. (1) Music as a topic of philosophy alters key philosophical concepts; (2) In spite of their vast cultural, historical and contextual differences, all forms of music share the effect of a transformation of perception: ranging from subtle and subliminal to the (rare) experience of ecstatic world- and self-transformations; (3) Strictly speaking, we do not perceive sounds. Rather, a) our hearing-physiology translates frequencies (impulses) of more than 18 Hz into pitch and thus temporal events into quasi-spatial perceptions. Compositions containing very deep sounds (e.g. in cathedrals or in night-clubs) stage exactly this physiological conversion: with potentially ‘transcendence’-like effects. b) We hear simple frequency-ratios such as 1:2, 2:3, 3:4 etc. as (relative) consonances and more complex ones as (relative) dissonances. Thus, c) musical compositions make laws of physical behaviour of matter affectively perceptible. This allows for the occasional impression of musical revelations: regarding the universe, its laws, and our place in it. -/- . (shrink)

The unpleasantness of pain motivates action. Hence many philosophers have doubted that it can be accounted for purely in terms of pain’s possession of indicative representational content. Instead, they have explained it in terms of subjects’ inclinations to stop their pains, or in terms of pain’s imperative content. I claim that such “noncognitivist” accounts fail to accommodate unpleasant pain’s reason-giving force. What is needed, I argue, is a view on which pains are unpleasant, motivate, and provide reasons in virtue of (...) possessing content that is indeed indicative, but also, crucially, evaluative. (shrink)

Music and language are universal human abilities with many apparent similarities relating to their acoustics, structure, and frequent use in social situations. We might therefore expect them to be understood and processed similarly, and indeed an emerging body of research suggests that this is the case. But the focus has historically been on the individual, looking at the passive listener or the isolated speaker or performer, even though social interaction is the primary site of use for both domains. Nonetheless, an (...) important goal of emerging research is to compare music and language in terms of acoustics and structure, social interaction, and functional origins to develop parallel accounts across the two domains. Indeed, a central aim of both of evolutionary musicology and language evolution research is to understand the adaptive significance or functional origin of human music and language. An influential proposal to emerge in recent years has been referred to as the social bonding hypothesis. Here, within a comparative approach to animal communication systems, I review empirical studies in support of the social bonding hypothesis in humans, non-human primates, songbirds, and various other mammals. In support of this hypothesis, I review six research fields: (i) the functional origins of music; (ii) the functional origins of language; (iii) mechanisms of social synchrony for human social bonding; (iv) language and social bonding in humans; (v) music and social bonding in humans; and (vi) pitch, tone and emotional expression in human speech and music. I conclude that the comparative study of complex vocalizations and behaviors in various extant species can provide important insights into the adaptive function(s) of these traits in these species, as well as offer evidence-based speculations for the existence of “musilanguage” in our primate ancestors, and thus inform our understanding of the biology and evolution of human music and language. (shrink)

What is the phenomenology of hope? A common view is that hope has a generally positive and pleasant affective tone. This rosy depiction, however, has recently been challenged. Certain hopes, it has been objected, are such that they are either entirely negative in valence or neutral in tone. In this paper, I argue that this challenge has only limited success. In particular, I show that it only applies to one sense of hope but leaves another sense—one that is (...) implicitly but widely employed in the hope literature—untouched. Moreover, I argue that hope construed in this latter sense is inherently positively valenced. The paper concludes by discussing some of the implications of this defense of hope's positive phenomenology, including the ontological question of whether hope is an emotion. (shrink)

To study conscious experience we must, to some extent, trust introspective reports; yet introspective reports often do not merit our trust. A century ago, E.B. Titchener advocated extensive introspective training as a means of resolving this difficulty. He describes many of his training techniques in his four-volume laboratory manual of 1901- 1905. This paper explores Titchener's laboratory manual with an eye to general questions about the prospects of introspective training for contemporary consciousness studies, with a focus on the following examples: (...) introspective knowledge of the combination tones that arise when a musical interval is played; the 'flight of colours' in the afterimage of a field of bright, broad- spectrum light; and the possibility of non-obvious visual illusions. Introspective training appears to have some merit, but also to involve significant hazards. (shrink)

Counterfactual thinking—the capacity to reflect on what would, could, or should have been if events had transpired differently—is a pervasive, yet seemingly paradoxical human tendency. On the one hand, counterfactual thoughts can be comforting and inspiring (Carroll & Shepperd, Chapter 28), but on the other they can be anxiety provoking and depressing (Zeelenberg & Pieters, Chapter 27). Likewise, such thoughts can illuminate pathways toward better future outcomes (Wong, Galinsky, & Kray, Chapter 11), yet they can also promote confusion and lead (...) us astray (Sanna, Schwarz, & Kennedy, Chapter 13). The first part of this chapter focuses on work that supports the prevailing Zeitgeist in the counterfactual thinking literature: Counterfactual thinking is beneficial. The second part of the chapter, however, strikes a more cautionary tone by reviewing work that describes some deleterious consequences of counterfactual thinking. We conclude by offering a tentative reconciliation of these conflicting perspectives and suggesting directions for future research. (shrink)

Can a basic sensory property like a bare colour or tone be beautiful? Some, like Kant, say no. But Heidegger suggests, plausibly, that colours ‘glow’ and tones ‘sing’ in artworks. These claims can be productively synthesized: ‘glowing’ colours are not beautiful; but they are sensory forces—not mere ‘matter’, contra Kant—with real aesthetic impact. To the extent that it inheres in sensible properties, beauty is plausibly restricted to structures of sensory force. Kant correspondingly misrepresents the relation of beautiful wholes to (...) their parts. Beautiful form is not extrinsic to sensory force. Sensible beauty is just the holistic impact of agonistically-interacting sensory forces. When sensory forces interact hierarchically, their collective impact is closer to the sublime, in quality if not degree. The simplest sensory experience of sublimity is just the impact of radically intensified sensory forces, similar in kind if not degree to the individual ‘singing’ tones in a beautiful melody. (shrink)

Fear, anger and hopelessness were the most frequent traumatic emotional responses in the general public during the first stage of outbreak of the COVID-19 epidemic in the Czech Republic (N = 1,000). The four most frequent categories of fear were determined: (a) fear of the negative impact on household finances, (b) fear of the negative impact on the household finances of significant others, (c) fear of the unavailability of health care, and (d) fear of an insufficient food supply. The pessimistic (...) communications used by the Czech mass media contributed to intensifying traumatic feelings, fears and psychological distress in the general public during the outbreak of the COVID-19 epidemic. The anxious emotional tone of the messages and the presentation of selectively chosen “bad ending stories” contributed to the psychological traumatization of the Czech population. This form of communication was motivated by an effort to reach the broadest audience possible. Older adults were the most affected part of the population because of their isolation and their very limited opportunity to share their worries and emotions with others. The communication used by the Czech mass media during the outbreak of the COVID-19 epidemic is a representative example of a traumatizing form of media communication during an epidemic. (shrink)

This paper suggests that it is largely a want of notional distinctions which fosters the “explanatory gap” that has beset the study of consciousness since T. Nagel’s revival of the topic. Modifying Ned Block’s controversial claim that we should countenance a “phenomenal-consciousness” which exists in its own right, we argue that there is a way to recuperate the intuitions he appeals to without engaging in an onerous reification of the facet in question. By renewing with the full type/token/tone trichotomy (...) developed by C. S. Peirce, we think the distinctness Block calls attention to can be seen as stemming not from any separate module lurking within the mind, but rather from our ability to prescind qualities from occurrences. (shrink)

What kinds of mental states can be based on epistemic reasons? The standard answer is only beliefs. I argue that perceptual states can also be based on reasons, as the result of crossmodal interactions. A perceptual state from one modality can provide a reason on which an experience in another modality is based. My argument identifies key markers of the basing relation and locates them in the crossmodal Marimba Illusion (Schutz & Kubovy 2009). The subject’s auditory experience of musical (...) class='Hi'>tone duration is based on the reason provided by her visual representation of the length of the musician’s gesture and other stored perceptual principles. (shrink)

Consider a perceptual activity such as seeing a colour, hearing a tone, tasting a flavour. How are these activities related to one’s awareness of them? I will use Brentano’s struggle with this question to guide the reader through the development of his view on consciousness. My starting point will be Brentano’s book Die Psychologie des Aristoteles (Brentano 1867), in which he developed an inner sense view of consciousness (§§1-2). Brentano’s early view is underexplored in the literature, but crucial for (...) understanding the development of his thought on the matter. In his major work Psychologie vom Empirischen Standpunkt (1874) he rejected the existence of an inner sense: the exercises of our five senses yield awareness of the world (or at least of intentional objects) as well as awareness of these perceptions. This same-level view of consciousness has been explored and developed by contemporary philosophers of mind. I will discuss the arguments that moved Brentano to change his mind, outline the view and, finally, respond to Husserl’s influential criticism of Brentano’s view (§§3-5). (shrink)

The style, tone and tenor of the New Testament writers are unique and exceptional. Jesus of Nazareth, Hebraic roots, Old Testament literature, oral tradition, Hellenistic influence, Roman governance, 1st century socio-politics, and multifarious linguistic elements combined to immortalize their literary records and make them indelible in the minds of contemplative readers. This book acknowledges previous work and seeks to connect the thoughts gleaned from them to seminal ideas that have their locus in the inquiry of how language can influence (...) thought and vice-versa. The information has been sourced from the fields of religion, biblical studies, linguistics, English literature, grammar learning, geo-politics, philology, psychology, philosophy, and artificial intelligence as they have to do with thought, language, and society. The carefully quoted and paraphrased opinions of writers from the related disciplines since the fourth century BCE are presented here. However, the volume reflects the very marked influence of 20th century thinkers who have had the benefit of perusing the work of their predecessors and 21st century pioneers who have at their disposal ultra-modern technology, computing power, and easy access to a global community to which the ideas may be applied for comparative analysis. (shrink)

Luck egalitarians think that considerations of responsibility can excuse departures from strict equality. However critics argue that allowing responsibility to play this role has objectionably harsh consequences. Luck egalitarians usually respond either by explaining why that harshness is not excessive, or by identifying allegedly legitimate exclusions from the default responsibility-tracking rule to tone down that harshness. And in response, critics respectively deny that this harshness is not excessive, or they argue that those exclusions would be ineffective or lacking in (...) justification. Rather than taking sides, after criticizing both positions I also argue that this way of carrying on the debate – i.e. as a debate about whether the harsh demands of responsibility outweigh other considerations, and about whether exclusions to responsibility-tracking would be effective and/or justified – is deeply problematic. On my account, the demands of responsibility do not – in fact, they can not – conflict with the demands of other normative considerations, because responsibility only provides a formal structure within which those other considerations determine how people may be treated, but it does not generate its own practical demands. (shrink)

Recent years have witnessed an increase in bear sightings in Latvia, causing a change of tone in the country’s media outlets, regarding the return of “wild” animals. The unease around bear reappearance leads me to investigate the affective side of relations with beings that show strength and resilience in more-than-human encounters in human-inhabited spaces. These relations are characterized by the contrasting human feelings of alienation vis-à-vis their environments today and a false sense of security, resulting in disbelief to encounter (...) beings capable of challenging human exceptionalism. In a broader sense, the unease connects to human self-constitution and the fragility of the self, fueled by the domination of substance ontologies. This article considers bears as beings “in exile,” as potential threats to human self-pronounced exceptionality, and thus, examples of experienced abject regarding human subjectivity. The article aims to analyze the way the constitution of human selfhood is tied to the alienation of wildlife and its genealogical and biopolitical context and to question if a reconceptualization of the human/nonhuman relations via process, instead of substance ontology, is needed. (shrink)

The theory of Gestalt qualities arose from the attempt to explain how a melody is distinct from the collection of the tones which it comprehends. In this essay from 1890 Christian von Ehrenfels coined the term 'Gestaltqualität' to capture the idea of a pattern which is comprehensible in a single experience. This idea can be applied not only to melodies and other occurrent patterns, but also to continuant patterns such as shapes and colour arrays such as the array of a (...) chess board. Ehrenfel's essay gave birth to the Gestalt movement in psychology. (shrink)

Vocal fry is a phonation, or voicing, in which an individual drops their voice below its natural register and consequently emits a low, growly, creaky tone of voice. Media outlets have widely acknowledged it as a generational vocal style characteristic of millennial women. Critics of vocal fry often claim that it is an exclusively female vocal pattern, and some say that the voicing is so distracting that they cannot understand what is being said under the phonation. Claiming that a (...) phonation is so distracting as to prevent uptake of the semantic content of an utterance associated with it is an extreme reaction, especially when accompanied by demands for women to change their phonation. We argue that this reaction limits women's communicative autonomy. We analyze the extreme reaction to female vocal fry, which we characterize as a non-content-based response, from the perspectives of philosophy of language, feminist epistemology, and linguistics. We argue that when fry is heard as annoying and distracting, it is because the hearer interprets the speaker as echoing an utterance from a position of authority to which she is not entitled. We show that this reaction encodes conscious or unconscious sexist attitudes toward women's voices. (shrink)

A lot of qualitatively very different sensations can be pleasant or unpleasant. The Felt-Quality Views that conceive of sensory affect as having an introspectively available common phenomenology or qualitative character face the “heterogeneity problem” of specifying what that qualitative common phenomenology is. In contrast, according to the Attitudinal Views, what is common to all pleasant or unpleasant sensations is that they are all “wanted” or “unwanted” in a certain sort of way. The commonality is explained not on the basis of (...) phenomenology but by a common mental, usually some sort of conative, attitude toward the sensation. Here I criticize both views and offer an alternative framework that combines what is right in both while avoiding their unintuitive commitments. The result is the reductive (psychofunctionalist) adverbial sensory modification view of pleasure and displeasure. (shrink)

A teacher controls the release of materials in attempt to get students to appreciate the appeal of a popular yet wrongheaded argument before exposing them to its shortcomings. An instructor uses body language, tone of voice, and images in a Power-Point presentation that appeal to non-deliberative mechanisms in order to influence the students to pay more attention, maintain their focus, or to remember the content better. How do we draw the line between such innocuous educational practices and problematic manipulation, (...) such as deterring students from questioning certain views by instilling fear or shame? I help answering this question by illuminating one significant danger, which hasn’t been accurately identified in the relevant literature: the danger that manipulations in education—even when they’re non-deceptive and aim for the good of the students—will hinder the development or fulfillment of the students’ deliberative projects. (shrink)

Ethical beliefs are not justified by familiar methods. We do not directly sense ethical properties, at least not in the straightforward way we sense colors or shapes. Nor is it plausible to think – despite a tradition claiming otherwise – that there are self-evident ethical truths that we can know in the way we know conceptual or mathematical truths. Yet, if we are justified in believing anything, we are justified in believing various ethical propositions e.g., that slavery is wrong. If (...) ethical beliefs are not justified in these familiar ways, how are they justified? -/- In her widely read, “Modern Moral Philosophy,” and in her short complimentary paper, “On Brute Facts,” G.E.M. Anscombe answers this question with a compelling and unorthodox account of justification in ethics. Because of her polemical tone and because “Modern Moral Philosophy” does so much else besides, this contribution is easy to overlook. But her account is worth taking seriously, since (a) it is an underappreciated yet plausible account that sidesteps traditional controversies, (b) it offers rich conceptual tools for interpreting and critiquing ethical theories, (c) it suggests an appealing account of the place of ethical theory in ethical knowledge and, (d) it provides useful guidance for doing applied ethics. (shrink)

In the light of Philipp Sarasin's work in Darwin und Foucault: Genealogie und Geschichte im Zeitalter der Biologie, the article delineates a genealogically articulated naturally produced culture and a cultured nature and discusses the genealogical implications of a carnal, becoming self in a world that could rightly be justified "as an aesthetical phenomenon." The article demonstrates the historicity and processual materiality as a conceptual platform for a combination of the notions of experienced carnality and a socially constructed body, demonstrating such (...) a historically embedded carnal body as a binding agent for the "social constructivist" and "biologist" approaches in sciences. Thus, the article builds a framework for the articulation of senseful, processual materiality on the backdrop of a nature-culture continuum via genealogy, suggesting the necessity for change of tone in the communication of human and life sciences via the understanding of a culturally endowed biology. (shrink)

Hermann von Helmholtz (1821-1894) established results both controversial and enduring: analysis of mixed colors and of combination tones, arguments against nativism, and the analysis of sensation and perception using the techniques of natural science. The paper focuses on Helmholtz’s account of sensation, perception, and representation via “physiological psychology”. Helmholtz emphasized that external stimuli of sensations are causes, and sensations are their effects, and he had a practical and naturalist orientation toward the analysis of phenomenal experience. However, he argued as well (...) that sensation must be interpreted to yield representation, and that representation is geared toward objective representation (the central thesis of contemporary intentionalism). The interpretation of sensation is based on “facts” revealed in experiment, but extends to the analysis of the quantitative, causal relationships between stimuli and responses. A key question for Helmholtz’s theory is the extent to which mental operations are to be ascribed a role in interpreting sensation. (shrink)

[Author's note: although this paper is written in Korean, it is archived here in the hope of bringing it to the attention of a wider audience including scholars of pragmatics and of Korean linguistics.] Recently, Korean linguists and philosophers of language have engaged in discussions on the meaning and usage of the Korean determiner ‘uri’ as in such phrases as ‘uri manura [our wife]’ which might seem strange given the monogamous marital institution of Korea. The aim of this paper is (...) to provide a new interpretation of such expressions as ‘uri manura’. To that end, various proposals concerning the meaning and usage of the determiner ‘uri’ in those expressions will be critically examined first. Then it will be argued that ‘uri manura’ is a polite form of ‘nae manura [my wife]’ and is used when one needs, or wants, to speak in a polite tone in deference to the hearer or the wider audience. The upshot will be that the ubiquitous use of ‘uri’ in Korean is not due to the collectivist nature of the Korean society, as has often been claimed, but rather results from the linguistic embodiment of the Confucian tradition in Korea that values courteous words and behavior. (shrink)

Bergson identifies multiple forms of memory throughout his work. In Matter and Memory, Bergson considers memory from the perspectives of both psychology and metaphysics, and he describes what we might refer to as contraction memory, perception memory, habit memory, recollection memory, and pure memory. Further, in subsequent works, Bergson discusses at least two additional forms of memory – namely, a memory of the present and a non-intellectual memory of the will. However, it is often not clear how these different forms (...) of memory relate to one another. With the aim of providing an overview of Bergson's philosophy of memory that can also serve as a point of entry to his philosophy as a whole, this article explores the different senses and forms of memory that Bergson describes, paying special attention to how they are distinct from one another and how they are unified. It is my intention to show that, although these various senses and forms of memory are different from one another , they are also continuous and unified insofar as they are equivalent to different tones of one's mental life and to different tensions of one duration. (shrink)

The ancient Greeks already used to give ethnic names to their different scales, and observations on differences in music of the various nations always raised the interest of musicians and philosophers. Yet, it was only in the late nineteenth century that “comparative musicology” became an institutional science. An important role in this process was played by Carl Stumpf, a former pupil of Brentano’s who pioneered these researches in Berlin. Stumpf founded the Phonogrammarchiv to collect recordings of folk and extra-European music (...) and a dedicated journal, the Sammelbände für vergleichende Musikwissenschaft. Gifted in the field of science no less than in that of musicology, Stumpf developed an empirically-oriented approach to phenomenology, deeply divergent from Husserl’s and highly influential over the Berlin school of Gestalt psychology. A self-declared “outsider” among armchair philosophers, Stumpf experimentally investigated the perception of sounds and the origins of musical consonance. Developing the physiological studies of Ernst Weber on the sense of touch, Stumpf discovered that two sensations of tone, given at the same time, tend to mix in a certain degree. Musical consonance – he claimed – lays in this level of “tonal fusion”, not in the allegedly “natural” series of the harmonic partials of a vibrating chord, as suggested by the naturalists of all times from Pythagoras to Stumpf’s great contemporary Hermann Helmholtz. Accordingly, no musical system can claim for preponderance over the others: Stumpf’s researches in comparative musicology served to corroborate his theses on “tonal fusion” and the psychological foundations of consonance. Although Stumpf later revised and finally abandoned this theory, its permanent value lays in its opposition to dominant naturalistic approaches. The commitment for comparative musicology at the Berlin School is then no concession to a positivistic fashion for exoticism. The fundamentally Eurocentric stance of naturalistic theories of music is also fiercely contrasted by Stumpf’s pupil Erich Hornbostel, who suggests that music ought to be considered as culture, rather than as nature, and focuses attention on the eventually melting human cultures. The Berlin school flourished until the Nazis forced most of its exponents to emigration and, for tragically obvious reasons, heavily discouraged researches on these topics. (shrink)

The tradition of realist phenomenology was founded in around 1902 by a group of students in Munich interested in the newly published Logical Investigations of Edmund Husserl. Initial members of the group included Johannes Daubert, Alexander Pfänder, Adolf Reinach and Max Scheler. With Reinach’s move to Göttingen the group acquired two new prominent members – Edith Stein and Roman Ingarden. The group’s method turned on Husserl’s idea that we are in possession a priori (which is to say: non-inductive) knowledge of (...) entities (for example, colors, tones, values, shapes) of a range of different sorts. Pfänder applied this method in his descriptive psychology of willing and motivation, Reinach (anticipating the later speech act theory) to what he called ‘social acts’, Stein to the ontology of communities, and Ingarden to works of art and aesthetic phenomena. The movement latter, through Ingarden, lived on in Poland, where it influenced the young Karol Wojtyła. (shrink)

The focus of this essay is on Xenophanes’ criticism of anthropomorphic representation of the gods, famously sounding like a declaration of war against a constituent part of the Greek religion, and adopting terms and a tone that are unequalled amongst “pre-Socratic” authors for their directness and explicitness. While the main features of Xenophanes’ polemic are well known thanks to some of the most studied fragments of the pre-Socratic tradition, a different line of enquiry from the usual one is attempted (...) by considering the multi-layered background of the religious beliefs revolving around the idea that the gods have human form as outlined in the tradition of epic poetry or represented in cult statues: in the light of this consideration Xenophanes’ text can take on some new characteristics. In the second part of the article, emphasis is put on the importance of the correlation Xenophanes established between the issue of the appearance of the gods and that of the certainty of knowledge, in terms that have exerted tremendous influence on later thought, most notably on Plato in the Timaeus. (shrink)

Knowing someone personally centrally involves engaging in various patterns of affective response. Inasmuch as humans can know God personally, this basic insight about the relationship between personal knowledge and affective response also applies to God: knowing God involves responding to him, and to the world, in various affectively toned ways. In light of this insight, I explore how one particular practice might contribute to human knowledge of God: namely, engaging with sacred music – in particular, sacred music in the Western, (...) classical tradition. In investigating this topic, I tackle an issue at the interface between the philosophy of religion and aesthetics: sacred music’s capacity to arouse religious emotions. I use as a springboard Peter Kivy’s view that ‘music alone’ can only arouse emotions about itself. This view, I argue, has a counterintuitive consequence: the music in sacred works would play no part in arousing emotions with religious objects. In contrast, I develop an account of how music combines with religious factors to arouse religious emotions. I then draw out two consequences for how music can facilitate understanding between religious and non-religious outlooks. The upshot of all this, I suggest, is that by expanding the listener’s religious-emotional landscape, sacred music can enrich her knowledge of God – and that this is possible whether or not the listener subscribes propositionally to God’s reality or to any other religious doctrines. (shrink)

Philosophers in the field of analytic metaphysics have begun gradually to come to terms with the fact that there are entities in a range of categories not dreamt of in the set-theory and predicate-logic-based ontologies of their forefathers. Examples of such “entia minora” would include: boundaries, places, events, states holes, shadows, individual colour- and tone-instances (tropes), together with combinations of these and associated simple and complex universal species or essences, states of affairs, judgment-contents, and myriad abstract structures of the (...) sorts which are studied by the mathematical sciences. How, as hunter-gatherer ontologists, are we to bring order into this vast array? How are we to gauge the ontological merits of given candidate entities, and how are we to understand their relation to entities of more humdrum sorts? Meinong, it turns out, offers a very simple answer to all of these questions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:diacritics 35.1 (2005) 8-21MuseSearchJournalsThis JournalContents[Access article in PDF]Klossowski's Reading of Nietzsche Impulses, Phantasms, Simulacra, StereotypesDaniel W. SmithIn his writings on Nietzsche, Pierre Klossowski makes use of various concepts—such as intensities, phantasms, simulacra and stereotypes, resemblance and dissemblance, gregariousness and singularity—that have no place in Nietzsche's own oeuvre. These concepts are Klossowski's own creations, his own contributions to thought. Although Klossowski consistently refused to characterize himself as a philosopher ("Je (...) suis une 'maniaque,'" he once said, "Un point, c'est tout!"),1 his work in its entirety was marked by an extraordinary conceptual creation. From this point of view, his Nietzsche and the Vicious Circle can be read as a work in philosophy—at least in the idiosyncratic sense given to this term by Gilles Deleuze, who defined philosophy as the creation or invention of concepts [Deleuze and Guattari 2]. No doubt, Klossowski remains an almost unclassifiable figure—philosopher, novelist, essayist, translator, artist—and attempting to analyze his work through the prism of philosophy may seem to be a reductive approach that belies the complexity of his exceptional oeuvre. Reading Klossowski as a conceptual innovator, however, at least has the advantage of allowing us to chart a consistent trajectory through his difficult and often labyrinthine text, without denying its other dimensions (affective, perceptive, literary, and so on). In what follows, then, I would like to examine three of Klossowski's most characteristic and important concepts—impulses and their intensities, phantasms, and simulacra and their stereotypes—as well as the precise interrelations he establishes among them. Taken together, these three concepts describe what Klossowski terms the tripartite economy of soul, which constitutes the implicit model through which he interprets Nietzsche's thought.1Impulses as Fluctuating IntensitiesKlossowski describes his books on both Nietzsche and Sade as "essays devoted not to ideologies but to the physiognomies of problematic thinkers who differ greatly from each other" ["Postface" 137, emphasis added]. This emphasis on the "physiognomy" of thinkers reflects Nietzsche's insistence on taking the body rather than the mind as a guide for philosophy since the body is a more accessible phenomenon, less surrounded by myth and superstition. "The body and physiology as the starting point," Nietzsche wrote. "Why?... The phenomenon of the body is the richer, clearer, more tangible [End Page 8] phenomenon.... Belief in the body is more fundamental than belief in the soul" [WP §§492, 489, 491]. Klossowski himself, however, when writing of the intensive status of the impulses, frequently makes use of the term "soul" (âme), owing in part, no doubt, to his interest in the theological literature of the mystics, such as Meister Eckhardt and Teresa of Avila. For the mystics, the depth of the soul is something irreducible and uncreated: it eludes the exercise of the created intellect, and can only be grasped negatively.2 Nonetheless, if one can find a similar apophaticism (or "negative theology") in Klossowski, it is related exclusively to the immanent and chaotic movements of the soul's intensive affects, and not to the transcendence of God. What is incommunicable in the soul (or body) are its "impulses"—their fluctuations of intensity, their rises and falls, their manic elations and depressive descents, which are in constant variation.Nietzsche himself had recourse to a highly varied vocabulary to describe what Klossowski summarizes in the term "impulse": "drive" (Triebe), "desire" (Begierden), "instinct" (Instinke), "power" (Mächte), "force" (Kräfte), "impulse" (Reize, Impulse), "passion" (Leidenschaften), "feeling" (Gefülen), "affect" (Affekte), "pathos" (Pathos), and so on.3 Klossowski frequently employs the musical term tonalité to describe these states of the soul's fluctuating intensities—their diverse tones, timbres, and changing amplitudes—which can take on various forms ("aggressiveness, tolerance, intimidation, anguish, the need for solitude, the forgetting of oneself" [NVC 6]). At bottom, what these impulses express are what Klossowski calls the "obstinate singularity" of the human soul, which is by nature noncommunicable; they constitute "the unexchangeable depth" (le fond inéchangeable) or "the unintelligible depth" (le fond unintelligible) of the soul. What makes every individual... (shrink)

P.F. Strawson famously suggested that employment of the objective attitude in an intimate relationship forebodes the relationship’s demise. Relatively less remarked is Strawson's admission that the objective attitude is available as a refuge from the strains of relating to normal, mature adults as proper subjects of the reactive attitudes. I develop an account of the strategic employment of the objective attitude in such cases according to which it denies a person a power of will – authorial power – whose recognition (...) is necessary for sustaining intimacy. This conception of the objective attitude in its strategic employment presses those who urge universal adoption of the objective attitude (perhaps in its nonreactive, emotionally toned species) to confront the costs of their proposal. (shrink)

The article introduces a cognitive and componential view of religious emotions. General emotions are claimed to consist of at least two compounds, the cognitive compound and the affective compound. Religious emotions are typically general emotions which are characterized by three specific conditions: they involve a thought of God or godlike, they are significant for a person feeling them and their meaning is derived from religious practices. The article discusses the notion of spiritual emotions in Ancient theology and compares the idea (...) of it with emotions in music. By referring to the notion of mental language, it is argued that some religious emotions are like emotions in music and as such they can be interpreted as tones of Logos. (shrink)