In this clearly written and well argued book, Mark Johnson presents a theory of embodied cognition and discusses the implications it has for theories of meaning, language and aesthetics. His pragmatist foundations are on show when he writes that ‘The so-called norms of logical inference are just the patterns of thinking that we have discovered as having served us well in our prior inquiries, relative to certain values, purposes, and types of situations’ (p.109). Johnson’s particular contribution to theories of (...) meaning and language is that he grounds ‘inference’ even at the most abstract level in patterns of sensorimotor experience (p.279). He rejects traditional analytic theories of language on the basis that their central concept of reference is grounded in an erroneous and unfounded distinction between transcendent universals and bodily particulars (p.89-91). (shrink)

Aesthetic evaluations of human bodies have important implications for moral recognition and for individuals’ access to social and material goods. Unfortunately, there is a widespread aesthetic disregard for non-white bodies. Aesthetic evaluations depend on the aesthetic properties we regard objects as having. And it is widely agreed that aesthetic properties are directly accessed in our experience of aesthetic objects. How, then, might we explain aesthetic evaluations that systematically favour features associated with white identity? Critical race philosophers, like Alia Al-Saji, (...) Mariana Ortega, Paul C. Taylor, and George Yancy, argue that this is because the perception of racialized bodies is affected by the social structures in which they are appreciated. The aim of this paper is to propose how social structures can affect aesthetic perception. I argue that mental imagery acquired through the interaction with aesthetic phenomena structures the perception of non-aesthetic properties of bodies, so that aesthetic properties consistent with racist stereotypes are attributed to individuals. (shrink)

Heidegger’s notion of ‘handiness’ combines two meanings, which in my view should be separated. They both refer to ways of characterizing tools in a given culture. Every culture uses tools, and they are all used so they are ‘handy’. The question is: Handy with regard to what? Two answers come to mind. The first one suggests that handiness is typical of the aims achieved in a given culture, which are linked with that culture’s system of values. Having been fulfilled, the (...) aims seem to disappear, but new ones emerge and the cultural values are all the time appreciated. The aims and values constitute a part of the vision of the world accepted by the members of a given cultural community. In such a context, we can understand the handiness of tools as their optimum quality in facilitating the achievement of the aims which maintain the current cultural values, and so the existence of a given culture. The second answer links handiness with fulfilling the requirements of the human body. When considering the body in terms of its biological categories (as an organism) we can bear in mind its universal characteristics such as limbs, height, differences in body measurements, etc. In such a context, Martin Heidegger’s handiness can be understood pragmatically, as the features of a tool when adjusting it to the human body. In this paper, I propose a thesis that contemporary design loses handiness of the first type, while concentrating on making tools more and more comfortable for the human body. The cultural aims and values traditionally recognized in a given culture lose their priority, or seem to be ignored. At the same time, every tool user is given a chance to develop handiness of the first type. Whether we use this opportunity or not is another problem. (shrink)

Spinoza rarely refers to art. However, there are extensive resources for a Spinozist aesthetics in his discussion of health in the Ethics and of social affects in his political works. There have been recently been a few essays linking Spinoza and art, but this essay additionally fuses Spinoza’s politics to an affective aesthetics. Spinoza’s statements that art makes us healthier (Ethics 4p54Sch; Emendation section 17) form the foundation of an aesthetics. In Spinoza’s definition, “health” is caused by (...) external objects that maintain our power to act in a variety of ways. Humans need such objects because our complex bodies constantly lose or consume many parts necessary to our overall functioning. Notably, Spinoza defines humans’ bodies through this complexity (2p13Sch), so health as maintenance of complexity is a distinctly human endeavor. Further, while art is not the only healthy activity, I argue that art is a particularly potent cure, which explains Spinoza’s otherwise opaque comment that music can cure melancholy (by which he meant a near-total inability to act, akin to death). Rather than only causing frivolous pleasures, art may be as essential to human flourishing as are other human beings in general; other people are “most useful” because of the variety of actions they make possible (4p35Cor & Sch1). Art’s production of a dizzying variety of affects is likewise most useful for health. -/- Having established how art in general affects the individual, I then explain the role of artists in shaping social groups. Artists use vivid and highly charged affective techniques, as do political sovereigns and religious prophets (TTP chapters 1-2 & 15-16). However, sovereigns and prophets are concerned exclusively with “morality,” defined by Spinoza as the use of affects (primarily based on fear and hope) to produce “obedience” in the generic multitude or people at large. An artist, however, rarely causes affects in the whole nation, affecting instead only a smaller niche or “sub-genre” of people. The affects produced in this group are also not identical to those used by sovereigns, since artists do not primarily deploy sad affects of hope and fear but instead use a wide variety of joyful affects. Further, in Spinoza’s analysis of ceremonies (TTP chapter 5), we see how small groups exposed to repeated ceremonies or social practices eventually develop new strengths which they lacked before. Repeated exposure to shared aesthetic “ceremonies” (e.g., live music performances) of the same sub-genre will over time create the capacity of new powers in the sub-genre of people, which distinguishes them from the masses. Spinoza says sovereigns forge a “second nature” for the generic people through affects; we can then affirm that smaller groups exposed to a distinct sub-genre of art can acquire a new “third nature” which will contain unique powers extending beyond healthy maintenance of their existing bodies. That is, art in general is necessary to flourish and remain whole (maintaining health), but it can also occasionally expand what one is to unforeseen heights (through specific artistic sub-genres). (shrink)

The essay aims to examine possible readings of disability in the context of visual art, especially regarding bodies prosthetised in unexpected ways. To do that, I will analyse two performances, participated/created by Lisa Bu- fano and Aimee Mullins, which employ prosthetics that distance them from the mimicry of human limbs. I will briefly contextualize them in the history of prosthetics. I will observe how their peculiarity and non-human forms can serve aesthetic and destabilizing purposes regarding the contours of (...) disability. I will especially mention their potentiality regarding disabled bodies’ mobility in space and their relationship with tools. The association between a disabled body and non-human traits carries several symbolic meanings and might also produce risks. Generally, they can update the perspectives on the crafting of creative assemblages that start from impaired bodies. In conclusion, I will observe how Bufano’s art entails more promises on an ethico-political level. (shrink)

The current issue of Argument: Biannual Philosophical Journal (2015, vol. 5, no. 1) provides a platform for cross‑cultural studies of the human body, the embodied mind, agency, intentionality, and various axiological aspects of the human psychophysical identity. Out of the twenty articles that compose this issue, thirteen original papers address the leading theme, namely Psychophysical integrity of the human self. Comparative approach: philosophy, literature and art. The multidisciplinary and comparative perspectives include references to Western and eastern (...) cultural traditions, as well as juxtaposing a variety of views on human corporeality and the mind‑body relationship, discussed from the perspectives of philosophical theories (Venieri, Jakubczak, Kamińska, Kołdrzak, King, Wachowski), literary works (Kamińska, Milewska) and visual artefacts (King, Staniszewska, Wałek, Popczyk, Romanowicz, Lipowicz). (shrink)

Both for Kant and for Nietzsche, aesthetics must not be considered as a systematic science based merely on logical premises but rather as a set of intuitively attained artistic ideas that constitute or reconstitute the sensible perceptions and supersensible representations into a new whole. Kantian and Nietzschean aesthetics are both aiming to see beyond the forms of objects to provide explanations for the nobility and sublimity of human art and life. We can safely say that Kant and (...) Nietzsche used the dualities of the beautiful/sublime and Apollonian/Dionysian to advocate their general philosophical worldview, and that the initial formation (in Observations and The Birth of Tragedy) and final dissolution (in the Critique of Judgment and Zarathustra and other later works) of these dualities are determined by the gradually established telos of their philosophical endeavor. Therefore, by observing the evolution of these so-called dualities, Kaplama gathers important clues as to how Kant’s and Nietzsche’s aesthetics transformed into different ways to affirm human art and life. On the one hand, Kaplama argues, the Dionysian came to be the heart and soul of Nietzschean aesthetics and ethics, and the Apollonian (or the formal drive of individuation) was reduced into a mere aesthetic criterion. On the other, Kant treats the sublime (which is originally an idea-producing feeling and/or judgment) as a mere appendix to his Critique of Judgment and aesthetic theory teleologically reducing it into its possible moral consequences. This is why Schopenhauer calls the sublime “by far the most excellent thing in the Critique of Judgment” which touches on the real problem of aesthetics very closely but does not provide a real solution for it. Kant’s forced teleological move is to make his theory of aesthetic judgment stand as a ‘reaffirmation’ of the earlier ethical justification he believed to have accomplished in the first two Critiques and the Groundwork where he defends an affirmation of human life through a teleological morality centered on the principle of free-will. In contrast, Nietzsche’s aesthetics (particularly the Dionysian) guides his ethics and metaphysics again through defining an ideal human nature without which ethos would be static and meaningless, lacking the ability to move and change and represent the tragic pathos of human life. (shrink)

The ability of videos to serve as evidence of racial injustice is complex and contested. This essay argues that scrutiny of the Black body has come to play a key role in how videos of police violence are mined for evidence, following a long history of racialized surveillance and attributions of threat and superhuman powers to Black bodies. Using videos to combat injustice requires incorporating humanizing narratives and cultivating resistant modes of looking.

In this paper, we aim at rethinking the concept of obesity in a way that better captures the connection between underlying medical aspects, on the one hand, and an individual’s developmental history, on the other. Our proposal rests on the idea that obesity is not to be understood as a phenotypic trait or character; rather, obesity represents one of the many possible states of a more complex phenotypic trait that we call ‘energy metabolism.’ We argue that this apparently simple conceptual (...) shift can help solve important theoretical misconceptions regarding the genetics, epigenetics, and development of obesity. In addition, we show that our proposal can be fruitfully paired with the concept of developmental channeling of a trait, which connects to the study of the plasticity and canalization of complex traits. Finally, we discuss the potential impact of our approach on the assessment, treatment, and social narratives of obesity. (shrink)

Marilyn McCord Adams’s perspective on the intimacy with God as a way of defeating horrendous evils in the course of a human being’s existence has been met with a series of objections in contemporary scholarship. This is due to the fact that the critiques formulated have focused more on the debilitating impact of suffering on the sufferer’s body and mind, on intimacy as mere intermittent relationships between God and humans, or on what is lost or gained from the (...) presence or absence of this intimacy with the divine being. Focusing on Adams’s appeal to esthetic arguments in theodicy and on her reflection on practical issues in theology, the article presents Adams’s perspective on intimacy as a relation initiated objectively by God at the creation and at Christ’s incarnation and continued subjectively throughout history by both God and every human being. Given its combining of objective and subjective features, this kind of intimacy is not to be understood as an exclusively private relationship of each individual with God, but rather as a process of communal advancing in rehabilitation and mutual healing that is initiated in the antemortem career and fulfilled in the post-mortem existence. (shrink)

This reference essay surveys recent work in the emerging sub-discipline of everyday aesthetics, which builds on the work of John Dewey to resist sharp distinctions between art and non-art domains and argue that aesthetic concepts are properly applied to ordinary domains of experience.

The term “value of life” can refer to life’s intrinsic dignity: something nonincremental and time-unaffected in contrast to the fluctuating, incremental “value” of our lives, as they are longer or shorter and more or less flourishing. Human beings are equal in their basic moral importance: the moral indignities we condemn in the treatment of e.g. those with dementia reflect the ongoing human dignity that is being violated. Indignities licensed by the person in advance remain indignities, as when people (...) might volunteer their living, unconscious bodies for surrogacy or training in amputation techniques. Respect for someone’s dignity is significantly impacted by a failure to value that person’s very existence, whatever genuine respect and good will is shown by wanting the person’s life to go well. Valuing and respecting life is not, however, vitalism: there can be good and compelling reasons for eschewing some means of prolonging life. (shrink)

The human body is a system made of systems. The body is divided into bodily systems proper, such as the endocrine and circulatory systems, which are subdivided into many sub-systems at a variety of levels, whereby all systems and subsystems engage in massive causal interaction with each other and with their surrounding environments. Here we offer an explicit definition of bodily system and provide a framework for understanding their causal interactions. Medical sciences provide at best informal accounts (...) of basic notions such as system, process, and function, and while such informality is acceptable in documentation created for human beings, it falls short of what is needed for computer representations. In our analysis we will accordingly provide the framework for a formal definition of bodily system and of associated notions. (shrink)

In an earlier paper in Theoria, I discussed an argument based on the idea of “soul-switching” that attempted to undermine the immaterialist account of human beings. The present paper deals with a parity argument against that argument in which the idea of “body-switching” plays a pivotal role. I call these two arguments, that have been reported by Razi (d. 1210), respectively “the soul-switching argument” and “the body-switching argument”. After some introductory remarks, section 2 of the paper describes (...) the structure of the latter argument. Section 3 considers some philosophical discussions in the ancient, modern, and contemporary eras in which the idea of body-switching (or some similar conception) plays a major role. In the following section 4, some criticisms of the argument are discussed and a general response that is meant to cover a broad range of objections is considered. This paper shows that the body-switching argument reported by Razi is a methodological antecedent of several contemporary arguments in defence of substance dualism. (shrink)

The human body has always been one of the most important subjects for European artists. But the way it is displayed in art has varied in different epochs. In ancient Greece, a canon was constituted that proclaimed an ideal vision of the body, derived from the rules governing the universe. This idealization of the human body, neglected in the Middle Ages, was re‑established in Renaissance and Classicist art. However, Renaissance artists also created another image of (...) the human body by borrowing from patterns mainly found in nature, and started to depict their models not in an ideal but rather in a more natural shape. The new non‑ideal forms of art that appeared in Mannerist art made the artists develop a much wider artistic language, which brought into being a variety of individually interpreted artistic representations of the human body. It preceded similar phenomena which became widespread in the twentieth century. Thus, the human body was not always displayed in art as strong, healthy and beautiful. On the contrary, the martyred bodies of Christ and the saints, as well as the depictions of aged, tired or ill people, also carried enormous artistic expression. A distinct problem has occurred with the ways in which corpses have been presented in art. The review concludes with a reference to the contemporary trend called Body‑Art that involves various artistic activities, such as happenings and performances, where the human body is itself used as a significant work of art. (shrink)

I argue in this paper that philosophers have not clearly introduced the concept of a body in terms of which the problem of other minds and its solutions have been traditionally stated; that one can raise fatal objections to attempts to introduce this concept; and that the particular form of the problem of other minds which is stated in terms of the concept is confused and requires no solution. The concept of a "body" which may or may not (...) be the body of a person, which is required to state the traditional problem, is, on close examination, incoherent and cannot be introduced into a reasonable philosophical discussion. Also published in The Philosophy of the Body, Rejections of Cartesian Dualism, ed. Stuart F. Spicker. (shrink)

What is the human body? Both the most familiar and unfamiliar of things, the body is the centre of experience but also the site of a prehistory anterior to any experience. Alien and uncanny, this other side of the body has all too often been overlooked by phenomenology. In confronting this oversight, Dylan Trigg’s The Thing redefines phenomenology as a species of realism, which he terms unhuman phenomenology. Far from being the vehicle of a human (...) voice, this unhuman phenomenology gives expression to the alien materiality at the limit of experience. -/- By fusing the philosophies of Merleau-Ponty, Husserl, and Levinas with the horrors of John Carpenter, David Cronenberg, and H.P. Lovecraft, Trigg explores the ways in which an unhuman phenomenology positions the body out of time. At once a challenge to traditional notions of phenomenology, The Thing is also a timely rejoinder to contemporary philosophies of realism. The result is nothing less than a rebirth of phenomenology as redefined through the lens of horror. (shrink)

Medical science conceives the human body as a system comprised of many subsystems at a variety of levels. At the highest level are bodily systems proper, such as the endocrine system, which are central to our understanding of human anatomy, and play a key role in diagnosis and in dynamic modeling as well as in medical pedagogy and computer visualization. But there is no explicit definition of what a bodily system is; such informality is acceptable in documentation (...) created for human beings, but falls short of what is needed for computer representations. Our analysis is intended as a first step towards filling this gap. (shrink)

Starting from the observation of the binary character YES/NOT of our decisions in relation to the information received from the environment, determining both our life and specie evolution by adaptation, it is defined the info-creational field and thought as an information operator on this field, allowing to describe the individual EGO as a receiver and producer information system, based on an operational and a programmed informational subsystem. Consciousness appears thus be an integrated information system which allows the adaptation to the (...) environment and survival of specie, supported by informed matter (physical body) to maintain functionality of the whole. On this basis, there were identified two main informational circuits of the human body controlled by the consciousness: (i) the attitude as a short-time reaction circuit allowing the immediate adaptation to the environment; (ii) the informational genetic transmission as a large-time process assuring both the evolution by the transference of the new adaptation characteristics to the next generations and the survival of the specie. Observing the anti-entropic nature of the information activity mobilized to support the living structure, there were identified the anti-entropic, antigravitational and reverse temporal arrow features that the thought could access under special focusing conditions, similar to those of antimatter, explaining the paranormal capacities like premonition, psychotherapy, telekinesis and levitation, particularly the cloud dissipation, induced/supported by the mind power. (shrink)

In arguing against the likelihood of consciousness in non-human animals, Descartes advances a slippery slope argument that if thought were attributed to any one animal, it would have to be attributed to all, which is absurd. This paper examines the foundations of Thomas Willis’ comparative neuroanatomy against the background of Descartes’ slippery slope argument against animal consciousness. Inspired by Gassendi’s ideas about the corporeal soul, Thomas Willis distinguished between neural circuitry responsible for reflex behaviour and that responsible for cognitively (...) or consciously mediated behaviour. This afforded Willis a non-arbitrary basis for distinguishing between animals with thought and consciousness and those without, a methodology which retains currency for neuroscience today. (shrink)

The aesthetic skeptic maintains that it is futile to dispute about taste. One and the same work of art might appear beautiful to one person but repellent to another, and we have no reason to prefer one or another of these conflicting verdicts. Hume argues that the skeptic, however, moves too quickly. The crucial question is whether qualified critics will agree on their evaluations. And the skeptic fails to provide sufficient evidence that their verdicts will diverge. We have reason to (...) expect that a consensus will emerge over time, moreover, since aesthetic values are grounded on universal principles of human nature. Skeptics might doubt that there is a natural basis for a standard of taste, but this proposal is supported by recent work in experimental aesthetics and cognitive science. (shrink)

The paper explores Burke’s twofold solution to the paradox of negative emotions. His Philosophical Enquiry (1757/59) employs two models that stand on different anthropological principles: the Exercise Argument borrowed from authors like the Abbé Du Bos, guided by the principle of self-preservation, and the Sympathy Argument, propageted by notable men of lettres such as Lord Kames, ruled by the principle of sociability. Burke interlocks these two arguments through a teleologically-ordered physiology, in which the natural laws of the human (...) class='Hi'>body and mind, secretly working in the depth of the nerve fibres, ensure both self-preservation and sociability. Utilizing both efficient and final causes throughout his Enquiry, Burke argues that the experiences of pain and terror – under certain conditions – are made agreeable (delight) by providence,so that the physiological mechanisms underlying these experiences could ensure the health and strenuousness of the nerve fibres amidst the corrupting pleasures of commercial society (Exercise Argument). Furthermore, due to the ambiguous character of this delight annexed to such experiences, they also function as exercises for our social passions (Sympathy Argument). Te 'egoistic' anthropological drive to remove the visceral uneasiness that dominates these experiences facilitates moral action when it is needed the most: when others in pain need our help. In accordance with the anthropocentric providentialism of the moderate Enlightenment, it is the design of the human frame that ensures the activities essential to our health (self-preservation) and moral conduct (sociability), a design that not only guarantees that pleasure, if exclusive and excessive, is 'inconvenient', and pain, if mitigated and harmless, is aesthetically agreeable, but also that our 'egoistic' drive to self-preservation ultimately improves sociability. (shrink)

To emphasize what we have outlined in a preceding paper, we consider the following: that human consciousness model should take into consideration “spirit” role, i.e. the mind-body-spirit as integral aspect, which view is neglected in the so-called Freudian mental model. In this paper, we consider two approaches to cancer treatment derived from such an integral triune view of human consciousness, including (a) healing frequency approach as advised by Royal Rife and David Hawkins, and also (b) relational therapy, (...) based on recent research on the healing role of love and compassion. (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)

The article highlights the problem of studying historical time in terms of aesthetics and social ethics. The essence of history, according to the author, is not so much in retrospection or reflection, but in the gap between feeling and awareness. Guided by the apophatic method, the author analyzes the historiosophical views of domestic and foreign scholars and comes to the conclusion that the Soviet paradigm is true, where the only vector of human development is the liberation of labor (...) in the name of creating a bright future for the sake of all people and for everyone -/- . (shrink)

The notions of risk and hazard, concepts borrowed from the natural and social sciences by way of intersectionality, have found active usage in artistic practices that address creative work in its widest possible usage. This paper will philosophically reflect on the shifts in the meanings of risk when understood in the context of artistic work. Curatorial work, for instance, is conceptually rooted in a care-based ethic, while creative work can be argued to be conceptually rooted in transcendental action. This subtle (...) tension between curating and creating is the threshold on which risk resides. What does this mean for the artist and the curator? Key to understanding implications of risk in art is to contextualize meanings of risk in various kinds of human action. If artistic practice is that kind of human action that aims to create new experiences or understandings of our condition, then institutional approaches to risk must be tuned to this understanding of practice. Thus, blanket superimpositions of general ethical norms employed in non-artistic frameworks such as educational, scientific, or/and sociological institutions may not do justice to artistic practice. First, institutional intervention in this regard must conceptually understand the affordances and the commitments of artistic practice in order to do justice to the ways in which risk is defined in the arts. In this essay, I argue that institutions must engage with a contextual understanding of the nature of the threshold between caring and creating in order to explore a justified incorporation or risk-oriented vocabulary in artistic institutional practices. (shrink)

The complexity, subtlety, interlinking, and scale of many problems faced individually and collectively in today's rapidly changing world requires an epistemology--a way of thinking about our knowing--capable of facilitating new kinds of responses that avoid recapitulation of old ways of thinking and living. Epistemology, which implicitly provides the basis for engagement with the world via the fundamental act of distinction, must therefore be included as a central facet of any practical attempts at self/world transformation. We need to change how we (...) think, not just what we think. The new epistemology needs to be of a higher order than the source of the problems we face. -/- This theoretical, transdisciplinary dissertation argues that such a new epistemology needs to be recursive and process-oriented. This means that the thoughts about thinking that it produces must explicitly follow the patterns of thinking by which those thoughts are generated. The new epistemology is therefore also phenomenological, requiring the development of a reflexivity in thinking that recursively links across two levels of order--between content and process. The result is an epistemology that is of (and for) the whole human being. It is an enacted (will-imbued) and aesthetic (feeling-permeated) epistemology (thinking-penetrated) that is sensitive to and integrative of material, soul, and spiritual aspects of ourselves and our world. I call this kind of epistemology aesthetic, because its primary characteristic is found in the phenomenological, mutually fructifying and transformative marriage between the capacity for thinking and the capacity for feeling. -/- Its foundations are brought forward through the confluence of multiple domains: cybernetic epistemology, the esoteric epistemology of anthroposophy (the spiritual science of Rudolf Steiner), and the philosophy of the implicit as developed by Eugene Gendlin. -/- The practice of aesthetic epistemology opens new phenomenal domains of experience, shedding light on relations between ontology and epistemology, mind and body, logic and thinking, as well as on the formation (and transformation) of identity, the immanence of thinking in world-processes, the existence of different types of logic, and the nature of beings, of objects, and most importantly of thinking itself and its relationship to spirit. (shrink)

Some transhumanists argue that we must engage with theories and facts about our evolutionary past in order to promote future enhancements of the human body. At the same time, they call our attention to the flawed character of evolution and argue that there is a mismatch between adaptation to ancestral environments and contemporary life. One important trait of our evolutionary past which should not be ignored, and yet may hinder the continued perfection of humankind, is the peculiarly (...) class='Hi'>human way of bearing and raising children. The suffering associated with childbirth and a long childhood have demanded trade-offs that have enhanced our species, leading to cooperation, creativity, intelligence and resilience. Behaviors such as mother–infant engagement, empathy, storytelling, and ritual have also helped to create what we value most in human beings. Therefore, the moral, cognitive, and emotional enhancements proposed by these transhumanists may be impaired by their partial appropriation of evolution, insofar as the bittersweet experience of parenthood is left aside. (shrink)

In recent years, the notion of the body schema has been widely discussed, in particular in fields connecting philosophy, cognitive science, and dance studies, as it seems to have bearing across disciplines in a fruitful way. A main source in this literature is Shaun Gallagher’s distinction between the body schema – the “pre-noetic” conditions of bodily performance – and the body image – the body as intentional object –, another is Merleau-Ponty’s writings on the living (...) class='Hi'>body, that Gallagher often draws upon. In this paper, I will first discuss Gallagher’s presumed clarification of body schema–body image, and discuss a recent critique by Saint Aubert (2013), who evaluates it against the backdrop of Merleau-Ponty’s thoughts on this issue. While I believe that Saint Aubert’s criticism overshoots the mark, it is useful for a clarification of Gallagher’s analysis and points to a problematic feature, namely the alleged inscrutability of the body schema to phenomenological reflection. This is particularly interesting in relation to contemporary dance and performance practice, where working with – and against – habitual structures is a core element. Certain contemporary training techniques are explicitly aimed at raising awareness of those bodily aspects that condition movement and expression – that Gallagher sees as pertaining to the body schema – and that in ordinary activities often remain hidden. In order to clarify the role that reflection on our own body and its habitual patterns plays in contemporary dance practice, I will examine the movement language and improvisation practice “Gaga”, where this aspect is arguably fundamental. (shrink)

Commodification is a broad and crosscutting issue that spans debates in ethics (from prostitution to global market practices) and bioethics (from the sale of body parts to genetic enhancement). There has been disagreement, however, over what constitutes commodification, whether it is happening, and whether it is of ethical import. This chapter focuses on one area of the discussion in bioethics – the commodification of human tissue – and addresses these questions – about the characteristics of commodification, its pervasiveness, (...) and ethical significance – in order to clarify and map the commodificatory debate. The chapter does this in three parts. First, it defines commodification as the shift from “persons” to “things” and from “relationships” to services for “contract.” Second, using examples of kidney and gamete sale and commercial surrogacy, it argues that commodification is rife in bioethics. Third, it contends that commodification is an ethical problem for three key reasons: First, because it leads to exploitation; second, because some things should not be for sale; and third, because it damages social goods. The chapter concludes that commodification and commodificatory practices should be resisted. (shrink)

In his fascinating new book Games: Agency as Art, Nguyen endorses an experiential requirement on aesthetic judgment: apt aesthetic judgment requires phenomenal experience. His own aesthetics of agency captures three phenomenally manifest and aesthetically significant harmonies (and corresponding disharmonies). But his view can be significantly extended to capture much more of the rich texture of human agency. In this discussion, I argue that emotions of agency, patterns of attention, and affordances all can be phenomenally experienced as aspects of (...) agency, and that each has genuine aesthetic significance. (shrink)

The theory of information and Cybernetics allowed the transcendence of the material substrata of the human being by thinking it in terms of information units. The whole material world is reduced to information flows, which are encoded in various forms and which, by means of algorithms can be processed and reconfigured with a view to multiple simulation of the physical reality we live in. By applying these codes, communication and information technologies open the possibility of multidimensional reconstruction of the (...) body in the virtual environment. With the assistance of technology, the body becomes a communication interface between the real and the virtual world. As a communication interface, the body‟s structure is broken down to the core functions and then telematically reconstructed in the virtual reality as tele-perception, telepresence, tele-kinaesthesia, etc. The virtual reconstruction of the body not only involves the transformation of its functions, but also the transformation of the approach of the human being which now is at the intersection between the real world and the various virtual worlds generated by technology. The conception of subject centred on selfconsciousness is thus cancelled, instead appearing the idea of the fluid, unstable subject who lacks a centre being diffused in a network. (shrink)

Cinema is neither neutral nor a universal medium. Particularly in African contexts, cinema contributes to European exceptionalism, imposes European values as the norm, and acts as an instrument of cultural and psychological control. It seems that African cinema is ontologically, politically, and aesthetically Eurocentric. By introducing an intercultural philosophical approach to the realm of cinema, we aim to move away from Eurocentrism in African cinema towards a more intercultural and dialogical orientation as an input for the liberation of humanity. Based (...) on findings from a dramaturgical analysis of five films, we argue that African cinema shows a deficiency in communicating liberation and it often fails to portray African people’s values, will, and interests as it has been alienated from its nature and purpose. Overall, African cinema seems to be either in a state of assimilation or confusion. By exploring aesthetics of liberation in African cinema and art (as described in African and intercultural philosophy,) we search for alternative film aesthetics and a mode of filmmaking that seeks to liberate the image and the minds of the filmmakers and spectators of African cinema. Inspired by Kimmerle’s aesthetic-ethic alternative ‘Living (with) art’, we propose an alternative for critical filmmaking based on aesthetics of liberation with an intercultural orientation: Living cinema. Living cinema is a dialogical and liberational cinema with aesthetics of liberation at its core. Based on aesthetic-ethic principles of African philosophy and interculturality, the liberating function of living cinema can be found in reconnecting the aesthetics and filmmaking with African values. Simultaneously, it might be contributing to the liberation of world cinema as it has an impact on both the hegemonic and the suppressed cinema. (shrink)

Review of Nils Hoppe book, Bioequity--Property in the Body.

Which are the distinctive parts of the human body that help us to identify it as a physical element diverse from the rest of the world? Are they simply functional elements, or do they refer to another dimension that goes beyond instrumentality? These are the questions posed in the book “Biology and Rationality: The Distinctive Character of the Human Body” by José Ángel Lombo and José Manuel Giménez Amaya. From a philosophical point of view, the authors (...) seek to clarify these issues by offering an interdisciplinary conceptual framework always referred to the unity of the human person. (shrink)

The Human Eros is an outstanding accomplishment, a work of genuine wisdom. It combines meticulous scholarship with an enviable mastery of cultural and philosophical history to address pressing concerns of human beings, nature, and philosophy itself. While comprised of essays spanning over two decades, the book presents a powerfully coherent philosophical vision which Alexander names, alternately, “eco-ontology,” “humanistic naturalism,” and “ecological humanism.” Whatever the name, the approach is humane and intellectually compelling, offering insight and direction to pragmatism, (...) class='Hi'>aesthetics, existentialism, environmental philosophy, and anyone in search of wisdom. It is an immensely readable book, too. (shrink)

This essay addresses the question of virtual church, particularly on whether or not liturgy can be done virtually. We will approach our subject from a somewhat unusual perspective by looking to types of aesthetic experiences which we have been doing “virtually” for a long time. By exploring how we experience art in virtual and physical contexts, we gain insight into the corresponding experiences in liturgical practices. Drawing on Mikel Dufrenne, Maurice Merleau-Ponty and Gabriel Marcel, I first examine the importance of (...) the body when we experience “presence” in aesthetic environments. Next, I consider the weight of the body in experiences of presence in liturgical practices, both in person and virtual, guided again by Gabriel Marcel as well as Bruce Ellis Benson, Emmanuel Falque, Christina Gschwandtner and Éric Palazzo. Through these reflections, I argue that what art teaches us about the significance of the physical closeness of the human applies to the practice of liturgy and that, while unexpected benefits will surface in virtual settings, nothing replaces the powerful experiences that arise when the body is physically present. (shrink)

Is the being in an irreversible persistent vegetative state as the result of a horrible accident numerically identical to the human person, Lindsay, who existed before the accident? Many proponents of Thomistic metaphysics have argued that Aquinas’s answer to this question must be “yes.” In particular, it seems that Aquinas’s commitment to both Aristotelian hylomorphism and the unity of substantial form (viz., that each body/soul composite possesses one and only one substantial form) entails the position that the (...) class='Hi'>human person remains alive as long as biological life persists. I argue, however, that although Aquinas does possess a deeply integrated account of human nature and is indeed committed to the claim that the person, Lindsay, exists as long as Lindsay’s body lives, there is good reason to suppose that he also holds that the body in the PVS is not Lindsay’s body in anything more than an equivocal sense. (shrink)

In this paper we track the ‘body positivity’ movement from its origins, promoting radical acceptance of marginalized bodies, to its co-optation as a push for self-love for all bodies, including those bodies belonging to socially dominant groups. We argue that the new focus on the ‘body positivity’ movement involves a single-minded emphasis on beauty and aesthetic adornment, and that this undermines the original focus of social and political equality, pandering instead to capitalism and failing to rectify unjust institutions (...) and policies. As such, we argue that the ‘body positivity’ movement ultimately marginalises further the bodies for which it initially sought justice and acceptance. (shrink)

This chapter presents several of the dominant ideas and intellectual debates about human beauty from archaic Greece to early Christianity. At issue are ideals of character, ethical ideals of who one should be and how one should live. What constitutes beauty and why beauty matters change alongside conceptions of body and soul, virtue and happiness, and the relationship between human beings and the divine.

Authenticity has been recognized as a central concept in the ethics of human enhancement. In the last decade, a plethora of novel distinctions, specifications, and definitions of authenticity have been added to the debate. This chapter takes a step back and maps the different accounts of authenticity to provide a nuanced taxonomy of authenticity and reveal the emerging underlying structures of this concept. I identify three kinds of conditions for authentic creation and change of the true self (coherence, endorsement, (...) and relations) as well as ways how the true self should be expressed (in one’s self-conception, self-presentation, and one’s body, emotions, and actions). Based on this analysis, I discuss the hopes and concerns human enhancement raises for authenticity. Enhancement technologies do not threaten or foster authenticity across the board but affect different dimensions of authenticity individually. Finally, I turn to the value of authenticity and argue that the debate on authenticity in the ethics of human enhancement would profit from a more extended discussion on the comparative value of the individual dimensions of authenticity. (shrink)

Objective: The coronavirus disease 2019 (Covid-19) has significantly affected human health around the world, causing many complications. However, it is not fully understood how the body compositions of individuals affected in the short or long term after disease. In this study, we aimed to show the effects of Covid-19 on body composition and phase angle values, using Bioelectrical Impedance Analayser. -/- Methods: Subjects were selected from individuals in the 18-60 age group, who had survived COVID-19 disease. 33 (...) individuals who had survived it 1-3 months ago, and 30 individuals who had survived it 3-6 months ago were included in the study. -/- Results: Effects of COVID-19 on basal metabolism and body composition and the ratio of damaged cells in the body after the disease were determined. Basal metabolic rate, lean body mass, body cell mass, total body fluid, intracellular fluid, and phase angle values were found to be significantly changed in the 3-6 months range compared to that of 1-3 months. -/- Conclusion: These results indicate that the basal metabolism and body composition parameters of the body become better, and the proportion of damaged cells decreases as time goes on after suffering COVID-19, reaching values close to normal in 1-3 months and quite better values in 3-6 months. It can be concluded that, although covid-19 influences body composition parameters and cell integrity in survivors of Covid 19 disease, these effects are limited to 3-6 months. (shrink)

This article addresses a debate in Descartes scholarship over the mind-dependence or -independence of time by turning to Merleau-Ponty’s "Nature" and "The Visible and the Invisible." In doing so, it shows that both sides of the debate ignore that time for Descartes is a measure of duration in general. The consequences to remembering what time is are that the future is shown to be the invisible of an intertwining of past and future, and that historicity is the invisible of God.

The mind-body problem is a perennial philosophical problem that seeks to uncover the relationship or causal interaction that exists between the corporeal and incorporeal aspects of the human person. It thrives under the assumption that the human person is made up of two distinct entities, that is, mind and body, which explains their assumed causal relation. As attractive as this may seem, not all philosophers agree to this feigned idea of interaction and bifurcation of the (...) class='Hi'>human person. One philosopher of note, who sorts to address this problem in the 17th century, is René Descartes. For Descartes, minds and bodies are distinct kinds of substance, where bodies are spatially extended substances (a res extensa) and minds are unexpended substances characterised primarily by thought (a res cogitans). But, if minds and bodies are radically dissimilar, how could they causally interact? This paper therefore attempts to examine the philosophical foundations of Cartesian dualism. It also articulates the major arguments adopted by Descartes through his methodic doubts to address the mind-body problem. The paper concludes by highlighting some fundamental criticisms of Cartesian Interactionism in the light of recent trends in parapsychology and neuro-scientific research. (shrink)

In this paper, I am predominantly interested in interpretations of emotional states portrayed in images of the face. In particular, the interpretations which have grown around the series of busts by Franz Xaver Messerschmidt, as well as those which attempt to expound Bill Viola’s video works. I will refer to aspects of physiognomy, artistic practices and aesthetics, in order to show what each of these tells us about our attitude to the body and emotions and what happens to (...) the body while a person is experiencing an emotion. My aim is to demonstrate how the act of depicting the body, regarded as a cognitive process in an artistic medium accompanied by a special kind of aesthetic experience, becomes a means of communication which is capable of conveying a universal message and of allowing us to define our attitude to the body. (shrink)

Descartes argued that the passions of the soul were immediately felt in the body, as the animal spirits, affected by the movement of the pineal gland, spread through the body. In Leibniz the effect of emotions in the body is a different question as he did not allow the direct interaction between the mind and the body, although maintaining a psychophysical parallelism between them. -/- In general, he avoids discussing emotions in bodily terms, saying that general (...) inclinations, passions, pleasures and pains belong only to the mind or to the soul (NE II, xxi, §72). He is also keen to point out that our passions derive mostly from our bodies. However, like Spinoza (Ethics III, prop. XI, Scholium) he thought that some emotions such as joy can produce pleasures which can be described also in bodily terms. For example, in a short memoir Felicity he says that music can be a pleasure for the ears and symmetry can be a pleasure for the eyes. These more intellectual emotions are actions in the sense that they represent perfection emanating from their source, the absolutely perfect being, that is, God. The feeling of perfection may produce a state of well-being which concerns both the soul and the body. -/- In my paper I will trace instances of Leibniz’s remarks on how these kind of emotions affect the body. I will also discuss the different ways the body gives rise to passions in the soul. My primary source is Nouveaux essais, book II, chapter xx and xxi, but I will also discuss various other writings by Leibniz. (shrink)

Here the concept of the human being as a “relatively isolated system” developed in Ingarden’s later phenomenology is adapted into an “aesthetics of isolation” that complements conventional environmental aesthetics. Such an aesthetics of isolation is especially relevant, given the growing “aesthetic overload” brought about by ubiquitous computing and new forms of art and aesthetic experience such as those involving virtual reality, interactive online performance art, and artificial creativity.

—One of the promising applications of wireless sensor networks (WSNs) is monitoring of the human body for health concerns. For this purpose, a large number of small sensors are implanted in the human body. These sensors altogether provide a network of wireless sensors (WBANs) and monitor the vital signs and signals of the human body; these sensors will then send this information to the doctor. The most important application of the WBAN is the implementation (...) of the monitoring network for patient safety in the hospital environment. In this case, supporting patients’ mobility is one of the basic needs, which has been underestimated in recent studies. The problem that involves providing the required energy for the units used in this type of network is challenging; for this reason, sent/ received units with very low power consumption and with a very small radius are used in order to save energy. The resulting small sending range, leads to the lack of support for patients' mobility. In this paper, the AD HOC mode is suggested for use to establish a network and a multi-path routing algorithm, for the purpose of importing patients’ mobility in hospital setting. The results of the simulation show that in addition to supporting patients' mobility, the use of the proposed idea instead of previously presented protocols, reduces delays in data transmission and energy consumption; and it also increases the delivery rate depending on the destination and the lifetime of the network, while on the other hand, it increases routing overhead. (shrink)