For the full text of this article see "Download Options PhiPapers Archive and click Download from Archive" at the bottom of this page. First 500 words of article: To my surprise last spring, an article titled “Gut Almighty”, which briefly explained the latest emotion theories on how intuition comes from the gut, was featured in Psychology Today (Flora, 2007) at the same time that my article on gut instinctual somatic responses and healthy life choices was published in Somatics Spring 07 (...) issue (Love, 2007). I wondered if two articles published on the gut in one month might surely be a record, as the gut has not seemed to have so much attention in the media since Gershon’s (1998) book acclaiming it through his neurological research to have a mind of its own. -/- In the months I awaited the publication of my article, I reread Gershon’s (1998) book and it was again delightful to me to read that a scientific investigation actually uncovered evidence that the gut has a separate capacity to generate and record vital responses and functions as what he calls our second brain. Gershon outlines the biological functions of the gut as being its own intelligent brain and having its own vitality that is in communication with, but not dependent upon, the head brain. As I combed through his book and shared emails with my colleague, Robert Sterling, it became quite clear to us that Gershon’s work was supportive of the clinical findings in the work we did as guidance counselors in the 70s. Our work centered around assisting people to assess the meaning of their experiences through an awareness on the empty-full instinctual feeling responses that they identified in the gut region of the body. We found with the people that we counseled that these gut responses were linked to the dynamic struggles of balancing the two needs of the person for acceptance and for feeling in control of one’s own responses (the freedom to respond naturally), and that these two needs were instinctual and necessary to fulfill on a moment to moment basis for continued vitality of the person. Similar to Gershon’s findings, it was also our conclusion that the gut area of the body contains a feeling response center that holds a relationship to the thinking processes of the person, but is a separate response center from the thinking head responses and certainly not dependent upon it. -/- Feeling inspired by Gershon’s (1998) work and the attention recently given to the gut in the literature and media, I decided to write a second article for Somatics that further explains the specific technique of the Somatic Reflection Process (SRP). The intention of this article is to answer the questions about the process that I have been asked in the past year by many friends and colleagues who read my first article last Spring on the findings of Robert Sterling’s and my somatic work as guidance counselors. I am including both the method and a protocol for facilitating the SRP, as well as a brief summary of a recent research study using the SRP protocol presented (Love, 2005). (shrink)

Love, S. (2007). Using somatic awareness as a guide for making healthy life choices. Somatics Magazine- Journal Of The Mind/Body Arts and Sciences, Volume XV, Number 2, pages 40-43. (Silver Love is same person as author Martha C. Love).

This book tries to present math to the millions and does a pretty good job. It is simple and sometimes witty but often the literary allusions intrude and the text bogs down in pages of relentless math--lovely if you like it and horrid if you don´t. If you already know alot of math you will still probably find the discussions of general math, geometry, projective geometry, and infinite series to be a nice refresher. If you don´t know any and don´t (...) have a natural talent for it, you will find it very dense or impossible. Being somewhere in the middle I skimmed thru most of it and slowed down when it got interesting. If you have only a little time I would suggest the last chapter ´The Abyss` about Georg Cantor and transfinite arithmetic. -/- At points they wax philosophical and ask the perennial question: is math is out there in the world or in here in our heads. Why not ask this about art or music or literature or computer programs or philosophy itself? In a very general way math must come from the same place that words and ideas and images come from---our brain evolved to make them and they must in many ways (every way?) reflect the structure of our brains, which reside in our DNA, which was shaped by natural selection, which was shaped by the geology of the earth and the structure of our universe, which comes from particle physics which comes from the laws of nature which are just there. -/- I have written extensively on the nature of math and language and mind and how they are all one in my many other reviews so please see them if these topics interest you. Those interested in all my writings in their most recent versions may consult my e-book Philosophy, Human Nature and the Collapse of Civilization - Articles and Reviews 2006-2016 662p (2016). -/- All of my papers and books have now been published in revised versions both in ebooks and in printed books. -/- Talking Monkeys: Philosophy, Psychology, Science, Religion and Politics on a Doomed Planet - Articles and Reviews 2006-2017 (2017) https://www.amazon.com/dp/B071HVC7YP. -/- The Logical Structure of Philosophy, Psychology, Mind and Language in Ludwig Wittgenstein and John Searle--Articles and Reviews 2006-2016 (2017) https://www.amazon.com/dp/B071P1RP1B. -/- Suicidal Utopian Delusions in the 21st century: Philosophy, Human Nature and the Collapse of Civilization - Articles and Reviews 2006-2017 (2017) https://www.amazon.com/dp/B0711R5LGX -/- . (shrink)

The study’s goal was to provide an educational intervention in Algebra through GeoGebra that would boost students’ confidence, improve their learning, and correct their most minor mastered skills, allowing them to improve their Algebra performance. The research design was quasi-experimental, with 40 nonrandomly chosen participants comprising the GeoGebra and control groups. Mean and standard deviation was employed to describe the algebra performance and confidence of the respondents. At the same time, independent and dependent t-tests were used to determine the students’ (...) significant difference in algebra performance and confidence in the pre-and post-test between the control and GeoGebra groups. GeoGebra effectively improved algebra confidence, enhanced learning, and remedied the students’ least mastered skills. GeoGebra is recommended as an instructional material in teaching and learning Algebra and can be extended to other mathematics content areas. (shrink)

In this article, I argue that the practice of civil disagreement has robust epistemic benefits and that these benefits enable meaningful forms of reconciliation—across worldview lines and amid the challenging information environment of our age. I then engage two broad groups of objections: either that civil disagreement opposes, rather than promotes, clarity, or else that it does little to help it. If successful, my account gives us reason to include civil disagreement among what Mill calls “the real morality of public (...) discussion,” a fact that should stir us to take more seriously the decline of civility in contemporary life. (shrink)

Many biologists and philosophers have worried that importing models of reasoning from the physical sciences obscures our understanding of reasoning in the life sciences. In this paper we discuss one example that partially validates this concern: part-whole reductive explanations. Biology and physics tend to incorporate different models of temporality in part-whole reductive explanations. This results from differential emphases on compositional and causal facets of reductive explanations, which have not been distinguished reliably in prior philosophical analyses. Keeping these two facets distinct (...) facilitates the identifi cation of two further aspects of reductive explanation: intrinsicality and fundamentality. Our account provides resources for discriminating between different types of reductive explanation and suggests a new approach to comprehending similarities and differences in the explanatory reasoning found in biology and physics. (shrink)

Robert Wilson’s The Eugenic Mind Project is a major achievement of engaged scholarship and socially relevant philosophy and history of science. It exemplifies the virtues of interdisciplinarity. As principal investigator of the Living Archives on Eugenics in Western Canada project, while employed in the Department of Philosophy at the University of Alberta, Wilson encountered a proverbial big ball of mud with questions and issues that involved local individuals living through a painful set of memories and implicated his institutional home in (...) outstanding moral obligations. It is engaged scholarship because it required building relationships with affected persons and taking responsibility for his institution’s legacy, as well as transforming Wilson’s own outlook along the way. It is socially relevant philosophy and history of science because it brings to light issues that remain salient today, especially how eugenic themes are ubiquitous in societal discourse and evinced in everyday decisions. It is interdisciplinary because to accomplish this type of analysis requires intellectual gymnastics that range over diverse domains of research: from standpoint theory and disability studies to oral history and governmental policy; from the evolutionary biology of prosociality and variation to conceptual questions about the categorization of human traits and types. (shrink)

This study's focus was to determine students' English competency level after exposure to video lessons as supplemental materials. The respondents of the study were 139 Grade 9 students of Mahaplag National High School coming from four sections enrolled for School Year 2022-2023. Quasi-experimental method of research particularly the pretest-posttest design was utilized in the study. Frequency counts, mean percentage score, weighted mean, standard deviation, and paired samples T-test were utilized in data analysis. Results of the study revealed that the competency (...) level of the students on all three learning competencies before the exposure to video lessons is in the poor category. On the other hand, it was revealed in the study that after exposure to video lessons and through the administered post-test, students’ competency levels improved, which now belongs to the fair category. As to the student’s acceptance level of video lessons as supplemental materials, it was found that students positively accept video lessons as supplemental materials for selected English 9 competencies. It was also ascertained that there was a statistically significant increase in the scores of the students on all three competencies after exposure to video lessons. Furthermore, there was a significant increase in students' overall scores on the three competencies. From the results of the study, it can be concluded that video lessons can be a great supplemental material in teaching English 9 competencies. (shrink)

This essay begins with the assumption that many of our moral disputes have deeper roots in disagreement over worldview propositions. If this is true, and if there is a fact of the matter about worldview propositions, such that one could know the truth of at least some of them, then this makes it possible for one to maintain one’s moral beliefs, even despite the persistent, pervasive disagreements so common today. I argue that this holds true even when those debates include (...) supposed peers and when the worldview propositions themselves are highly disputed. (shrink)

Reduction and reductionism have been central philosophical topics in analytic philosophy of science for more than six decades. Together they encompass a diversity of issues from metaphysics and epistemology. This article provides an introduction to the topic that illuminates how contemporary epistemological discussions took their shape historically and limns the contours of concrete cases of reduction in specific natural sciences. The unity of science and the impulse to accomplish compositional reduction in accord with a layer-cake vision of the sciences, the (...) seminal contributions of Ernest Nagel on theory reduction and how they strongly conditioned subsequent philosophical discussions, and the detailed issues pertaining to different accounts of reduction that arise in both physical and biological science (e.g., limit-case and part-whole reduction in physics, the difference-making principle in genetics, and mechanisms in molecular biology) are explored. The conclusion argues that the epistemological heterogeneity and patchwork organization of the natural sciences encourages a pluralist stance about reduction. (shrink)

In this chapter I explore what painful art can tell us about the nature and importance of human welfare. My goal is not so much to defend a new solution to the paradox of tragedy, as it is to explore the implications of the kinds of solutions that I find attractive. Both nonhedonic compensatory theories and constitutive theories explain why people seek out painful art, but they have troublesome implications. On some narrow theories of well-being, they imply that painful art (...) is bad for us. Accordingly, we may rightly wonder if it rational for people to watch melodramas or to listen to love songs. One might think that we should generally avoid unpleasant works of art. This implication flirts with absurdity. I show how it can be avoided by making a distinction between well-being and worth. (shrink)

The allure of perennial questions in biology: temporary excitement or substantive advance? Content Type Journal Article Pages 1-4 DOI 10.1007/s11016-011-9533-5 Authors Alan C. Love, Department of Philosophy, Minnesota Center for Philosophy of Science, University of Minnesota, 831 Heller Hall, 271 19th Ave. S, Minneapolis, MN 55455-0310, USA Journal Metascience Online ISSN 1467-9981 Print ISSN 0815-0796.

The aim of this study was to investigate the predictive relationship of peer group influence, teacher-student interaction and indiscipline to students' dropout tendency in evening continuing education programmes. The context of this study is the southern senatorial district of Cross River State, Nigeria. The study adopted a predictive correlational research design, and the sample comprised 554 students randomly selected from 11 centres in the district. This represents 20% of the total population of students. The instrument used for data collection was (...) a questionnaire titled: "Social Indicators and Dropout Tendency Scale" (SIDTS). The researchers collected the data that were analysed using Pearson product-moment correlation and multiple linear regression analyses at the .05 level of significance. The results revealed that peer group influence, teacher-student interaction and level of indiscipline collectively and individually predicted dropout tendency among students in evening continuing education programmes. It was recommended, among others, that the teachers discover diverse ways of making their teaching process lively by devising ways of engaging the students in the learning process by forming discussion groups that will promote healthy peer groups, which will increase their eagerness to come to school. (shrink)

Book Review: What Genes Can’t Do By Lenny Moss .

Judgments of plausibility involve appearance of the truth or reasonableness, which is always a function of background knowledge. What anyone will countenance is conditioned by what they already know (or think they know). Marc Kirschner (professor of systems biology at Harvard) and John Gerhart (professor of molecular and cell biology at the University of California—Berkeley) aim to show that molecular, cellular, and developmental processes relevant to the generation of phenotypic variation in anatomy, physiology, and behavior demonstrate how evolutionary processes, especially (...) the origins of novelty, are plausible. The outstanding question for Kirschner and Gerhart concerns not the modification of structures but their origination—a question unanswered by the theoretical framework of the modern synthesis. (shrink)

In perceptual experience we are directed towards objects in a way which establishes a real relation between a mental act and its target. In reading works of fiction we enjoy experiences which manifest certain internal similarities to such relational acts, but which lack objects. The substitution theory of art attempts to provide a reason why we seek out such experiences and the artifacts which they generate. Briefly, we seek out works of art because we enjoy the physiology and the phenomenology (...) of, for example, the experience of love or mountain climbing, and works of art serve as props for the promotion of substitutes for the corresponding genuine feelings. Art arose, or came to be separated out from other, related phenomena, through the discovery that the experience of substitute emotions can be pleasurable. (shrink)

This paper aimed to discover the coping, initiatives, constraints, and challenges public secondary school teachers encounter in the new normal education. The central question of this paper lies in "What are the adapting and coping mechanisms of teachers and students in the distance learning modality amidst the pandemic?". This paper used the qualitative research design and employed a phenomenological approach to investigate secondary public-school teachers' coping mechanisms and initiatives in the new normal education. This paper focused on twelve public secondary (...) school teachers in Cagayan, Philippines. The research's findings are: (1) Most teachers encountered substantial challenges due to a lack of resources, student supervision, and duties. (2) Most teachers were constrained by the advent of the digital era. (3) Public-school teachers cope with their students' needs by employing effective initiatives and teaching strategies. (4) Despite their weariness and stress, teachers report positive outcomes such as tremendous enthusiasm and building connections with the school community. Meanwhile, the schools' adaptation to distant learning should be guided and encouraged by the following policies and concepts:(1) Access to technology for students. (2) Regular monitoring and feedback (3) Providing curriculum and instruction of the highest quality. Through this paper, teachers may benefit from adopting various coping techniques and activities for the new normal education. (shrink)

This book covers the field of and points to the intersections between politics, art and philosophy. Its hero, the late Sir Roger Scruton had a longstanding interest in all fields, acquiring professional knowledge in both the practice and theory of politics, art and philosophy. The claim of the book is, therefore, that contrary to a superficial prejudice, it is possible to address the philosophical issues of art and politics in the same oeuvre, as the example of this Cambridge-educated analytical philosopher (...) proves. Accordingly, the book has a bold thesis on the general, theoretical level, mapping the connections between politics, art and philosophy. However, it also has a pioneering commitment on the level of the particular, offering the first full-length study into the philosophical legacy of Roger Scruton, probably the most important British conservative philosopher of the late 20th and the first decades of the 21st century. It also allows reader to look into the philosopher’s fascination with Central European art and culture. Finally, it also provides a daring analysis of the late Scruton’s metaphysical inspirations, connecting the arts, and especially music, with religion and the bonds of love. (shrink)

BOOK REVIEW: Through fifteen interrelated essays, Daniel Campos’ Loving Immigrants in America reflects upon his experiences as a Latin American immigrant to the United States and develops an experiential philosophy of personal interaction. Building upon previous work, Campos’ implicit conceptual framework comes from Charles S. Peirce’s dual philosophical accounts of the evolution of personality and evolutionary love. But the flesh and blood of the book are Campos’ own personal experiences as an immigrant who has labored for more than twenty (...) years to make himself at home in the United States, aka la Yunai, by growing to love an impressively broad range of places and people across the country. Campos begins in rural Arkansas (where he arrived as an eighteen-year-old from Costa Rica to study at a small religious liberal arts college), travels extensively across the Deep South (in a series of road trips described in Chapters 3-6), completes an MA in Statistics and later a PhD in Philosophy at Penn State, and eventually settles to teach at Brooklyn College where he is surrounded by immigrants from all over the world. The book’s cast of characters and Campos’ interactions with them are so extensive as to defy generalization, but careful readers are likely to walk away convinced of Campos’ claim that “anyone who is receptive and attentive to the commonality of human experience can empathize with immigrants” (2). (shrink)

Following neo-Aristotelians Alasdair MacIntyre and Martha Nussbaum, we claim that humans are story-telling animals who learn from the stories of diverse others. Moral agents use rational emotions, such as compassion which is our focus here, to imaginatively reconstruct others’ thoughts, feelings and goals. In turn, this imaginative reconstruction plays a crucial role in deliberating and discerning how to act. A body of literature has developed in support of the role narrative artworks (i.e. novels and films) can play in allowing us (...) the opportunity to engage imaginatively and sympathetically with diverse characters and scenarios in a safe protected space that is created by the fictional world. By practising what Nussbaum calls a ‘loving attitude’, her version of ethical attention, we can form virtuous habits that lead to phronesis (practical wisdom). In this paper, and taking compassion as an illustrative focus, we examine the ways that students’ moral education might usefully develop from engaging with narrative artworks through Philosophy for Children (P4C), where philosophy is a praxis, conducted in a classroom setting using a Community of Inquiry (CoI). We argue that narrative artworks provide useful stimulus material to engage students, generate student questions, and motivate philosophical dialogue and the formation of good habits which, in turn, supports the argument for philosophy to be taught in schools. (shrink)

Study of the controversy between Franz Brentano and his student Carl Stumpf on emotions and sense-feelings. The issue is whether the pleasure that provides an object such as a work of art is intentional, as it is the case in Brentano's theory in which it is closely related to the class of emotions (love and hate), or merely phenomenal as Stumpf wants it. The paper is divided into two parts : I first examine several aspects of the relationship between Stumpf (...) and Brentano and I evaluate in the second part whether Stumpf's deviations from several theses of Brentano's descriptive psychology, namely on emotions and sense-feelings, challenge his commitment to Brentano's program in philosophy. (shrink)

Richard Schusterman’s book, Ars erotica: sex and somaesthetics in the classical arts of love (Schusterman, 2021) is a path-finding, innovative contribution that breaks the silence around the long-held body-shying academic deprivation to erotic ideas with its free-flowing comprehensive discussion on carnal desire and erotic thoughts. Schusterman provides a panoramic yet vibrantly profound analysis of the aesthetic inclusion into erotic love following the culture of Asian and Western thoughts from the ancient era to the Renaissance. The book’s scope shows the author’s (...) deep inclusive com-mendable research into erotic study. Schusterman is renowned for his original approach to defining popular art and philosophy as an embodied art of living. He is also famous for his trailblazing concept of somaesthetics, rooted in pragmatist aesthetics, with Ars erotica being a fruitful product of his expertise in both. (shrink)

In this article, I explain that Chiara Lubich's "art of loving" is the secret behind her enormous success in the realm of dialogue, be it within the Catholic Church, within Christianity, with other religions, with those who do not profess any religious conviction, and with the various fields of culture. I further explain that what motivates Lubich to engage in different dialogues is the desire to contribute to the fulfillment of Jesus' prayer on the night before he died: "That (...) all may be one.". (shrink)

Our life with art is suffused with trust. We don’t just trust one another’s aesthetic testimony; we trust one another’s aesthetic actions. Audiences trust artists to have made it worth their while; artists trust audiences to put in the effort. Without trust, audiences would have little reason to put in the effort to understand difficult and unfamiliar art. I offer a theory of aesthetic trust, which highlights the importance of trust in aesthetic sincerity. We trust in another’s aesthetic sincerity when (...) we rely on them to fulfill their commitments to act for aesthetic reasons — rather than for, say, financial, social, or political reasons. We feel most thoroughly betrayed by an artist, not when they make bad art, but when they sell out. This teaches us something about the nature of trust in general. According to many standard theories, trust involves thinking the trusted to be cooperative or good-natured. But trust in aesthetic sincerity is different. We trust artists to be true to their own aesthetic sensibility, which might involve selfishly ignoring their audience’s needs. Why do we care so much about an artist’s sincerity, rather than merely trusting them to make good art? We emphasize sincerity when wish to encourage originality, rather than to demand success along predictable lines. And we ask for sincerity when our goal is to discover a shared sensibility. In moral life, we often try to force convergence through coordinated effort. But in aesthetic life, we often hope for the lovely discovery that our sensibilities were similar all along. And for that we need to ask for sincerity, rather than overt coordination. (shrink)

As one tries to grasp love and its images within José Leonilson's production, a multiplicity of aspects and meanings are seen that also relate to Louise Bourgeois's oeuvre in regard to the interest in human relations. Through a comparative approach to both artists' poetics, an understanding is created that love is not a simplistic action and all the words read in or applied to their visual discourse must be considered within a wide range of love in visual and literary images. (...) Keywords: literature and visual arts / love / creativity / Bourgeois, Louise / Leonilson, José / word and image. (shrink)

Judging works of art is one thing. Loving a work of art is something else. When you visit a museum like the Louvre you make hundreds of judgements in the space of just a couple of hours. But you may grow to love only one or a handful of works over the course of your entire life. Depending on the art form you are most aligned with, this can be a painting, a novel, a poem, a song, a work (...) of architecture, or some other art object or performance. As it happens, however, we have fallen in love with a series of films: Before Sunrise, Before Sunset, and Before Midnight. But what does it mean to love a film? What’s the difference between liking a film, loving a film, and being a film lover? How rational or irrational is it to fall in love with a film? What are the constitutive elements of such a love? These are the questions we seek to address in this paper. -/- . (shrink)

References to Heraclitus and the simile of the ever-flowing river into which one cannot step twice occur frequently in the poetry of Jorge Luis Borges. Borges understood the constantly flowing river to represent both the inevitable passage of time and the constantly changing nature of human existence. On occasion, however, Borges indicates that a Heraclitean identification of our personal existence with an ever-flowing river cannot be the whole story. As he suggests in ‘Year’s End’, ‘There is something in us that (...) endures:/something unbudgeable/ that didn’t find what it was looking for’. The temporal character of human existence justifies the likening of our reality to the flow of a stream, but not everything passes away. The poetic art, for one thing, endures. And if poetry has a claim on immortality, then so does the poet. Thus, while Borges embraced Heraclitus as his alter ego he stoutly resisted his doctrine of flux. -/- . (shrink)

In aesthetics there is a long tradition according to which beauty is the object of love. One construal of this suggests a sentimentalist theory of beauty: beauty just is the object of an emotion aptly described as love. The first step toward such a view would be to discern whether we can make sense of at least some kind of aesthetic affect as at least some kind of love. I suggest that we can by taking up a thought from Frank (...) Sibley, according to whom aesthetic properties reflect non-aesthetic values that “go deep into human life and interests” or that “mean much to us” given the kinds of lives we live. I show how we might think that a variety of aesthetic affect represents its object as embodying life-affirming value and as such we can see a variety of aesthetic affect as a kind of love of life. It remains to be seen whether this can be leveraged into a theory of beauty narrowly construed. (shrink)

[First paragraphs: This essay takes its practical orientation from my experiences as a member of a philosophy reading group on death row at Riverbend Maximum Security Penitentiary in Nashville, Tennessee. Its theoretical orientation comes from W. E. B. Du Bois’ lecture-turned-essay, “Criteria of Negro Art,” which argues that the realm of aesthetics is vitally important in the war against racial discrimination in the United States. And since, according to Michele Alexander’s critically-acclaimed The New Jim Crow: Mass Incarceration in the Age (...) of Colorblindness, the prison system should be the primary front today in this war, my essay’s ultimate aim is t/o articulate a new criterion of the present-day “Negro” art being created by a prison population that is still overwhelmingly constituted by persons of color. In my first section, I will show how Du Bois’ insights in “Criteria of Negro Art” remain relevant today, especially in the prison context, and argue that it is thus appropriate for my new criterion to be shaped by his distinctive conception of “propaganda.” In my second section, through a close reading of two texts by Michel Foucault (the pivotal thinker of modern imprisonment), I will flesh out this new criterion, “self-torsion,” defined as the effect of prisoners’ attempts at self-care within a prison system that distorts those attempts into further exploitation of both prisoners and the outside world that imprisons them. And my final section, in an attempt to illustrate this new criterion’s efficacy as a form of propagandistic resistance to contemporary racism, will deploy self-torsion as a critique of two artworks created by imprisoned members of my reading group at Riverbend penitentiary. (shrink)

‘Art’ still needs a practical, useful definition, not of the academic variety, but rather of the plain and simple sort that you can usefully take with you into a gallery, and apply directly to what you see. People want to know, with a basic clarity, what it is they are looking at, and how to judge the good from the bad. Because if you don’t know what ‘art’ is, and you think it’s all about ‘classical fine crafting’, then you are (...) missing out on a very special type of experience, and an entire realm of imaginative possibilities. As it turns out, the best way to think of ‘art’ – taking a huge hint from the concept of ‘arthouse cinema’ - is not about delighting in solemn, stolid museum pieces, and developing a deferential love of the classical: it is all about an exploration - through various available media - of the strange, the disturbing, and the darkly fascinating. The great thing about art is that it offers a safe and enjoyable environment in which to contemplate all kinds of darkness, without having to submit to this negativity in life itself. (shrink)

In perceptual experience we are directed towards objects in a way that establishes a real relation between a mental act and its target. In reading works of fiction we enjoy experiences which manifest certain internal similarities to such relational acts, but which lack objects. The substitution theory of art attempts to provide a reason why we seek out such experiences and the artifacts which they generate. Briefly, we seek out works of art because we enjoy the physiology and the phenomenology (...) of, for example, the experience of love or mountain climbing, and works of art serve as props for the promotion of substitutes for the corresponding genuine feelings. Art arose, or came to be separated out from other, related phenomena, through the discovery that the experience of substitute emotions can be pleasurable. (shrink)

The historical period of the avant-garde art movements coincided with two phenomena which can be interpreted as the failure of the rationalism characteristic for the modern, capitalist system. One of these is Taylorism, which dehumanized and robotized the person involved in the work process, and the other is the First World War. Several movements of the avant-garde related critically to reason and conscience (expressionism, surrealism), but the most radical was Dada. The manifestos and Dadaist activities reveal that the Dada wants (...) to do away not only with the heritage of the past, but also with the linguistic and logical structures which form the texture of society. Bruitist poems, meaningless words and sentences, simultaneous poems, and the various uses of sound are all aimed at tearing apart language itself. The refusal of logic is most evident in the manifesto of Tristan Tzara, in which the series of mutually contradictory affirmations is concluded with an exceptionally clear statement: “I hate common sense.” Logic, argumentation, and dialectics are all dismissed in the name of freedom and life, which are characterized by Tzara in the following way: “the interweaving of contraries and all contradictions, freaks and irrelevancies: LIFE” (Tzara 1918). In my paper, I supplement the thesis of Peter Burger on the failure of the avant-garde (which is explained by him through its artistic success) by calling attention to the failure of its fight against reason, which is most evident in the search for meaning as an essential part of artistic reception. Thus, Dada is only interesting as long as the meaningless phenomenon is associated with some kind of meaning during the artistic reception. (shrink)

This paper is about the similarity between the appreciation of a piece of art, such as a cherished music album, and the loving appreciation of a person whom one knows well. In philosophical discussion about the rationality of love, the Qualities View (QV) says that love can be justified by reference to the qualities of the beloved. I argue that the oft-rehearsed trading-up objection fails to undermine the QV. The problems typically identified by the objection arise from the idea (...) that love-worthy qualities could be coarse-grained, when in fact they must be fine-grained. The analogy with appreciation of aesthetic qualities helps to draw out this point. Once the fine-grained nature of love-worthy qualities is properly understood, it is clear that critics of the QV cannot rely on the trading-up objection to motivate its rejection. Moreover, the paper’s core argument helps to illuminate the persistently aesthetic nature of interpersonal affections. (shrink)

The album Echo was produced in a depressed, drug-riddled phase when Tom Petty’s first marriage was ending and his physical condition so degraded that he took to using a cane. Petty filmed no videos, avoided playing the album’s songs on the follow-up tour and reported little memory of its making. The thoughtfulness and self-reflection that traumatic circumstances spur distinguish the album. So too does the tendency to look backwards in times of crisis, whether in hopes of finding solidity in the (...) past or just out of exhausted inability to cope with the present. -/- While melancholically creative, the album might be regarded as an echoing of past musical fragments. The sprightly mix of acoustic and electric guitars, the backing vocal harmonies and the stories of loss in songs such as “Won’t Last Long” and “This One’s for Me” harken to Petty’s albums from the late 80s to mid-90s. “Accused of Love” similarly contains echoes of Petty’s more upbeat work, but with depressing lyrical undertones. The production qualities and lyrics of “Rhino Skin” recollect “Asshole,” a Beck cover from Petty’s previous album. “I Don’t Wanna Fight”—a Heartbreakers performance composed and sung by Mike Campbell—returns to the hard driving rock of Damn the Torpedoes. The lyrics, straight-laced drums and layered drones of electric guitars of “Free Girl Now” go back further to “American Girl,” which itself was influenced by psychedelic music. At the same time, all of this typifies Petty’s oeuvre. Throughout his career, he made music steeped in past rock traditions. He was also a seminal figure in Southern rock, with its emphatically nostalgic character. -/- The crisis that Petty was experiencing echoes throughout the album in more specific ways, with many songs repeating the theme of being up or down, high or low. The theme of fighting or not wanting to has an especially strong echo, showing up in “Swingin’,” “Billy the Kid” and “I Don’t Wanna Fight.” These songs, in turn, exhibit nostalgia for past icons, with protagonists going down hard like Billy the Kid; or going down swinging like Sonny Liston; or again like Benny Goodman, Glenn Miller and Sammy Davis in a punny reference to the swing era. -/- The retrospective feel of the album is one of looking to the past for the sake of self-preservation in the present, along lines discussed by Nietzsche. While symptomatic of illness, Nietzsche maintains this movement “springs from the protective instinct of a degenerating life which tries by all means to sustain itself and to fight for existence.” This seeming denial of growth can, as Nietzsche continues, be “among the greatest conserving and yes-creating forces of life.” Petty clearly associated Echo with personal grief, refusing to listen to it for years. As with many other examples of art, however, the album was also a way of surviving and growing beyond a present trauma, and one more specifically that compelled him to overcome an important part of his past, namely, his wife of 20-plus years. One can speculate that clinging to fragments of the past—musical and otherwise—was a way of coping with a difficult present and a fading past. (shrink)

Beauty is truth, truth beauty.If this epigraph only rarely escapes English class, something like it has fascinated philosophers for a long time. Iris Murdoch remembers that "Kant said that beauty was an analogon of good, Plato said it was the nearest clue."2 I want to go further and posit that our means of perception of the aesthetic and the ethical share an organic connection, an understanding of which will help elucidate moral perception, a critical component of moral education.Or moral education (...) as it should be. But what currently counts as such is, directly or almost directly, simple instruction. I ask why this does not work. I ask why Jane Austen said, "We all love to instruct, though we can teach only what is... (shrink)

What reasons do we have to use certain concepts and conceptions rather than others? Approaching that question in a methodologically humanistic rather than Platonic spirit, one might seek “reasons for concept use” in how well concepts serve the contingent human concerns of those who live by them. But appealing to the instrumentality of concepts in meeting our concerns invites the worry that this yields the wrong kind of reasons, especially if the relevant concerns are nonmoral ones. Drawing on Susan Wolf’s (...) work on the moral/nonmoral distinction and the neglected role of reasons of love, I argue that this worry is misplaced, and in fact overlooks some of our most important reasons to prefer certain concepts over others. Yet a lingering worry remains, namely that the value of concepts does not just lie in what they are good for. Drawing on another strand in Wolf’s work, I explore the question whether concepts can be valuable good-for-nothings, and show how this ultimately also underscores the importance of reasons of love as reasons for concept use. (shrink)

Murdoch makes some ambitious claims about love’s epistemic significance which can initially seem puzzling in the light of its heterogeneous and messy everyday manifestations. I provide an interpretation of Murdochian love such that Murdoch’s claims about its epistemic significance can be understood. I argue that Murdoch conceives of love as a virtue, and as belonging at the pinnacle of the hierarchy of the virtues, and that this makes sense of the epistemic role Murdochian love fulfills. Moreover, I suggest that there (...) is good reason to think that Murdochian love is not as far from everyday conceptions of love as it can initially appear. (shrink)

Robert (Robby) P. Tangtingco’s article was called Bergaño’s dictionary “a work of art” in Lost and Found in Translation in the 18th century. The first thing that they observed is the various dialects or languages used by their countrymen. They were assigned to different regions of the Philippines, and one of them was Fray Diego Bergaño. He was designated to Pampanga where he successfully produced a Kapampangan dictionary called “Arte dela Lengua Pampanga”. From the stated dictionary, the reseacher look for (...) words that were related to food due to the reason that Pampanga is known for its mouthwatering food and delicacies. The dictionary was used as a reference for the translation to the English language. Moreover, various dictionaries were used to look for their translated Filipino language. Due to the rapid changes and modernization, loyalty and love to our own country, specifically language, is slowly fading and dying. With this, the researcher continued the study following the due process. First, she looked for each word related to food in Bergaño’s dictionary. Second, she categorized each food according to rice,grains, seafood, edible animal or insect, fruits and vegetable, herbs, cooking utensils, the process of cooking and preparing food, Pampanga’s delicacies and food, and other terminologies that are related to food. Next, six respondents from Pampanga were invited to join a Zoom meeting. They were asked if which among the words listened to were related to food. Furthermore, the researcher sought if the words used are still being applied or not nowadays. (shrink)

In this edition are presented the works by Alex Listengort, written in a period of time from autumn-2008 to may 2013. Here the reader may see a circulation of different topics, of questions and answers, embodied in Poems. These Pieces of Arts do Bless and Fill Up with a Special Energy that is familiar to every living creature, and that brings peace, eternity, divine presence and Miracle of life in all its forms. Searches for a meaning of life and its (...) integrating into the life itself, eternal existencional questions, for which the author dares to give an answer in his poems. Themes of love and beguines, motherland, nature, time and something they call the God: all that finds its reflections in authors’ poems, but the main here are the questions of enlightenment, spiritual awakening of a human being, gaining happiness, abundance and awareness: of everything, that each of us insists to find on the line, of everything, that, as author says, no one had ever really lost, and what Is just temporarily hidden under a tricky veil, that is a part of a global plan, that is a special condition of this Game. Today in our hands we all keep a totally blessed possibility to get the needed truth, to open a stream that does fill up and gives us new power to go further: with a good will, conscioused goal, bright mind and an awakened soul. Many people that have known Alex’s creativity do mark a special energy of his poems, that truly gifts them peacefulness, joy, bliss, energy and a new knowledge. The Author itself sincerely looks forward for his works to complete their mission by revealing in a right way to the people beautiful secrets of all the world around and will bring happiness, peace and awakening into this world. Besides this edition are published «Okean Bozhestvennosty» - a complete book with Alex Listengorts’ poems, notes and prosaic miniatures, and also – «A New Stage of Awakening», a book, where reader finds a new way of looking on humans spiritual awakening and on the esoteric knowledge that leads to such revelations. In prospect there Is a novel “The Return”. -/- DISCOVER A NEW (WELL FORGOTTEN) WORLD: A WORLD OF YOURSELF. AN ENERGY, LIVING IN EVERYTHING. A DIVINE CHARGE, OF WHICH YOU ARE AN ETERNAL GUIDE . (shrink)

In this paper Peirce's notion of sign is studied to try to characterize the artistic sign as representation. Then, some considerations about the work of art as a sign are developed involving three elements: experience, expression and interpretation. Finally it is concluded that beauty requires for Peirce a peculiar balance, the imaginative conjunction of the sensible and the reasonable in an artistic sign; it requires moreover the expression of something that transcends the sensible; it requires, as a sign, an interpretation (...) which is not exact and which implies growth. It requires, finally, love, because an artist will only reach beauty guided by agape updating and harmonizing possibilities through abduction, that is, creating new signs that give form to what does not have it; the artist only reaches beauty when he loves what he does and when he can express himself freely. -/- En este artículo se estudia, en primer lugar, la noción de signo de Peirce para tratar de caracterizar después el signo artístico como representación. Se desarrollan enseguida algunas consideraciones sobre la obra de arte como signo que como tal conlleva tres elementos: experiencia, expresión e interpretación. Finalmente se concluye que la belleza requiere para Peirce un peculiar equilibrio, la conjunción imaginativa de lo sensible y lo razonable en un signo artístico; requiere además la expresión de algo que trasciende lo sensible; requiere, en tanto signo, de una interpretación que no es exacta y que implica crecimiento. Requiere, por último, amor, pues el artista solo alcanzará lo bello cuando sea guiado por el ágape y a través de la abducción vaya actualizando y armonizando posibilidades, creando nuevos signos que den forma a lo que no la tiene, cuando ame lo que hace y se exprese libremente. (shrink)

Following the publication of his magnum opus L’être et l’événement (Being and Event) in 1988, Alain Badiou has been acclaimed as one of France’s greatest living philosophers. Since then, he has released a dozen books, including Manifesto for Philosophy, Conditions, Metapolitics and Logiques des mondes (Logics of Worlds), many of which are now available in English translation. Badiou writes on an extraordinary array of topics, and his work has already had an impact upon studies in the history of philosophy, the (...) history and philosophy of science, political philosophy, aesthetics, psychoanalysis, and ontology. This volume takes up the challenge of explicating, extending and, in many places, criticising Badiou’s stunningly original theses. Above all, the essays collected here put Badiou’s concepts to the test in a confrontation with the four great headings that he himself has identified as essential to our humanity: science, love, art and politics. Many of the contributors have already been recognised as outstanding translators of and commentators on Badiou’s work; they appear here with fresh voices also destined to make a mark. (shrink)

The theory and culture of the arts has largely focused on the arts of objects, and neglected the arts of action – the “process arts”. In the process arts, artists create artifacts to engender activity in their audience, for the sake of the audience’s aesthetic appreciation of their own activity. This includes appreciating their own deliberations, choices, reactions, and movements. The process arts include games, urban planning, improvised social dance, cooking, and social food rituals. In the traditional object arts, the (...) central aesthetic properties occur in the artistic artifact itself. It is the painting that is beautiful; the novel that is dramatic. In the process arts, the aesthetic properties occur in the activity of the appreciator. It is the game player’s own decisions that are elegant, the rock climber’s own movement that is graceful, and the tango dancers’ rapport that is beautiful. The artifact’s role is to call forth and shape that activity, guiding it along aesthetic lines. I offer a theory of the process arts. Crucially, we must distinguish between the designed artifact and the prescribed focus of aesthetic appreciation. In the object arts, these are one and the same. The designed artifact is the painting, which is also the prescribed focus of appreciation. In the process arts, they are different. The designed artifact is the game, but the appreciator is prescribed to appreciate their own activity in playing the game. Next, I address the complex question of who the artist really is in a piece of process art — the designer or the active appreciator? Finally, I diagnose the lowly status of the process arts. (shrink)

As we explore panentheism, what can we learn from Rāmānuja's Viśiṣṭādvaita? Although widely acknowledged as a panentheist, in the contemporary debate on how to characterize panentheism, Rāmānuja barely features. But Rāmānuja's position is worth studying not just because it bears on taxonomical questions. Among its interesting features is a conception on which devotional love, bhakti, serves an epistemic function that is also of crucial soteriological relevance. This chapter addresses both these topics. First, Rāmānuja's Viśiṣṭādvaita is used to cast doubt on (...) a characterization of panentheism recently proposed by Mikael Stenmark. Second, Rāmānuja's conception of bhakti is juxtaposed with two conceptions of love that serve an analogous dual function: Weil's conception of supernatural love and Murdoch's conception of love as just attention. Rāmānuja's position, it is argued, is distinct, partly due to his panentheist commitments, but it also shares a number of features with the other two. In closing, it is suggested that for further comparative work on these three, ample room remains. (shrink)

Love is often seen as the most intimate aspect of our lives, but it is increasingly engineered by a few programmers with Artificial Intelligence (AI). Nowadays, numerous dating platforms are deploying so-called smart algorithms to identify a greater number of potential matches for a user. These AI-enabled matchmaking systems, driven by a rich trove of data, can not only predict what a user might prefer but also deeply shape how people choose their partners. This paper draws on Jürgen Habermas’s “colonization (...) of the lifeworld” thesis to critically explore the insidious influence of delegating romantic decision-making to an algorithm. The love lifeworld is colonized inasmuch as online dating algorithms encroach into our romantic relations to the extent that communicative action within romance is replaced by the technocratic rules of an algorithm. (shrink)

The topic of discourse titled “Advancement of Global Peace Building from the Periscope of Kant‟s Philosophy of Perpetual Peace” is centered on the clarion call for the placement of the study of Arts and Humanities at the forefront of human existential candescence. Global peace is a phenomenal thrust in Arts and Humanities, which if jettisoned could affect our existence. Within this frame of conception, Kant‟s Philosophy of perpetual is examined in Arts and Humanities to proffer to solution to man. Kant‟s (...) perpetual peace as an expository and critical adumbration reveals the indispensability of Arts and Humanities in all facets of man‟s endevours. Kant‟s indulgences in the philosophy of perpetual peace was a call for nations and individuals to pursue peace and build on it for existential benefits and global peace. His insistence on “love, virtuous duty to others and respect” where founded on dignity on man. The objective of the work is to reemphasis that within the ambience of Kant‟s philosophy of peace adequate interest into ought to be placed to the study of Arts and Humanities. Contemporaneously, man has experienced terrorism, kidnappings, wars and other forms of conflicts which has impeded peace building and universal harmony. The critical and analytical methods of philosophy as reflected in this work educe that through the instrumentality of Arts and Humanities, advancement of global peace is a possibility through Kant‟s perpetual peace. Man therefore needs and desire peace, build on peace for continuous enjoyment of nature‟s beneficence. (shrink)

This study aims to grasp the two distinct artworks one is from the literary field: Penal Colony, written by F. Kafka and the other one is from painting: The Large Glass, designed by M. Duchamp. This text tries to unravel the similarities betwe- en these artworks in terms of two main significations around “The Officer” from Penal Colony and “The Bachelors” from The Large Glass. Because of their vital role on the re-production of status-quo, this text asserts that there is (...) a similarity between them in the name of being part of the dispositions of body and desire. First of all, the text focuses on Penal Colony, especially on “The Officer” in or- der to observe his obsession towards the order that ruled by former and the late officer of colony. Deleuze & Guattari conceptualize it as “abstract-machines” and it refers to a contingent state of being which is produced as an obligatory entity. Besides, The Officers’ application via a “labeling machine” on inmates creates a framewok of a dispositif in Foucauldian terminology. Secondly, it is emphasized that The Bachelors from the Large Glass for his context, due to its reference for the concept of desire and a metaphorical connotation for desire as “cocoa”. The Large Glass is also turn around the dispositif in a different way: love. It is stated that criticizing the love to nowhere which belongs to The Bachelors and it can be found that there is an abstract-machine again in back of this practice and it converts The Bachelors’ energeia to make an apparatus possible and operative. (shrink)

Spinoza’s concepts of wonder, the imitation of affects, cheerfulness, and devotion provide the basis for a Spinozist aesthetics. Those concepts from his Ethics, when combined with his account of rituals and festivals in the Theological-Political Treatise and his Political Treatise, reveal an aesthetics of social affects. The repetition of ritualised participatory aesthetic practices over time generates a unique ingenium or way of life for a social group, a singular style which distinguishes them from the general political body. Ritual and the (...) imitation of affects explain why specific styles of art are associated with consistent styles of bodily modifications, clothing, and affects. This paper claims, not that already similar people flock to the same art, but rather, that immersion in the same art is what produces their similarity. Art (especially in the immersive, festival-like experience of live performance) can generate the affect of devotion, which intensifies in-group love, temporarily blocks affects of sadness, and focusses one intently on the aesthetic experience due to devotion’s connection to wonder. Cheerfulness shows that, through variation of aesthetic objects, art can cause pleasure without risking excess. In addition, while politics’ central affect is sad fear, aesthetically-united groups are bound by joyful affects. (shrink)

Religion has a considerable influence over the public’s attitudes towards science and technologies. The objective of the paper is to understand the ethical and religious problems concerning the use of embryo for research in assisting conception for infertile couples from the perspective of Catholic Christians. This paper seeks to explain our preliminary reflections on how religious communities particularly the Catholic Christian communities respond to and assess the ethics of reproductive technologies and embryo research. Christianity as a whole lacks a unified (...) and definitive statement on when an embryo becomes a person, although fundamentalist Christians tend to be opposed to embryo experimentation. Roman Catholics tend to believe that the embryo should be treated as human life from the moment of conception or fertilisation. As opposed to this preconception I have tried to point out that a foetus is a clump of cells and lacks individuality as a conscientious human being and thus can be used for research for therapeutic reason. The paper concluded that the Church accepts techniques on embryo that respect their life. So they would allow procedures that are akin with healing and improvement of life without involving undue risks. The Church feels children should arise out of act of love between man and his wife in co-operation with God. In this regard, it may be pointed out though the creation of a child through a conjugal act in a wed lock is the preferred method since it is the most natural, least expensive one. But that does not mean, it should be the only acceptable means to conception. To state a child born using ARTs would be less perfect compared to a child born through conjugal act of husband and wife is absurd one to be mentioned. (shrink)