I argue that European schools of thought on memory and memorization were critical in enabling growth of the scientific method. After giving a historical overview of the development of the memory arts from ancient Greece through 17th century Europe, I describe how the Baconian viewpoint on the scientific method was fundamentally part of a culture and a broader dialogue that conceived of memorization as a foundational methodology for structuring knowledge and for developing symbolic means for representing scientific concepts. (...) The principal figures of this intense and rapidly evolving intellectual milieu included some of the leading thinkers traditionally associated with the scientific revolution; among others, Francis Bacon, Renes Descartes, and Gottfried Leibniz. I close by examining the acceleration of mathematical thought in light of the art of memory and its role in 17th century philosophy, and in particular, Leibniz’s project to develop a universal calculus. (shrink)

Abstract (German) Dieses Buch faßt meine Forschungen zur Semiotik Giordano Brunos und zu deren Grundlagen in der Kosmologie und in der Gedächtnistheorie zusammen, wobei sowohl die Heterogenität als auch der Universalität des Denkers den Charakter dieses Buches geprägt haben. Es wird kein glattes Bild seiner Person oder seines Werkes angeboten, kein bejahender Jubel über eine epochale Leistung; wichtiger war mir die bis ins Detail gehende, manchmal mühselige Interpretation seiner Systementwürfe, wobei ich versucht habe, auch deren formales und technisches Niveau deutlich (...) zu machen. Nicht seine Weltanschauung soll dargestellt werden, sondern sein Versuch, eine Vielfalt von Detaillösungen in eine wohlproportionierte, wenn auch ins Unendliche reichende Wissensarchitektur zu integrieren. Als Startsignal mag folgende Frage dienen: Inwiefern ist Giordano Bruno Semiotiker? Der Philosoph Bruno wird von Jacobi als Beispiel spinozistischer Tendenzen wieder ins Gespräch gebracht; später wird er für die spekulative Naturphilosophie, die aus Kants Schatten heraustritt, z.B. für Schelling und Hegel, interessant, und schließlich wird er als Märtyrer der Freiheit von den Antiklerikalen im Risorgimento hochgehoben. Der Heroenkult um die „Kopernikanische Wende" weiß mit Bruno nichts anzufangen, er ist kein Naturwissenschaftler, wie man ihn sich im 20 . Jh . wünscht. Von Yates ( 1964 ) wird er als Hermetiker und Ahnherr der Rosenkreuzer entdeckt, und plötzlich soll er auch noch ein Semiotiker sein ? Die Etikette „Semiotiker" ist allerdings weniger riskant als jene früher an Bruno herangetragenen. Bruno ist Philosoph, in einem allgemeinen Sinn , insofern er alle wesentlichen Aspekte: metaphysische, natur philosophische, ethische, semiotische, poetologische zum Entwurf eines möglichst kohärenten Bildes vereint, und er ist ein Renaissance-Philosoph, d .h. das antike Erbe, besonders jenes in den orientalischen Tiefen der Kulturgeschichte (Ägypten und Chaldäer) ist sein Ausgangspunkt. Selbst den Entwurf des Copernicus versteht Bruno in erster Linie als eine Wiederentdeckung antiker Einsichten. Es gibt jedoch in Brunos Schaffen einen roten Faden: die Architektur unseres Wissens, das Gedächtnis der Kultur- und Wissensgemeinschaft und natürlich desjenigen, der wie Bruno dieses Wissen zu einer Synthese vereinigen will . Seine Philosophie versucht, wie jede große Philosophie, alles, was wir wissen und was wir daraus an weiterem impliziten Wissen erschließen können, in einer Einheit zu denken, und diese Einheit ist notwendigerweise nur als Zeichensystem (begrifflich, argumentativ, bildhaft, als imaginierte Welt) zu realisieren. -/- Abstract (English) This book summarizes my research on Giordano Bruno's semiotics and its foundations in cosmology and memory theory, whereby both the heterogeneity and the universality of the thinker have shaped the character of this book. No smooth picture of his person or his work is offered, no affirmative jubilation over an epochal achievement; What was more important to me was the sometimes laborious interpretation of his system designs, which went down to the last detail, and I also tried to make their formal and technical level clear. It is not his worldview that should be presented but his attempt to integrate various detailed solutions into a well-proportioned, albeit infinitely reaching, architecture of knowledge. The following question may serve as a starting signal: To what extent is Giordano Bruno a semiotician? Jacobi brings up the philosopher Bruno again as an example of Spinozist tendencies; later, he becomes important for the speculative natural philosophy emerging from Kant's shadow, e.g., for Schelling and Hegel. He is finally extolled as a martyr of freedom by the anticlericals in the Risorgimento. The hero cult around the "Copernican turn" does not know what to do with Bruno; he is not a natural scientist as one would wish in the 20th century. Yates (1964) discovered him as a hermetic, even an ancestor of the Rosicrucians. The etiquette "semiotic" is certainly less risky than the associations that Bruno used to have. Bruno is a philosopher, in a general sense, in that he combines all the essential aspects: metaphysical, natural philosophical, ethical, semiotic, poetological to project a picture that is as coherent as possible, and he is a Renaissance philosopher, i .e . the ancient heritage, especially that in the oriental depths of cultural history (Egypt and Chaldeans) is his starting point. Bruno sees even the draft of Copernicus primarily as a rediscovery of ancient insights. However, there is a common thread in Bruno's work: the architecture of our knowledge, the memory of the cultural and knowledge community and, of course, of those who, like Bruno, want to unite this knowledge into a synthesis. His philosophy, like every great philosophy, tries to think of everything that we know and what we can deduce from it as further implicit knowledge as a unit, and this unit is necessarily only available as a system of signs (conceptual, argumentative, pictorial, as an imagined world). to realize. 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[This is a response to a target article in BBS]. Although the art-historical context of a work of art is important to our appreciation of it, it is our knowledge of that history that plays causal roles in producing the experience itself. This knowledge is in the form of memories, both semantic memories about the historical circumstances, but also episodic memories concerning our personal connections with an artwork. We also create representations of minds in order to understand the emotions that (...) artworks express. (shrink)

Christopher Nolan’s Memento illustrates and explores two roles that memory plays in human life. The film’s protagonist, Leonard Shelby, cannot ‘make new memories’. He copes by using a ‘system’ of polaroids, tatoos, charts and notes that substitutes for memory in its first role, the retention of information. In particular, the system is supposed to help Leonard carry out his sole goal: to find and kill his wife’s murderer. In this it proves a disastrous failure. But are we so (...) very much better off? The film uses the failures of Leonard’s system to raise doubts about the effectiveness of our own psychological capacities for grasping the past. However, memory does more than allow us to retain information. As Richard Wollheim showed, it also enables the past to control our present, by perpetuating, while modifying, its affective hold over us. This is something wholly denied Leonard. By implicitly contrasting his position with ours in this respect, the film also explores this second role that memory plays in our lives. (shrink)

In this essay I argue that the film Eternal Sunshine of the Spotless Mind eloquently and powerfully suggests a controversial philosophical position: that the harm caused by voluntary memory removal cannot be entirely understood in terms of harms that are consciously experienced. I explore this possibility through a discussion of the film that includes consideration of Nagel and Nozick on unexperienced harms, Kant on duties to oneself, and Murdoch on the requirements of morality.

This article relates the ideas of Stanisław Brzozowski (1878-1911) with those of Bernard Stiegler (1952-2020), both of whom problematize the "work" of art understood as a labor practice. Through the conceptual analysis of epigenetics and epiphylogenetics for aesthetic theory, I claim that both thinkers develop practical concepts relevant to contemporary art philosophy. First, I present an overview of Brzozowski's aesthetics, for whom literature and the arts are linked with ethics, and aesthetic form is tied with moral judgment. Then, I continue (...) with an outline of Stiegler's, for whom the role of artists is to sculpt a new culture and historical epoch called the Neganthropocene. Finally, the notion of "work" as a type of memory practice is analyzed. The comparison shows that Stiegler develops epigenetics phenomenologically via memory ("tertiary retentions") and phylogenetics to epiphylogenetics. Both philosophers argue against determinism. This study suggests that their key ideas advance and complement each other. (shrink)

This paper is a tentative step towards a historical cognitive science, in the domain of memory and personal identity. I treat theoretical models of memory in history as specimens of the way cultural norms and artifacts can permeate ('proto')scientific views of inner processes. I apply this analysis to the topic of psychological control over one's own body, brain, and mind. Some metaphors and models for memory and mental representation signal the projection inside of external aids. Overtly at (...) least, medieval and Renaissance theorists agreed that such models had to allow for, or even guarantee, some conception of cognitive order and discipline. Individual memory traces had to be independent, not mixed up or interfering with others. The long tradition of improving or bypassing 'natural memory' by deliberately internalizing artefactual models was part of an arduous process of self-fashioning. Moral panic about confusion and mixture features centrally in the imposition of cognitive discipline in local memory traditions. (shrink)

This article focuses on the use of one verse from the Biblical Songs of Songs in central passages of Giordano Bruno's first published book on the art of memory. De umbris idearum [On the Shadows of Ideas] not solely aims at improving mnemonic capacities, it also envisages the preconditions and limits of cognition in Bruno's new inifitist cosmology. Taking relevant scholarly literature on the topic as a point of departure, this contribution presents De umbris in the context of Bruno's (...) philosophy in general; it focuses on Bruno's evocation of Origen's commentary on that passage in the Song of Songs. The article analyzes in detail the reasons for Bruno's subversion of the traditional exegetic tradition that was massively influenced by Origen's spiritualized reading of the Song of Songs. Bruno's misappropriation of the Origen's commentary turns out to be a mise en abyme, a mannerist strategy of representation. It not only reflects the very method that underlies Bruno's art of memory, but is also to be understood as a conscious subversion of exegetic traditions in general. (shrink)

The paper discusses problems related to historical change in the field of technology applied to the preservation and communication of knowledge. Debates of the years 1990s about the possible decadence of (printed) books in favour of other technologies, are evaluated with the help of a historical analogy. The art of memory was a widespread non-material technique for managing information in a world of prevalent oral communication, which was set aside by the new technologies of printed communication. In the first (...) part, the Author discusses the final phase in the history of the art of memory, sketching Lambert Schenckel’s biography as a good example of utmost individual success in the teaching of the art. Schenckel’s time sees the maximum demand for teaching in the art of memory; nevertheless those are the years when the printed book has already completely won its battle. The second part regards the possibility of a survival of the book as a technological model (i.e. as a model to build applications in new technologies for knowledge communication), notwithstanding the technologies involved in its production, just as the art of memory has been recently used as a model for constructing hypermedia, and just as the book itself survived technological revolutions in past ages. The issue is discussed carefully avoiding to engage in prophecy. (shrink)

Is it not surprising that we look with so much pleasure and emotion at works of art that were made thousands of years ago? Works depicting people we do not know, people whose backgrounds are usually a mystery to us, who lived in a very different society and time and who, moreover, have been ‘frozen’ by the artist in a very deliberate pose. It was the Classical Greek philosopher Aristotle who observed in his Poetics that people could apparently be moved (...) even by the imitation of a person or an act. And although we are usually well aware that it is a simulacrum, not a real situation, it nevertheless sometimes seems as if we ourselves are standing there on the stage or in the painting, so intense and emotional is our response, even though we are just spectators. Aristotle concludes from this that we have intellectual capacities which allow us put ourselves in another’s place and consequently to react to simulated situations as though they are actually happening to us, here and now. In this process, he contends, observation, memory, imagination and emotions are crucial elements. In the past it was not customary to invoke human mental faculties to explain our response to works of art. The Ancient Greeks, after all, knew little about the human body or brain and usually referred to the extended world of the gods in their endeavours to comprehend the ‘inner world’ of human beings. In our time the situation is completely different—such an allusion to the brain no longer surprises us. Whether it is about the mystery of the consciousness, the question of free will or accounts of bizarre psychological aberrations or disorders, we have become accustomed to references to parts of the brain, to images of brain scans, to reports about neural networks and the like. However, because there are so many factors that play a part in our appreciation of works of art we need a complex explanation for it, and it is not enough to look only at certain properties of the brain that are determined by evolution. Those properties are shared by every human being, and so are rather useless in explaining people’s different reactions to the same work of art. Evidently the brains of individuals differ so much that they make it possible for people to respond differently to one and the same artwork. This, of course, raises questions concerning the painted emotions that can be seen in this exhibition. Virtually everyone, after all, is fascinated by such paintings and usually recognizes the emotions they represent. The reactions to these painted emotions are also often similar. This is probably why artworks like this are generally highly valued, then and now, here and elsewhere: from the enigmatically smiling Egyptian Queen Nefertiti and the startled Rembrandt to a seemingly despairing African mask. Aristotle observed that in the theatre players imitate actions that are associated with emotions in a number of ways and that these emotions are shared in a particular fashion by the playwright, the actors and the audience. The audience may even be carried away by these emotions to such an extent that they are in a sense purged of them and can subsequently leave the theatre relieved. Are such emotional reactions perhaps related to the fact that emotions are universal and that brains respond similarly to them? Is this why we can so readily identify painted emotions? May we therefore also assume that the properties of the brain determined by evolution help us to explain these emotions? In answering these questions we shall discuss a number of insights into emotions in psychology and brain science and explore some theories about the possible function of emotions and their expression. (shrink)

La Cappella Carafa di Santa Severina, nella chiesa di San Domenico Maggiore a Napoli, era uno dei luoghi preferiti della giovinezza di Giordano Bruno. La sua struttura, che ricorda il teatro di Giulio Camillo, e la presenza di trenta simboli astrologici scolpiti sugli archi, la rendono la “stanza della memoria” ideale per l’applicazione dell’innovativa arte della memoria sviluppata dal filosofo Nolano. -/- The ‘memory place’ of Giordano Bruno. The Carafa of Santa Severina Chapel in the church of San Domenico (...) Maggiore, Naples, was one of the favourite places of Giordano Bruno’s youth. Its structure, similar to that of Giulio Camillo’s theatre, and the presence of thirty astrological symbols carved on the arches, make it the ideal ‘memory place’ for the application of the innovative ‘art of memory’ developed by the philosopher. (shrink)

In Greek mythology the Muses –patron goddesses of fine arts, history, humanities, and sciences– are tellingly portrayed as the daughters of Zeus and Mnemosyne, the goddess Memory, who is of the race of Titans, older still than Zeus and other Olympian deities. The relationship between memory and such fields as epic poetry, history, music and dance is easily recognizable to moderns. But bards/poets like Homer and Hesiod, who began oral storytelling by “invoking the Muses” with their audience, knew (...) well that remembering, forgetting, and imagining are each to be esteemed as, in Hesiod’s words, “gifts of the goddesses.” The economy of memory is an important concern for moral psychology, philosophy of emotions, and philosophy of imagination. This chapter examines ways that amusements, both classically and today, can function to educate moral emotions in and though their multi-faceted engagements with the economy of memory. (shrink)

From his initial writings on imagination and memory, to his recent studies of the glance and the edge, the work of American philosopher Edward S. Casey continues to shape 20th-century philosophy. In this first study dedicated to his rich body of work, distinguished scholars from philosophy, urban studies and architecture as well as artists engage with Casey's research and ideas to explore the key themes and variations of his contribution to the humanities. -/- Structured into three major parts, the (...) volume reflects the central concerns of Casey's writings: an evolving phenomenology of imagination, memory, and place; representation and landscape painting and art; and edges, glances, and voice. Each part begins with an extended interview that defines and explains the topics, concepts, and stakes of each of area of research. Readers are thus offered an introduction to Casey’s fascinating body of work, and will gain a new insight into particular aspects and applications of Casey's research. -/- With a complete bibliography and an introduction that at once stresses each of Casey’s areas of research while putting into perspective their overarching themes, this authoritative volume identifies the overall coherence and interconnections of Edward S. Casey's work and his impact in contemporary thought. (shrink)

In this article, I outline various ways in which artifacts are interwoven with autobiographical memory systems and conceptualize what this implies for the self. I first sketch the narrative approach to the self, arguing that who we are as persons is essentially our (unfolding) life story, which, in turn, determines our present beliefs and desires, but also directs our future goals and actions. I then argue that our autobiographical memory is partly anchored in our embodied interactions with an (...) ecology of artifacts in our environment. Lifelogs, photos, videos, journals, diaries, souvenirs, jewelry, books, works of art, and many other meaningful objects trigger and sometimes constitute emotionally-laden autobiographical memories. Autobiographical memory is thus distributed across embodied agents and various environmental structures. To defend this claim, I draw on and integrate distributed cognition theory and empirical research in human-technology interaction. Based on this, I conclude that the self is neither defined by psychological states realized by the brain nor by biological states realized by the organism, but should be seen as a distributed and relational construct. (shrink)

The author discusses the relationship between art and the body, as exemplified by the similarities and differences in the works of: two Japanese artists, Matsui Chie (b. 1960) and Higashikage Tomohiro (b. 1978); and the Polish artist, Mirosław Bałka (b. 1958). These examples are referred to in the context of a unique project recently conducted in Japan — the Tatsuno Art Project 2013. Held with the support of the Agency for Cultural Affairs of Japan, the project aims to present contemporary (...) art to people from across Japan and around the globe, and to capitalize on the region’s unique cultural heritage, creating opportunities for people to communicate with local residents and making Tatsuno a more dynamic and popular place to visit. This paper considers various connections between art and the body by focusing on a selection of works included in the Tatsuno Art Project 2013: Arts and Memories. Known in past centuries as the ‘little Kyoto’ of Harima Province, Tatsuno is an atmospheric old castle town. It is mild and relatively warm all year round, with the climate of the nearby Seto Inland Sea region, said to be similar to that of the Mediterranean. Thanks to the support of numerous people, the organizers were able to hold the 2013 event which represented the culmination of their efforts over the past few years, being the largest ever in terms of scale with nine invited artists, eleven other participating artists, and one contemporary musician, for a total of 21 creators contributing works. With new spaces added to create a total of 16 venues, the community‑wide project truly achieved its goal of presenting the ‘historic castle town as a museum’. The project curators were also able to strengthen Tatsuno’s international ties by inviting artists from France and Poland to take part, as well as Japanese artists residing in the UK and Spain. (shrink)

Cognitive science can help literary scholars formulate specific questions to be answered by archival research. This essay takes, as its starting point, embedded mental states (that is, mental states about mental states) and their role in generating literary subjectivity. It then follows the transformation of embedded mental states throughout several manuscripts of Christa Wolf’s autobiographical novel, Patterns of Childhood (Kindheitsmuster, 1976), available at the Berlin Academy of Arts. The author shows that later versions of Patterns of Childhood have more complex (...) embedments in the chapter describing the adolescent protagonist’s relationship with her schoolteacher. This textual development is integral to the process whereby the presumably authentic memories of the past are constructed to fit the present needs of the person who is doing the remembering. Accompanying the three case studies of the manuscript revision is a discussion of theoretical and practical implications of this “cognitive-archival” approach to literature. (shrink)

The cultural project is a therapeutic melding of emotion, symbols, and knowledge. In this paper, I describe how spiritual emotions engendered through encounters in imaginative culture enable fixation of metaphysical beliefs. Evolved affective systems are domesticated through the social practices of imaginative culture so as to adapt people to live in culturally defined cooperative groups. Conditioning, as well as tertiary-level cognitive capacities such as symbols and language are enlisted to bond groups through the imaginative formats of myth and participatory ritual. (...) These cultural materializations can be shared by communities both synchronically and diachronically in works of art. Art is thus a form of self-knowledge that equips us with a motivated understanding of ourselves in the world. In the sacred state produced through the arts and in religious acts, the sense of meaning becomes noetically distinct because affect infuses the experience of immanence, and one's memory of it, with salience. The quality imbued thereby makes humans attentive to subtle signs and broad “truths.” Saturated by emotions and the experience of alterity in the immanent encounter of imaginative culture, information made salient in the sacred experience can become the basis for belief fixation. Using examples drawn from mimetic arts and arts of immanence, I put forward a theory about how sensible affective knowledge is mediated through affective systems, direct perception, and the imagination. (shrink)

This paper aims to highlight the articulation of skin memory with trans-Caribbean aesthetics by exploring the diasporic works of female diasporic artists born in the West Indies who emigrated to the United States. We intend to show how these contemporary female artists rewrite the codification and reception of the skin-related memory by connecting their artwork to a genealogy of traumas and healing practices that call for the empowerment of the Caribbean skin ego.

The primary intention of this book is to elucidate the relations between sensory perception and art as a form of knowledge. This enables us to understand how different kinds of art are given their meaning not only from observation, resemblance and reason but also from an artist’s sensitivity to the inner form of sensory experience as it is realized in perception, reflection, memory and imagination. By assuming a number of different points of view, Part 1 shows how the physical (...) object and the act of sensory perception are logically interdependent, and I give my elaboration of this argument two kinds of emphasis. In the first place, it opposes all arguments that support a merging of the mental and physical, as in idealism, materialism, neutral monism and panpsychism. A conceptual distinction is observed because sensory perception gives the physical object its identity. This idea also implies that the physical object is only realized by sentient life - self-aware inner life and a world become possible simultaneously. The second emphasis concerns the mind-body problem, and towards the end of Part 1 I offer an argument which places this problem in a certain light by representing the brain not as a physical counterpart to inner experience but as essentially instrumental to perception and self-awareness, and related experience. The argument in Part 2 is distinguished by a sense of continuity between the nature of sensory perception and the formal resources of artists in both physical and literary media. Hence, in a discussion of Titian’s Assumption of the Virgin, I indicate ways in which the painter conveys the inner experience and character of the figures in the painting by means of compositional design, light and colour, and thereby uses these and other sensuous resources to portray human life and experience. This is followed by a discussion of two sonnets by Shakespeare, in which the same general aim is pursued by using the literary resources of figurative language. Finally, a discussion of Hamlet shows how, in this work, the augmentation of figurative language by dramatic form strengthens the view that art can provide a form of knowledge that is based as completely upon intuition about our sensory experience as it is upon reason and observation. Just as my (true) perception of a cup as a vessel for drinking tea or coffee arises immediately from past experience, so the dramatist can see immediately from his or her past experience how a character might perceive things and behave. -/- . (shrink)

Jenny Saville is a leading contemporary painter of female nudes. This paper explores her work in light of theories of gender and embodied agency. Recent work on the phenomenology of embodiment draws a distinction between the body image and the body schema. The body image is your representation of your own body, including your visual image of it and your emotional attitudes towards it. The body schema is comprised of your proprioceptive knowledge, your corporeally encoded memories, and your corporeal proficiency (...) with respect to various environments and activities. Saville is concerned with body image issues, and I discuss how she reconfigures representational practices with respect to feminine body images. However, the most exciting potential for feminist analysis of the state of the female nude derives from the concept of the body schema, for this concept endows the human body with subjectivity and agency. My key question, then, is by what pictorial means and to what extent Saville succeeds in representing agentic womanhood. I argue that interpreting Saville’s paintings from the standpoint of the body schema demonstrates the radicality of her remaking of the female nude and the rapport between her imagery and feminist values. (shrink)

An examination of the specifically graphic-novelistic strategies employed in Art Spiegelman's graphic memoir, Maus, in leading the reader into a punctuated experience of time and memory, and in forcing complicity with the novel's problematic animal-as-ethnicity metaphor, in a wider attempt at putting together the critical vocabulary for discussing comic books as simultaneously textual and pictorial ‘texts’.

The art of Simon Finn has always had a markedly temporal dynamic. Vast structures built and annihilated again and again across different media, their fragmentation across space and time simultaneously methodical and darkly chaotic. Roiling waters and eldritch surfaces held captive in their unrest. Finn’s works render cycles of construction and disintegration, of stasis and motion, in ways that shed light upon the underlying structures of our experience of time while shattering simplistic notions of linearity. This is nowhere more apparent (...) than in Instability, through which Finn allows us to explore the intertwining of personal and historical time, ancestral memory and radical futurity, artefactual form and temporal function. (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)

This paper proposes a reading of Jacques Derrida's "Memories of the Blind" as opposed to Heidegger's attempt, in "The Origin of the Work of Art", to break with the metaphysical paradigm of "seeing" through an insistence on the idea of Truth.

Model of intelligence and new methods to assess IQ. MA thesis in 1998 (Comenius University). Art exhibitions "From Animation" London 2013, "Fading Memory" Weißenohe 2015, TAIF Tokyo 2017. Conferences in Santorini, Daejon 2016, Geneva 2017.

Examining imagination, 4E cognition and the arts together expands our understanding of them all. 4E cognition is a framework that comprises the theories separately known as embodied, enactive, embedded, and extended cognition. This paper draws on research in cognitive science (including 4E and recent predictive processing approaches), ideas in phenomenology, and artworks from The Extended Mind exhibition (2019–20). The artworks offer diverse reflections on 4E cognition, as well as revealing personal, political and ethical benefits and issues predicated on a 4E (...) cognition perspective. This approach further provides a way of defending the epistemic value of the imagination and of unpacking the four key puzzles associated with its relationship with the arts regarding its production of emotional response, imaginative resistance, and moral persuasion, and the paradox of our attraction towards horror and tragedy. The arts are a valuable mode of inquiry into the nature of cognition and neglect of their relevance negatively impacts understandings of the mind. (shrink)

The article aims to highlight the metaphysical, epistemological and practical implications of some terms used by Bruno in magical and mnemotechnical works, showing the analogies with the Italian Dialogues. In the Spaccio de la bestia trionfante and in the Cabala del cavallo pegaseo, in particular, the search of the first and true good passes through the moral elevation of the human race, from a semi-feral condition to one of ‘civil conversation’, thanks to the careful use of the arts of Dissimulation (...) and the supernatural intervention of some divinities, to whose personifications Bruno associates a heuristic function, as well as a specific place in the art of memory. Thanks to the wise use of the constellation of images and ‘inner statues’ that populate the mind of the hero in search of the divine, it is possible to raise the gaze of knowledge from the sensitive reality to the supersensible world, until reaching the first Principle of everything, as some passages show in the De vinculis in genere and in the De imaginum, signorum et idearum compositione. The first Principle, that Bruno also calls ‘superessential’, represents the culmination of spiritual elevation, and, at the same time, a prefiguration of the Hegelian Absolute. (shrink)

Arthur Danto asserts that Maya Lin’s Vietnam Veterans Memorial in Washington embodies the rhetoric paradigm of internal beauty’s meaning. However, the relationship to the Kant’s pulchritudo adhaerens is not an easy one: Danto’s recalls against the self-referent formalism of Greenberg’s Modernism and his tacit issues about the environmental non-monumentality of Richard Serra’s Minimalism, are, most importantly, haunted by the unquestioned spectral logic of the image embodiment. The beholders’ reflecting shape on the funeral Wall is, finally, both a pathetic index and (...) a medial incarnation–e.g. a Verkörperung–of the underworld. (shrink)

Alsted was a foremost encyclopedist of the early seventeenth century. He provided both a complete presentation of all the subjects of philosophy (of which encyclopedia consisted) and a method to learn them. This method was an original synthesis of the dialectic of Petrus Ramus, the combinatorial art of memory of Raimond Lull and Giordano Bruno, and the method of presentation of philosophical disciplines of Bartholomäus Keckermann. Alsted’s encyclopedism was intended as a remedy to the postlapsarian condition of man and (...) was functional to the pedagogical reform pursued at the Academy of Herborn; this was, in turn, an essential part of the Calvinist state reform of the county of Nassau-Dillenburg. In theology, the importance of Alsted consists of having introduced millenarianism in the Reformed Europe, though his early, optimistic views on the imminent end of the world would change to pessimistic as a consequence of the Thirty Years’ War. (shrink)

Many of those memorialized around us in statues are wrongdoers, and so we are often called to consider whether we should take down those statues. Some of those statutes are memorialized for reasons now taken to be wrong; others are memorialized not for but rather despite their wrongdoing. How should we consider those latter cases? One tempting analysis suggests that we need only consider whether the wrongdoing was sufficiently transgressive. In this article, however, I reject that constrained focus. Instead, these (...) cases have as much to do with us, our priorities, and what those priorities should be as they have to do with the particulars of the lives of the subjects of the statues. Recognizing the central role that our priorities play in blame and condemnation better captures the contours of the debate about statue removal than any categorical rule about types of wrongs. (shrink)

In 1986, David Esterly won a competition to carve a replacement of a Grinling Gibbons “wall drop” for Hampten Court Palace, in East Molesey, England. His task was an onerous one: Gibbons invented a style of carving that has been matched by few, and surpassed by still fewer. Esterly is one of the latter few; his technique is superb. -/- The Lost Carving gives us an account of those fateful days at Hampton Court. Interwoven with memories of recreating the Gibbon’s (...) piece, Esterly explains how he got involved with the esoteric field of limewood carving. Although he successfully completed his Ph.D. in English literature, he chose to avoid academia. Gibbons got to him instead, thanks to a chance encounter with one of his carvings in the 1970’s. Ever since, Esterly has struggled to understand, if not reach beyond, Gibbon’s vision and talent. (shrink)

The Rococo period in the arts, flourishing mainly from about 1710 to about 1750, was stylistically unified, but nevertheless its tremendous productivity and appeal throughout Occidental culture has proven difficult to explain. Having no contemporary theoretical literature, the Rococo is commonly taken to have been a final and degenerate form of the Baroque era or an extravagance arising from the supposed careless frivolity of the elites, including the intellectuals of the Enlightenment. Neither approach adequately accounts for Rococo style. Naming the (...) Rococo raises profound issues for understanding the relations between conception and production in historical terms. Against the many difficulties that the term has involved in accounting for an immense but elusive cultural movement, this thesis argues that some of the chief philosophical conceptions of the period clarify the particular character and significance of Rococo production. Rococo production is here studied chiefly in decor, architecture, and the plastic arts. This thesis also makes an extended general argument for the value of intellectual history. Rococo style is a group of visual effects of which the central character is atectonicity. This is established by a synthesizing overview of Rococo ornamental motifs. Principal theorists of post-Cartesian thought have failed to see how these distinguish Rococo style from both Baroque and Enlightenment culture. The analysis addresses the historical narratives of Benjamin, Adorno, Foucault, Deleuze, and others about Baroque and Enlightenment culture. The core historical claim of this thesis is that Rococo atectonic effects are visual forms of the anti-materialist, idealist ontology of George Berkeley and of the metaphysics and ontology in the early work of Giambattista Vico. Close readings of important passages from works of both philosophers published in 1710 develop the relationship between atectonics and idealist ontology. Both men rejected the Baroque hierarchical cosmology in favor of finitude as the key to human understanding. The readings center on the issue of causality, including Berkeley’s views of the perfect contingency of the world and on Vico’s theories of truth and ingenium. A reading of Diderot’s critique of the Rococo, which led the reaction to it, shows that he recognized the power of idealist ontology in the Rococo cultural production. The larger force in the rejection of Rococo is the emergence of the sublime as a morally fearful feature of physical nature. Montesquieu’s aesthetic work also shows the transition to a more rigidly determined view of existence, which was expressed but constrained in the little-recognized lattice motif in Rococo arts. The result of these readings is the influence during and after the Rococo period of the concept of continuous creation, in which the memory and imagination of the human subject relays God-given powers of creation into the production of culture. Continuous creation also suggested a human capability to animate material nature. Rococo style displays this as pre-cinematic effects that represent the non-material, non-causal deep structure of reality. (shrink)

Henry Molaison, aged eighty-two, died at the end of 2008, and just after noon on exactly the first anniversary of his death, December 2, 2009, scientists began slicing his brain into 2,500 tissue samples. Known primarily in his lifetime as only H.M., he left his brain to science so that it could be dissected and digitally mapped – a gift much beloved by many scientists. An amnesiac in life, H.M. first rose to prominence in 1962 when Dr. Brenda Milner, a (...) pioneer in the field of neuropsychology, demonstrated that though H.M. was severely amnesic and could not remember past activities, he could nevertheless learn certain habits. The experiment involved the now famous mirror drawing. This article, written by a philosopher/artist and a neuroscientist/neuroaesthetician, argues that artists are unable to verbally articulate thoughts about their own art practice for reasons similar to why H.M. could not. All memories are not stored in the same part of the brain. Different categories of memories i.e., semantic memory or procedural memory, are stored in different parts of the brain. We argue that the procedural memory is not readily accessible to semantic memory. (shrink)

Ayahuasca is a plant-based brew of indigenous Amazonian origin. It has psychedelic, anti-inflammatory, neuroprotective, cytotoxic, and anti-parasitic effects, which are primarily due to monoamine oxidase inhibitors (MAOIs) and N,N-dimethyltryptamine (DMT). This article describes the case of a woman in her late thirties with complex trauma due to severe, years-long sexual abuse in early childhood, resulting in a decades-long chronic condition involving suicidality. She was diagnosed with bipolar disorder and borderline personality disorder, but refused to accept either of them. She presented (...) with delusional parasitosis and deep dissociation. Despite being severely psychotic in private, she appeared high-functioning in public, hiding most of her symptoms. -/- In her mid-thirties, she participated in an ayahuasca ceremony in a legal setting. It resolved her suicidality, eliminated her social isolation, and reduced her shame related to her early trauma. Nine more ceremonies alleviated her distress further. Her abuser also participated in an ayahuasca ceremony and confirmed her memories of childhood abuse. -/- The first interview was conducted 1.5 years after her first ceremony, and a follow-up interview 2.5 years later. She had experienced sixteen additional ceremonies, recognized the validity of her bipolar disorder diagnosis, and believed her early trauma to be its sole cause. Her core trauma remained partially unresolved, but her dissociative symptoms continued to decrease. She had observed several other instances of psychosis and bipolar disorder in which ayahuasca had resulted in positive effects. This case study contributes to a better understanding of the use of ayahuasca in bipolar disorder and severe traumatization. It also reviews the current state-of-the-art in the treatment of bipolar disorder using low-dose ayahuasca, and a case in which bipolar disorder was resolved with LSD. -/- doi: 10.13140/RG.2.2.21294.18243. (shrink)

Purpose To first articulate and then illustrate a descriptive theoretical model of documentation (i.e., document creation) suitable for analysis of the experiential, first-person perspective. Design/methodology/approach Three models of documentation in the literature are presented and synthesized into a new model. This model is then used to understand the findings from a phenomenology-of-practice study of the work of seven visual artists as they each created a self-portrait, understood here as a form of documentation. Findings A number of themes are found to (...) express the first-person experience of art-making in these examples, including communicating, memories, reference materials, taking breaks and stepping back. The themes are discussed with an eye toward articulating what is shared and unique in these experiences. Finally, the themes are mapped successfully to the theoretical model. Research limitations/implications The study involved artists creating self-portraits, and further research will be required to determine if the thematic findings are unique to self-portraiture or apply as well to art-making, to documentation generally, etc. Still, the theoretical model developed here seems useful for analyzing documentation experiences. Practical implications As many activities and tasks in contemporary life can be conceptualized as documentation, this model provides a valuable analytical tool for better understanding those experiences. This can ground education and management decisions for those involved. Originality/value This paper makes conceptual and empirical contributions to document theory and the study of the information behavior of artists, particularly furthering discussions of information and document experience. (shrink)

Psychological research has discovered that episodic memories are constructive in nature. This paper examines how, despite being constructive, episodic memories can provide us with justification for beliefs about the past. In current literature, two major approaches to memorial justification are internalist foundationalism and reliabilism. I first demonstrate that an influential version of internalist foundationalism, dogmatism, encounters problems when we compare certain types of memory construction with cognitive penetration in perception. On the other hand, various versions of reliabilism all face (...) skeptical challenges. I propose an alternative, two-factor theory that recognizes an epistemic distinction typically overlooked by dogmatism and reliabilism. Although our account leaves certain aspects unspecified, it is an important step forward. (shrink)

A report on the pioneering of a new pedagogy designed to challenge students to use and improve their memory, increase their awareness of logical fallacies and tacitly embedded contradiction(s) and sensitize them to the deeply symbolic nature of thought in all its expressions (math, logos, music, picture and motor skills), as created, by the author, from in situ research at a senior level (ESL) course in Storytelling at Hankuk University of Foreign Studies, South Korea’s premier university for foreign languages (...) and translation.in. (shrink)

This book studies the technognomies of memory in scripto as in texts, lists, dictionaries and databases and less the technognomies of memory in vivo (as in remembering). There are of course some relations between these two kinds of memories, being memory-in-scripto a development parallel to the development of written language. We notice that the historical presentation is built upon both forms of memory. We notice that the historical explanation is tied to the concrete experience of persons (...) belonging to a culture. In the history of memory then, it is necessary to distinguish two important aspects, the development of spoken memory and the development of written memory. The essential characteristic of written memory is its muteness. Muteness is also associated to spatiality and to stability. On the other hand, audial presentations are inseparable of the notions of movement and time passing. According to Don Ihde the spheres of the invisible and the silent, limit the spheres of the visual and the audial. These two spheres overlap partially in visual presentations that also are audial presentations; however, their natural being is to be independent from each other. [Ihde, Don. Listening and Voice. Phenomenologies of Sound; State University Press; 2007; p. 50-51.] In our time, which is also the time of the globalization and digitalization of culture, a new philosophical paradigm is going on characterized by the fragmentation of experience. This fragmentation does not allow an overview of the totality of a field of experience, which is only possible to reduce to singular analytical moments. The fragmentation of experience is the result of a new jump of the capability to concretion. Inside this new paradigm, the world becomes multistable. The multistability of the world creates a gap between intention and implementation that distinguishes the “full” history as Natural history from the “broken” history as Cultural history. (shrink)

Poetry is the most complex and intricate of human language used across all languages and cultures. Its relation to the worlds of human experience has perplexed writers and readers for centuries, as has the question of evaluation and judgment: what makes a poem "work" and endure. The Poem as Icon focuses on the art of poetry to explore its nature and function: not interpretation but experience; not what poetry means but what it does. Using both historic and contemporary approaches of (...) embodied cognition from various disciplines, Margaret Freeman argues that a poem's success lies in its ability to become an icon of the felt "being" of reality. Freeman explains how the features of semblance, metaphor, schema, and affect work to make a poem an icon, with detailed examples from various poets. By analyzing the ways poetry provides insights into the workings of human cognition, Freeman claims that taste, beauty, and pleasure in the arts are simply products of the aesthetic faculty, and not the aesthetic faculty itself. The aesthetic faculty, she argues, should be understood as the science of human perception, and therefore constitutive of the cognitive processes of attention, imagination, memory, discrimination, expertise, and judgment. (shrink)

This dissertation is an attempt to find a single framework for understanding two seemingly conflicting aspects of Nabokov's Russian novels---the metaphysical and the existential. The metaphysical aspect is analyzed according to Leibniz's "Monadology," with its key concepts of the monad, pre-established harmony, the optimization of the universe, and sufficient reason. The existential aspect is examined according to Sartre's theory of the gaze from "Being and Nothingness"; its main notions are being-for-another, radical individuation and intersubjective struggle. Concern with the level of (...) being is assumed to be the most basic and unifying element of the Nabokovian worldview. It is shown that Nabokov conceives individual being as value, and that he understands self-authorship as self-ownership. The value of individual being is threatened by intersubjective contact: the other, via the gaze, can undermine its property status, and eventually alienate it. All particular plots are derived from these underlying premises. The key Nabokovian themes of blindness, non-transparency, loss, memory and art are demonstrated to refer back to the root concepts of the gaze and self-protection. ;The dissertation develops two original conceptual tools: a theory of unreliable focalization and a theory of paranoid experience ;Close readings of Nabokov's texts have resulted in several philological findings. Structural and textual parallels have been discovered between "Mashen'ka" and Shakespeare's "Hamlet," as well as between "Priglashenie na kazn'" and Descartes' "Meditations." It has also been shown that the protagonist's story in "Zashchita Luzhina" is repeated four times and not two. (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

In this article I propose to understand inertia in art as a “disposition to meaning”. I compare inertia in art with that of a face of a person recently deceased. To acquaintances, i.e. to family and friends, it holds a promise of memories (of the deceased); to all the others the corpse offers the possibility of a projection of meanings. Art is made of plain, or extra-ordinary stuff, which is turned into artistic material. The artist is to bring the inert (...) potency of stuff to artistic life, and to turn it into something that is expressive. If she is successful, then the work will offer its audience a concentrated, absorbing experience. Art is autonomous in that the aimed for experience is morally neutral. In the view of many contemporary artists, such experiences fail art’s deeper significance: absorbing experiences are, simply, too easy. If artists want to really move the audience (to emotion), or so they feel, they should also move the audience into action. Wanting to achieve this is not just difficult; it is a paradox. (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)

"This book explores the relationship between performance and activism in Chile as a form of political expression and citizen participation during the period 2010-2020. Since the student mobilizations of 2006, the social movements that have taken place in Chile are characterized, in many cases, by the appropriation of public space and the political use of the body. This became particularly evident during the social outbreak of October 2019. The social upheaval was accompanied by a cultural explosion, where the arts in (...) all their dimensions played a crucial role as new strategies of collective action. The research proposes two hypotheses about this cultural revolution. Firstly, that this explosion of artistic activism had been fermenting for at least a decade (2010-2020) within the social movements, using performance and art as expressions of collective action. These artistic drivers, catalysts of this cultural revolution, have been mobilized around three fundamental axes of social demands: human rights, education, and feminism. The second hypothesis is that artistic activism in Chile between 2010-2020 emerged to exercise citizenship and strengthen the diversity of cultural identities. Chilean artistic activism today, unlike other historical moments, is a direct expression of citizen participation. It is no longer just artists who contribute to social and protest movements with their work: now, it is the citizens who use artistic expression as a practice of political participation. From an intersectional and feminist perspective, this book is an invitation to study and reflect on the aesthetic and political dimension of performance and its potential to establish justice and symbolic reparation when the State is absent. Furthermore, it incentivises a conversation about the ritual, pedagogical, and visionary dimension of art and its infinite possibilities of expressive and discursive resources. Performance art reimagines possible futures embodying the political demand, always loaded with memory, reclaiming the public space. Performance as the 'art of action' conquers the realm of non-formal education, permeating public space and shaping a Pedagogy of memory and hope." -/- . (shrink)

Human biological memory systems have adapted to use technological artifacts to overcome some of the limitations of these systems. For example, when performing a difficult calculation, we use pen and paper to create and store external number symbols; when remembering our appointments, we use a calendar; when remembering what to buy, we use a shopping list. This chapter looks at the history of memory artifacts, describing the evolution from cave paintings to virtual reality. It first characterizes memory (...) artifacts, memory systems, and the two main functions such artifacts have, which are to aid individual users in completing memory tasks and as a cultural inheritance channel (section 2). It then outlines some of our first symbolic practices such as making cave paintings and figurines, and then moves on to outline several key developments in external representational systems and the artifacts that support these such as written language, numeral systems and counting devices, diagrams and maps, measuring devices, libraries and archives, photographs, analogue and digital computational artifacts, the World Wide Web, virtual reality, and smartphones (section 3). After that, it makes some brief points about the cumulative nature of the cultural evolution of memory artifacts and speculates about the possible future of memory artifacts, arguing that it is very difficult to look beyond an epistemological horizon of more than five years (section 4). (shrink)

In this chapter, we examine the naturalist approach in the philosophy of memory through the lens of the simulation theory of memory. On the theory, episodic memory is a kind of constructive simulation performed by a functionally specialized neurocognitive system. Taking naturalism to be a kind of methodological stance characterized by a cluster of epistemic guidelines, we illustrate the roles these guidelines have played in the development of the theory. We show how scientific evidence has guided both (...) the selection of the research question and the initial elaboration of the theory. We demonstrate how such evidence has led the simulationist to reject a familiar, commonsense picture of memory. We also trace the recent radicalization of the theory, highlighting the simulationist's continual reflection on their concepts and assumptions. In the spirit of such reflection, we end by outlining some outstanding challenges for the theory. (shrink)

The aesthetic construction of the world can originally be traced back to the bodily-affective state of being in the surroundings. In this respect, the newly developed aesthetic concept atmosphere enables a new understanding of the interaction between sensation, emotion and the environment, and is therefore of great importance for the development of a contemporary environmental awareness. In reviewing the studies so far, it would be meaningful to further reflect on the following questions: what role does the spiritual dimension play in (...) atmospheric experience? How is it possible for us to be critical of the atmosphere we encounter? How can a bodily-affective approach to the world be opened up by emphasizing atmospheric experience without excluding other legitimate aspects such as value judgments? These issues require re-examination of the current basic approach, according to which, on the one hand, atmospheric experience is largely confined to a pre-reflective level, and, on the other hand, sensation and awareness of atmosphere are viewed as occurring one after another. Practically, in the experience of atmosphere, corporeality and spirituality are not so clearly delineated, based on the fact that sensory recognition of external stimuli always merges with mental actions such as cognition, imagination, beliefs, values, memory and expectation. In this sense, the experience of atmosphere is not a purely biophysiological response at all. Instead, it is largely shaped by spiritual elements and cultural frameworks. The knowledge of traditions, customs, languages, religions, stories, folklore and/or mythology may modify the ordinary perception of things and thus open an unusual way to the atmosphere. The complexity of atmosphere and atmospheric perception reveals a diversity of life experience that can never be thoroughly represented and described, and thus largely opens up new horizons for an interculturally oriented aesthetics. (shrink)

This paper proposes a novel account of the contents of memory. By drawing on insights from the philosophy of perception, I propose a hybrid account of the contents of memory designed to preserve important aspects of representationalist and relationalist views. The hybrid view I propose also contributes to two ongoing debates in philosophy of memory. First, I argue that, in opposition to eternalist views, the hybrid view offers a less metaphysically-charged solution to the co-temporality problem. Second, I (...) show how the hybrid view conceives of the relationship between episodic memory and other forms of episodic thinking. I conclude by considering some disanalogies between perception and memory and by replying to objections. I argue that, despite there being important differences between memory and perception, those differences do not harm my project. (shrink)

Listening and polyphony lead us directly to reflection on the musical form of the fugue. Starting with M. Heidegger’s considerations about the juncture of beyng, we will phe-nomenologically ask about the essence of the fugue, and the musical work put under analysis will be The Art of Fugue by J.S. Bach. The article aims to show the convergence between Heidegger’s philosophy and the essence of the musical form of fugue as an artis-tic mode of the essential occurrence of beyng as (...) an event. (shrink)

The most salient aspect of memory is its role in preserving previously acquired information so as to make it available for further activities. Anna realizes that something is amiss in a book on Roman history because she learned and remembers that Caesar was murdered. Max turned up at the party and distinctively remembers where he was seated, so he easily gets his hands on his lost cell phone. The fact that information is not gained anew distinguishes memory from (...) perception. The fact that information is preserved distinguishes memory from imagination. But how do acquisition and retrieval of information contribute to the phenomenology of memory?The exclusive aim of this chapter is to sketch a map of the phenomenology of memory. It is structured as follows. In section 1, I introduce the contrast between content (what is remembered) and psychological attitude (remembering). This distinction will be helpful in disentangling issues in the phenomenology of memory. Section 2 is devoted to the contribution of memory content to phenomenology, section 3 to the contribution of the attitude of remembering. (shrink)