The purpose of this paper is to re-examine the debate about cinematic motion in terms of the necessity for reception conditions in art. I shall argue that Gregory Currie’s rejection of weak illusionism – the view that cinematic motion is illusory – is sound, because cinematic images really move, albeit in a response-dependent rather than garden-variety manner. In §1 I present Andrew Kania’s rigorous and compelling critique of Currie’s realism. I assess Trevor Ponech’s response to (...) Kania in §2, and show that his focus on the cinematic experience is indicative of the direction the debate should take. §3 demonstrates that the issue is underpinned by the question of the role of reception conditions in the experience of art. In §4 I apply my observations on reception conditions to the problem of cinematic motion and conclude that Kania’s objections are unsuccessful due to his failure to acknowledge the necessary conditions for cinematic experience. (shrink)

My chapter aims to advance the debate on a problem often raised by philosophers who are skeptical of implied narrators in movies. This is the concern that positing such elusive narrators gives rise to absurd imaginings (Gaut 2004: 242; Carroll 2006: 179-180). -/- Friends of the implied cinematic narrator reply that the questions critics raise about the workings of the implied cinematic narrator are "silly ones" to ask. -/- I examine how the "absurd imaginings" problem arises for all (...) the central arguments for the elusive cinematic narrator and discuss why the questions critics pose about this narrator are legitimate ones to ask. (shrink)

In this paper I argue for the following two related claims. First, the science of phoronomy from Kant's Metaphysical Foundations of Natural Science is grounded in the duplication of space. Second, this duplication is made possible through the self-localization of the subject, as Kant shows in the "Gegnden-Schrift". The thesis of this paper is that the self-localization transforms space into an object that can be cinematically moved and that this action sets the ground for a science of phoronomy, which presupposes (...) the existence of at least two spaces. In the end, the other endpoint of the Kantian determination of space is discussed, namely space understood as an idea of reason. (shrink)

In this chapter I argue that despite its current popularity the doctrine of the specious present, or at least every current version of it, should be rejected. I describe two alternative accounts, which deal with experiences of two different kinds of change. The first is what I call the dynamic snapshot theory, which accounts for the way we experience continuous changes such as motion and other motion-like phenomena. The second account deals with the way we experience discontinuous changes, (...) those for which there is no finite rate of change. However I then argue that much of the current debate implicitly presupposes a problematic Cartesian view about the nature of conscious experience. If this view is rejected – as I think it should be – then a different kind of account emerges that avoids commitment both to the specious present and to its main current rival, the cinematic view. (shrink)

Is cinematicity a virtue in film? Is lack of cinematicity a defect? Berys Gaut thinks so. He claims that cinematicity is a pro tanto virtue in film. I disagree. I argue that the term “cinematic” principally refers to some cluster of characteristics found in films featuring the following: expansive scenery, extreme depth of field, high camera positioning, and elaborate tracking shots. We often use the word as a term of praise. And we are likely right to do so. We (...) are right if we mean that the film does well what movies often do well. We are wrong if we mean that the film is good for doing what is merely distinctive of film. This issue has important implications for understanding the role of the medium in artistic evaluation. I argue that we should reject Gaut’s claim because it entails an implausibly strong medium specificity thesis. (shrink)

A Cinematic Humanist approach to film is committed inter alia to the following tenet: Some fiction films illuminate the human condition thereby enriching our understanding of ourselves, each other and our world. As such, Cinematic Humanism might reasonably be regarded as an example of what one might call ‘Cinematic Cognitivism’. This assumption would, however, be mistaken. For Cinematic Humanism is an alternative, indeed a corrective, to Cinematic Cognitivism. Motivating the need for such a corrective is (...) a genuine scepticism about the very notion of the cognitive. Using historical reconstruction, I reveal how ‘cognitive’ has become a multiply ambiguous, theory-laden term in the wake of, indeed as a consequence of, Noam Chomsky’s original stipulative definition. This generates a constitutive problem for cognitivism as both a research programme and a set of claims, and as such poses a trilemma for philosophers of film, art and beyond. I propose a Cinematic Humanist solution to the problematic commitments of cognitive film theorising and, in so doing, gesture towards a methodology I am calling ‘philosophy of film without theory’. (shrink)

I argue that Plato believes that the soul must be both the principle of motion and the subject of cognition because it moves things specifically by means of its thoughts. I begin by arguing that the soul moves things by means of such acts as examination and deliberation, and that this view is developed in response to Anaxagoras. I then argue that every kind of soul enjoys a kind of cognition, with even plant souls having a form of Aristotelian (...) discrimination (krisis), and that there is therefore no completely unintelligent, evil soul in the cosmos that can explain disorderly motions; as a result, the soul is not the principle of all motion but only motion in the cosmos after it has been ordered by the Demiurge. (shrink)

Might fiction films have cognitive value, and if so, how might such value interact with films’ artistic and aesthetic values? Philosophical consideration of this question tends to consist in either ceteris paribus extensions of claims relating to prose fiction and literature; meta-philosophical inquiries into the capacity of films to be or do philosophy; or generalised investigations into the cognitive value of any, and thereby all, artworks. I first establish that fiction films can be works of art, then address this lacuna (...) and identify three hitherto unrecognised values relevant to the issue of learning from fiction films. These values are (i) a film’s stance-based cinematic value, which is neither an artistic nor an aesthetic value, but which pertains to the integration of a film’s content, its form, and its themes and/or theses; (ii) a film’s dramatic value, which recognises the use of dramatic argumentation to enable us to make sense of agents’ intentional actions; and (iii) a film’s humanistic value which acknowledges a film’s power to provide illuminating insights into the human condition. In tandem with a series of sceptical arguments that question the very notion of cognitive value, I demonstrate how stance-based cinematic value, dramatic value, and humanistic value can provide fresh ways with which to understand and appreciate that we learn from films, what we learn from films, and how we learn from films. Grouping these values together under the rubric of cinematic humanism offers new resources for a paradigm shift capable of staying true to the spirit that informs both sides of the cognitivist/non-cognitivist debate whilst cutting through the Gordian knot it has become. (shrink)

In apparent motion experiments, participants are presented with what is in fact a succession of two brief stationary stimuli at two different locations, but they report an impression of movement. Philosophers have recently debated whether apparent motion provides evidence in favour of a particular account of the nature of temporal experience. I argue that the existing discussion in this area is premised on a mistaken view of the phenomenology of apparent motion and, as a result, the space (...) of possible philosophical positions has not yet been fully explored. In particular, I argue that the existence of apparent motion is compatible with an account of the nature of temporal experience that involves a version of direct realism. In doing so, I also argue against two other claims often made about apparent motion, viz. that apparent motion is the psychological phenomenon that underlies motion experience in the cinema, and that apparent motion is subjectively indistinguishable from real motion. (shrink)

The concept of Substantial motion (حركت جوهرى) is fundamentally flawed and severely muddled. Aristotle and Mulla Sadra’s conception of motion, substance (جوهر) and substantial form صورت نوعيه)) were all based on a severe misunderstanding of nature as later was established by the scientists and philosophers that came after them. Here, by recalling the established facts of modern science, particularly the universally accepted scientific fact that, properties of objects are reducible to the motion of their electrons and there’s (...) no such thing as ‘substantial form’ much less substance, the author puts an end to a 400-year-old glorious error called ‘substantial motion’. Naturally any attempt to reconcile the paradigms of modern physics with Aristotle/Sadra paradigms of form/matter and substance/accidents, and to try to draw parallel between the two and revive their philosophy would be an exercise in futility. (shrink)

The “scarred villain” trope, where facial differences like scars signify moral corruption, is ubiquitous in film (e.g., Batman’s The Joker). Strides by advocacy groups to undermine the trope, however, suggest cinematic representations of facial differences could be improving with time. This preregistered study characterized facial differences in film across cultures (US vs. India) and time (US: 1980-2019, India: 2000-2019). Top-grossing films by country and decade were screened for characters with facial differences. We found that the scarred villain trope has (...) actually worsened with time, although in tandem with progress in also representing non-villainous characters with facial anomalies. Country of origin did not predict the presence of facial differences in villains or heroes. “Action” and “fantasy” movies were the most likely genres to depict villains with facial differences. Finally, villains’ facial differences crossed more facial subunits and were more likely to involve lips, chin, and mandible than when present in heroes. Our findings underscore the need for critical reflection on the role of cultural practices—even when seemingly innocuous—in shaping and maintaining negative biases against already stigmatized groups. (shrink)

American History X (hereafter AHX) has been accused by numerous critics of a morally dangerous cinematic seduction: using stylish cinematography, editing, and sound, the film manipulates the viewer through glamorizing an immoral and hate-filled neo-nazi protagonist. In addition, there’s the disturbing fact that the film seems to accomplish this manipulation through methods commonly grouped under the category of “fascist aesthetics.” More specifically, AHX promotes its neo-nazi hero through the use of several filmic techniques made famous by Nazi propagandist Leni (...) Riefenstahl. Now most critics admit that, in the end, the film claims to denounce racism and attempts to show us the conversion of the protagonist to the path of righteousness, but they complain that nonetheless the film (perhaps unintentionally) ends up implicitly promoting the immoral worldview it rather superficially professes to reject in its final act. This charge of hypocrisy is connected to another worry: the moral conversion in the film is said to fall flat because the intellectual resources on display to support the character’s racism are not counterbalanced by equally explicit (but superior) arguments for the anti-racist position ultimately embraced by the character. In other words, just as the devil is said to get all the good lines in Milton’s Paradise Lost, in AHX the racists get all the arguments. This has been taken to be a morally problematic flaw of the film. Critics lament that Derek’s conversion seems to result not from relevant logical inferences and valid rational argumentation but from overly simplistic and arguably egoistic insights (e.g., “has anything you've done made your life better?”) combined, perhaps, with a hackneyed cliché (in prison, one of his best friends is a black person!) In this paper I’ll attempt to rebut these charges and defend the film as a powerful, and powerfully moral, work of art. I’ll be suggesting that the seductive techniques employed allow for many viewers a degree of sympathy towards the protagonist that is crucial, both for making that character’s more horrific actions especially unsettling, and also for making his eventual conversion plausible and ultimately compelling. I’ll also argue that the manner in which his conversion is presented is in fact subtler than many critics have allowed: Derek’s transformation is not artificial or implausible but is depicted as resulting from a cumulative series of emotionally powerful life events and personal engagements. It is certainly true that it is not represented in the way some would seemingly have preferred, i.e. as straightforwardly resulting from a process of gradual intellectual improvement in Derek’s reasoning on questions of race and politics. However, I’ll argue that the decidedly emotional basis of his moral evolution is both refreshingly realistic and no hindrance to accepting his conversion as rational. Finally, properly understanding the legitimacy of the emotional foundations of much moral thought will also allow us to appreciate the ways in which our initial worries about this film’s (not insignificant) ability to persuade viewers through the engagement of emotions need not, in itself, be seen as a barrier to endorsing the film as a morally praiseworthy work. (shrink)

The paper argues that Motion and Rest are “greatest kinds” and not just convenient examples, since they are all-pervading. Thus Motion and Rest can be jointly predicated of a single subject and can be predicated of each other, just as Sameness and Otherness can. While Sameness and Otherness are opposites, a single subject may be the same in one respect, namely, the same as itself, and other in another respect, namely, other than other things. Thus they can be (...) predicated of a single subject, and they can be predicated of each other, as well, since Sameness is other than other things and Otherness is the same as itself. The same explanation applies to Motion and Rest, as the paper demonstrates: a given subject may be in motion in one respect while being at rest in another respect. This distinction is made in the Sophist itself, right in the passage concerning the greatest kinds. Thus Motion and Rest should be considered greatest kinds on par with Being, Sameness, and Otherness, and each of these kinds pervades all other kinds. (shrink)

As artforms, film and street art seem incompatible. Contra this incompatibility, I investigate their combination: cinematic street art. Two promising cases are the artworks MUTO and Repopulate, but I argue neither is suitable. MUTO only counts if I accept the transparency thesis, the claim that photographs allow us to literally see their depicta. Repopulate only counts if we reject Noel Carroll’s requirement that a cinematic performance token isn’t itself an artwork. However, these imperfect cases demonstrate what is required (...) in order to have cinematic street art: the artwork is a 1) aconsensual artwork that 2) does not merely use street art as imagery or 3) merely use the street as a performance space. I introduce two hypothetical artworks inspired by this approach and discuss their merits, as well as their pitfalls relevant to my own desiderata. As such, this article serves as the foment for broader discussion within the philosophy of street art. (shrink)

In the texts of the middle years (roughly, the 1680s and 90s), Leibniz appears to endorse two incompatible approaches to motion, one a realist approach, the other a phenomenalist approach. I argue that once we attend to certain nuances in his account we can see that in fact he has only one, coherent approach to motion during this period. I conclude by considering whether the view of motion I want to impute to Leibniz during his middle years (...) ranks as a kind of realism or rather as some kind of phenomenalism or idealism. (shrink)

This essay proposes a new interpretation of a central, and yet overlooked, argument Leibniz offers against Descartes’s power-free ontology of the corporeal world. Appealing to considerations about the successiveness of motion, Leibniz attempts to show that the reality of motion requires force. It is often assumed that the argument is driven by concerns inspired by Zeno. Against such a reading, this essay contends that Leibniz’s argument is instead best understood against the background of an Aristotelian view of the (...) priority of real being over time. The essay also shows how this alternative interpretation can help to shed new light on the difference between Leibnizian forces and Aristotelian powers, as well as on Leibniz’s famous claim that accounting for force leads us beyond the mechanistic corporeal realm. (shrink)

This work takes into account three Cartesian manuals diffused in 17th century France ; Jacques Rohault, Traité de physique ; Pierre-Sylvain Régis, Cours entier de philosophie, ou système general selon les principes de M. Descartes contenant la logique, la metaphysique, la physique et la morale ) in order to question if the development of an empirical attitude in the scientific research influenced their approaches to the study of motion. The article intends to deepen the role that these authors give (...) to God in the physical structure of the universe with the purpose of investigating whether their analysis of motion is untainted by the metaphysical component or on what terms it remains linked to it. (shrink)

The impetus theory of motion states that to be in motion is to have a non-zero velocity. The at-at theory of motion states that to be in motion is to be at different places at different times, which in classical physics is naturally understood as the reduction of velocities to position developments. I first defend the at-at theory against the criticism raised by Arntzenius that it renders determinism impossible. I then develop a novel impetus theory of (...) motion that reduces positions to velocity developments. As this impetus theory of motion is by construction a mirror image of the at-at theory of motion, I claim that the two theories of motion are in fact epistemically on par—despite the unfamiliar metaphysical picture of the world furnished by the impetus version. (shrink)

In the Metaphysical Foundations of Natural Science, Kant presents an argument for the centrality of <motion> to our concept <matter>. This argument has long been considered either irredeemably obscure or otherwise defective. In this paper I provide an interpretation which defends the argument’s validity and clarifies the sense in which it aims to show that <motion> is fundamental to our conception of matter.

This item is a chapter from a book in progress, entitled "True Motion". Leibniz’s mechanics was, as we shall see, a theory of elastic collisions, not formulated like Huygens’ in terms of rules explicitly covering every possible combination of relative masses and velocities, but in terms of three conservation principles, including (effectively) the conservation of momentum and kinetic energy. That is, he proposed what we now call (ironically enough) ‘Newtonian’ (or ‘classical’) elastic collision theory. While such a theory is, (...) for instance, vital to the foundations of the kinetic theory of gases, it is not applicable to systems – like gravitational systems – in which fields of force are present. Thus, Leibniz’s mechanical principles never led to developments of the order of Newton’s in the Principia (additionally, he hamstrung their application by embedding them in a baroque philosophical system). (shrink)

In Critique of Pure Reason Kant speaks about motion, as action of the subject in connection with the actions by which we describe a space, such as drawing a line or constructing a circle. In a 1992-paper in Kant-Studien I argued that this is one important piece of textual evidence for the so-called externalist interpretation, according to which the transcendental conditions of experience and indeed all the a priori elements in Kant’s system are public, depending upon overt action. Konstantin (...) Pollok has criticized my reading, arguing that the relevant use of the term “motion” here is just metaphorical, and considering some central Kantian doctrines that he thinks refutes the externalist interpretation. The present paper defends the externalist interpretation against Pollok’s charges. (shrink)

This paper offers a reconstruction of the interpretations of Descartes's ideas of place and motion by Dutch Cartesians (Henricus Regius, Johannes de Raey, Johannes Clauberg, and Christoph Wittich). It does so by focusing on the reading of Descartes's Principia philosophiae (1644) offered, in particular, by the dictated commentaries on it. It is shown how such commentaries bring to the light new potential Aristotelian-Scholastic sources of Descartes, and the different ways Dutch Cartesians brought to the fore, also with the help (...) of such sources, the rationale of the Cartesian text: in doing so, they constituted a philosophical school. (shrink)

Detailed exploration of the Allegory of the Cave, utilizing notions from film studies, may provide us with insight regarding the identity of the puppet masters in Plato's allegory.

Physics research has resulted in categories of phenomena and the present theoretical framework in physics of the microcosm, the Standard model, describes a number of fundamental building blocks: elementary particles and elementary forces. It “smells” like classic phenomenological physics so it is difficult to understand how this exhibit of phenomena can be transformed into a unified theory. But there is another way to think about motion, particles and their distinct properties.

Studies of the Early Modern debate concerning absolute and relative space and motion often ignore the significance of the concept of true motion in this debate. Even philosophers who denied the existence of absolute space maintained that true motions could be distinguished from merely apparent ones. In this paper, I examine Berkeley's endorsement of this distinction and the problems it raises. First, Berkeley's endorsement raises a problem of consistency with his other philosophical commitments, namely his idealism. Second, Berkeley's (...) endorsement raises a problem of adequacy, namely whether Berkeley can provide an adequate account of what grounds the distinction between true and merely apparent motion. In this paper, I argue that sensitivity to Berkeley's distinction between what is true in the metaphysical, scientific, and vulgar domains can address both the consistency and the adequacy problems. I argue that Berkeley only accepts true motion in the scientific and vulgar domains, and not the metaphysical. There is thus no inconsistency between his endorsement of true motion in science and ordinary language, and his metaphysical idealism. Further, I suggest that sensitivity to these three domains shows that Berkeley possesses resources to give an adequate account of how true motions are discovered in natural science. (shrink)

This paper is concerned with the senses in which paintings do and do not depict various temporal phenomena, such as motion, stasis and duration. I begin by explaining the popular – though not uncontroversial – assumption that depiction, as a pictorial form of representation, is a matter of an experiential resemblance between the pictorial representation and that which it is a depiction of. Given this assumption, I illustrate a tension between two plausible claims: that paintings do not depict (...) class='Hi'>motion in the sense that video recordings do, and that paintings do not merely depict objects but may depict those objects as engaged in various activities, such as moving. To resolve the tension, I demonstrate that we need to recognise an ambiguity in talk of the appearance of motion, and distinguish between the depiction of motion and the depiction of an object as an object that is moving. Armed with this distinction, I argue that there is an important sense in which paintings depict neither motion, duration, nor – perhaps more controversially – stasis. (shrink)

I examine the reasons Aristotle presents in Physics VIII 8 for denying a crucial assumption of Zeno’s dichotomy paradox: that every motion is composed of sub-motions. Aristotle claims that a unified motion is divisible into motions only in potentiality (δυνάμει). If it were actually divided at some point, the mobile would need to have arrived at and then have departed from this point, and that would require some interval of rest. Commentators have generally found Aristotle’s reasoning unconvincing. Against (...) David Bostock and Richard Sorabji, inter alia, I argue that Aristotle offers a plausible and internally consistent response to Zeno. I defend Aristotle’s reasoning by using his discussion of what to say about the mobile at boundary instants, transitions between change and rest. There Aristotle articulates what I call the Changes are Open, Rests are Closed Rule: what is true of something at a boundary instant is what is true of it over the time of its rest. By contrast, predications true of something over its period of change are not true of the thing at either of the boundary instants of that change. I argue that this rule issues from Aristotle’s general understanding of change, as laid out in Phys. III. It also fits well with Phys. VI, where Aristotle maintains that there is a first boundary instant included in the time of rest, but not a “first in which the mobile began to change.” I then show how this rule underlies Aristotle’s argument that a continuous motion cannot be composed of actual sub-motions. Aristotle distinguishes potential middles, points passed through en route to a terminus, from actual middles. The Changes are Open, Rests are Closed Rule only applies to actual middles, because only they are boundaries of change that the mobile must arrive at and then depart from. On my reading, Aristotle argues that the instant of arrival, the first instant at which the mobile has come to be at the actual middle, cannot belong to the time of the subsequent motion. If it did, the mobile would already be moving towards the next terminus and thus, per Phys. VI 6, would have already left. But it cannot have moved away from the midpoint at the very same moment it has arrived there. This means that the instant of arrival must be separated from the time of departure by an interval of rest. I show how Aristotle’s reasoning applies generally to rule out any continuous reflexive motion or continuous complex rectilinear motion. On my interpretation, however, the argument does not apply to every change of direction. When, as in the case of projectile motion, multiple movers and their relative powers explain why the mobile changes directions, distinct sub-motions are not involved. Aristotle holds that such motions cannot be continuous, not because they involve intervals of rest, but because they involve multiple causes of motion. My interpretation of the Changes are Open, Rests are Closed Rule allows us to make better sense of Aristotle’s argument than any previous interpretation. (shrink)

Austere relationism rejects the orthodox analysis of hallucinations and illusions as incorrect perceptual representations. In this article, I argue that illusions of optimal motion present a serious challenge for this view. First, I submit that austere-relationist accounts of misleading experiences cannot be adapted to account for IOMs. Second, I show that any attempt at elucidating IOMs within an austere-relationist framework undermines the claim that perceptual experiences fundamentally involve relations to mind-independent objects. Third, I develop a representationalist model of IOMs. (...) The proposed analysis combines two ideas: Evans' dynamic modes of presentation and Fine's relational semantics for identity. (shrink)

Can static pictures depict motion and temporal properties? This is an open question that is becoming increasingly discussed in both aesthetics and the philosophy of mind. Theorists working on this issue have mainly focused on static pictures of dynamic scenes and streaky images – such as futurists’ paintings or long-exposure photographs. And yet, we could ask: if there is some success in creating an illusory impression of movement in a static image - as is the case in optical illusions (...) of movement, such as Bridget Riley’s Fall (1963: Tate, London), or Kitaoka’s Rotating Snakes Illusion - is this to say that such static images depict movement? As far as I know, no one working on the depiction of motion has specifically and systematically tackled motion-based illusions nor tried to answer this question. This paper considers two cases of optical illusions of movement and concludes that one of them is involved in the depiction of movement. While the declared goal of my analysis is to answer a quite circumscribed question, it is also the occasion to tackle motion-based illusions tout court - to account for the complex visual experiences they elicit and related phenomenology. Moreover, this account has interesting consequences for theorizing depiction and pictorial experience in general. In particular, it constitutes a counterexample to resemblance theories of depiction. (shrink)

This article proves that the motion principle of philosophical physics (every thing moved is moved by another) is truly compatible with the inertia principle of mathematical physics (Newton's First Law).

In a 1995 interview, contemporary American composer John Zorn stated: ‘I got involved in music because of fi lm […] There’s a lot of fi lm elements in my music’ (Duckworth, 1995, p. 451). Scholars and critics have since widely noted these cinematic elements, with emphasis being placed on Zorn’s genre of so-called ‘fi le card compositions’. Whilst these studies have primarily concentrated on how the arrangement of sound blocks – the disjointed segments of Zorn’s compositions – can be (...) compared to cinematic montage, this article instead focusses on how sound blocks suggest the visual aspects of cinema. To delve deeper into the visuo-cinematic qualities of Zorn’s fi le card compositions, an idealised cinematic listener will be constructed, aided by various psychological, semiotic, philosophical and fi lm theories. I will suggest that a listener occupying a hypnogogic state projects moving images, akin to those of cinema, onto what Bernard Lewin fi rst called a ‘dream screen’. These projections occur due to intertextual associations made between fi le card compositions and the artistic fi gures to whom they are dedicated. These images combine with the sounds that brought them into being to form an audio-visual diegesis, which can be considered a type of half-imagined fi lm. The cinematic listener then actively draws out of this diegesis a narrative, via the semi-conscious process Boris Eikhenbaum called ‘inner speech’. I will conclude by giving some broader justifi cation for the methodology that brought this cinematic listener into being and suggest how the cinematic listener may be further utilised to provide musical analyses for fi le card works. (shrink)

This paper discusses a somewhat neglected reading of the second chapter of Nāgārjuna’s Mūlamadhyamakakārikā, arguing that the main focus of a crucial part is a particular theory of properties and their relation to individuals they instantiate, rather than the refutation of specific assumptions about the nature of space and time. Some of Nāgārjuna’s key arguments about motion should be understood as argument templates in which notions other than mover, motion, and so forth could be substituted. The remainder of (...) the discussion of motion does not serve quasi-Zenonian purposes either but uses motion as a principal example of change and considers the soteriological problems of the subject moving (gati) through transmigratory existence (saṃsāra). I attempt to show how this interpretation coheres with Nāgārjuna’s overall philosophical project. (shrink)

Modern philosophy of physics debates whether motion is absolute or relative. The debate began in the 1600s, so it deserves a close look here. Primarily, it was a controversy in metaphysics, but it had epistemic aspects too. I begin with the former, and then touch upon the latter at the end.

A plausible reading of Berkeley’s view of voluntary motion is occasionalism; this, however, leads to a specious conclusion against his argument of human action. Differing from an unqualified occasionalist reading, I consider the alternative reading that Berkeley is a conservationist regarding bodily motion by the human mind at will. That is, finite minds (spirits) immediately cause motions in their body parts, albeit under the divine conservation. My argument then comports with the conservationist reading from three perspectives: (i) theodicy (...) that the human mind is held liable for sinful actions; (ii) an account of the human mind influencing other minds; and (iii) an improper but necessary directing principle of the human mind. This article is a stepping stone to grasping why the conservationist reading is more coherent than the occasionalist one. (shrink)

In his essay “Things Do Not Move,” Sengzhao (374?−414 CE), a prominent Chinese Buddhist philosopher, argues for the thesis that the myriad things do not move in time. This view is counter-intuitive and seems to run counter to the Mahayana Buddhist doctrine of emptiness. In this book chapter, I assess Sengzhao’s arguments for his thesis, elucidate his stance on the change/nonchange of things, and discuss related problems. I argue that although Sengzhao is keen on showing the plausibility of the thesis, (...) he actually views the myriad things as both changing and unchanging and upholds the nonduality of motion and rest. In fact, the nonmoving thesis follows from the discernment that things change from moment to moment without there being any enduring stuff in the process. Among philosophical works that confer a higher ontological status on nonchange over change, Sengzhao’s essay is unique and well worth pondering. (shrink)

Forces mediate the differences between local amounts of energy in the universe at all scale sizes and determine the direction of the motion of energy configurations. But forces are not always easy to identify and to describe in a com­prehensive explan­atory model.

This chapter focuses on the appetite for self-preservation and its central role in Francis Bacon’s natural philosophy. In the first part, I introduce Bacon’s classification of universal appetites, showing the correspondences between natural and moral philosophy. I then examine the role that appetites play in his theory of motions and, additionally, the various meanings accorded to preservation in this context. I also discuss some of the sources underlying Bacon’s ideas, for his views about preservation reveal traces of Stoicism, Telesian natural (...) philosophy, the natural law tradition, as well as late-scholastic ideas. Bacon assumes the existence of two kinds of preservation: self-preservation and preservation of the whole. The appetite through which the whole preserves itself overpowers individual appetites for self-preservation. In Bacon’s theory of motions, the primacy of global preservation – that is, the preservation of the whole – is evidenced by the way matter resists being annihilated, while self-preservation at a local and particular level is revealed through other kinds of motion. Bacon’s notion of appetite reflects a specific metaphysics of matter and motion, in which the preservation of natural bodies follows teleological patterns shared by both nature and humanity: the preservation of the whole is the highest goal, both in moral and natural philosophy. In this chapter, I argue that in Bacon’s natural philosophy different kind of things, including nature and humans, are ruled by patterns that are constitutive of correlated orders, neither of which is reducible to the other: there is no priority of the natural order over the moral, or vice versa. Thus, at a more general level, both are expressions of the same type of divinely imposed, law-like behaviour. (shrink)

In this paper, I argue for two main theses. The first is that Spinoza held that space was not an independently existing thing such as absolute space This creates a problem for his account of individuation. The second thesis is that he can solve this problem by appealing to another doctrine he accepted, that there is absolute motion. I conclude that Spinoza was among the first early modern figures to reject absolute space but accept absolute motion.

This paper examines Descartes' problematic relational theory of motion, especially when viewed within the context of his dynamics, the Cartesian natural laws. The work of various commentators on Cartesian motion is also surveyed, with particular emphasis placed upon the recent important texts of Garber and Des Chene. In contrast to the methodology of most previous interpretations, however, this essay employs a modern "spacetime" approach to the problem. By this means, the role of dynamics in Descartes' theory, which has (...) often been neglected in favor of kinematic factors, is shown to be central to finding a solution to the puzzle of Cartesian motion. (shrink)

We study the acceleration and collisions of rigid bodies in special relativity. After a brief historical review, we give a physical definition of the term ‘rigid body’ in relativistic straight line motion. We show that the definition of ‘rigid body’ in relativity differs from the usual classical definition, so there is no difficulty in dealing with rigid bodies in relativistic motion. We then describe The motion of a rigid body undergoing constant acceleration to a given velocity.The acceleration (...) of a rigid body due to an applied impulse.Collisions between rigid bodies. (shrink)

Three important 20th-century American films prominently feature a hotel as the site for morally ambiguous and sexually charged events depicted in the plot: Orson Welles's Touch of Evil (1958), Alfred Hitchcock's Psycho (1960), and Joel and Ethan Coen's Barton Fink (1991). While all three films have a multiplicity of elements that present how hotel spaces open horizons displaying human behaviors both normal and abnormal, moral and immoral, secret and public, sane and insane, the paper presents an extended argument for seeing (...) these particular cinematic efforts as being built around the same theme: that transgression (of a violent, misogynous nature) is the path to transcendence. (shrink)

Motion—and, in particular, local motion or change in location—plays a central role in Kenelm Digby’s natural philosophy and in his arguments for the immateriality of the soul. Despite this, Digby’s account of what motion consists in has yet to receive much scholarly attention. In this paper, I advance a novel interpretation of Digby on motion. According to it, Digby holds that for a body to move is for it to divide from and unify with other bodies. (...) This is a view of motion—as change in relations of parthood—that Alison Peterman attributes to Digby’s contemporary and acquaintance, Margaret Cavendish. Having shown that Digby’s presentation of the view predates Cavendish’s by more than a decade, I make a case that Digby’s work influenced Cavendish’s on this topic. In developing and defending my reading, I consider to what extent the Digbean account of motion and the arguments for it accord with the ideals of the mechanical philosophy emerging in the early modern period. (shrink)

The short experimental film Shifting Perspectives stems from a collaborative research project initiated in 2019 in Sydney, Australia, during the 'Choreographic Hack Lab-a week-long laboratory co-presented by Critical Path and Sydney Festival in partnership with the Museum of Applied Arts and Sciences (MAAS), which asked artists and academics to rethink and respond to the idea of the Anthropocene (Pini & George, 2019). The film was later developed in 2020 during a Responsive Residency at Critical Path, Sydney, awarded to anthropologist and (...) choreographer Sarah Pini in collaboration with Jestin George, biotechnologist and visual artist, and Melissa Ramos, visual artist and filmmaker. This work aims to open a multivocal interdisciplinary dialogue across screendance, performance and synthetic biology. Inspired by a recent conversation between two leaders in the field of synthetic biology (Sarah Richardson and Tom Knight) and their divergent approaches to working with microbial life (Agapakis, 2019), the film invites to consider how collaborating with microorganisms can reshape our future in a more-than-human world. (shrink)

György Alajos Szerdahely, the first professor of aesthetics in Pest, publishes his Aesthetica in 1778, a work, written in Latin, that not only engages with the eclectic university aesthetics of late-18th-century Germany and Central Europe, but also marks the beginning of the Hungarian aesthetic tradition. Szerdahely proposes aesthetics as the doctrine of taste, a philosophical discipline that can polish our manners and social conduct through a sensual-affective Bildung offered by art experiences. Highlighting his sources in both British criticism and German (...) aesthetics, the paper traces the development of Szerdahely's concept of beauty from beauty as form (uniformity amidst variety) to beauty in motion (sensibility). Initially, Szerdahely argues for unity and variety as the two main constituents of a beautiful object, evoking disinterested contemplation, but he then turns to sensibility as the third necessary condition of beauty: an object becomes aesthetically beautiful only if it has the power to strike the senses (Lux) and stir the affections (Vivacitas), enlivening the whole embodied person. The paper argues that this third principle of sensibility proves to be more emphatic than the first two, leading to (1) the aesthetic conception of beauty as an experiential quality; but more interestingly to (2) the incorporation of the element of self-preservation and self-love into aesthetic experience. The reason for the latter development lies in Szerdahely’s anthropological argument, which traces back every affection to the instantaneous apprehension of good or evil concerning ourselves, implying desire (Adpetitus) or aversion (Auersi) in our reactions. (shrink)

Aristotle defines motion as such: ‘The fulfillment of what exists potentially, in so far as it exist potentially, is motion.’ (Phy., Γ, 1, 201a10-11) He defines it again in the same chapter: ‘It is the fulfillment of what is potential when it is already fully real and operates not as itself but as movable, that is motion. What I mean by ‘as’ is this: Bronze is potentially a statue. But it is not the fulfillment of bronze as (...) bronze which is motion.’ (Phy., Γ, 1) 2) Motion: not a real thing Aristotle believes that ‘there is no such thing as motion over and above the things’ that is supposed to mean that motion cannot be something else than his categories: ‘It is always with respect to substance or to quality or to quantity or to place that what changes changes. But it is impossible to find anything common to these which is neither ‘this’ not quantum nor quale nor any of the other predicates. Hence neither will motion and change have reference to something over and above the things mentioned, for there is nothing over and above them.’ (Phy., Γ, 1, 200b32-201a3) In fact, it is what is moved that is a reality for Aristotle and not the motion itself: ‘Motion is known because of that which is moved, locomotion because of that which is carried. What is carried is a real thing, the movement is not.’ (Phy., Δ, 11) 3) Three items in each motion Aristotle distinguishes three items in each motion (Phy., E, 4): a) ‘That which’ moves; (Note: It is this item that makes a motion a unitary motion. (Phy., Δ, 11)) e.g. a man or gold b) ‘That in which’ the movement occurs; e.g. a place or an affection c) ‘That during which’ the movement takes place; e.g. time Based on the second item, Aristotle distinguishes three kinds of motion: quantitative, qualitative and local which are in respect of the three categories of quantity, quality and place. (Phy., E, 1) However, Aristotle speaks of four things in respect of which change takes place adding substance to the three mentioned categories. (Phy., Γ, 1, 200b32-35) It seems it is based on the differentiation of that in which motion takes place in these four types that Aristotle distinguishes four kinds of motion. (Phy., Γ, 1, 201a11-15): a) Alteration: the motion of what is alterable qua alterable b) Increase and decrease: the motion of what can be increased and what can be decreased c) Coming to be and passing away: the motion of what come to be and pass away d) Locomotion: the motion of what can be carried away Alteration happens in qualities, increase and decrease in quantities, coming to be and passing away in substances and locomotion in place. 4) Problem of motion as an element Discussing why Pythagoreans put motion in their column of indefinites, Aristotle somehow hints to the problem of understanding motion due to its non-elemental character: ‘The reason why they put motion into these genera is that it is thought to be something indefinite and the principles in the second column are indefinite because they are privative: none of them is either ‘this’ or ‘such’ or comes under any of the other modes of predication. The reason in turn why motion is thought to be indefinite is that it cannot be classed simply as a potentiality or as an actuality- a thing that is merely capable of having a certain size is not undergoing change, nor yet a thing that is actually of a certain size, and motion is thought to be a sort of actuality, but incomplete. The reason for this view being that the potential whose actuality it is is incomplete. This is why it is hard to grasp what motion is. It is necessary to class it with privation or with potentiality or with sheer actuality, yet none of these seems possible. There remains then the suggested mode of definition, namely that it is a sort of actuality, or actuality of the kind described, hard to grasp, but not incapable of existing.’ (Phy., Γ, 2, 201b24-) It becomes a real difficulty when it is asked whether the motion is in the mover or in the movable: ‘The solution of the difficulty that is raised about the motion-whether it is in the movable- is plain. It is the fulfillment of this potentiality, and by the action of that which has the power of causing motion; and the actuality of that which has the power of causing motion is not other than the actuality of the movable, for it must be the fulfillment of both. A thing is capable of causing motion because it can do this, it is a mover because it actually does it. But it is on the movable that it is capable of acting. Hence there is a single actuality of both alike, just as one to two and two to one are the same interval, and the steep ascent and the steep descent are one- for these are one and the same, although they can be described in different ways. So it is with the mover and the moved.’ (Phy., Γ, 3) This is not, however, the solution: ‘This view has a dialectical difficulty. Perhaps it is necessary that the actuality of the agent and that of the patient should not be the same. The one is ‘agency’ and the other ‘patiency’; and the outcome and the completion of the one is an ‘action’, that of the other a ‘passion.’ Since then they are both motions, we may ask: in what are they, if they are different? Either (a) both are in what is acted on and moved, or (b) the agency is in the agent and the patiency in the patient. … Now in alternative (b), the motion will be in the mover, for the same statement will hold of ‘mover’ and ‘moved.’ Hence either every mover will be moved, or, through having motion, it will not be moved. If on the other hand (a) both are in what is moved and acted on- both the agency and the patiency (e.g. both teaching and learning, though they are two, in the learner), then, first, the actuality of each will not be present in each, and, a second absurdity, a thing will have two motions at the same time. How will there be two alterations of quality in one subject towards one definite quality? The thing is impossible: the actualization will be one.’ (Phy., Γ, 3) This leads Aristotle to another problem, the problem of one identical actualization for two different things: ‘But (someone will say) it is contrary to reason to suppose that there should be one identical actualization of two things which are different in kind. Yet there will be, if teaching and learning are the same, and agency and patiency. To teach will be the same as to learn, and to act the same as to be acted on- the teacher will necessarily be learning everything that he teaches, and the agent will be acted on. One may reply: (1) It is not absurd that the actualization of one thing should be in another. Teaching is the activity of a person who can teach, yet the operation is performed on some patient- it is not cut adrift from a subject, but is of A on B. (2) There is nothing to prevent two things having one and the same actualization, provided the actualizations are not described in the same way, but are related as what can act on what is acting. (3) Nor is it necessary that the teacher should learn, even if to act and to be acted on are one and the same, provided they are not the same in definition (as ‘raiment’ and ‘dress’), but are the same merely in the sense in which the road from Athens to Thebes are the same, as has been explained above.’ (Phy., Γ, 3) And he continues: ‘For it is not things which are in a way the same that have all their attributes the same, but only such as have the same definition. But indeed it by no means follows from the fact that teaching is the same as learning, that to learn is the same as to teach, any more than it follows from the fact there is one distance between two things which are at a distance from each other, that the two vectors AB and BA, are one and the same. To generalize, teaching is not the same as learning, or agency and patiency, in the full sense, though they belong to the same subject, the motion; for the ‘actualization’ of X in Y’ and the ‘actualization of Y through the actualization of X’ differ in definition.’ (Phy., Γ, 3) . (shrink)

Cross cultural studies have played a pivotal role in elucidating the extent to which behavioral and mental characteristics depend on specific environmental influences. Surprisingly, little field research has been carried out on a fundamentally important perceptual ability, namely the perception of biological motion. In this report, we present details of studies carried out with the help of volunteers from the Mundurucu indigene, a group of people native to Amazonian territories in Brazil. We employed standard biological motion perception tasks (...) inspired by over 30 years of laboratory research, in which observers attempt to decipher the walking direction of point-light (PL) humans and animals. Do our effortless skills at perceiving biological activity from PL animations, as revealed in laboratory settings, generalize to people who have never before seen representational depictions of human and animal activity? The results of our studies provide a clear answer to this important, previously unanswered question. Mundurucu observers readily perceived the coherent, global shape depicted in PL walkers, and experienced the classic inversion effects that are typically found when such stimuli are turned upside down. In addition, their performance was in accord with important recent findings in the literature, in the abundant ease with which they extracted direction information from local motion invariants alone. We conclude that the effortless, veridical perception of PL biological motion is a spontaneous and universal perceptual ability, occurring both inside and outside traditional laboratory environments. (shrink)

Spacetime and motion are interconnected concepts. A better understanding of motion leads to a better understanding of spacetime. We use the historical critical analysis of the various theoretical proposals on motion in search of clues ignored. The prediction of the general relativity that the motion occurs in the static gravitational field is not valid because the motion always occurs in a given medium as vacuum, atmosphere, water, etc. The concept of motion and the equations (...) of the special and general relativity, as the theory of Galilee-Newton reduce motion elements to particle and spacetime. In this paper, we present the medium (in special, the quantum vacuum), as the third essential element of motion, inseparable of spacetime since it is its material support of which the spacetime is its structural form, and we analyse its consequences in the theories of spacetime. Our contribution is declare, that the spacetime itself does not exist, or is a relational property of matter, but a structural property of matter. (shrink)

This paper examines explanations that turn on non-local geometrical facts about the space of possible configurations a system can occupy. I argue that it makes sense to contrast such explanations from "geometry of motion" with causal explanations. I also explore how my analysis of these explanations cuts across the distinction between kinematics and dynamics.

The geometric arrangement of planet and moon is the result of a self-organizing system. In our solar system, the planets and moons are constantly orbiting around the sun. The aim of this theory is to compare the motion of a solar system with the motion of water droplet when poured into a water body. The basic methodology is to compare both motions to know how they are related to each other. The difference between both systems will be that (...) one is extremely fast, and the other is extremely slow. The role of this theory is that by looking at the fast system we can conclude how slow the system will get to an end. Just like ripples are formed around water droplet that move away from the droplet and water droplet forming those ripples become small in size will tell us how solar system will behave in the same way. So it is concluded that large and small systems can work under the same process but with different motions of time, and motion of the solar system is the slowest form of water droplet motion. (shrink)