Everyday media consumption leaves no doubt that the perception of moving images from various media is characterized by experience and understanding. Corresponding research in this field has shown that the stimulus patterns flooding in on us are not only processed mentally, but also bodily. Building on this, the following study argues that incoming stimuli are processed not only visually, but multimodally, with all senses, and moreover affectively. The classical binding of a sensory organ to a medium, on whose delimitation the (...) common understanding of multimodality is based, is thus abolished. Can arguments for this assumption be found? Building on the research of cultural anthropologist Ernst Cassirer and his successors, the two American philosophers Susanne K. Langer and John M. Krois, and supported by research from the life sciences in which, in parallel, the arts also play an important role in understanding image formation, as in the work of Heinz Werner and, following on from this, in the more recent research of the child psychologist Daniel N. Stern in collaboration with mirror neuron research by the group of neuroscientists around Giacomo Rizzolatti in Parma, justifications for this will be provided. What the multimodal processing of film images is concretely based on will finally be made clear by means of an exemplary analysis of a video film by the Swiss artist Pipilotti Rist. It aims to prove, that the prerequisites for the thesis can only lie in the fact, that both the modes of perception (visual, tactile, auditory, olfactory, gustatory) as well as the medially conditioned modes of image formation are based on non-discursive, formal-abstract structures that are also processed affectively. At the same time, the analysis thus shows how the selection and composition of the vital experienced forms can provide information about the socio-culturally shaped self-image of the producer and the viewer. (shrink)

Man has built tools to extend his visual experience in order to explore reality beyond his sensory capacity, for example microscopes, telescopes, high shutter speed and infrared cameras. However he has yet to build a tool to fully explore visual realms beyond his ordinary cognitive faculties. With the development of computing, comes the possibility of building a tool to explore the virtual forms/spaces of images that are ordinarily inaccessible to the mind. This article identifies how cognition is ordinarily limited and (...) posits a way of going beyond those limits, by defining a computational model of how those virtual forms/spaces might be created. This definition is based on brief but repeated empirical experiences of ‘higher order’ manifestations. (shrink)

Enacting Images is devoted to images as they can mobilize cognition and theorizing. Though we can speak of a pictorial turn now that images have become a distinct and full-fledged topic of investigation, some may continue to cling to the impression that images should still be considered within a fundamentally representationalist framework. As an alternative, the enactive approach provides a conceptual setup within which images, beyond their informational, immersive, and aesthetic power, can be considered as being the manifestations of a (...) new epistemic access to the world. The present volume is a collection of essays that reflectively investigate the theoretical prerequisites, scope, and limits of enactive approach. (shrink)

During the Fifties and the Early Sixties Hans Jonas developed a theory of man based on a series of concepts as separation of form from matter, image and symbol. By reflecting on these themes, Jonas seems to refer to the aesthetic abilities man embodies as the essence of human life. In this article I try to analyse Jonas’ thoughts on man and to determine to what extent it is possible to consider his theory as an aesthetic anthropology. Eventually, I (...) discuss what Aesthetics may win by directing its attention to this author. (shrink)

A common and enduring early modern intuition is that materialists reduce organisms in general and human beings in particular to automata. Wasn’t a famous book of the time entitled L’Homme-Machine? In fact, the machine is employed as an analogy, and there was a specifically materialist form of embodiment, in which the body is not reduced to an inanimate machine, but is conceived as an affective, flesh-and-blood entity. We discuss how mechanist and vitalist models of organism exist in a more complementary (...) relation than hitherto imagined, with conceptions of embodiment resulting from experimental physiology. From La Mettrie to Bernard, mechanism, body and embodiment are constantly overlapping, modifying and overdetermining one another; embodiment came to be scientifically addressed under the successive figures of vie organique and then milieu intérieur, thereby overcoming the often lamented divide between scientific image and living experience. (shrink)

Early modern automata, understood as efforts to ‘model’ life, to grasp its singular properties and/or to unveil and demystify its seeming inaccessibility and mystery, are not just fascinating liminal, boundary, hybrid, crossover or go-between objects, while they are all of those of course. They also pose a direct challenge to some of our common conceptions about mechanism and embodiment. They challenge the simplicity of the distinction between a purported ‘mechanistic’ worldpicture, its ontology and its goals, and on the other hand (...) an attempt to understand ourselves and animals more broadly as flesh-and-blood, affective entities (that is, not just breathing and perspiring, but also desiring and ‘sanguine’ machines, as La Mettrie might have put it). In what follows I reflect on the complexity of early modern mechanism faced with the (living) body, and its mirror image, contemporary theories of embodiment. At times, embodiment theory seems to be governed by a fascination with what the Artificial Life researcher Ezequiel Di Paolo has called ‘biochauvinism’ (Di Paolo, “Extended Life”): an unquestioned belief that ‘living bodies are special’. Yet how does the theorist define this special status? The question is apparently a simple one, or at least promptly yields an aporia which appears simple: to borrow a provocative phrase from Terry Eagleton, embodiment theory is obsessed by the body but terrified of biology. Yet at the same time, at least since Hubert Dreyfus and Andy Clark’s groundbreaking works, embodiment has been a legit part of cognitive science, yielding the even more recently emerged field of ‘embodied cognition’ (see the work of Larry Shapiro), which seeks to depart from traditional cognitive science, especially the latter’s understanding of cognition as computational, in order to instead underscore “the significance of an organism’s body in how and what the organism thinks,” in Shapiro’s words. (shrink)

The phenomenological point of view of the body is usually appreciated for having introduced the notion of the ‘lived’ body. We cannot merely analyze and explain the body as one of the elements of the world of objects. We must also describe it, for example, as the center of our perspective on the world, the place where our sensing is ‘localized’, the agens which directly executes our intentions. However, in Husserl, the idea of the body as lived primarily complements his (...) objectivism: the body (Leib) is an objective and mental reality, a ‘double unity’, as he writes. In contrast, Merleau-Ponty’s later considerations of the body in Phenomenology of Perception tend to the idea of a circular relationship between the objective and subjective dimensions of the body – between the objective and the lived. One of the means to overcome the idea of the body as a site of the correlation between two opposite and complementary realms is, for Merleau-Ponty, the philosophical interpretation of an early neurological notion of ‘body schema’. Body schema is neither an idea nor a physiological-physical fact, it is rather a practical diagram of our relationships with the world, an action-based norm in reference to which things make sense. In the recently published preparatory notes for his 1953 courses, Merleau-Ponty dedicates much effort to further developing the notion of body schema, and interprets fresh sources that he did not use in Phenomenology of Perception. Notably, he studies various possibilities of how this practical ‘diagram’ can be de-differentiated (pathology) or further refined (cognitive and cultural superstructures, symbolic systems), which shows the fundamentally dynamic unity of the body. This paper summarizes the basic elements of Merleau-Ponty’s 1953 renewed philosophical interpretation of the notion of body schema, while contrasting it to the more traditional understanding of the body in phenomenology and in recent philosophical texts dealing with body schema. (shrink)

Sunohara Yuuri and Akita Masami’s series of six seppuku films (1990) are solely constituted by images of fictionalized death, revolving around the prolonged self-torture of a lone figure committing harakiri. I contend that the protagonist’s auto-immolation mirrors a formal death, each frame ‘killing’ the moment it represents. My analysis aims to explore how the solipsistic nature of selfhood is appositely symbolized by the isolation of the on-screen figures and the insistence with which the six films repeat the same scenario of (...) protracted agony across the cycle. The centralization of suffering, I argue, parallels the distance between viewer and image with the isolating nature of embodied existence. Thus, this article seeks to probe the relationship between form and content, asking what the image of death reveals about the death of the image. -/- . (shrink)

Defined as vicarious sensorimotor experiencing, mental imagery is a powerful source of aesthetic enjoyment in everyday life and, reportedly, one of the commonest things readers remember about literary narratives in the long term. Furthermore, it is positively correlated with other dimensions of reader response, most notably with emotion. Until recent decades, however, the phenomenon of mental imagery has been largely overlooked by modern literary scholarship. As an attempt to strengthen the status of mental imagery within the literary and, more generally, (...) aesthetic discipline, this dissertation proposes an analysis positioned at a confluence of literary theory and the cognitive sciences, especially the emergent research framework of embodied cognition. Questions asked throughout the dissertation include the following: a) What are the basic varieties of mental imagery in the reading of literary narrative? b) By what contents or narrative strategies are they most likely to be prompted? c) What is it like to experience a mental image of a particular variety? d) What are its psychophysiological underpinnings? e) How does a mental image of a particular variety relate to perception? f) How does it relate to higher-order meaning-making? Four prototypical imagery varieties are distinguished on the basis of two variables with two values each (referential vs. verbal domain; inner vs. outer stance). Gradual transitions and in-between imagery varieties are acknowledged. The imagery typology and related hypotheses are grounded in introspection but carefully supported with indirect empirical evidence and, whenever possible, formulated so as to facilitate direct validation. (shrink)

Frederick Douglass, the abolitionist, the civil rights advocate and the great rhetorician, has been the focus of much academic research. Only more recently is Douglass work on aesthetics beginning to receive its due, and even then its philosophical scope is rarely appreciated. Douglass’ aesthetic interest was notably not so much in art itself, but in understanding aesthetic presentation as an epistemological and psychological aspect of the human condition and thereby as a social and political tool. He was fascinated by the (...) power of images, and took particular interest in the emerging technologies of photography. He often returned to the themes of art, pictures and aesthetic perception in his speeches. He saw himself, also after the end of slavery, as first and foremost a human rights advocate, and he suggests that his work and thoughts as a public intellectual always in some way related to this end. In this regard, his interest in the power of photographic images to impact the human soul was a lifelong concern. His reflections accordingly center on the psychological and political potentials of images and the relationship between art, culture, and human dignity. In this chapter we discuss Douglass views and practical use of photography and other forms of imagery, and tease out his view about their transformational potential particularly in respect to combating racist attitudes. We propose that his views and actions suggest that he intuitively if not explicitly anticipated many later philosophical, pragmatist and ecological insights regarding the generative habits of mind and affordance perception : I.e. that we perceive the world through our values and habitual ways of engaging with it and thus that our perception is active and creative, not passive and objective. Our understanding of the world is simultaneously shaped by and shaping our perceptions. Douglass saw that in a racist and bigoted society this means that change through facts and rational arguments will be hard. A distorted lens distorts - and accordingly re-produces and perceives its own distortion. His interest in aesthetics is intimately connected to this conundrum of knowledge and change, perception and action. To some extent precisely due to his understanding of how stereotypical categories and dominant relations work on our minds, he sees a radical transformational potential in certain art and imagery. We see in his work a profound understanding of the value-laden and action-oriented nature of perception and what we today call the perception of affordances (that is, what our environment permits/invites us to do). Douglass is particularly interested in the social environment and the social affordances of how we perceive other humans, and he thinks that photographs can impact on the human intellect in a transformative manner. In terms of the very process of aesthetic perception his views interestingly cohere and supplement a recent theory about the conditions and consequences of being an aesthetic beholder. The main idea being that artworks typically invite an asymmetric engagement where one can behold them without being the object of reciprocal attention. This might allow for a kind of vulnerability and openness that holds transformational potentials not typically available in more strategic and goal-directed modes of perception. As mentioned, Douglass main interest is in social change and specifically in combating racist social structures and negative stereotypes of black people. He is fascinated by the potential of photography in particular as a means of correcting fallacious stereotypes, as it allows a more direct and less distorted image of the individuality and multidimensionality of black people. We end with a discussion of how, given this interpretation of aesthetic perception, we can understand the specific imagery used by Douglass himself. How he tried to use aesthetic modes to subvert and change the racist habitus in the individual and collective mind of his society. We suggest that Frederick Douglass, the human rights activist, had a sophisticated philosophy of aesthetics, mind, epistemology and particularly of the transformative and political power of images. His works in many ways anticipate and sometimes go beyond later scholars in these and other fields such as psychology & critical theory. Overall, we propose that our world could benefit from revisiting Douglass’ art and thought. (shrink)

For the last ten years, within molecular life sciences, the reproducibility crisis discourse has been embodied as a crisis of trust in scientific images. Beyond the contentious perception of “questionable research practices” associated with a digital turn in the production of images, this paper highlights the transformations of gel electrophoresis as a family of experimental techniques. Our aim is to analyze the evolving epistemic status of generated images and its connection with a crisis of trust in images within that (...) field.From the 1980s to the 2000s, we identify two key innovations (precast gels and gel docs) leading to a “two‐tiered” gel electrophoresis with different standardization procedures, different epistemic statuses of the produced images and different ways of generating (dis)trust in images. The first tier, exemplified by differential gel electrophoresis (DIGE), is characterized by specialized devices processing images as quantitative data. The second tier, exemplified by polyacrylamide gel electrophoresis (PAGE), is described as a routine technique making use of image as qualitative “virtual witnessing.” The difference between these two tiers is particularly apparent in the ways images are processed, even though both tiers involve image digitization. Our account thus highlights different views on reproducibility within the two tiers. Comparability of images is insisted upon in the first tier while traceability is expected in the second tier. It is striking that these differences occur not only within the same scientific field, but even within the same family of experimental techniques. In the second tier, digitization entails distrust, whereas it implies a collective sentiment of trust in the first tier. (shrink)

In this paper a tentative neurophysiologically framed approach of the Freudian unconscious that would function on the basis of linguistic (phonological) organizing principles, is proposed. A series of arguments, coming from different fields, are taken together. First, clinical reports indicate that in a state of high emotional arousal linguistic fragments are treated in a decontextualized way, and can lead to the isolation of phoneme sequences which, independently of their actual meaning, are able to resort emotional effects. Second, phonological and neurophysiological (...) arguments are given to make the case that language processing – be it producing, receiving or imagining language – is a motor event. A crucial distinction is proposed: while contextualized processing correlates on a neurophysiological level with action understanding, and is psychoanalytically akin to secondary processing, decontextualized language processing has a neurophysiological counterpart in object understanding and is psychoanalytically akin to primary processing. Third, isolated speech fragments are therefore considered as objects which, similarly to non-linguistic objects, undergo emotional conditioning and establish an idiosyncratic linguistically structured emotional memory. Phoneme sequences which in this way come to carry high emotional valences are thought to be more readily subject to threaten the bodily integrity, and therefore more readily inhibited. When this inhibition leads to the prevention of effective realization of the voluntary motor output, this is thought to result in the sustained high levels of neuronal activation which seek for release by attracting substitutes that are phonemically similar to the censored speech fragments though they are cognitively non threatening. As a result, the speech of the subject would be particularly concerned with the verbalizations of these substitutive phoneme sequences. In summary, the Freudian unconscious is conceived as the instantiation of a linguistic action space which would be idiosyncratically organized by particular phonemic “phantoms” operating as attractors for the subject’s (linguistic) actions. (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)

This paper investigates the prospects of Rodney Brooks’ proposal for AI without representation. It turns out that the supposedly characteristic features of “new AI” (embodiment, situatedness, absence of reasoning, and absence of representation) are all present in conventional systems: “New AI” is just like old AI. Brooks proposal boils down to the architectural rejection of central control in intelligent agents—Which, however, turns out to be crucial. Some of more recent cognitive science suggests that we might do well to dispose of (...) the image of intelligent agents as central representation processors. If this paradigm shift is achieved, Brooks’ proposal for cognition without representation appears promising for full-blown intelligent agents—Though not for conscious agents. (shrink)

Much recent cognitive neuroscientific work on body knowledge is representationalist: “body schema” and “body images”, for example, are cerebral representations of the body (de Vignemont 2009). A framework assumption is that representation of the body plays an important role in cognition. The question is whether this representationalist assumption is compatible with the variety of broadly situated or embodied approaches recently popular in the cognitive neurosciences: approaches in which cognition is taken to have a ‘direct’ relation to the body and (...) to the environment. A “direct” relation is one where the boundaries between the body and the head, or between the environment and the animal are not theoretically important in the understanding of cognition. These boundaries do not play a theoretically privileged role in cognitive explanations of behavior. But representationalism appears to put a representational veil between the locus of cognition and that which is represented, making cognitive relations to the body and to the environment be indirect, with a high associated computational load. For this reason, direct approaches have tried to minimize the use of internal representations (Suchman 1987; Barwise 1987; Agre and Chapman 1987; Brooks 1992; Thelen and Smith 1994; van Gelder 1995; Port and van Gelder 1995; Clark 1997, 1999; Rupert 2009, p. 180). Does a cognitive neuroscience committed to direct relations rule out a representationalist approach to body knowledge? Or is direct representationalism possible? (shrink)

Bringing together a genealogy of authors, concepts, and aesthetic case studies, this article aims to contribute to the discussion on ordinary aesthetics by focusing on the tensions that are intrinsic to walking as a fundamental embodied action in everyday urban life. These tensions concern the movement of walking itself and its relation to one’s surroundings, but it also concerns a certain complementarity between home (familiarity) and wandering. Experiencing space and thresholds that disrupt one’s relationship with home and the everyday (...) can be understood as part of a modern “anti-home” tendency that lies at the core of several artistic and aesthetic practices. On the other hand, the study of walking and its relationship with the ordinary has also been enhanced and complexified by the mediation of images and technologies of reproduction. Approaching the paradoxes and ambiguities of everydayness from the perspective of walking allows us to better understand the ordinary as an in-between concept composed of evidence and mystery, familiarity and strangeness. Walking itself, as an ordinary element of life, is an unstable stabilisation, an unconsciousness that may become awareness, an immersive action that knows interruptions, a way of repeating paths that can also lead to detours and discoveries. (shrink)

The aim of this paper is to develop and defend an Attentional View of bodily awareness, on which attention is necessary for bodily awareness. The original formulation of the Attentional View is due to Marcel Kinsbourne. First, I will show that the Attentional View of bodily awareness as formulated by Kinsbourne is superior to other accounts in the literature for characterizing the relationship between attention and bodily awareness. Kinsbourne’s account is the only account in the literature so far which can (...) accommodate key neurological diseases such as personal neglect. Second, when I consider Kinsbourne’s view in more detail, I will argue that Kinsbourne’s Attentional View faces problems because it is too reductive. Kinsbourne deviates from the standard taxonomy on which there is a body schema and a body image. Instead he reduces the body image to the neural representation of the body in the somatosensory cortex, the body schema and attentional shifts. I will present two challenges to Kinsbourne’s view which demonstrate that Kinsbourne’s reduction of the body image is unsuccessful. Finally, I will present a revised version of the Attentional View that is both empirically adequate and philosophically satisfactory. (shrink)

This chapter presents an account of Merleau-Ponty’s interpretation of the body schema as an operative intentionality that is not only opposed to, but also complexly intermingled with, the representation-like grasp of the world and one’s own body, or the body image. The chapter reconstructs Merleau-Ponty’s position primarily based on his preparatory notes for his 1953 lecture ‘The Sensible World and the World of Expression’. Here, Merleau-Ponty elaborates his earlier efforts to show that the body schema is a perceptual ground (...) against which the perceived world stands out as a complex of perceptual figures. The chapter clarifies how Merleau-Ponty’s renewed interpretation of the figure-ground structure makes it possible for him to describe the relationship between body schema and perceptual (body) image as a strictly systematic phenomenon. Subsequently, the chapter shows how Merleau-Ponty understands apraxia, sleep, and perceptual orientation as examples of dedifferentiation and subtler differentiation of the body-schematic system. The last section clarifies how such body-schematic differentiating processes give rise to relatively independent superstructures of vision and symbolic cognition which constitute our body image. It, moreover, explains how, according to Merleau-Ponty, the cognitive superstructures always need to be supported by praxic operative intentionality to maintain their full sense, even though, in some cases, they have the power to compensate for praxic deficiencies. (shrink)

The major stages of development of cosmic pedagogy have been researched. Based on the achievements of the modern neurosciences as well as of psychology, cosmology, and philosophy, the authors provide their reasoning for the cosmic education and its outlooks for the educational systems of the world. Through the studies of how important human mind is for the Earth and the cosmos and by researching the evolution of human mind within the structure of the Universe, the authors create a more advanced (...) scientific and philosophic basis for the cosmic education where the subject is a comprehensive process of formation and directed progress of both an individual mind and a conglomerate of minds called the "psychospace". The cosmic education researches the permanent progress of the intelligent matter of the Earth. The purpose of the cosmic education has been determined as formation of a planetary and cosmic personality. According to the authors, a planetary and cosmic personality is a harmony of mind, soul, and body, and such harmony is directed to usethe internal creative potential of mind to the benefit of the intelligent matter of the entire Earthand the cosmos. The properties of such a planetary and cosmic personality are being improved continuously; they are a sample (the ideal) of the cosmic pedagogy and the image of a human being of the future. Through the usage of the entire potential and art of upbringing and educating, the cosmic pedagogy is called to embody the major properties of the image of a human being of the future in the new generations of minds and to form a planetary and cosmic personalitycapable of self-actualization to the benefit of the permanent progress of the intelligent matter. (shrink)

According to the biomedical model of medicine, the subject of the illness event is the pathology rather than the person diagnosed with the disease. In this view, a body-self becomes a ‘patient’ body-object that can be enrolled in a therapeutic protocol, investigated, assessed, and transformed. How can it be possible for cancer patients to make sense of the opposite dimensions of their body-self and their body-diseased-object? Could a creative embodied approach enable the coping with trauma tied to the experience (...) of illness? By applying a phenomenological approach and auto-ethnographic analysis to the experience of cancer, this visual exploration provides support for rethinking the cancer event through a performative perspective. This work previews images and video material collected over ten years of haematological treatments, video dance performances and physical explorations. This work displays how processes of healing can be set in motion by creative embodied practices, physical explorations and unexpected journeys. By resisting the biomedical model and allowing the emergence of new meanings, it illustrates how dance and performative practices offer ground for transformation. (shrink)

This paper addresses two related topics: 1. The disanalogies between elective cosmetic practices and sex reassignment surgery. Why does it seem necessary for me – an aging professional woman – to ignore the blandishments of hairdressers wielding dyes and dermatologists wielding acids and scalpels? Why does it not seem equally necessary for a transgendered person to repudiate sex reassignment procedures? 2. The role of the body in identity and agency. How do phenomenological insights regarding the constitution of selfhood in relation (...) to the interplay between the body image and corporeal know-how contribute to an account of the agency of transgendered individuals? Studying several paintings by contemporary feminist artist Jenny Saville has advanced my thinking on these topics. Saville’s imagery is an invaluable aid to reflection on these issues because she uses her painterly technique, which critics often dub “virtuoso,” to represent lived human bodies. In her work, viewers encounter representations of subjectivized, agentic corporeity, as distinct from inert, objectified flesh. Moreover, her sympathetic engagement with nonconformist, devalued bodies helps to reconfigure the standard gestalts of the human body that viewers typically carry with them and thus to convert fear and/or disgust into appreciation and understanding. In this paper, I consider three of Saville’s paintings. Plan, Saville’s self-portrait as a nude female whose body has been prepped for liposuction, conveys the pathos of this procedure. Matrix is a nude portrait of self-described “gender variant visual artist” Del LaGrace Volcano. In the words of one critic Saville’s depiction of Volcano’s nude intersexed body “restores beauty to the primitive [female] genital organ.” Passage, another nude portrait of an intersexed individual, is an image of vibrant sexuality despite the presumptively jarring juxtaposition of breasts and a penis. I argue that conceiving the agentic subject as a rational deliberative capability that uses a conjoined body as the instrument of its will makes it impossible to theorize the agency of transgendered people. In contrast, when agentic subjects are understood as embodied subjects and embodiment is understood as a dimension of practical intelligence, the agency of transgendered individuals is intelligible. (shrink)

Arthur Danto asserts that Maya Lin’s Vietnam Veterans Memorial in Washington really embodies the beauty of his meaning. For him, the Memorial’s “internal beauty” is felt and read because she is built as a text by the rhetoric of enthymeme, as a syllogism based on some tacit knowledges and highly probables communplaces. However, the relationship to the Kant’s pulchritudo adhaerens and philosophy of architecture is not an easy one : Danto rejects as unreadable the self-referent formalism of Greenberg’s Modernism and (...) the environmental non-monumentality of Richard Serra’s Minimalism, but the agency of the Memorial’s shared internal beauty is haunted by an unquestioned spectral logic. Actually, the image embodiment in this work can always exceed the rhetoric of reconnaissance supported by the syllogistic rhetoric and disturb the identity framework of the nord-american community. The beholders’ reflecting shape on the Memorial can become, finally, an unreadable and pathetic index, or be perceived as a figural imprint, ephemeral and troubling ; these disembodied pictures can achieve a medial incarnation – e.g. a Verkörperung – of the underworld. (shrink)

In his article "Thoughts" (MIND, July 1960) William Ginnane argues that "thought is pure intentionality," and that our thoughts are not embodied essentially in the mental imagery and other elements of phenomenology that cross our minds along with the thoughts. Such images merely illustrate out thoughts. In my discussion I resist this claim pointing out that our thoughts are often embodied in events that can be described in pheno¬menological terms, especially when our reports of our thinking are introduced (...) by the colorful phrases that Ginnane himself suggests, such as "It crossed my mind that.." or "It occurred to me that…" It is true that we also have a mode of speech in which we report what we have thought in well-formed sentences. Sometimes the very utterance of such sentences is what we call thinking out loud. More often than not, however, our thoughts are fragmentary enough so that if someone asks us what we were thinking, we must stop and rather carefully formulate the expression of those thoughts. In this case there has been nothing running through our minds which can be phenomenologically described as complete sentences, yet in formu¬lating the significance of what has been passing through our minds we do use complete sentences. It is true that one of the confusions we have been bothered by in the past is the idea that in describing the contents of our minds we must somehow find there a proto-type of the report we give in propositional form. The philosopher's phrase "entertaining a proposition" only encour¬ages this confusion, as it looks like an attempt to describe one's mental history phenomenologically. Nevertheless, the successive phenomenological events that occur in our minds often seem to be not merely illustrations accompanying our thoughts, but to embody what we say occurred to us. -/- . (shrink)

In his article "Thoughts" (MIND, July 1960) William Ginnane argues that "thought is pure intentionality," and that our thoughts are not embodied essentially in the mental imagery and other elements of phenomenology that cross our minds along with the thoughts. Such images merely illustrate out thoughts. In my discussion I resist this claim pointing out that our thoughts are often embodied in events that can be described in phenomenological terms, especially when our reports of our thinking are introduced (...) by the colorful phrases that Ginnane himself suggests, such as "It crossed my mind that.." or "It occurred to me that…" It is true that we also have a mode of speech in which we report what we have thought in well-formed sentences. Sometimes the very utterance of such sentences is what we call thinking out loud. More often than not, however, our thoughts are fragmentary enough so that if someone asks us what we were thinking, we must stop and rather carefully formulate the expression of those thoughts. In this case there has been nothing running through our minds which can be phenomenologically described as complete sentences, yet in formulating the significance of what has been passing through our minds we do use complete sentences. It is true that one of the confusions we have been bothered by in the past is the idea that in describing the contents of our minds we must somehow find there a proto-type of the report we give in propositional form. The philosopher's phrase "entertaining a proposition" only encourages this confusion, as it looks like an attempt to describe one's mental history phenomenologically. Nevertheless, the successive phenomenological events that occur in our minds often seem to be not merely illustrations accompanying our thoughts, but to embody what we say occurred to us. (shrink)

Our paper consists of three parts. In the first part we provide an overall picture of the concept of the Cartesian mind. In the second, we outline some of the crucial tenets of the theory of the embodied mind and the main objections it makes to the concept of the Cartesian mind. In the third part, we take aim at the heart of the theory of the embodied mind; we present three examples which show that the thesis of (...) embodiment of the subjective perspective is an untenable position. However, everything these examples testify to can be accommodated and explained by our non-embodied or Cartesian view. (shrink)

field: Issue 8 Embodying an Anti-Racist Architecture comprises essays, articles, podcasts, drawings, designs, the cover image, and a film. ‘This Call to Action' is a document borne from dialogue, and as such derives its power from the activism that collaboration and cooperation engender. -/- Asma Mehan, Carolina Lima, Faith Ng’eno, and Krzysztof Nawratek discuss white hegemony across different geopolitical and academic spaces, mindful of the nuances of using English as their shared yet borrowed language. -/- .

With a Call for Essays, the special issue Multimodality sought contributions that accept not only the material but also the body-bound dependence of media perception and understanding. To this end, contributions were included that shed light on both the structural and signifying potential of artistic works through multimodal analysis. Particular attention was paid to contributions that clarify how the structural features - the modes - of the arts, their perception, and their signifying potential in terms of content are interrelated and (...) how they are to be understood in communicative and thus socioculturally relevant terms. Thus, in addition to neuroscientific contributions, those from cultural anthropology, art history, image and art studies, and literary studies were included. -/- Articles -/- 8 Martina Sauer and Christiane Wagner - Introduction -/- 11 Giada Lombardi and Giuseppe Di Cesare - From Neuroscience to Art: The Role of ‘Vitality Forms’ in the Investigation of Multimodality -/- 25 Martina Sauer - Abstract - Affective – Multimodal: Interaction between Medium and Perception of Moving Images from the Viewpoint of Cassirer’s, Langer’s and Krois’ Embodiment Theories -/- 49 Göran Sonesson - The Secrets of Plastic Language Revealed: Multimodality, Polysemiosis, and Iconicity -/- 71 Natalia Igl - Making Sense of the Material: Multisensory Reader Involvement in Contemporary Multimodal Novels -/- 87 J. Philippe Thompson - Art is All: Proust’s Life Lessons Through Perception and Art -/- 107 Hans Dieter Huber - Philippe Parreno and the Exhibition as a Multimodal Aesthetic Experience -/- 135 Jörg U. Lensing - The Performing Human Being in a Media Interaction Space: Multi- and intermodal productions by the Düsseldorf Theater der Klänge (Theatre of Sounds) . (shrink)

Anorexia Nervosa (AN) is a complex disorder characterised by self-starvation, an act of self-destruction. It is often described as a disorder marked by paradoxes and, despite extensive research attention, is still not well understood. Much AN research focuses upon the distorted body image that individuals with AN supposedly experience. However, based upon reports from individuals describing their own experience of AN, I argue that their bodily experience is much more complex than this focus might lead us to believe. Such (...) research often presents an overly cognitive understanding of bodily experience in AN, underplaying the affective, felt experience of individuals with AN, as well as descriptions of empowerment, strength and control reported in the early stages of AN. This paper seeks to enrich our understanding of bodily experience in AN as it progresses throughout the various stages of the disorder. I show how the classical phenomenological distinction between the body-as-subject and the body-as-object, as well as Leder’s conception of the visceral body, can inform our understanding of bodily experience in AN. I suggest that the project of self-starvation is an attempt to overcome the noisy demands of the visceral body, which are experienced as threatening the body-as-subject, through a process of objectifying the body-as-object. By cashing out AN as a project of radical bodily control that, tragically, comes to control the individual, we can capture important aspects of the bodily experience of AN and the temporal progression of the disorder. -/- . (shrink)

The Gorgias ends with Socrates telling an eschatological myth that he insists is a rational account and no mere tale. Using this story, Socrates reasserts the central lessons of the previous discussion. However, it isn’t clear how this story can persuade any of the characters in the dialogue. Those (such as Socrates) who already believe the underlying philosophical lessons don’t appear to require the myth, and those (such as Callicles) who reject these teachings are unlikely to be moved by this (...) far-fetched tale. This raises the question of who the myth is told for and what function it is meant to serve. This chapter argues that the myth is aimed, not at Callicles, but Socrates and those who aspire to follow him. There are uncertainties about the philosophical life that are due to the nature of embodiment, as well as reasons to doubt the connection between happiness and virtue. The myth assists with the former by presenting an image that draws a philosopher away from the goods of the body toward the goods of the soul. The story assists with the latter by presenting an image of cosmic justice, thereby securing happiness in proportion to virtue. (shrink)

Feminist social theory and female body experience are the twin themes of Iris Marion Young's twelve outstanding essays written over the past decade and brought together here. Her contributions to social theory raise critical questions about women and citizenship, the relations of capitalism and women's oppression, and the differences between a feminist theory that emphasizes women's difference and one that assumes a gender-neutral humanity. Loosely following a phenomenological method of description, Young's essays on female embodiment discuss female movement, pregnancy, clothing, (...) and the breasted body. In an introduction that situates her work in the context of shifts in feminist theory and politics over the past decade, Young emphasizes the rootedness of her theorizing in a dedicated and seasoned political activism. (shrink)

Special commendation from the Hans-und-Lea-Grundig Prize by the Rosa-Luxemburg-Foundation 2015 -- I -- Do have pictures an impact on future? Yes, say theories of embodiment by making perceptual foundations in place of representational arrangements responsible for it. -- I -- Wirken sich Bildern auf die Zukunft aus? Ja sagen Verkörperungstheorien und machen dafür weniger Repräsentationsmodelle als Wahrnehmungsweisen verantwortlich.

Studies have shown that both serotonin and glutamate receptor systems play a crucial role in the mechanisms underlying drug-induced synesthesia. The specific nature of these mechanisms, however, continues to remain elusive. Here we propose two distinct hypotheses for how synesthesia triggered by hallucinogens in the serotonin-agonist family may occur. One hypothesis is that the drug-induced destabilization of thalamic projections via GABAergic neuronal circuits from sensory areas leads to a disruption of low-level, spontaneous integration of multisensory stimuli. This sort of integration (...) regularly occurs when spatial and temporal attributes match. Destabilization of feedback loops, however, can result in incongruent experiences or binding of random thalamus activation with sensory input in a particular sensory modality. The second hypothesis builds on embodied cognition, cases in which visual images of external stimuli activate task-related neural regions. On this proposal, binding processes that do not normally generate awareness become accessible to consciousness as a result of decreased attentional discrimination among incoming stimuli. (shrink)

Is the mind flat? Chater (2018) has recently argued that it is and that, contrary to traditional psychology and standard folk image, depth of mind is just an illusory confabulation. In this paper, we argue that while there is a kernel of something correct in Chater’s thesis, this does not in itself add up to a critique of mental depth per se. We use Chater’s ideas as a springboard for creating a new understanding of mental depth which builds upon (...) findings in contemporary cognitive science. First, we rely on the predictive processing framework in order to determine a proposed neural contribution to mental depth, specifically in hierarchical predictive knowledge. Second, drawing from an embodied approach to cognition, we argue that mental depth results from the depth of our embodied skills and the situations in which we are embedded. This allows us to introduce to a new realist notion of mental depth, one which can only be explained once we attend to the dense patterns of skillful interaction within a rich artefactual and social environment. (shrink)

The link between human nature and human flourishing is undeniable. "A healthy tree cannot bear bad fruit, nor can a diseased tree bear good fruit" (Matt. 7:18). The ontology of the human person will, therefore, ground the nature of human flourishing and thereby sanctification. Spiritual formation is the area of Christian theology that studies sanctification, the Spirit-guided process whereby disciples of Jesus are formed into the image of Jesus (Rom. 8:28-29; 2 Cor. 3:18; 2 Peter 3:18). Until the nineteenth (...) century, there was an overwhelming consensus among Christian thinkers that some form of mind-body (or soul-body) dualism is true of human beings. Recently, that consensus has eroded, and with it the availability of a shared body of knowledge about spiritual formation. Some Christian physicalists argue that dualism is incompatible with central elements of spiritual formation. Neuroscientist Warren Brown and psychologist Brad Strawn offer the only substantive account of spiritual formation from the view of Christian physicalism and its accompanying objections to dualism. It is on their arguments that this chapter focuses. We argue that Brown and Strawn fail to support their incompatibility thesis. Additionally, we argue that Christian physicalism stands in tension with important philosophical and theological foundations of Christian spiritual formation. In doing so we offer a specific form of dualism, the bodily soul view, and explain how this view illuminates the importance of embodiment, our neurological and social development, and hence the important physical aspects of Christian spiritual formation. (shrink)

In a Star Trek: The Next Generation episode, Cpt. Picard is captured and trapped on a planet with an alien captain who speaks a language incompatible with the universal translator, based on their societal historical metaphors. According to Shapiro (2004), the concept of a universal translator removes everything alien from alien languages, and since the Tamarian language refers only to their historical and cultural archetypes, Picard can only establish dialogue by invoking human analogues, such as Gilgamesh. The purpose of this (...) paper is threefold. First, we will tie such communication to standard cognitive models in cognitive linguistics, pioneered by Lakoff and Johnson (1980) and Lakoff (1987). Second, we will show that metaphorical imaging resembling the Tamarian language is already present in our culture, by analyzing Dawkins's (1982) notion of a meme, who presupposes that memes as cultural living structures physically reside in the brain, and comparing that to a common format of a meme in pop culture. We will also contrast this concept with living natural languages such as Wolaytta, using a great number of proverbs, which can be seen as desemanticized metaphors that are used to embody different domains of the social realm of life (Make et al. 2014). Third, we will compare the notion of such a language with the current state of machine-learning and deep-learning techniques for natural language processing of metaphorical phrases, pinpointing that even deep learning today is powerless without sufficient training datasets (cf. Perifanos et al. 2020) or specific known word contexts and embeddings (Rei et al. 2017), compared to the same situation the universal translator was faced with when dealing with the Tamarian language. (shrink)

I argue how one’s afterimage of art has turned ideological due to technology’s heavy influence in the reproduction of and to individuals’ incessant consumption of artworks. Art has the capacity to be historicity’s expression and its antithesis. Its reach has been enlarged due to technology’s democratization of artworks. It should follow that mass production of artworks foster an emancipatory and critical standpoint, yet this fostered instead the reduction of priceless and fine artworks to commodities, easily downloadable and available for public (...) consumption. Rather than being society’s antithesis, the afterimage of emancipation has been fetishized into an ideological-image of fulfilling a fantasy (the promise of ‘jouissance’). The 20th century’s dictum “They know very well it is false and [are] still doing it!” embodies the consequence – despite the empty promises – of capitalism: liberation ideology (a mistaken understanding of ideology as liberation). (shrink)

Many anthropologists interpret neoliberalism as a radical break from and dangerous rupture in post-war societies that featured Keynesian economic policies and welfare provision. The allure of a mythic welfare state has boosted John Maynard Keynes’s popularity to many who embrace certain facets of socialism. Many critical social scientists have embraced Keynesianism in ways that overlook how the US used Keynesian policies to reengineer and redeploy state power. Keynes’s liberal synthesis inspired managers in the US Treasury Department to understand depression-era problems (...) of unemployment and poverty in ways that were consonant with the expansion of corporate power. For understanding Keynesianism, as it actually existed during the Cold War, we must analyse how the US Treasury and State Departments used Keynesian principles to rebuild the social reproductive capacities necessary for capitalist accumulation both domestically and in Western Europe. I focus on how the architects of postwar capitalism used full employment policies, labour laws and welfare provision to renovate the nexus of political practices and institutional structures in ways that formed a benevolent and caring image of ‘the state’ and the myth of a class compromise. Through these reforms, governmental planners and administrators used the ‘state idea’ to reorganize capital accumulation as if the post-war economy would represent ordinary people’s best interests. In the process, these sophisticated practices of power became reified as the ‘welfare state’ and the ‘Keynesian compromise’ in ways that endow these institutions and policies with a character divorced from practices of power. The post-war state embodied a dialectic of repression and reform that combined criminalizing dissent with full employment policies and welfare provision. Taking these aspects of power into account, we can see post-war Keynesianism in ways that inspire a robust and far-reaching criticism of the contemporary predicament of economic uncertainty, political instability and environmental degradation. (shrink)

This book consists of an edited collection of original essays of the highest academic quality by seasoned experts in their fields of cognitive science. The essays are interdisciplinary, drawing from many of the fields known collectively as “the cognitive sciences.” Topics discussed represent a significant cross-section of the most current and interesting issues in cognitive science. Specific topics include matters regarding machine learning and cognitive architecture, the nature of cognitive content, the relationship of information to cognition, the role of language (...) and communication in cognition, the nature of embodied cognition, selective topics in visual cognition, brain connectivity, computation and simulation, social and technological issues within the cognitive sciences, and significant issues in the history of neuroscience. This book will be of interest to both professional researchers and newer students and graduate students in the fields of cognitive science—including computer science, linguistics, philosophy, psychology and neuroscience. The essays are in English and are designed to be as free as possible of technical jargon and therefore accessible to young scholars and to scholars who are new to the cognitive neurosciences. In addition to several entries by single authors, the book contains several interesting roundtables where researchers contribute answers to a central question presented to those in the focus group on one of the core areas listed above. This exciting approach provides a variety of perspectives from across disciplines on topics of current concern in the cognitive sciences. (shrink)

Electronic text can be defined on two different, though interconnected, levels. On the one hand, electronic text can be defined by taking the notion of “text” or “printed text” as the point of departure. On the other hand, electronic text can be defined by taking the digital format as the point of departure, where everything is represented in the binary alphabet. While the notion of text in most cases lends itself to being independent of medium and embodiment, it is also (...) often tacitly assumed that it is in fact modeled on the print medium, instead of, for instance, on hand-written text or speech. In late 20th century, the notion of “text” was subjected to increasing criticism, as can be seen in the question that has been raised in literary text theory about whether “there is a text in this class.” At the same time, the notion was expanded by including extralinguistic sign modalities (images, videos). A basic question, therefore, is whether electronic text should be included in the enlarged notion that text is a new digital sign modality added to the repertoire of modalities or whether it should be included as a sign modality that is both an independent modality and a container that can hold other modalities. In the first case, the notion of electronic text would be paradigmatically formed around the e-book, which was conceived as a digital copy of a printed book but is now a deliberately closed work. Even closed works in digital form will need some sort of interface and hypertextual navigation that together constitute a particular kind of paratext needed for accessing any sort of digital material. In the second case, the electronic text is defined by the representation of content and (some parts of the) processing rules as binary sequences manifested in the binary alphabet. This wider notion would include, for instance, all sorts of scanning results, whether of the outer cosmos or the interior of our bodies and of digital traces of other processes in-between (machine readings included). Since other alphabets, such as the genetic alphabet and all sorts of images may also be represented in the binary alphabet, such materials will also belong to the textual universe within this definition. A more intriguing implication is that born-digital materials may also include scripts and interactive features as intrinsic parts of the text. The two notions define the text on different levels: one is centered on the Latin, the other on the binary alphabet, and both definitions include hypertext, interactivity, and multimodality as constituent parameters. In the first case, hypertext is included as a navigational, paratextual device; whereas in the second case, hypertext is also incorporated in the narrative within an otherwise closed work or as a constituent element on the textual universe of the web, where it serves the ongoing production of (possibly scripted) connections and disconnections between blocks of textual content. Since the early decades of early 21st century still represent only the very early stages of the globally distributed universe of web texts, this is also a history of the gradual unfolding of the dimensions of these three constituencies—hypertext, interactivity, and multimodality. The result is a still-expanding repertoire of genres, including some that are emerging via path dependency; some via remediation; and some as new genres that are unique for networked digital media, including “social media texts” and a growing variety of narrative and discursive multiple-source systems. (shrink)

In this paper I challenge the commonly held view that Plato acknowledges and accepts the possibility of akrasia in the Laws. I offer a new interpretation of the image of the divine puppet in Book 1 - the passage often read as an account of akratic action -- and I show that it is not intended as an illustration of akrasia at all. Rather, it provides the moral psychological background for the text by illustrating a broader notion of self-rule (...) as a virtuous condition of the soul (and lack of self-rule as a vicious condition). I examine key discussions in the Laws in order to show how Plato makes use of this broader notion of self-rule throughout the dialogue, and I argue that nothing Plato says in the Laws commits him to the possibility of akrasia. One significant consequence of my interpretation of the puppet passage is that it avoids the need to posit developmentalism in Plato's late views about the embodied human soul, as some recent commentators have done: the moral psychology of the Laws, on my reading, is not incompatible with the Republic's tripartite theory of the soul. (shrink)

This paper delves into the nature of intellectual property rights in aesthetic creations, particularly works of visual art and literary works. The discussion focuses on copyrights interests, but there are also implications for trademark and patent rights. The argument assumes a fairly conventional definition of "property," namely, the set of legal relations between the owner and all other persons relating to the use, enjoyment and disposition of a tangible thing. The problem with such a definition as applied to aesthetic creations (...) is that no ordinary tangible thing necessarily embodies a creation which can exist in multiple copies, so the paper takes the transcendent view that the tangible thing subject to legal relations is the entire terra firma or material universe being shaped in the image, sounds or words of the aesthetic creation. Therefore, the paradigm suggested for intellectual property is a monopoly on shaping the entire physical universe, thus the Worldmaking concept. It then follows that intellectual property in an aesthetic creation enables the owner to stop plagiarists from using any part of the material world to recreate in the audience the imaginative experiences first created by the protected work. (shrink)

periphery looks at you with hate. This phrase in red neon struck the visitors of Landscapes, an exhibition by Domenico Antonio Mancini in the Lia Rumma Gallery in Naples, in 2019. It was not addressed to the public but to the nineteenth-century pictorial views relocated in the last room of the exhibition, as if repainted by the immaterial vandalism of the colored light. The exhibition’s theme was the visibility of contemporary suburban environments, now accessible through Google street view visualizations. Mancini’s (...) non-representational Landscapes are Google addresses, not aesthetically appreciable but pragmatically challenging: the visitor must type on a touch screen to access to the outskirts of Naples, Palermo, Catania, Rome and Milan. The words at the end of the exhibition almost literally replicated a black graffiti drawn on Palazzo Missori in Milan. Are these relocation and remediation just about artification? What happens when, browsing Google street view, I take a close look at that graffiti recalling the political protests during the streets the 1960s? The deictic transitability in space and time of the hypermediated image can activate a fortuitous narrative and an open interpretation by looking back on the present as if it were past. Even a digital landscape is a moral landscape like that of public art for Danto, with a «internal beauty» whose meaning is not already embodied in architectural and artistic media but accessible and shareable through our portable devices. (shrink)

periphery looks at you with hate. This phrase in red neon struck the visitors of Landscapes, an exhibition by Domenico Antonio Mancini in the Lia Rumma Gallery in Naples, in 2019. It was not addressed to the public but to the nineteenth-century pictorial views relocated in the last room of the exhibition, as if repainted by the immaterial vandalism of the colored light. The exhibition’s theme was the visibility of contemporary suburban environments, now accessible through Google street view visualizations. Mancini’s (...) non-representational Landscapes are Google addresses, not aesthetically appreciable but pragmatically challenging: the visitor must type on a touch screen to access to the outskirts of Naples, Palermo, Catania, Rome and Milan. The words at the end of the exhibition almost literally replicated a black graffiti drawn on Palazzo Missori in Milan. Are these relocation and remediation just about artification? What happens when, browsing Google street view, I take a close look at that graffiti recalling the political protests during the streets the 1960s? The deictic transitability in space and time of the hypermediated image can activate a fortuitous narrative and an open interpretation by looking back on the present as if it were past. Even a digital landscape is a moral landscape like that of public art for Danto, with a «internal beauty» whose meaning is not already embodied in architectural and artistic media but accessible and shareable through our portable devices. (shrink)

From Hegel to Engels, Sartre and Ruyer (Ruyer, 1933), to name only a few, materialism is viewed as a necropolis, or the metaphysics befitting such an abode; many speak of matter’s crudeness, bruteness, coldness or stupidity. Science or scientism, on this view, reduces the living world to ‘dead matter’, ‘brutish’, ‘mechanical, lifeless matter’, thereby also stripping it of its freedom (Crocker, 1959). Materialism is often wrongly presented as ‘mechanistic materialism’ – with ‘Death of Nature’ echoes of de-humanization and hostility to (...) the Scientific Revolution (which knew nothing of materialism!), also a powerful Christian theme in Cudworth, Clarke and beyond (Overhoff, 2000). Here I challenge this view, building on some aspects of Israel’s Radical Enlightenment concept (Israel, 2001), which has been controversial but for my purposes is a useful claim about the dissemination of a home-grown Spinozism, sometimes reformulated as an ontology of the life sciences, an aspect Israel does not address (compare Secrétan et al., eds., 2007; Citton, 2006). First, I examine some ‘moments’ of radical Enlightenment materialism such as La Mettrie and Diderot (including his Encyclopédie entry “Spinosiste”), but also anonymous, clandestine texts such as L’Âme Matérielle, to emphasize their distinctive focus on the specific existence of organic beings. Second, I show how this ‘embodied’, non-mechanistic character of Enlightenment ‘vital materialism’ makes it different from other episodes, and perhaps more of an ethics than is usually thought (also via the figure of the materialist as ‘laughing philosopher’). Third, I reflect on what this implies for our image of the Enlightenment – no longer a Frankfurt School and/or Foucaldian vision of ‘discipline’, regimentation and order (as in Mayr, 1986) – but ‘vital’, without, conversely, being a kind of holist vitalism “at odds with the universalizing discourse of Encyclopedist materialism, with its insistence on the uniformity of nature and the universality of physical laws” (Williams, 2003): vital materialism is still materialism. Its ethics tends towards hedonism, but its most radical proponents (Diderot, La Mettrie and later Sade) disagree as to what this means. (shrink)

It is suggested that the impetus to generate models is probably the most fundamental point of connection between mysticism and psychology. In their concern with the relation between ‘unseen’ realms and the ‘seen’, mystical maps parallel cognitive models of the relation between ‘unconscious’ and ‘conscious’ processes. The map or model constitutes an explanation employing terms current within the respective canon. The case of language mysticism is examined to illustrate the premise that cognitive models may benefit from an understanding of the (...) kinds of experiences gained, and explanatory concepts advanced, within mystical traditions. Language mysticism is of particular interest on account of the central role thought to be played by language in relation to self and the individual's construction of reality. The discussion focuses on traditions of language mysticism within Judaism, in which emphasis is placed on the deconstruction of language into primary elements and the overarching significance of the divine Name. Analysis of the detailed techniques used suggests ways in which multiple associations to any given word/concept were consciously explored in an altered state. It appears that these mystics were consciously engaging with what are normally preconscious cognitive processes, whereby schematic associations to sensory images or thoughts are activated. The testimony from their writings implies that these mystics experienced distortions of the sense of self , which may suggest that, in the normal state, ‘I’ is constructed in relation to the preconscious system of associations. Moreover, an important feature of Hebrew language mysticism is its emphasis on embodiment -- specific associations were deemed to exist between the letters and each structure of the body. Implications, first, for the relationship between language and self, and, second, for the role of embodiment in relation to self are discussed. The importance of the continual emphasis on the Name of God throughout the linguistic practices may have provided a means for effectively replacing the cognitive indexing function hypothesized here to be normally played by ‘I’ with a more transpersonal cognitive index, especially in relation to memory. (shrink)

This paper focuses on Paul of Venice’s realist theory of direct knowledge. In the second half of the 13th century human knowledge was standardly viewed as a process of abstraction enabling the human intellect to grasp the essences of corporeal things, regardless of the matter in which they are embodied. This process was achieved thanks to the mediation of mental entities (species intelligibiles) representing the dematerialised objects in the intellect. By the late 13th and early 14th centuries, however, some (...) authors began to regard this account as unsatisfactory. These authors held that assuming the existence of mediating species (considered themselves as objects of knowledge) amounts to thinking that between ourselves and the world there is a barrier preventing us from acquiring knowledge of reality in itself. Paul of Venice is aware of the sceptical accusations made against the theory of species in the 13th and 14th centuries. Nevertheless, he is a firm advocate of the existence of species. He claims that knowledge, despite coming about through species, is not indirect. Quite the contrary: we have immediate access to reality, and the individual objects that constitute it, precisely because our senses (which are purely passive) receive impressions direct from outside, thanks to species. He points out that species are not object of knowledge. They are not known at all during the cognitive process, as they are a mere means (a mechanical means, so to say), not an image nor a representation of anything, and therefore they are no obstacle between ourselves and the world. Thus, we are able to know reality exactly as it is in itself and, under ordinary conditions, our perceptions are practically infallible and cannot produce false knowledge. (shrink)

The article considers the problem of images and the role they play in our reflection turning to evidence provided by two seemingly very distant theories of mind together with two sorts of corresponding visions: dreams as analyzed by Freud who claimed that they are pictures of our thoughts, and their mechanical counterparts produced by neural networks designed for object recognition and classification. Freud’s theory of dreams has largely been ignored by philosophers interested in cognition, most of whom focused solely on (...) the linguistic incarnation of thoughts, but even though commonly neglected by respectable theories of thinking, dream images may prove to be the key to the black box of thought. As argued in this article, when seen from the right perspective and approached with the right set of questions, oneiric visions yield groundbreaking insights into the mechanism of how concepts and judgments are formed. Support for this conclusion comes from a tradition seemingly remote, if not opposed to psychoanalysis: the mechanical model of the mind conceived by information sciences and embodied in the form of artificial neural nets which mirror the activity of human visual cortex producing visions strikingly similar to those created by the sleeping mind. These purely mechanical, artificial ‘dreams’ constitute byproducts of algorithms designed for object recognition and classification, which, as I shall argue, reveals the true purpose of our own oneiric visual formations. Just like their mechanical counterparts produced by neural networks, condensations and displacements encountered in dreams are in fact visual universals. (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)

Abstract A Note to Cogito Les Jones Blackburn College Previous submissions include -Intention, interpretation and literary theory, a first lookWittgenstein and St Augustine A DiscussionAreas of Interest – History of Western Philosophy, Miscellaneous Philosophy, European A Note on Cogito Descartes' brilliance in driving out doubt, and proving the existence of himself as a thinking entity, is well documented. Sartre's critique (or maybe extension) is both apposite and grounded and takes these enquiries on to another level. Let's take a look. 'I (...) think' somehow, for all its power, lacks something. What? Consider what one does when thinking (difficult, but we can try). Implicit in the word 'think', in fact the very essence of the word 'think', is that activity is going on, and if such activity is going on then it must be going on about something, an object, an emotion, a problem,or maybe some dreamlike state, but common to all these is that something is going on. Is that really so? Well, if that wasn't so we would be able to think in a pure state, wouldn't we? But what does a pure state of 'thinking' mean? It can't mean that there isnothing there, because if there were nothing there then no thinking would be taking place. Can it mean that we are thinking of nothing? Well no, because if we are thinking of nothing then we are thinking of something, we are contemplating the notion, or the nature, of nothing. In fact, one can argue that if we talk of something, inthis case nothing or nothingness, then in our head we have some notion of what that is, i.e. something exists in the mind for it to come out of our mouths. Thinking is a recognition of something outside the individual, for the very act of direction, which isan indispensable part of thinking, recognises, must recognise, that there are things to address outside the individual. Something else to bear in mind. According to Sartre human beings are condemned to freedom. Why condemned? Human beings did not choose to be born, but the act ofbeing born also imparts the freedom of which Sartre speaks. Freedom is something which we parrot off as being a sine qua non for the human condition. I believe that's true, but freedom in this sense isn't without its consequences for the individual humanbeing, for individual human beings handle freedom differently. To some it enables them to fly, to others it imparts immense pressures, anguish, heartbreak, unhappiness can all be associated with such freedom. Each individual is responsible for his destiny, for his direction. If someone says that God impelled him, that individual chose his or her God, and chose to obey his or her God. This believer has to sift through the multitude of things that his or her God desire of him or her. All this is fine, so long as we acknowledge what is going on here. Belief in God is, by definition, a belief. Belief, following Wittgenstein, is a language game with its rules and its boundaries. The essential feature of religion as language game are its boundaries, which can be summed up in the word belief. OK, belief has its practises which are its constituent parts, but belief is the boundary between religion and other language games, as the proof constituents are different. Our world is determined by the language used to describe everything that goes on within it. The boundaries of our world are set by the language we use. This might be better put as language gives access to ever expending boundaries. Ever expanding boundaries are only possible by ever expanding thought, and ever expanding thought is only possible by ever expanding directions to our thought brought about through language. It is a fact taken that to be conscious is to think. How could this be otherwise? Consciousness without thought just does not make sense. Imagine a state of consciousness without directional thought. What would it be like? It would be something never experienced, completely out of our understanding. Why? Because understanding itself is a directional thought process. If we say we are going outside our understanding then that is a world of void, and a world of void does not exist. Can such a world be contemplated in our thinking? Well, yes, but then it requires thinking, and thinking requires direction, and such direction requires language. Why does direction require language? Because there is no other way for human beings to articulate a directional thought. Could one point at an image without language? Well, one could have an image in mind, but the essence of saying something about it, of descriptive power, brings us back to the essence, to the power of language to direct. So what of this language of which we speak? Wittgenstein's private language argument points us towards the notion that language itself constantly develops and redevelops through human interaction. Descarte's cogito implies that thinking rules out doubt of one's own existence. But such thinking, to be valid, to make sense, to direct, must develop in a language that has developed, has been verified, by a plurality, by a plurality whose essence is social. Correct use of language symbols, i.e. words, requires that we verify and reverify the accuracy of such symbols. How do we do that? We do that in constant usage, in constant interaction, with other human beings. An individual using a private language could not be understood by others, his symbol system has not been verified by others, his meanings may not be your meanings. It follows from what we have said above that language is constructed, and is continually constructed, in a social context. Given our previous thoughts regarding verification this could not be otherwise. Language has a normative form. All language users are required, by their very use of the language, to verify the use of terms, grammar etc etc. As Wittgenstein cites (appropriately) games as a model, let us take a look. If I play e.g. Ludo, I am governed by the rules. It is not just that I may play dishonestly, for if I were to play at all that very dishonesty, to count as Ludo, would have to be rule governed. The rules of Ludo are Ludo, they are the essence and the constitution of it. Wittgenstein, particularly in his later writings, interweaves many concepts, and connects them in different and sometimes rather elusive ways. Wittgenstein sees concepts like emotions, sentiments and experiences in these interweaving maps. Of course these can be regarded as psychological concepts ** Language can be considered in another but related way, as embodying the elements of a cultural heritage. Language was seen as embodying the notion of higher culture in the arts, architecture etc. Over recent decades this has tended to shift to consider less tangible benefits, such things as oral traditions, cultural values and cultural identity. So language enables us to explore, through the achievements of past generations, cultural mores that may have laid unchallenged for many years. Many of these values and mores may be seen as independent of the language by which they are transmitted, but still this monumental accomplishment of mankind i.e. language, enables man to explore, to modify, to codify, to extend the boundaries of human experience. There are therefore massive implications for our Note on Cogito of Wittgenstein's work. Following Wittgenstein emotions and other psychological concepts can be termed depth grammar, and are distinguished by the fact that the third person of the present is recognised by observation, the first person is not. Taking Wittgenstein's well known pain example the sentence 'He is in pain' is a third person statement of an observational nature. The sentence 'I am in pain' is not derived from observation but from experience, it is an expression of that experience, it's essence is the experience. The asymmetry consists in the fact that predicting psychological attributes of others is warranted by what they do and say. By contrast, the use of such statements in the first person present tense does not rest on one's observation of one's own behaviour. (Hacker 2010:287) p 9 According to Wittgenstein 'I am in pain' is more like a cry of pain, an expression of pain, than a report of some pain. Of course this appertains for other similar statements. 'I feel good' etc. (shrink)

This essay discusses how our traditional ethics may harbor assumptions that place humans in a position in which overt violence towards animals is an almost inevitable outcome since their formulation involves violence towards ourselves and our animal fellows in our cutting our embodied ties with them. The essay explores Derrida’s Animal that Therefore, I Am, in its detailing of the two discourses within European intellectual history of those who felt they were “above” animals and were not addressed by them (...) versus those who could acknowledge that animals do address us. Derrida also cites the “lyconomy” of this tradition that brandishes the image of the “wolf” within us as a streak of rapacious violence that we can only fight with violence, thus projecting onto the wolf a false identity to justify our own demons of violence. Merleau-Ponty’s notions of embodiment further this idea that we are enmeshed with animals in a basic affective, perceptual and visceral way and that to ignore this interweaving of lives is to do violence to ourselves as well as violence towards them. I then cite ethologists for evidence that wolves are one of the most social, non-violent animals on the planet and detail how two million were slaughtered in the name of eradicating an “evil” being. Such behavior on our part I call “speciocide,” as heinous as genocide. Finally, phenomenology, as one particular philosophical approach, may have a critical edge in helping us to see our animal fellows more clearly, to understand them better, and discern our truer moral obligations to them. (shrink)