One prominent ambition of theories of colour is to pay full justice to how colours are subjectively given to us; and another to reconcile this first-personal perspective on colours with the third-personal one of the natural sciences. The goal of this article is to question whether we can satisfy the second ambition on the assumption that the first should and can be met. I aim to defend a negative answer to this question by arguing that the various kinds of (...) class='Hi'>experienced colour resemblances – notably similarities in hue distance, sameness in superdeterminables, and colour resemblances between surfaces, volumes and illuminants – cannot be accounted for in terms of the mental representation of the scientifically studied properties, which colours are best identified with in response to the second ambition. (shrink)

Twenty-two experienced action video-game players (AVGPs) and 18 non-VGPs were tested on a pen-and-paper line bisection task that was untimed. Typically, right-handers bisect lines 2 % to the left of true centre, a bias thought to reflect the dominance of the right-hemisphere for visuospatial attention. Expertise may affect this bias, with expert musicians showing no bias in line bisection performance. Our results show that experienced-AVGPs also bisect lines with no bias with their right hand and a significantly reduced (...) bias with their left hand compared to non-AVGPs. Bisections by experienced-AVGPs were also more precise than those of non-AVGPs. These findings show the cognitive proficiencies of experienced-AVGPs can generalize beyond computer based tasks, which resemble their training environment. (shrink)

I defend Christopher Peacocke's and Robert Hopkins's experienced resemblance accounts of depiction against criticisms put forward by Gavin McIntosh in a recent article in this journal. I argue that, while there may be reasons for rejecting Peacocke's and Hopkins's accounts, McIntosh fails to provide any.

How is it possible for a picture to depict a picture? Proponents of perceptual theories of depiction, who argue that the content of a picture is determined, in part, by the visual state it elicits in suitable viewers, that is, by a state of seeing-in, have given a plausible answer to this question. They say that a picture depicts a picture, in part, because, under appropriate conditions of observation, a suitable viewer will be able to see a picture in the (...) picture. In this article, I first argue that this answer is in conflict with the way in which some of the most influential perceptual theories of depiction – Robert Hopkins's version of the experienced resemblance theory and Dominic Lopes's version of the recognition theory – construe seeing-in. I then formulate a version of the recognition theory that avoids this conflict and show how it can explain the depiction of pictures. (shrink)

An account of depiction should explain its key features. I identify six: that depiction is from a point of view; that it represents its objects as having a visual appearance; that it depictive content is always reasonably detailed; that misrepresentation is possible, but only within limits; and that the ability to interpret depictions co-varies, given general competence with pictures, with knowledge of what the depicted objects look like. All this suggests that picturing works by capturing appearances, but how more precisely (...) does it operate? I show how to use the notion of experienced resemblance in outline shape to analyse depiction in such a way as to answer this question, and to explain the six key features above. (shrink)

In this paper, I discuss the account of depiction proposed by Robert Hopkins in his book Picture, Image and Experience. I first briefly summarise Hopkins’s account, according to which we experience depictions as resembling their objects in respect of outline shape. I then ask whether Hopkins’s account can perform the explanatory tasks required of an adequate account of depiction. I argue that there are at least two reasons for which Hopkins’s account of depiction is inadequate. Firstly, the notion of outline (...) shape, as Hopkins presents it, is inconsistent. Moreover, I argue that, while a consistent construal of outline shape is possible, Hopkins’s account becomes indistinguishable from previous accounts of depiction under any such construal. Second, I argue that, however it is construed, the notion of outline shape is unable to explain one of the central features which Hopkins himself insists any successful account of depiction must explain. (shrink)

Here is something puzzling. Still Lifes can be expressive. Expression involves movement. Hence, (some) Still Lifes move. This seems odd. I consider a novel explanation to this ‘static-dynamic’ puzzle from Mitchell Green (2007). Green defends an analysis of artistic expressivity that is heavily indebted to work on intermodal perception. He says visual stimuli, like colours and shapes, can elicit experienced resemblances to sounds, smells and feelings. This enables viewers to know how an emotion feels by looking at the picture. (...) The hypothesis is intriguing, but I show that his suggestion that we empathize with the pictorial content is implausible and that this exposes a flaw in the way his argument moves from experiential mappings to experiential-affective mappings. Consequently, I register some reservations about the way Green supposes we detect these cross-modal qualities. (shrink)

This paper summarises the main claims I have made in a series of publications on depiction. Having described six features of depiction that any account should explain, I sketch an account that does this. The account understands depiction in terms of the experience to which it gives rise, and construes that experience as one of resemblance. The property in respect of which resemblance is experienced was identified by Thomas Reid, in his account of ‘visible figure’. I defend (...) the account against certain criticisms, and compare it to some of its main rivals, in particular the views offered by Goodman, Wollheim and Dominic Lopes. (shrink)

In this paper, I investigate the phenomenology of awakening in Chinese Zen Buddhism. In this tradition, to awaken is to ‘see your true nature’. In particular, the two aspects of awakening are: (1) seeing that the nature of one’s self or mind is empty or void and (2) an erasing of the usual (though merely apparent) boundary between subject and object. In the early Zen tradition, there are many references to awakening as chopping off your head, not having eyes, nose (...) and tongue, and seeing your ‘Original Face’. These references bear a remarkable resemblance to an approach to awakening developed by Douglas Harding. I will guide the reader through a series of Harding’s first-person experiments which investigate the gap where you cannot see your own head. I will endeavour to show that these methods, although radically different from traditional meditation techniques, result in an experience with striking similarities to Zen accounts of awakening, in particular, as experiencing oneself as empty or void and yet totally united with the given world. The repeatability and apparent reliability of these first-person methods opens up a class of awakening experience to empirical investigation and has the potential to provide new insights into nondual traditions. (shrink)

We introduce the notion of complexity, first at an intuitive level and then in relatively more concrete terms, explaining the various characteristic features of complex systems with examples. There exists a vast literature on complexity, and our exposition is intended to be an elementary introduction, meant for a broad audience. -/- Briefly, a complex system is one whose description involves a hierarchy of levels, where each level is made of a large number of components interacting among themselves. The time evolution (...) of such a system is of a complex nature, depending on the interactions among subsystems in the next level below the one under consideration and, at the same time, conditioned by the level above, where the latter sets the context for the evolution. Generally speaking, the interactions among the constituents of the various levels lead to a dynamics characterized by numerous characteristic scales, each level having its own set of scales. What is more, a level commonly exhibits ‘emergent properties’ that cannot be derived from considerations relating to its component systems taken in isolation or to those in a different contextual setting. In the dynamic evolution of some particular level, there occurs a self-organized emergence of a higher level and the process is repeated at still higher levels. -/- The interaction and self-organization of the components of a complex system follow the principle commonly expressed by saying that the ‘whole is different from the sum of the parts’. In the case of systems whose behavior can be expressed mathematically in terms of differential equations this means that the interactions are nonlinear in nature. -/- While all of the above features are not universally exhibited by complex systems, these are nevertheless indicative of a broad commonness relative to which individual systems can be described and analyzed. There exist measures of complexity which, once again, are not of universal applicability, being more heuristic than exact. The present state of knowledge and understanding of complex systems is itself an emerging one. Still, a large number of results on various systems can be related to their complex character, making complexity an immensely fertile concept in the study of natural, biological, and social phenomena. -/- All this puts a very definite limitation on the complete description of a complex system as a whole since such a system can be precisely described only contextually, relative to some particular level, where emergent properties rule out an exact description of more than one levels within a common framework. -/- We discuss the implications of these observations in the context of our conception of the so-called noumenal reality that has a mind-independent existence and is perceived by us in the form of the phenomenal reality. The latter is derived from the former by means of our perceptions and interpretations, and our efforts at sorting out and making sense of the bewildering complexity of reality takes the form of incessant processes of inference that lead to theories. Strictly speaking, theories apply to models that are constructed as idealized versions of parts of reality, within which inferences and abstractions can be carried out meaningfully, enabling us to construct the theories. -/- There exists a correspondence between the phenomenal and the noumenal realities in terms of events and their correlations, where these are experienced as the complex behavior of systems or entities of various descriptions. The infinite diversity of behavior of systems in the phenomenal world are explained within specified contexts by theories. The latter are constructs generated in our ceaseless attempts at interpreting the world, and the question arises as to whether these are reflections of `laws of nature' residing in the noumenal world. This is a fundamental concern of scientific realism, within the fold of which there exists a trend towards the assumption that theories express truths about the noumenal reality. We examine this assumption (referred to as a ‘point of view’ in the present essay) closely and indicate that an alternative point of view is also consistent within the broad framework of scientific realism. This is the view that theories are domain-specific and contextual, and that these are arrived at by independent processes of inference and abstractions in the various domains of experience. Theories in contiguous domains of experience dovetail and interpenetrate with one another, and bear the responsibility of correctly explaining our observations within these domains. -/- With accumulating experience, theories get revised and the network of our theories of the world acquires a complex structure, exhibiting a complex evolution. There exists a tendency within the fold of scientific realism of interpreting this complex evolution in rather simple terms, where one assumes (this, again, is a point of view) that theories tend more and more closely to truths about Nature and, what is more, progress towards an all-embracing ‘ultimate theory’ -- a foundational one in respect of all our inquiries into nature. We examine this point of view closely and outline the alternative view -- one broadly consistent with scientific realism -- that there is no ‘ultimate’ law of nature, that theories do not correspond to truths inherent in reality, and that successive revisions in theory do not lead monotonically to some ultimate truth. Instead, the theories generated in succession are incommensurate with each other, testifying to the fact that a theory gives us a perspective view of some part of reality, arrived at contextually. Instead of resembling a monotonically converging series successive theories are analogous to asymptotic series. -/- Before we summarize all the above considerations, we briefly address the issue of the complexity of the {\it human mind} -- one as pervasive as the complexity of Nature at large. The complexity of the mind is related to the complexity of the underlying neuronal organization in the brain, which operates within a larger biological context, its activities being modulated by other physiological systems, notably the one involving a host of chemical messengers. The mind, with no materiality of its own, is nevertheless emergent from the activity of interacting neuronal assemblies in the brain. As in the case of reality at large, there can be no ultimate theory of the mind, from which one can explain and predict the entire spectrum of human behavior, which is an infinitely rich and diverse one. (shrink)

Sensations can occur in the absence of perception and yet be experienced ‘as if’ seen, heard, tasted, or otherwise perceived. Two concepts used to investigate types of these sensory-like mental phenomena (SLMP) are mental imagery and hallucinations. Mental imagery is used as a concept for investigating those SLMP that merely resemble perception in some way. Meanwhile, the concept of hallucinations is used to investigate those SLMP that are, in some sense, compellingly like perception. This may be a difference of (...) degree. Attempts to reliably differentiate between instances of each type of SLMP remain unresolved. Despite this, the concepts of mental imagery and hallucinations are each routinely used independently of the other. These uses are especially interesting in those published accounts of experiments where equivalent findings about the neuroanatomical correlates of SLMP are reported in support of diverging knowledge-claims about the role of SLMP in neurocognitive processes. This practice presents a puzzle. To examine one aspect of this puzzle, I compare the uses of these two scientific concepts in three ways: examining their roles in differentiating between types of SLMP; exploring how their respective historical developments intersect; and analysing their contributions in neuroimaging experiments. In presenting this series of comparative analyses, I will draw on three themes from historical, philosophical, and social studies of scientific practices: interest in material contributions to knowledge; accounts of how concepts are used in experiments; and explorations of the historical conditions within which current practices emerge. Building on this literature, my comparative analyses supports five related claims. My first claim is that the concepts of mental imagery and hallucinations are each used as independent tools in neuroimaging experiments. My second claim is that, as experimental tools, the concepts of mental imagery and hallucinations are each used for investigating discrete epistemic goals. My third claim is that there are implicit interdependent associations that structure the uses of these two concepts as tools for independently investigating these discrete epistemic goals in neuroimaging experiments. This third claim rests on my analyses of both past and present uses of each concept. Firstly, as seen in their intersecting histories, there are disciplined performances of using the concepts of mental imagery and hallucinations that carry-along shared associations about the mediating role of SLMP in thought. Secondly, these interdependent ‘mediator-view’ associations continue to structure the independent uses of each concept as a tool for investigating SLMP in pursuit of specific goals. Taking this further, my fourth claim is that recognising the structured uses of the concepts of mental imagery and hallucinations can help to account for how equivalent SLMP-neuro-correlates are generated in support of diverging knowledge-claims. Finally, my fifth claim is that the structured uses of these concepts as tools can contribute to experiments in ways analogous to, yet not equivalent with, the active contributions of material instruments. Bringing these claims together, I argue that the concepts of mental imagery and hallucinations operate as structured tools that can actively contribute to the knowledge generated by neuroimaging experiments. In presenting this argument I seek to demonstrate that examining the structured uses of concepts as tools can complement existing approaches to studying how the heterogeneous dynamics of experimental practices can come to contribute to scientific knowledge in unintended ways. (shrink)

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

The present working paper analyzes the world order in the past, present and future as well as the main factors, foundations and ideas underlying the maintaining and change of the international and global order. The first two sections investigate the evolution of the world order starting from the ancient times up to the late twentieth century. The third section analyzes the origin and decline of the world order based on the American hegemony. The authors reveal contradictions of the current unipolar (...) world and explain in what way globalization has become more profitable for the developing countries but not for the developed ones. The paper also explains the strengthening belief that the US leading status will inevitably weaken. In this connection we discuss the alternatives of the American strategy and the possibility of the renaissance of the American leadership. The last section presents a factor analysis which allows stating that the world is shifting toward a new balance of power and is likely to become the world without a leader. The new world order will consist of a number of large blocks, coalitions and countries acting within a framework of rules and mutual responsibility. However, the transition to a new world order will take certain time (about two decades). This period, which we denote as the epoch of new coalitions, will involve a reconfiguration of the World-System and bring an increasing turbulence and conflict intensity. There are grounds to conclude that in 2011–2012 the World-System experienced to some extent a phase transition to a qualitatively new state of global protest activity. This phase transition is shown to bear some resemblance to the one which the World-System experienced in the early 1960s. The first (after 1919) phase transition of this sort occurred in the early 1960s and was related to the growth of global informational connectivity after the World War II, as well as the improvement of the means of protest self-organization due to the spread of television, portable radio receivers, portable electric loud-speakers and other technologies of the Fourth Kondratieff Cycle. The phase transition of the early 2010s was prepared by a new wave of growth of global informational connectivity, as well as the improvement of the means of protest self-organization due to the spread of various technologies of the Fifth Kondratieff cycle (the Internet, satellite television, Twitter and other social networks, mobile telephony etc.). Similarly to what was observed during the Fourth Kondratieff Wave, during the Fifth Cycle while the spread of these technologies was going on for many years before 2011, their internal colossal potential for generating and spreading protest activity was realized in one leap, as a phase transition. (shrink)

Karoline von Günderrode’s reputation as a mystical writer makes her a likely candidate as a proponent of a negative philosophy. However, the historical emphasis on Günderrode’s mystical and lyrical writings reflects gender stereotypes about women’s writing and ignores Günderrode’s strengths as an epic and historical writer. It is therefore important to approach claims about Günderrode’s supposed mysticism carefully. This paper is a preliminary attempt to investigate Günderrode’s claims about knowledge, including knowledge of the absolute, asking: What does Günderrode think knowledge (...) is? What does she think the purpose of knowledge is—i.e., what does she think knowledge gets us, or does for us? And how do her claims differ from those philosophers, such as Novalis, whose thinking on knowledge (including of the absolute) seems to resemble hers? I argue that Günderrode maintains that human beings can experience, or “know,” a reality behind the discrete objects and events that comprise the world of appearances, and that she integrates this idea into a coherent worldview in a unique way. Specifically, I argue that Günderrode reconceptualizes the nature of death and selfhood in specific ways that allow her to make sense of the possibility of experiencing the true nature of the world behind the divisions that are characteristic of human knowledge and existence. (shrink)

The Emotions chapter (XXV) in James' Principles of Psychology traverses the entire range of experienced emotions from the “coarser” and more instinctual to the “subtler” emotions intimately involved in cognitive, moral, and aesthetic aspects of life. But Principles limits himself to an account of emotional consciousness and so there are few direct discussions in the text of Principles about what later came to be called moral psychology, and fewer about anything resembling philosophical ethics. Still, James’ short section on the (...) subtler emotions, when read in connection with his later philosophical writings, still provides insight on James’ views about how human emotion colors our moral psychology and agency. The paper tries to articulate how James' somatic account of emotion adds significantly to contemporary discussions at the borders of moral psychology and philosophy: discussions over the foreground/background distinction, emotional temperament, emotional learning, moral imagination, and selfhood and narrativity. The final section focuses on the neo-Jamesian character of "new sentimentalist" moral psychologists. Among the substantial connections I discuss between James and 1) between Jonathan Haidt’s “social intuitionism” and 2) Jesse Prinz’s "emotionism" are the critiques that they each share of the pretensions of hard universalist ethical theories. (shrink)

In this essay we collect and put together a number of ideas relevant to the under- standing of the phenomenon of creativity, confining our considerations mostly to the domain of cognitive psychology while we will, on a few occasions, hint at neuropsy- chological underpinnings as well. In this, we will mostly focus on creativity in science, since creativity in other domains of human endeavor have common links with scientific creativity while differing in numerous other specific respects. We begin by briefly (...) introducing a few basic notions relating to cognition, among which the notion of ‘concepts’ is of basic relevance. The myriads of concepts lodged in our mind constitute a ‘conceptual space’ of an enormously complex structure, where con- cepts are correlated by beliefs that are themselves made up of concepts and are as- sociated with emotions. The conceptual space, moreover, is perpetually in a state of dynamic evolution that is once again of a complex nature. A major component of the dynamic evolution is made up of incessant acts of inference, where an inference occurs essentially by means of a succession of correlations among concepts set up with beliefs and heuristics, the latter being beliefs of a special kind, namely, ones relatively free of emotional associations and possessed of a relatively greater degree of justification. Beliefs, along with heuristics, have been described as the ‘mind’s software’, and con- stitute important cognitive components of the self-linked psychological resources of an individual. The self is the psychological engine driving all our mental and physical activity, and is in a state of ceaseless dynamics resulting from one’s most intimate ex- periences of the world accumulating in the course of one’s journey through life. Many of our psychological resources are of a dual character, having both a self-linked and a shared character, the latter being held in common with larger groups of people and imbibed from cultural inputs. We focus on the privately held self-linked beliefs of an individual, since these are presumably of central relevance in making possible inductive inferences – ones in which there arises a fundamental need of adopting a choice or making a decision. Beliefs, decisions, and inferences, all have the common link to the self of an individual and, in this, are fundamentally analogous to free will, where all of these have an aspect of non-determinism inherent in them. Creativity involves a major restructuring of the conceptual space where a sustained inferential process eventually links remote conceptual domains, thereby opening up the possibility of a large number of new correlations between remote concepts by a cascading process. Since the process of inductive inference depends crucially on de- cisions at critical junctures of the inferential chain, it becomes necessary to examine the basic mechanism underlying the making of decisions. In the framework that we attempt to build up for the understanding of scientific creativity, this role of decision making in the inferential process assumes central relevance. With this background in place, we briefly sketch the affect theory of decisions. Affect is an innate system of response to perceptual inputs received either from the exter- nal world or from the internal physiological and psychological environment whereby a positive or negative valence gets associated with a perceptual input. Almost every sit- uation faced by an individual, even one experienced tacitly, i.e., without overt aware-ness, elicits an affective response from him, carrying a positive or negative valence that underlies all sorts of decision making, including ones carried out unconsciously in inferential processes. Referring to the process of inferential exploration of the conceptual space that gener- ates the possibility of correlations being established between remote conceptual do- mains, such exploration is guided and steered at every stage by the affect system, analogous to the way a complex computer program proceeds through junctures where the program ascertains whether specified conditions are met with by way of generating appropriate numerical values – for instance, the program takes different routes, depending on whether some particular numerical value turns out to be positive or negative. The valence generated by the affect system in the process of adoption of a choice plays a similar role which therefore is of crucial relevance in inferential processes, especially in the exploration of the conceptual space where remote domains need to be linked up – the affect system produces a response along a single value dimension, resembling a number with a sign and a magnitude. While the affect system plays a guiding role in the exploration of the conceptual space, the process of exploration itself consists of the establishment of correlations between concepts by means of beliefs and heuristics, the self-linked ones among the latter having a special role in making possible the inferential journey along alternative routes whenever the shared rules of inference become inadequate. A successful access to a remote conceptual domain, necessary for the creative solution of a standing problem or anomaly – one that could not be solved within the limited domain hitherto accessed – requires a phase of relatively slow cumulative search and then, at some stage, a rapid cascading process when a solution is in sight. Representing the conceptual space in the form of a complex network, the overall process can be likened to one of self-organized criticality commonly observed in the dynamical evolution of complex systems. In order that inferential access to remote domains may actually be possible, it is necessary that restrictions on the exploration process – necessary for setting the context in ordinary instances of inductive inference – be relaxed and a relatively free exploration in a larger conceptual terrain be made possible. This is achieved by the mind going into the default mode, where external constraints – ones imposed by shared beliefs and modes of exploration – are made inoperative. While explaining all these various aspects of the creative process, we underline the supremely important role that analogy plays in it. Broadly speaking, analogy is in the nature of a heuristic, establishing correlations between concepts. However, analo- gies are very special in that these are particularly effective in establishing correlations among remote concepts, since analogy works without regard to the contiguity of the concepts in the conceptual space. In establishing links between concepts, analogies have the power to light up entire terrains in the conceptual space when a rapid cas- cading of fresh correlations becomes possible. The creative process occurs within the mind of a single individual or of a few closely collaborating individuals, but is then continued by an entire epistemic community, eventually resulting in a conceptual revolution. Such conceptual revolutions make pos- sible the radical revision of scientific theories whereby the scope of an extant theory is broadened and a new theoretical framework makes its appearance. The emerging theory is characterized by a certain degree of incommensurability when compared with the earlier one – a feature that may appear strange at first sight. But incommen- surability does not mean incompatibility and the apparently contrary features of the relation between the successive theories may be traced to the multi-layered structureof the conceptual space where concepts are correlated not by means of single links but by multiple ones, thereby generating multiple layers of correlation, among which some are retained and some created afresh in a conceptual restructuring. We conclude with the observation that creativity occurs on all scales. Analogous to correlations being set up across domains in the conceptual space and new domains being generated, processes with similar features can occur within the confines of a domain where a new layer of inferential links may be generated, connecting up sub- domains. In this context, insight can be looked upon as an instance of creativity within the confines of a domain of a relatively limited extent. (shrink)

The primary objective of this article is to facilitate individuals who are experiencing distress to develop a more positive perspective on the concept of death. This perception can potentially assist them in coping with the emotional and psychological challenges associated with this inevitable phenomenon. It is worth noting that within the context of Orthodox Christian tradition, death is regarded as a ceremonial event characterised by a state graceful happiness. In order to comprehend this concept, it is necessary to commence by (...) elucidating the prelapsarian existence, which bears resemblance to the post-apocalyptic state following the Day of Judgement. Next, we will discuss the concept of Fall and its repercussions on human existence, specifically the earthly life, which is immersed in a state of "autism". The mortal existence endeavours to confront its inherent finitude, and it is of interest to observe the strategies it employs in this pursuit. The cessation of bodily functions represents a transition towards a more elevated state of being. This discussion will explore the significance of death, the various perspectives held by individuals regarding death, and the concept of life-giving death. Additionally, we will examine the role of human ceremonies in highlighting the importance of the human experience. (shrink)

Aristotle and the classical rhetoricians conceived of metaphor as a figure of speech in which one thing is given a name or an attribute of another thing on the basis of some resemblance that exists between the two things. Wallace Stevens conceived of metaphor not as the production of pre-existing resemblances observed in nature but the “creation of resemblance by the imagination” (NA: 72). Resemblance, and not identity, according to Stevens, is the fundamental relation between the two (...) terms of metaphor. This is akin to contemporary accounts of metaphor in terms of the phenomenological or experiential seeing of one thing as another thing (Yoos 1971; Davidson 1979; Camp 2006a,b; Semino 2008; Ritchie 2013). Seeing one thing as another thing on the basis of resemblance or similarity implies that the one thing is not the other. I do two main things in this paper: one, I appraise the theoretical value of Wallace Stevens’ conception of metaphor as the creation of resemblance by the imagination; and two, I pose a challenge to the view that takes resemblance as fundamental to metaphor, arguing that in the cases I present, thinking of the relation as identity and not resemblance, concurs with our ontological commitments to the things compared in the metaphor. In the final analysis, I suggest that Stevens conception of metaphor as metamorphosis can meet the challenge: rather than thinking of the ‘is’ (identity) of metaphor as an ‘as’ (resemblance), for Stevens, the ‘as’ (resemblance) of metaphor metamorphosize into an ‘is’ (identity). (shrink)

Gardeners, poets, lovers, and philosophers are all interested in the redness of roses; but only philosophers wonder how it is that two different roses can share the same property. Are red things red because they resemble each other? Or do they resemble each other because they are red? Since the 1970s philosophers have tended to favour the latter view, and held that a satisfactory account of properties must involve the postulation of either universals or tropes. But Gonzalo Rodriguez-Pereyra revives the (...) dormant alternative theory of resemblance nominalism, showing first that it can withstand the attacks of such eminent opponents as Goodman and Armstrong, and then that there are reasons to prefer it to its rival theories. The clarity and rigour of his arguments will challenge metaphysicians to rethink their views on properties. (shrink)

Tim Bayne and Susanna Siegel have recently offered interesting arguments in favor of the view that we can experience high-level properties like being a pine tree or being a stethoscope (Bayne 2009, Siegel 2006, 2011). We argue first that Bayne’s simpler argument fails. However, our main aim in this paper is to show that Siegel’s more sophisticated argument for her version of the high-level view can also be resisted if one adopts a view that distinguishes between perceptual experiences and seemings.

What is it for a picture to depict a scene? The most orthodox philosophical theory of pictorial representation holds that depiction is grounded in resemblance. A picture represents a scene in virtue of being similar to that scene in certain ways. This essay presents evidence against this claim: curvilinear perspective is one common style of depiction in which successful pictorial representation depends as much on a picture's systematic differences with the scene depicted as on the similarities; it cannot be (...) analyzed in terms of similarity alone. The same problem arises for many other kinds of depiction. The essay concludes that depiction in general is not grounded in resemblance but geometrical transformation. (shrink)

Gonzalo Rodriguez-Pereyra offers a fresh philosophical account of properties. How is it that two different things (such as two red roses) can share the same property (redness)? According to resemblance nominalism, things have their properties in virtue of resembling other things. This unfashionable view is championed with clarity and rigor.

Bertrand Russell argued that any attempt to get rid of universals in favor of resemblances fails. He argued that no resemblance theory could avoid postulating a universal of resemblance without falling prey to a vicious infinite regress. He added that admitting such a universal of resemblance made it pointless to avoid other universals. In this paper I defend resemblance nominalism from both of Russell's points by arguing that (a) resemblance nominalism can avoid the postulation of (...) a universal of resemblance without falling into a vicious infinite regress, and (b) even if resemblance nominalism had to admit a universal of resemblance, this would not make it pointless to avoid postulating other universals. (shrink)

In my book *Resemblance Nominalism* I argued that the truthmakers of ´a and b resemble each other´ are just a and b. In his "Resemblance Nominalism and counterparts" Alexander Bird objects to my claim that the truthmakers of ´a and b resemble each other´ are just a and b. In this paper I respond to Bird´s objections.

This paper examines a recent proposal for reviving so-called resemblance nominalism. It is argued that, although consistent, it naturally leads to trope theory upon examination for reasons having to do with the appeal of neutrality as regards certain non-trivial ontological theses.

Objectives Practitioners in contemplative traditions commonly report experiencing an awareness that is distinct from sensory objects, thoughts, and emotions (“awareness itself”). They also report experiences of a void or underlying silence that is closely associated with this awareness. Subjects who carry out the Headless Way exercises frequently report an experience of emptiness or void at the same time as other contents (void-like experiences). The goals of this study were to (1) assess the reliability of these methods in eliciting the recognition (...) of awareness and void-like experiences in participants who had no prior exposure to these techniques, (2) investigate the prevalence of these experiences in these tasks, and (3) to differentiate these experiences from closely related and potential precursor experiences. -/- Method Twenty adults participated in in-depth individual interviews in which they were guided through the Headless Way exercises. A thematic analysis was conducted on the interview transcripts. -/- Results Twelve of the participants reported a void-like experience, and five participants reported an experience of awareness itself. These experiences were respectively categorized as subsets of the more general categories of perceptual absences and the sense of not being person-like. Another novel finding was the real-time reports of awareness and void-like experiences during the exercises. -/- Conclusions Our findings provide preliminary evidence that the Headless Way exercises can effectively induce experiences of emptiness and awareness in participants without prior experience. The findings suggest that such experiences can be elicited outside of a traditional meditation context, including in non-meditators. Furthermore, the experience of not being person-like and of perceptual absences may be precursors and more general forms of recognizing awareness itself and the void-like nature of the mind. (shrink)

Resemblances obtain not only between objects but between properties. Resemblances of the latter sort - in particular resemblances between quantitative properties - prove to be the downfall of a well-known theory of universals, namely the one presented by David Armstrong. This paper examines Armstrong's efforts to account for such resemblances within the framework of his theory and also explores several extensions of that theory. All of them fail.

The object of this paper is to provide a solution to Nelson Goodman’s Imperfect Community difficulty as it arises for Resemblance Nominalism, the view that properties are classes of resembling particulars. The Imperfect Community difficulty consists in that every two members of a class resembling each other is not sufficient for it to be a class such that there is some property common to all their members, even if ‘x resembles y’ is understood as ‘x and y share some (...) property’. In the paper I explain and criticise several solutions to the difficulty. Then I develop my own solution, which is not subject to the objections I make to the other solutions, and which accords completely with the basic tenets of Resemblance Nominalism. (shrink)

Do we perceptually experience meanings? For example, when we hear an utterance of a sentence like ‘Bertrand is British’ do we hear its meaning in the sense of being auditorily aware of it? Several philosophers like Tim Bayne and Susanna Siegel have suggested that we do (Bayne 2009: 390, Siegel 2006: 490-491, 2011: 99-100). They argue roughly as follows: 1) experiencing speech/writing in a language you are incompetent in is phenomenally different from experiencing speech/writing you are competent in; 2) this (...) contrast is best explained by the fact that we experience meanings in the latter case, but not the former. In contrast, in an important recent discussion Casey O’Callaghan has argued that we do not (O’Callaghan 2011). He responds to the above contrast argument by claiming that this phenomenal contrast is instead best explained by the fact that we hear language-specific phonological properties in the latter case, but not in the former. In this paper I argue that O’Callaghan’s response to the popular contrast argument is too limited in scope, provide a more general response, and present a new case against experiencing meanings. (shrink)

The so-called ‘‘species problem’’ has plagued evolution- ary biology since before Darwin’s publication of the aptly titled Origin of Species. Many biologists think the problem is just a matter of semantics; others complain that it will not be solved until we have more empirical data. Yet, we don’t seem to be able to escape discussing it and teaching seminars about it. In this paper, I briefly examine the main themes of the biological and philosophical liter- atures on the species problem, (...) focusing on identifying common threads as well as relevant differences. I then argue two fundamental points. First, the species problem is not primarily an empirical one, but it is rather fraught with philosophical questions that require—but cannot be settled by—empirical evidence. Second, the (dis-)solution lies in explicitly adopting Wittgenstein’s idea of ‘‘family resemblance’’ or cluster concepts, and to consider spe- cies as an example of such concepts. This solution has several attractive features, including bringing together apparently diverging themes of discussion among bio- logists and philosophers. The current proposal is con- ceptually independent (though not incompatible) with the pluralist approach to the species problem advocated by Mishler, Donoghue, Kitcher and Dupre ́, which implies that distinct aspects of the species question need to be emphasized depending on the goals of the researcher. From the biological literature, the concept of species that most closely matches the philosophical discussion pre- sented here is Templeton’s cohesion idea. (shrink)

In his recent book ‘Experiencing time’, Simon Prosser discusses a wide variety of topics relating to temporal experience, in a way that is accessible both to those steeped in the philosophy of mind, and to those more familiar with the philosophy of time. He forcefully argues for the conclusion that the B-theorist of time can account for the temporal appearances. In this article, I offer a chapter by chapter response.

In the debate between relativism and contextualism about various expressions, the Operator Argument, initially proposed by Kaplan , has been taken to support relativism. However, one widespread reaction against the argument has taken the form of arguing against one assumption made by Kaplan: namely, that certain natural language expressions are best treated as sentential operators. Focusing on the only extant version of the Operator Argument proposed in connection to predicates of personal taste such as “tasty” and experiencer phrases such as (...) “for Anna” ), in this paper I investigate whetherthe reasons offered by Cappelen and Hawthorne against various assumptions of the argument failing in the case of modal, temporal, locationaland precisional expressions transfer to the case of experiencer phrases to undercut support for relativism about predicates of personal taste. My aim is to show that they don’t. Thus, I first show that their considerations against experiencer phrases such as “for Anna” being sentential operators are not decisive. Second, I show that even if granting that such experiencer phrases are not sentential operators, a suitably modified version of the Operator Argument can be defended from the objections they raise. (shrink)

In "A Restriction for Pictures and Some Consequences for a Theory of Depiction", Journal of Aesthetics and Art Criticism 61, 4 (2003): 381-394, Michael Newall defended a resemblance view of depiction. He concentrated on pictures X involving a perpendicular view of the physical surface of another picture Y, and argued that the actual restrictions on what picture X can depict of Y's physical surface are best explained by a strict resemblance or similarity view. But I show that there (...) are many problems with his approach, so that overall it is no more successful than more standard resemblance views of depiction. (shrink)

The resemblance nominalist says that the truthmaker of 〈Socrates is white〉 ultimately involves only concrete particulars that resemble each other. Furthermore he also says that Socrates and Plato are the truthmakers of 〈Socrates resembles Plato〉, and Socrates and Aristotle those of 〈Socrates resembles Aristotle〉. But this, combined with a principle about the truthmakers of conjunctions, leads to the apparently implausible conclusion that 〈Socrates resembles Plato and Socrates resembles Aristotle〉 and 〈Socrates resembles Plato and Plato resembles Aristotle〉 have the same (...) truthmakers, namely, Socrates, Plato and Aristotle. I shall argue that the resemblance nominalist can say that those conjunctions have the same truthmakers but these truthmakers make them true in different ways. I shall also use this view to account for the truthmakers of propositions like 〈Socrates is white〉, and respond to previous objections by Cian Dorr and Jessica Wilson. (shrink)

Do we perceptually experience moral properties like rightness and wrongness? For example, as in Gilbert Harman’s classic case, when we see a group of young hoodlums pour gasoline on a cat and ignite it, can we, in the same robust sense, see the action’s wrongness?. Many philosophers have recently discussed this question, argued for a positive answer and/or discussed its epistemological implications. This paper presents a new case for a negative answer by, first, getting much clearer on how such experience (...) could be possible at all; second, responding to the only argument for a positive answer; and, finally, arguing that postulation of such experience is explanatorily redundant. (shrink)

According to the resemblance account of 'what it's like' and similar constructions, a sentence such as 'there is something it’s like to have a toothache' means 'there is something having a toothache resembles'. This account has proved controversial in the literature; some writers endorse it, many reject it. We show that this conflict is illusory. Drawing on the semantics of intensional transitive verbs, we show that there are two versions of the resemblance account, depending on whether 'resembles' is (...) construed notionally or relationally. While well-known criticisms of the resemblance account undermine its relational version, they do not touch its notional version. On the contrary, the notional version is equivalent to various accounts usually interpreted as rivals to resemblance. We end by noting that this resolution of the controversy (a) explains why 'like', which is a comparative, appears in a construction that concerns the properties of events, and (b) removes any pressure to suppose that 'like' is ambiguous between a comparative and a non-comparative sense. (shrink)

We present a new understanding of Christ’s real presence in the Eucharist on the model of Stump’s account of God’s omnipresence and Green and Quan’s account of experiencing God in Scripture. On this understanding, Christ is derivatively, rather than fundamentally, located in the consecrated bread and wine, such that Christ is present to the believer through the consecrated bread and wine, thereby making available to the believer a second-person experience of Christ, where the consecrated bread and wine are the way (...) in which she shares attention with him. The consecrated bread and wine are then, in a sense, icons of Christ. (shrink)

In this paper I consider the view that Goodman altogether rejects the notion of resemblance in depiction. I argue that, although Goodman’s case seems to be a decisive challenge, he can in fact hold a positive view of resemblance if we weaken the standard usage of the word ‘resemblance’. The result of this is that Goodman’s commitment to the notion of repleteness enables him to say that pictures can and do resemble their subjects, as resemblance relies (...) on the relative complexity of the depiction. (shrink)

Ben-Yami presents Wittgenstein’s explicit criticism of the Platonic identification of an explanation with a definition and the alternative forms of explanation he employed. He then discusses a few predecessors of Wittgenstein’s criticisms and the Fregean background against which he wrote. Next, the idea of family resemblance is introduced, and objections answered. Wittgenstein’s endorsement of vagueness and the indeterminacy of sense are presented, as well as the open texture of concepts. Common misunderstandings are addressed along the way. Wittgenstein’s ideas, as (...) is then shown, have far-reaching implications for knowledge of meaning and the nature of logic, and with them to the nature of the philosophical project and its possible achievements. (shrink)

There are several differences between (i) seeing rain outside one’s window and (ii) episodically remembering seeing rain outside one’s window. One difference appears to pertain to felt temporal orientation: in episodically remembering seeing the rain, we experience the rain, and/or the seeing of it, as (having occurred in the) past; in perceiving the rain, we experience the rain as (in the) present. However, according to (what is widely regarded as) the most plausible metaphysics of time, there are no such properties (...) as being past and being present. This seems to lead to an error theory about all perception and episodic memory. In this paper, I show how to get out of this untoward result. The crucial move is a distinction between representing an event-as-present/past and representing-as-present/past an event. (shrink)

Abstract - This paper primarily harps on the issue whether the admission of universals (Especially as discussed in this paper resemblance and supervenience) would impose any extra burden on the ontology. In this connection I would like to make a special mention of the fact that metaphysical issues dealt in Philosophy are quite relevant in medical ethics and management speculations or even in marketing. In this paper both the relation of Supervenience and that of Resemblance is dealt which (...) undoubtedly helps in the understanding of properties, the structure or orientation of any programming or theory. So the present paper may be a sure help in prioritization of issues in case of management study or in the removal of any disharmony generated in patients after treatment of an ailment. Keeping this in mind I have tried to analyze the almost known fact that providing an account of sameness of type is the compulsory task for any theory of Universals since unless the question of sameness of type is answered and a philosophical superstructure is unfolded the question of making or arriving at an ontology which is not unduly burdened can at all be addressed. I started with the Realist and the Nominalist. In order to arrive at this position I had first discussed about the positions of the different types of Nominalism. I have also tried to show how realism and the different forms of nominalism have made an attempt to explain the compulsory task of giving an account of sameness of type. I have seriously dealt with a very crucial point of considering resemblance as a relation and supervenience as a relation. Here one thing is stressed on namely that both supervenience and resemblance if and when considered as a dyadic universal which binds two relatas, it works as a property of a pair ( relatas). So it can very well be thought of as gaining a separate status over and above the pair that it unites. The whole discussion on a non-cumbersome ontology thus gains its strength at this point when such extra burden is ruled out by both supervenience and resemblance nominalism theory. I have made an attempt also to show that a burden less ontology can also be achieved if further questions on the issue of similarity being subjective or objective or simply as innate be addressed. (shrink)

Resemblance Nominalism is the view that denies universals and tropes and claims that what makes F-things F is their resemblances. A famous argument against Resemblance Nominalism is Russell's regress of resemblances, according to which the resemblance nominalist falls into a vicious infinite regress. Aristocratic Resemblance Nominalism, as opposed to Egalitarian Resemblance Nominalism, is the version of Resemblance Nominalism that claims that what makes F-things F is that they resemble the F-paradigms. In this paper I (...) attempt to show that a recently advocated strategy to stop Russell's regress by using paradigms does not succeed. (shrink)

Judgments of visual resemblance (‘A looks like B’), unlike other judgments of resemblance, are often induced directly by visual experience. What is the nature of this experience? We argue that the visual experience that prompts a subject looking at A to judge that A looks like B is a visual experience of B. After elucidating this thesis, we defend it, using the ‘phenomenal contrast’ method. Comparing our account to competing accounts, we show that the phenomenal contrast between a (...) visual experience that induces the judgment that A looks like B, and a visual experience that does not induce this judgment, is best explained by the fact that the former visually represents B, whereas the latter does not. (shrink)

According to Satosi Watanabe's "theorem of the ugly duckling", the number of predicates satisfied by any two different particulars is a constant, which does not depend on the choice of the two particulars. If the number of predicates satisfied by two particulars is their number of properties in common, and the degree of resemblance between two particulars is a function of their number of properties in common, then it follows that the degree of resemblance between any two different (...) particulars is also constant, which is absurd. Avoiding this absurd conclusion requires questioning assumptions about infinity in the proof or interpretation of the theorem, adopting a sparse conception of properties, or denying degree of resemblance is a function of number of properties in common. After arguing against both the first two options, this paper argues for a version of the third which analyses degree of resemblance as a function of properties in common, but weighted by their degree of naturalness or importance. (shrink)

This paper discusses a puzzle, the heart of which is this question: How is it that real individuals can resemble fictional individuals? It seems that any answer given by one who has taken a stand on the ontology of fictional individuals will come with significant drawbacks. An Anti-Realist will have to explain, or explain away, the apparent truth of our positive assertions of resemblance, while a Realist will have to explain how we are to understand resemblance in light (...) of either the further claim that fictional characters are not associated with properties in the same way real individuals are, or that fictional characters are nonexistent or nonactual. I here survey the different Realist and Anti-Realist strategies in hopes that reflection on (mainly the drawbacks of) each will aid those who are curious about ontologies which may include fictionalia. (shrink)

The concept of representation is a problematic one. So is that of resemblance or similarity. But both concepts can be clarified via a modification of Wittgenstein's notion of a "family-resemblance." I shall introduce an extended version of that notion, specifically relevant to representational objects, after presenting some arguments which show the need for it.

This paper contrasts the experience of works of installation art with sculptural and architectural experience and argues that installation art is an interactive art form.

This book offers a theoretical investigation into the general problem of reality as a multiplicity of ‘finite provinces of meaning’, as developed in the work of Alfred Schutz. A critical introduction to Schutz’s sociology of multiple realities as well as a sympathetic re-reading and reconstruction of his project, Experiencing Multiple Realities traces the genesis and implications of this concept in Schutz’s writings before presenting an analysis of various ways in which it can shed light on major sociological problems, such as (...) social action, social time, social space, identity, or narrativity. (shrink)

In this paper, a criticism of representationalist views of consciousness is developed. These views are often supported by an appeal to a transparency thesis about conscious states, according to which an experience does not itself possess the qualities of which it makes one conscious. The experience makes one conscious of these qualities by representing them, not by instantiating them. Against this, it is argued that some of the properties of which one is conscious are had by the conscious state itself. (...) Only by adopting this view can we account for certain perceptual incompatibilities, such as the fact that one cannot see a stick as being both bent and not bent. This sort of experience is impossible because it would require that an experience have, and not just represent, incompatible features. [Presented at the APA Eastern Div mtg in NY in 2005]. (shrink)

Upon first hearing sinewaves, all that can be discerned are beeps and whistles. But after hearing the original speech, the beeps and whistles sound like speech. The difference between these two episodes undoubtedly involves an alteration in phenomenal character. O’Callaghan (2011) argues that this alteration is non-sensory, but he leaves open the possibility of attributing it to some other source, e.g. cognition. I discuss whether the alteration in phenomenal character involved in sinewave speech provides evidence for cognitive phenomenology. I defend (...) both the existence of cognitive phenomenology and the phenomenal contrast method, as each concerns the case presented here. (shrink)