This chapter contains sections titled: Erotica and Pornography: From the Romantic to the Vulgar Aesthetic Contemplation: The Romantic and the Beautiful Notes.

In lieu of an abstract, here is a brief excerpt of the content:Why Some Pornography May Be ArtMimi VasilakiIn "Why Pornography Can't Be Art,"1 Christy Mag Uidhir argues, as the title declares, that pornography cannot be art and thus that pornography is not art. According to Uidhir, this is because of the different ways in which pornography and art relate to contents and purposes. His argument for the impossibility of something being both art and (...) class='Hi'>pornography at the same time runs roughly as follows. If something is pornography, then it has the purpose of sexually arousing (some audience) and that purpose is manner-inspecific. If something is art, then if it has a purpose, then that purpose is manner-specific. So when the purpose is sexual arousal, then it is manner-specific. Thus sexual arousal by art is manner-specific and sexual arousal by pornography is manner-inspecific. Therefore, Uidhir concludes, something cannot be both art and pornography.Here I argue that although this conclusion seems plausible, Uidhir fails to make a strong case for it because he does not establish that the purposes of art are necessarily "manner-specific" as opposed to the purpose of pornography, which is necessarily "manner-inspecific." That is, the paper does not make it plausible either that pornography has manner-inspecific purposes or that art has a manner-specific purpose.IUidhir's exclusivity doctrine is intrinsically implausible. Let us take for example a work mentioned in the article, Red Butt from Jeff Koons's [End Page 228] kitsch photo series of "Made in Heaven." Uidhir writes, "part and parcel of understanding Red Butt is recognizing that it depicts a sexual act involving Jeff Koons and Cicciolina.... Failure to do so precludes satisfaction of the purpose of the work" (p. 198). Here he rightly says that the audience cannot interpret the work without the prior knowledge of who is depicted in Red Butt: the audience must recognize the sexual act and the subjects of the photo as the artist and his wife. In other words, the role of knowledge of context in understanding art is connected with the claim that manner-specificity is essential to the purpose of art. In the case of Red Butt, the appeal to extra-visual and contextual information enables fuller understanding of the artwork. However, in fact, the wider audience (rather than the art critics) perceives the trash aesthetics of Red Butt while being ignorant of Koons's biography and this aesthetic irony might precisely be one of the purposes of the work. Even if it is true that the audience's recognition of the artist's intentional self-parody requires knowledge of who is depicted in the photos, we don't know if Koons intends his work to be understood (solely) in reference to or through this knowledge. It is plausible that Koons intended to blur the distinction between art and pornography by attempting to create art that is pornography. If we accept that pornography can never be art then if Koons intends to create art that is also pornography then he attempts the impossible; if we, on the other hand, allow for the possibility for an artwork to be both art and pornography and if we accept that Koons has succeeded in creating art that is pornography, then we can interpret Red Butt in the most natural way and say he has succeeded in creating both art and pornography. It seems therefore that regardless of the context, it is left to the audience to negotiate and finally decide, if they wish to, whether to appreciate Koons as pornography or as art (or both) despite the lines between these being unclear. This very ambiguity is part of the purpose of the work, which is lost on Uidhir's account.His exclusive model cannot account for artists whose explicit intention is to defy dichotomies by doing art and pornography at the same time. For example Annie Sprinkle, in reply to the question of whether she is doing art or pornography, insists against critics and defenders alike that she is "both an artist and a whore."2 Uidhir's position must be that, in effect, contrary to what she intends and believes, Sprinkle by definition cannot do both... (shrink)

This chapter contains sections titled: Two Caveats Distinguishing Interests and Values Relations Between the Pornographic and the Artistic Notes.

Can pornographic depictions have artistic value? Much pornography closely resembles art, at least in many superficial respects. Films, photographs, paintings—all of these can have artistic value. Of course, films, photographs and paintings can also be pornographic. If some photographs have artistic value, and some photographs are pornographic, can pornographic photographs have artistic value too? I argue that pornography may only possess artistic value despite, not by virtue of, its pornographic content.

Claims that pornography cannot be art typically depend on controversial claims about essential value differences (moral, aesthetic) between pornography and art. In this paper, I offer a value-neutral exclusionary claim, showing pornography to be descriptively at odds with art. I then show how my view is an improvement on similar claims made by Jerrold Levinson. Finally I draw parallels between art and pornography and art and advertising as well as show that my view (...) is consistent with our typical usage of the term “pornographic art.”. (shrink)

One striking feature of pornographic images is that they emphasize what is depicted and underplay the way it is depicted: the experience of pornography rarely involves awareness of the picture’s composition or of visual rhyme. There are various ways of making this distinction between what is depicted in a picture and the way the depicted object is depicted in it. Following Richard Wollheim, I call these two aspects, the ‘what’ and ‘how’ of pictorial representation ‘recognitional’ and ‘configurational’, (...) respectively. Some pictures emphasize one of these aspects while underplaying the other. Pornographic pictures try to trigger as little attention to the ‘configurational’ aspect as possible. Instead of examining pornography, where the ‘configurational’ aspect of experience is underplayed, I focus on a historical attempt to create images of the female body where the ‘recognigional’ element is the one that is underplayed and the ‘configurational’ elements of the picture form an essential part of our experience. The pictures I have in mind are André Kertész’s series of photographs from 1933, called Distortions. I argue that Kertész’s Distortions are in this respect the counterpoint of pornography: they may be the least pornographic representations of the female nude. Instead of ignoring the ‘configurational aspects of the picture, making the picture transparent and fully at the service of showing the female body and thus to trigger arousal, Kertész aims to achieve the exact opposite. His photographs strip the female body of all its sexual connotations and draw our attention to the formal features of the picture – which is quite a feat in the light of the subject matter of these pictures that normally draw our attention away from the formal features of pictures. (shrink)

What is erotic art? Do all paintings with a sexual theme qualify as erotic? How to distinguish between erotica and erotic art? In what way are aesthetic experiences related to, or different from, erotic experiences and are they at all compatible? Both people and works of art can be sensually appealing, but is the beauty in each case substantially the same? How helpful is the distinction between the nude and the naked? Can we draw a strict line (...) class='Hi'>between erotic art and pornography? We tend to think of art as complex and of pornography as one-dimensional, but how compelling is that differentiation? Pornography is often considered harmful, objectifying, and exploitative, but to what extent is erotic art immune to moral criticism of this sort? In addressing such questions this entry will provide an overview of current philosophical debates on erotic art. It will also place those debates in historical perspective and, in the closing section, explore some important avenues for future research. (shrink)

Art and pornography are often thought to be mutually exclusive. The present article argues that this popular view is without adequate support. Section 1 looks at some of the classic ways of drawing the distinction between these two domains of representation. In Section 2, it is argued that the classic dichotomies may help to illuminate the differences between certain prototypical instances of pornography and art, but will not serve to justify the claim that pornography (...) and art are fundamentally incompatible. Section 3 considers those definitions of pornography that make an a priori distinction between pornographic and artistic representations. The difference between the ‘merely’ erotic and the pornographic is also discussed in this context. Section 4 provides a critical assessment of the most recent and elaborate arguments against the compatibility of pornography and art. Finally, in Section 5, a case is made for the existence of pornographic art, as a subcategory of erotic art. (shrink)

This essay links Jean-Luc Marion's phenomenology of fine art to his description of Christian love. It does so by carefully showing how Marion's overall project is closely related to Kant's well-known account of the relationship between aesthetics and morality. While Kant and Marion both believe that aesthetic experience can lay the groundwork for moral action, their contrasting views of morality lead them to very different articulations of such a relationship. While Kant sees encounters with fine art as (...) preparing individuals for the particular kinds of disinterested judgments characteristic of moral decision-making, Marion sees artwork as preparing the subject for the openness toward intuitive excess that is necessary for love. (shrink)

Rae Langton famously argues that pornographic speech illocutionarily subordinates and silences women. Making good this view hinges on identifying the context relevant for fixing such force. To do so, a parallel is typically drawn between pornographic recordings and multipurpose signs involved in delayed communication, but the parallel generates a dispute about the right illocutionary force-fixing context. Jennifer Saul and myself argue that if pornographic speech is akin to multipurpose signs, its illocutionary force is fixed by the actual decoding context: (...) of using/viewing pornographic recordings. By contrast, Claudia Bianchi argues that the relevant context is intended/expected decoding. Here I take issue with Bianchi’s view. Her intentionalist account faces two serious objections. First, the collapse objection: Bianchi’s intentionalist view is so formulated that it collapses into that endorsed by Saul and me. This undermines Bianchi’s case against us. Second, the dissonance objection: looking at a different aspect of Bianchi’s view, and one that does depart from the positions of Saul and myself, shows that her analysis is too intentionalist and cannot be used to elucidate pornography’s illocutionary force. Bianchi’s view should hence be rejected. This nevertheless leaves open further theoretical avenues of research, which I briefly discuss at the end of the paper. (shrink)

Is pornography within the coverage of the First Amendment? A familiar argument claims that it is not. This argument reasons that the free speech principle protects the communication of ideas, which appeal to the reason ; pornography communicates no ideas and appeals to the passions rather than the reason ; therefore pornography is not protected by the free speech principle. This argument has been specified in different ways by different writers. The most prominent and careful of these (...) are Frederick Schauer and John Finnis. Both founder on the attempt to distinguish pornography from art, which both would protect. If art, film, and literature should be protected, then this protection should extend to the pornographic subsets of these genres. (shrink)

The primary purpose of depictive works of pornography, we take it, is sexual arousal through sexually explicit representations; what we callprototypical pornography satisfies those aims through the adoption of a ceteris paribus maximally realistic depictive style. Given that the purpose of sexual arousal seems best fulfilled by establishing the most robust connections between the viewer and the depictive subject, we find it curious that not all works of pornography aspire to prototypical status. Accordingly, we target for (...) philosophical scrutiny several non-standard but putatively pornographic forms: Tijuana Bibles, hentai manga, and slash-fiction. We find that works of these genres possess certain depictively or fictively oriented properties that appear at least prima facie incompatible with prototypical pornography, and thereby to pose two pressing questions that anyprima facie viable analysis of pornography must answer: the depiction question and the fiction question. By answering these questions, we can not only arrive at a deeper understanding of the aims of pornography and the reasons for which significant sub-genres of pornography might diverge from the prototypical ideal, but also perhaps better understand what lies at pornography’s edge, and so better understand the ways in which pornography might relate to what lies beyond. (shrink)

We refine a line of feminist criticism of pornography that focuses on pornographic works' pernicious effects. A.W. Eaton argues that inegalitarian pornography should be criticized because it is responsible for its consumers’ adoption of inegalitarian attitudes toward sex in the same way that other fictions are responsible for changes in their consumers’ attitudes. We argue that her argument can be improved with the recognition that different fictions can have different modes of persuasion. This is true of film and (...) television: a satirical movie such as Dr. Strangelove does not morally educate in the same way as a realistic series such as The Wire. We argue that this is also true of pornography: inegalitarian depictions of sex are not invariably responsible for consumers' adoption of inegalitarian attitudes toward sex in reality. Given that pornographic works of different genres may harm in different ways, different feminist criticisms are appropriate for different genres of pornography. (shrink)

In this article I flesh out support for observations that scientific accounts of social groups can influence the very groups and mental phenomena under investigation. The controversial hypothesis that there are hardwired differences between the brains of males and females that contribute to sex differences in gender-typed behaviour is common in both the scientific and popular media. Here I present evidence that such claims, quite independently of their scientific validity, have scope to sustain the very sex (...) class='Hi'>differences they seek to explain. I argue that, while further research is required, such claims can have self-fulfilling effects via their influence on social perception, behaviour and attitudes. The real effects of the products of scientists’ research on our minds and society, together with the fact that all scientific hypotheses are subject to dispute and disconfirmation, point to a need for scientists to consider the ethical implications of their work. (shrink)

The article is devoted to the application of the hermeneutic approach in philosophy classes. The author proposes a technique for understand- ing a visual text, which allows one to move from the figurative perception of a work of art to the conceptual and structural level. In her study, the author describes the experience of using this technique while interpreting R. Magritte’s painting “Song of Love”. As a result of analyzing the group and individual work of students, the author comes (...) to the conclusion that the technique does not only contribute to the discovery of the subjective mean- ing of a work of art, but is effective for the process of self-knowledge. (shrink)

In this paper we explore the sustained and multifaceted attempt of Jürgen Habermas to reconstruct Kant's theory of cosmopolitan right for our own times. In a series of articles written in the post‐1989 period, Habermas has argued that the challenge posed both by the catastrophes of the twentieth century, and by social forces of globalization, has given new impetus to the idea of cosmopolitan justice that Kant first expressed. He recognizes that today we cannot simply repeat Kant's eighteenth‐century vision: that (...) if we are to grapple with the complexities of present‐day problems, it is necessary to iron out certain inconsistencies in Kant's thinking, radicalize it where its break from the old order of nation‐states is incomplete, socialize it so as to draw out the connections between perpetual peace and social justice, and modernize it so as to comprehend the “differences both in global situation and conceptual framework that now separate us from him.”1 His basic intuition, however, is that Kant's idea of cosmopolitan right is as relevant to our times as it was to Kant's own. If it was Kant's achievement to formulate the idea of cosmopolitanism in a modern philosophical form, Habermas takes up the challenge posed by Karl‐Otto Apel: to “think with Kant against Kant” in reconstructing this idea. What follows is a critical assessment of Habermas's response to this challenge. We focus here on the dilemmas he faces in grounding his normative commitment to cosmopolitan politics and in reconciling his cosmopolitanism with the national framework in which he developed his ideas of constitutional patriotism and deliberative democracy. (shrink)

Very little research has attempted to describe normal human variation in female genitalia, and no studies have compared the visual images that women might use in constructing their ideas of average and acceptable genital morphology to see if there are any systematic differences. The objective of the present work was to determine if visual depictions of the vulva differed according to their source so as to alert medical professionals and their patients to how these depictions might capture (...) variation and thus influence perceptions of ‘normality’. A comparative analysis was conducted by measuring (a) published visual materials from human anatomy textbooks in a university library, (b) feminist publications (print and online) depicting vulval morphology and (c) online pornography, focusing on the most visited and freely accessible sites in the UK. Post hoc tests showed that labial protuberance was significantly less (p<0.001, equivalent to approximately 7 mm) in images from online pornography compared to feminist publications. All five measures taken of vulval features were significantly correlated (p<0.001) in the online pornography sample, indicating a less varied range of differences in organ proportions than the other sources where not all measures were correlated. Women and health professionals should be aware that specific sources of imagery may depict different types of genital morphology and may not accurately reflect true variation in the population, and consultations for genital surgeries should include discussion about the actual and perceived range of variation in female genital morphology. (shrink)

College students face a variety of challenges today, and the degree of their psychological health directly impacts their ability to overcome these challenges. A good psychological state helps college students to invest better in their career development and improve the degree of social integration. This paper uses the SCL-90 Symptom Self-Assessment Scale and the Social Support Rating Scale to investigate the mental health, psychological support, and social support of students from low income backgrounds in two universities in Hainan City. The (...) research results showed that there was no significant difference between the objective support scores of students from low income backgrounds in higher vocational colleges and non-poor students, while the subjective support and utilization of support scores were significantly lower than those of non-poor students. In essence, successful social support should not only be one-dimensional support from the subject to the object, but should be a process of two-sided interaction, or a process of “mutual construction” between supporters and those supported. According to the research conclusions, this paper suggests how to improve the degree of mental health of college students by way of forming a comprehensive educational environment including campus culture construction, ideological and moral education, and economic assistance system. (shrink)

Rubinoff is a moralist standing firmly in the tradition of Paul Goodman, Jules Henry, Edgar Friedenberg, et al., and as such he measures up well. The signal point of difference between Rubinoff and these others is that they speak with a sociological voice, Rubinoff with a philosophical one; but the messages are similar: we are floundering in a world decaying because it is filled with people who are floundering, stupid, and/or evil. As philosopher, Rubinoff draws upon his philosophical resources (...) to score points in his battle against the status quo. In this role as philosopher many would want more rigor from him; but rhetoric, not rigor, is what he is about, and images, not propositions, are what he is dealing in. The only real casualty in this decision of style is the title of the book. One is never really sure what he means by pornography. One feels he might have spent a little more time elaborating his contention that power must be the key commodity in a "progress-oriented" society, and that power "is extrinsically an expression of irrationality." Rubinoff stands with those who suspect that man is essentially demonic. We must recognize and accept our evil. If we don't, we release it pornographically in war, racism, hate, violence. One of the many institutions that receives a stinging blow from Rubinoff's flailing around is the social sciences, which too often discover the cause of a social ill, but then use that discovery plus their commitment to objectivity as an equivocation and an excuse for not declaring it wrong. Even though the book is written in an almost journalistic simplicity, making full use of dramatic and literary references as well as philosophic literature, there are a number of enigmas and obscurities which, as with a good film, can enhance your involvement and enjoyment. The book is provocative reading whether you end up agreeing that Rubinoff has successfully made his point or not.--S. O. H. (shrink)

The last 20 years have seen the development of a new form of therapy, compassion focused therapy. Although CFT has a growing evidence base, there have been few studies of CFT outside of an Anglo-European cultural context. In this paper, we ask: Might a CFT-based approach be of value for Indigenous Australians? If so, what kind of cultural adaptations might be needed? We report the findings from a pilot study of an arts-based compassion skills training group, in which usual CFT (...) group processes were significantly adapted to meet the needs of Indigenous Australians. At face value, CFT appeared to be a promising approach to enhancing the social and emotional wellbeing of Australia’s Indigenous peoples. However, despite initial consultations with Indigenous health professionals, the first attempts to offer a more conventional group-based CFT to Indigenous clients were largely unsuccessful. Following a review and advice from two Indigenous clients, we combined elements of CFT with visual arts to develop a new approach, “arts-based compassion skills training”. This paper reports an evaluation of this pilot ABCST group. The group had 6 × 4 h sessions of ABCST, facilitated by two psychologists and two artists. There were 10 participants, who attended between 2 and 6 sessions: five were clients, five were health professionals. Between 1 and 3 months later, six of the participants were interviewed. Qualitative analysis of interview data identified that two key processes—creating a positive group atmosphere and channeling compassion skills training through the medium of visual arts—led to four positive outcomes for participants: planting the seeds of new understandings, embodying the skills of compassion, strengthening relationships with others, and evolving a more self-compassionate relationship. We suggest that the preliminary results are sufficiently encouraging to warrant further development of ABCST in Indigenous communities. (shrink)

Singing is universal, and understanding sung words is thought to be important for many listeners’ enjoyment of vocal and choral music. However, this is not a trivial task, and sung text intelligibility is probably affected by many factors. A survey of musicians was undertaken to identify the factors believed to have most impact on intelligibility, and to assess the importance of understanding sung words in familiar and unfamiliar languages. A total of 143 professional and amateur musicians, including singers, singing teachers, (...) and regular listeners to vocal music, provided 394 statements yielding 851 references to one or more of 43 discrete factors in four categories: performer-related, listener-related, environment-related and words/music-related. The factors mentioned most frequently in each of the four categories were, respectively: diction; hearing ability; acoustic; and genre. In more than a third of references, the extent to which sung text is intelligible was attributed to the performer. Over 60% of respondents rated the ability to understand words in familiar languages as “very important,” but only 17% when the text was in an unfamiliar language. Professional musicians (47% of the sample) rated the importance of understanding in both familiar and unfamiliar languages significantly higher than amateurs but listed fewer factors overall and fewer listener-related factors. The more important the respondents rated understanding, the more performer-related and environment-related factors they tended to list. There were no significant differences between the responses of those who teach singing and those who do not. Enhancing sung text intelligibility is thus perceived to be within the singer’s control, at least to some extent, but there are also many factors outside their control. Empirical research is needed to explore some of these factors in greater depth, and has the potential to inform pedagogy for singers, composers, and choral directors. (shrink)

This paper describes the application of eight statistical and machine-learning methods to derive computer models for predicting mortality of hospital patients with pneumonia from their findings at initial presentation. The eight models were each constructed based on 9847 patient cases and they were each evaluated on 4352 additional cases. The primary evaluation metric was the error in predicted survival as a function of the fraction of patients predicted to survive. This metric is useful in assessing a model’s potential to assist (...) a clinician in deciding whether to treat a given patient in the hospital or at home. We examined the error rates of the models when predicting that a given fraction of patients will survive. We examined survival fractions between 0.1 and 0.6. Over this range, each model’s predictive error rate was within 1% of the error rate of every other model. When predicting that approximately 30°K of the patients will survive, all the models have an error rate of less than 1.5%. The models are distinguished more by the number of variables and parameters that they contain than by their error rates; these differences suggest which models may be the most amenable to future implementation as paper-based guidelines. (shrink)

We have a need today to free up the Church in its ability think through and debate its ethical responses to contemporary issues. How do we think about and respond to the issues of crime, punishment and rehabilitation, consumerism - money, banks, economics and bonuses, war and peace making, euthanasia and assisted dying, same sex relationships. etc. ‘We can only act within the world we can envision…. We do not come to see merely by looking, but must develop disciplined skills (...) through initiation into that community that attempts to live faithfully to the story of God…by learning to be faithful disciples, we are more able to see the world as it is.’ Stanley Hauerwas, The Peaceable Kingdom. Ethics provide the cultural and moral framework in which we live our whole lives. Our ethics are like the air we breathe, and though for the most part they go unnoticed, our lives and communities depend on them. But Christian ethics are distinctive. They are not just anyone’s ethics. Indeed, if the Christian vision is not distinct from other moral frameworks, then what is so special about Christ and our story? For many, Jesus has simply become nothing more than a ‘personal’ and ‘private’ motivator to the same common ideals, which are shared by all. So, how do we live distinctively in a time of uncertainty? How do we see the world through the eyes of Christ? What tools do we need for the complex choices that confront us, in order to live well; to live Christ centred lives in the 21st century? This book provides this kind of help in a clearly, written accessible style with discussion questions making this useful for small-group use. (shrink)

This chapter contains sections titled: The Problem with the Problem What is Pornography? The Wrongness of Pornography The Victims of Pornography A Different Tack Notes.

Morin envisions the adaptive landscape of graphic codes as an unfertile valley where writing rises as an isolated peak that humans managed to reach only on four occasions throughout all of history. By exploring the different paths to cultural convergence, we suggest an alternative landscape occupied by a mountain range of visual art systems. We conclude that graphic communication through visual art worked well enough to render writing contingent but not necessary in most cases.

Two things about Hilary Putnam have not changed throughout his career: some (including Putnam himself) have regarded him as a “realist” and some have seen him as a philosopherwho changed his positions (certainly with respect to realism) almost continually. Apparently, what realism meant to him in the 1960s, in the late seventies and eighties, and in the nineties, respectively, are quite different things. Putnam indicates this by changing prefixes: scientific, metaphysical, internal, pragmatic, commonsense, but always realism. Encouraged by Putnam’s own (...) attempts to distinguish his views from one time to another, his work is often regarded as split between an early period of “metaphysical realism” (his characterization) and a later and still continuing period of “internal realism”. Late Putnam is understood to be a view that insists on the primacy of our practices, while the early period is taken to be a view from outside these, a “God’s Eye view”. As Putnam himself stresses (1992b), this way of dividing his work obscures continuities, the most important of which is a continuing attempt to understand what is involved in judging practices of inquiry, like science, as being objectively correct. Thus Putnam’s early and his current work appear to have more in common than the division between “early” and “late” suggests. In fact, Putnam’s earlier writings owe much of their critical force to his adopting the pragmatic perspective of an open-minded participant in practices of empirical inquiry, a stance not explicitly articulated in these writings but rather taken simply as a matter of course.1 Thus insofaras Putnam’s early writings defend a form of representational realism, they can be regarded as attempts to articulate a realist position at work inside our ordinary practices of making empirical judgments. For this reason, we begin our review of Putnam’s realisms by extracting from the early writings a core of principles that carries over into his current work but underwent significantly different interpretations over time.. (shrink)

The term “pornographic” is a purely descriptive word referring to sexually explicit writing and pictures designed to induce sexual excitement in the reader or observer. To use the terms “obscene” and “pornographic” interchangeably, as if they referred to the same thing, is to beg the question of whether any or all pornographic materials are obscene. Whether any given acknowledged form of pornography is really obscene is an open question to be settled by argument and not by definitional fiat. The (...) following subjects are discussed: the contrast between pornographic writing and literature and drama; artful pornography; pornographic pictorial art, poetry, and program music; how sex can be obscene; the feminist case against pornography; and violent pornography. (shrink)

A number of recent popular books about gender differences have drawn on the neuroscientific literature to support the claim that certain psychological differences between the sexes are ‘hard-wired’. This article highlights some of the ethical implications that arise from both factual and conceptual errors propagated by such books.

There is a problematic tradition of dualistic and reductionist thinking in artificial intelligence (AI) research, which is evident in AI storytelling and imaginations as well as in public debates about AI. Dualistic thinking is based on the assumption of a fixed reality and a hierarchy of power, and it simplifies the complex relationships between humans and machines. This commentary piece argues that we need to work against the grain of such logics and instead develop a thinking that acknowledges AI–human (...) interconnectedness and the complexity in such relations. To learn how to live better with AI in futures to come, the paper suggests an AI politics that turns to practices of serious attentiveness to help us re-imagine our machines and re-configure AI–human relations. (shrink)

A book in which analytic philosophers examine the portrayal of sex in art and the possible artistic value of pornography proves a disappointment. Although a transcendental objection to pornographic art is rebutted, the papers employ barren philosophical methods that divert energy away from significant problems and into scholastic quibbles.

This paper addresses the question of whether a general method is capable of accommodating the vast array of contexts in which art objects are studied. I propose a framework for such a general method, which is, however, limited to a specific research task: reconstructing the circumstances under which a culturally and/or temporally distant or “exotic” art object becomes interesting (or menacing) to look at. The proposed framework is applied to evaluate Anthony Forge’s essays on the visual art of the (...) Abelam. The essays played a central role in the rekindling of anthropological interest in visual art, but they have also been subject to criticism for forcing on Abelam art Western categories that distort the role art objects play in the Abelam world. Assessing the corpus in terms of the proposed framework allows me to exemplify the main differences between a pragmatic and a semantic approach to gaining access to the efficacy of culturally or temporally distant art. (shrink)

This chapter explains the basic framework of truthmaker or 'exact' semantics, an approach to semantics that has recently received a growing amount of interest, and discusses a number of different applications within philosophy and linguistics. The idea of truthmaking is the idea of something on the side of the world ‐ a fact, perhaps, or a state of affairs ‐ verifying, or making true, something on the side of language or thought ‐ a statement, perhaps, or a proposition. The chapter (...) focuses on the ultimate truthmakers, on what in the world ultimately makes something true, and the question of how the truthmakers make the statements of our language true is of no great concern. It also focuses on the immediate truthmakers, and the question of how they make the statements of the language true will be of greatest concern. (shrink)

In the light of Krämer’s paper, I consider some of the different ways in which the notion of the whole truth can be defined within the object language.

This paper applies the Sonoma Model of Critical Thinking to visual arts in an educational setting. The analysis produces insights into the functioning of the model, insights into visual arts, and pragmaticconclusions regarding relationships among art historians, visual artists, and others. We summarize the Sonoma Model of critical thinking and apply it to thinking about art history and visual arts. We use these insights to apply the Sonoma Model to thinking critically about visual arts in (...) an educational environment. One application of the model for visual artists and art historians is in appreciating these disciplines, something that is often lacking among and between them. We find further insight in the application of the elements of the model to themselves, and close with practical affective conclusions for applications of the model by faculty and administrators. (shrink)

This paper is concerned with the semantics for the logics of ground that derive from a slight variant GG of the logic of (Fine, 2012) that have already been developed in (deRosset and Fine, 2023). Our aim is to outline that semantics and to provide a comparison with two related semantics for ground, given in (Correia, 2017) and (Kraemer, 2018). This comparison highlights the strengths and difficulties of these different approaches.

Number processing abilities are important for academic and personal development. The course of initial specialization of ventral occipito-temporal cortex sensitivity to visual number processing is crucial for the acquisition of numeric and arithmetic skills. We examined the visual N1, the electrophysiological correlate of vOTC activation across five time points in kindergarten, middle and end of first grade, second grade, and fifth grade. A combination of cross-sectional and longitudinal EEG data of a total of 62 children at varying familial (...) risk for dyslexia were available to form groups of 23, 22, 27, 27, and 42 participants for each of the five time points. The children performed a target detection task which included visual presentation of single digits, false fonts, and letters to derive measures for coarse and fine digit sensitive processing across development. The N1 amplitude analyses indicated coarse and fine sensitivity characterized by a stronger N1 to digits than false fonts across all five time points, and stronger N1 to digits than letters at all but the second time point. In addition, lower arithmetic skills were associated with stronger coarse N1 digit sensitivity over the left hemisphere in second grade, possibly reflecting allocation of more attentional resources or stronger reliance on the verbal system in children with poorer arithmetic skills. To summarize, our results show persistent visual N1 sensitivity to digits that is already present early on in pre-school and remains stable until fifth grade. This pattern of digit sensitivity development clearly differs from the relatively sharp rise and fall of the visual N1 sensitivity to words or letters between kindergarten and middle of elementary school and suggests unique developmental trajectories for visual processing of written characters that are relevant to numeracy and literacy. (shrink)

There is a standard view of relations, held by philosophers and logicians alike, according to which we may meaningfully talk of a relation holding of several objects in a given order. Thus it is supposed that we may meaningfully—indeed, correctly—talk of the relation loves holding of Anthony and Cleopatra or of the relation between holding of New York, Washington, and Boston. But innocuous as this view might appear to be, it cannot be accepted as applying to all relations whatever. (...) For there is an important class of metaphysical and linguistic contexts which call for an alternative conception of relation, one for which the order of the relata plays no role and in which the application of the relation to its relata is achieved by other means. (shrink)

For many years, some urban architecture has aimed to exclude unwanted groups of people from some locations. This type of architecture is called “defensive” or “hostile” architecture and includes benches that cannot be slept on, spikes in the ground that cannot be stood on, and pieces of metal that hinder one’s ability to skateboard. These defensive measures have sparked public outrage, with many thinking such measures lead to suffering, are disrespectful, and violate people’s rights. In this paper, it is argued (...) that these views are difficult to defend and that much more empirical research on the topic is needed. (shrink)

Introducing a new and ambitious position in the field, Kit Fine’s _Semantic Relationism_ is a major contribution to the philosophy of language. Written by one of today’s most respected philosophers Argues for a fundamentally new approach to the study of representation in language and thought Proposes that there may be representational relationships between expressions or elements of thought that are not grounded in the intrinsic representational features of the expressions or elements themselves Forms part of the prestigious new (...) _Blackwell/Brown Lectures in Philosophy_ series, based on an ongoing series of lectures by today’s leading philosophers. (shrink)

Are there, in addition to the various actual objects that make up the world, various possible objects? Are there merely possible people, for example, or merely possible electrons, or even merely possible kinds? We certainly talk as if there were such things. Given a particular sperm and egg, I may wonder whether that particular child which would result from their union would have blue eyes. But if the sperm and egg are never in fact brought together, then there is no (...) actual object that my thought is about. Or again, in the semantics for modal logic we presuppose an ontology of possibilia twice over. For first, we countenance various possible worlds, in addition to the actual world; and second, each of these worlds is taken to be endowed with its own domain of objects. These will be the actual objects of the world in question, but they need not be actual simpliciter, i.e., actual objects of our world. What are we to make of such discourse? There are four options: (i) the discourse is taken to be unintelligible; (ii) it is taken to be intelligible but nonfactual, i.e. as not in the business of stating facts; (iii) it is taken to be factual but reducible to discourse involving no reference to possibilia; (iv) it is taken to be both factual and irreducible. These options range from a full-blooded form of actualism at one extreme to a full-blooded form of possibilism at the other. The two intermediate positions are possibilist in that they accept the intelligibility of possibilist discourse but actualist in that they attempt to dispense with its prima facie commitment to possibilia. All four positions have found advocates in the literature. Quine, in his less irenic moments, favours option (i); Forbes advocates option (ii), at least for certain parts of possibilist discourse; many philosophers, including Adams and myself, opt for (iii); while Lewis and Stalnaker have endorsed versions of (iv), that differ in how full-blooded they take the possible objects to be.. (shrink)

The article focuses on the theme of the “End of Art” in the philosophy of Arthur C. Danto, a concept he developed in his writing in the mid-1980s. Departing from the historical framework developed since Analytical Philosophy of History (1965) and adopting an interpretive Hegelian approach to the construction of history, Danto’s thought grapples with several contradictions. These contradictions encompass the notion of the “End of Art”, ultimately leading to a reduction of art to an idealized level. Consequently, this highlights (...) the irreconcilability between Essentialism and Historicism, furthering the philosophical disenfranchisement of art. (shrink)

The great majority of commentators have evaluated the splitting of the moon. The vast majority of them think that it occurred in the Prophet’s period basing their view on the clear statement of al-Qamar 54/1 verse and on related rumors. However, some commentators claim that the moon will split on the doomsday, by referring to the context of the same verse. The same names criticize the rumors claiming that they cannot constituteevidence for the splitting of the moon. To those who (...) think so, from the fact that the splitting of the moon was related by few companions and that it was not recorded in various geographies it is evident that the incident did not happen. It cannot be said that the commentators, who took that the view that the split of the moon were in the period of the Prophet, have similar views in this regard. They have different interpretations in matters such as the realization and the shape of the event. On the other hand, those who claim that the split of the moon is only an idiomatic statement and that the event is only a lunar eclipse, declare that the split of the moon never actually happened. In this study which deals with various interpretations of tafsirs of the splitting of the moon, it is aimed to criticize different opinions on this issue. Document analysis and comparison methods were applied in the article.Summary: The issue of the splitting of the moon has attracted many names from various disciplines, notably the commentators. In the verse of al-Qamar 54/1 mentioning the splitting of the moon has been an important factor for the commentators to evaluate this issue. The ḥadīth narratives regarding the cleavage of the moon are found in many ḥadīth sources, in particular, Ṣahīh al-Bukhārīand Ṣahīh al-Muslim. The rumors about the splitting of the moon, albeit with different forms, are attributed to Anas b. Mālik (d. 93/712), Jubayr b. Muṭ‘īm (d. 59/678-679), ʿAbdallāh b. ʿAbbās (d. 68/687-688), ʿAbdallāh b. ‘Omar (d. 73/692), and ʿAbdallāh b. Masʿūd (d. 32/652-653) One of the rumors about the splitting of the moon, although it is based on ʿAlī b. Abī Ṭālib (d. 40/661)is not found in the authentic ḥadīth sources. In some narrations, it is said that the miracle of the moon's splitting took place upon the request of the polytheists while the others are only mentioned how this miracle happened. On the other hand, it cannot be said that the commentators agree on the split of the moon. The main purpose of this study is to identify these opinions with its basis. Apart from those who do not accept the occurrence of the incident, there are differences of opinion among the commentators who see this event as a miracle of the Prophet Muḥammad. It is possible to classify the disagreements of the commentators in this subject in two headings as the time and manner of occurrence of this incident.Most of the classical commentators, on the basis of narrations, think that the splitting of the moon occurred during the period of Mecca. Among these commentators, al-Wāḥidī (d. 468/1076) and al-Qurṭubī (d. 671/1273), as well as the rumors of this evidence, offer as a proof the verse, "if they see a miracle, they turn away and say that this is a great magic." (al-Qamar 54/2). Some commentators, such as al-Qushayrī (d. 465/1072), accept that this phenomenon has taken place in the past by referring to the opinion of the commentators about the split of the moon. The views of many of the modern-day commentators such as Siddiq Ḥasan Khan (d. 1307/1890), Mawdūdī (d. 1399/1979) and Sābūnī, on this issue, apart from the narrations related to the subject have shaped the general opinion of the commentators. There are differences of opinions among some of the commentators, who accept that the splitting of the moon takes place during the time of the Prophet Muḥammad, as to the reasons and arbitrariness of the incident. According to classical period commentators such as al-Ṭabarī (d. 310/923), al-Samarqandī (d. 373/983), Fakhr al-Dīn al-Rāzī (d. 606/1210), al-Qurṭubī (d. 671/1273), and Shīʿī commentators al-Qummī (d. 329/941), this incident took place upon the Prophet Muḥammad asked for a miracle as evidence for his prophethood by Meccan polytheists. Therefore, these commentators establish a relationship between the splitting of the moon and the prophethood of the prophet Muḥammad. On the other hand, commentators like Sayyid Quṭb (d. 1385/1966) argue that the splitting of the moon cannot be regarded as evidence of the prophethood, citing the fact that the miracles of the Prophet Muḥammad except the Qurʾān were not reported. There is a disagreement about the validity of the narrations related to the events among the commentators, who see the splitting of the moon as a miracle of the Prophet Muḥammad. Ibn Kathīr (d. 774/1373) and Shawkanī (d. 1250/1834) commentators, such as the rumors about this issue as a precise; ibn ʿĀshūr (d. 1879/1973) does not accept the news on this issue as a precise. There are also some commentators who suggest that the splitting the moon will take place in the future. The commentators, who shared this view, especially Rashīd Riḍā (d. 1353/1935) argued that the splitting of the moon did not take place in the past, pointing out that the validity criteria of narrations related to the splitting of the moon, and contradictory issues in the content of the rumors, also most of the people narrated by him/her cannot witness the incident and that it is not possible for people in a certain geography to witness this incident.There are few classical period commentators who suggest that the moon will be split in the future during the apocalypse. The prominent names are al-Ḥasan al-Baṣrī, (d. 110/728), ʿAṭāʾ b. Abī Rabāḥ (d. 114/732) and Abū Bakr al- Aṣamm (d. 200/816). On the other hand, many names such as Rashīd al-Riḍā (d. 1353/1935), al-Marāghī (d. 1364/1945) and al-Shinqīṭī (d. 1394/1974) from the modern period declare that the moon will split during the apocalypse.According to these, in the verses of the al-Qamar 54/1 that apocalyptic scene is mentioned.In the verse, they try to justify the use of the verb meaning of a split in the past tense by introducing some evidence from other verses.According to them, in many verses that speak of apocalyptic scenes, events are expressed in the past tense. There are also commentators who have different evaluations on the way of the occurring event instead of the time concept. Al-Ghazālī (d. 505/1111), Muḥyiddīn Ibn al-ʿArabī (d. 638/1240) and Shāh Walī Allāh al-Dihlawī (d. 1052/1642) do not see the splitting of the moon as a real split mentioned in the verse of the al-Kamer 54/1. According to them, the event is an optical illusion. Muḥammad Asad (d. 1412/1992) connected this illusion to the lunar eclipse. Trying to explain the splitting of the moon by some commentators is one of the commentary differences in this issue. According to Mawdūdī, who did not see this event scientifically impossible, it is possible to reunite a fragmented star with gravity. Without a doubt, Ṭanṭawī al-Jawharī (d. 1940) is one of the names who make the most striking evaluations in this issue. According to him, the miracle of the moon's splitting has many aspects to shed light on scientific studies. Ṭanṭawī al-Jawharī sees the verse as the sign of the moon instead of any other celestial body, as a sign that the moon had long ago broken off from the world. Therefore, Ṭanṭawī al-Jawharī establishes a relationship between the splitting of the month mentioned in the verse and the theories about the separation of the moon in the modern period.One of the arguments about the splitting of the moon is related to the fineness of the language. Some commentators, who draw attention to the expression of the splitting of the moon, which is the expression in the Qurʾān, argue that the purpose of the separation of the moon is the occurrence of truth. According to the advocates of this view, the Arabs use such a statement to express that a work has come to light. According to this, the term "splitting the moon" as means that the Qurʾān expands the darkness in its period. In summary, the commentators make various comments on different grounds such as the narrative expression of the verse al-Qamar 54/1 regarding the splitting of the moon, the narrations about the event, and the language subtleties. (shrink)

The analysis of works of visual art illustrates typical groups of elements and interrelations, which form semiotic systems of these works. Specific systems of connotations and their relations with semantic structures, paradigmatics, and typical signal structures are described. Like in linguistic texts, different levels are formed in complex images. The following basic level types are distinguished: sems and other units of semantic level; signs subdivided into: icons of represented objects and connotative sign formations; representamens of basic signs as interpreted (...) by Charles Peirce, including those of connotations, and signals referred to as basic perceptive integer units forming an individual level. (shrink)

In some recent papers, the authors and Peter Gärdenfors have defined and studied two different kinds of formal operation, conceived as possible representations of the intuitive process of contracting a theory to eliminate a proposition. These are partial meet contraction (including as limiting cases full meet contraction and maxichoice contraction) and safe contraction. It is known, via the representation theorem for the former, that every safe contraction operation over a theory is a partial meet contraction over that theory. The purpose (...) of the present paper is to study the relationship more finely, by seeking an explicit map between the component orderings involved in each of the two kinds of contraction. It is shown that at least in the finite case a suitable map exists, with the consequence that the relational, transitively relational, and antisymmetrically relational partial meet contraction functions form identifiable subclasses of the safe contraction functions, over any theory finite modulo logical equivalence. In the process of constructing the map, as the composition of four simple transformations, mediating notions of bottom and top contraction are introduced. The study of the infinite case remains open. (shrink)

Selections seeks to provide an accurate and readable translation that will allow the reader to follow Aristotle's use of crucial technical terms and to grasp the details of his argument. Unlike anthologies that combine translations by many hands, this volume includes a fully integrated set of translations by a two-person team. The glossary--the most detailed in any edition--explains Aristotle's vocabulary and indicates the correspondences between Greek and English words. Brief notes supply alternative translations and elucidate difficult passages.