L’exercice artistique suppose un rapport au temps spécifique : l’homme s’exerçant à son art répète, reprend, corrige ses gestes. Mais en va-t-il de même concernant la réception des œuvres : la perception du spectateur s’exerce-t-elle par répétition et variation des expériences esthétiques? L’objet de cet article est de montrer qu’il existe un type d’exercice dont le mécanisme repose plutôt sur la déstabilisation des habitudes de perception. À partir des réflexions valéryennes sur l’informe dans l’Introduction à la méthode de Léonard de (...) Vinci et Degas, Danse, Dessin, nous proposons de penser un exercice de la perception qui passe par la décomposition de ses mécanismes. Cette idée trouve sa réalisation dans des dispositifs artistiques labyrinthiques tels que l’exposition Contact d’Olafur Eliasson (Fondation Louis Vuitton, 2014-2015) qui, en perturbant les échelles d’espace et de temps, oblige le récepteur à produire consciemment le travail de cohérence de la synthèse perceptive. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Math Anxiety:Making Room to BreatheValerie Allen (bio) and Todd Stambaugh (bio)"Don't do that to me, Professor," the student said, and everybody laughed, for by this late in the semester, the atmosphere was relaxed. The instructor in question had just reached the point in a worked problem when they could move from reasoning about specific numbers to stating a general principle: x≤y≤z, meaning that y—the value we sought—was always going (...) to be greater than or equal to one value (x) and less than or equal to the other (z). The student who had spoken had earned everyone's affection over the weeks, open about their difficulties with math, ready to risk being wrong, and to ask obvious questions that others may have been reluctant to owning. They had hung in there, despite presenting a classic case of math anxiety, a syndrome long recognized in the scholarship of teaching and learning.Among math anxiety's many symptoms, breathing disruption ranks high: hyperventilation (rapid breathing) and hypoventilation (barely or not breathing). When the energy-conserving parasympathetic nervous system is overtaken by the energy-expending sympathetic nervous system, the long exhalations that decelerate the heart rate are replaced by short, panting puffs from the upper lungs. The timed test provides the perfect environment for math anxiety to flourish. Stress diverts cognitive resources needed for procedural execution, so working memory consequently shrinks.Self-rated metrics for math anxiety have been in place for decades (Richardson and Suinn). Relatively trivial interventions can yield nontrivial results: deep breathing exercises and positive affirmations have a beneficial impact, as does writing about one's nerves immediately prior to an exam (Brunyé et al.). More systemic changes require a reorientation in teaching whereby conceptual mistakes are positively rewarded as opportunities for learning; students compose questions instead of answers; students solve problems together rather than perform solo (Boaler).Return now to that opening scenario to watch it become stereotype incarnate: the student was mature, Black, and female; the teacher, younger, white, and male; her comment was triggered by his shift from a specific [End Page 217] set of numbers into symbolic notation. There is robust evidence to demonstrate that certain demographics are consistently underrepresented in the U.S. math community: women and "African-Americans, Hispanics, American Indians, Alaska Natives, and Pacific Islanders," according to the Mathematical Association of America (MAA) ("Resources for Minority"). Routinely feeling that they do not belong, such groups are particularly vulnerable to math anxiety.Several remedies for such disparity suggest themselves: appointing more women and people of color in the profession; one-on-one tutorial assistance; research projects about the students' personal environment; privileging pre-test, low-stakes work over timed tests; assigning group rather than individual work. When all is said and done, however, such strategies "have little to do with mathematics content" (Martin 304). Mathematicians still need to be able to conceptualize, describe, and manipulate abstract objects, and there seems to be a suspicion that, at heart, abstraction is gendered masculine and colored white.It is possible that the rhetorical immediacy and context-dependence of Black English has misguidedly reinforced such a perception. For poet June Jordan, Black English "devolves from a culture that abhors all abstraction" (Jordan 367). Psychiatrist Alvin Poussaint asks, "Is there a way to say metamorphosis in Ebonics?" (O'Malley). Yet, despite Black English's avoidance of nominalization and similar verbosities that afflict academic prose, abstract logical reasoning flourishes in vernacular idiom, as linguist William Labov demonstrated half a century ago. Our aim is not to explain the asymptote in Black English but rather to consider a feature characteristic of those very minority cultures historically underrepresented in math—storytelling—and to ask how it may be foregrounded in mathematics, where it is decisively sidelined. Storytelling has been claimed by every culture and ethnic group at some point as the repository of wisdom, practical skills, religious beliefs, and shared identity and values; but when it gets corralled into the category of "fiction," and when it gets opposed to "fact," a narrowed concept of truth dispatches storytelling to kindergarten and recreational math. Word problems may supply scenarios but offer none of a plot's satisfactions... (shrink)

This paper is a reflection on the boundaries of academic discourse as I came to be acutely aware of them while attempting to teach a graduate seminar in qualitative research methods. The purpose of the readings in Husserl and Schutz and the writing exercises was to assist students trained in quantitative methods and steeped in positivistic assumptions about research to write phenomenological descriptions of lived experience. Paul could not write the assigned papers due to a diagnosed writing disability but he (...) did submit fictional stories and sketches which beautifully illustrated the concepts of Husserl and Schutz. Paul's disability presented a natural bracketing experiment which brought the positivistic assumptions surrounding academic research and writing to the forefront. I engaged in verbal dialogues with Paul, in which he discussed the philosophical ideas. My work with Paul highlighted the extent to which the academic lifeworld marginalizes those who seek to write from the heart, disguising even the work of those philosophers who wish to uncover direct experiences.The crisis of the sciences is the loss of meaning for life. (Husserl, 1970: 5). (shrink)

Depuis la Renaissance, une série de textes témoignent de l’intérêt des artistes pour l’informe, d’un passage du Traité de la peinture de Léonard de Vinci à Degas, Danse, Dessin de Valéry. Léonard de Vinci, Alexander Cozens ou Paul Valéry proposent des « exercice[s] par l’informe», selon l’expression de Valéry. Il s’agit bien d’« exercice[s] », d’activités répétées pour aiguiser les facultés de l’esprit. Ces exercices s’adressent avant tout aux artistes et plus particulièrement aux dessinateurs et aux peintres (...) ; ils constituent une préparation à la création artistique. Ils n’ont généralement pas pour but d’appréhender l’informe ; c’est pourquoi Valéry emploie la tournure « exercice[s] par l’informe» : travailler l’informe est un moyen, une activité qui a le plus souvent pour fin une œuvre qui manifeste un rapport renouvelé aux formes. Comme les « exercices spirituels » dont Pierre Hadot a montré l’importance dans la philosophie antique, ces exercices reposent sur une pratique plutôt que sur une théorie ; comme eux, ils engagent l’esprit — l’entraînement d’une faculté particulière réclame en fait le concours de plusieurs. Cette pratique, qui n’est jamais définitivement acquise, doit par conséquent être répétée. En effet, chacun de ces exercices possède une fonction critique et la critique doit être reconduite tant que perdure l’habitude ou l’illusion qu’elle combat. La différence essentielle tient à la visée de l’exercice : les pratiques que nous étudierons ne tendent pas à réformer le mode de vie du sujet et ainsi à transformer le sujet lui-même, mais à produire une œuvre. Vinci, Cozens et Valéry proposent des exercices artistiques. Si l’exercice spirituel est « une pratique destinée à opérer un changement radical de l’être », selon l’expression d’Hadot, l’exercice artistique possède sans doute un but plus modeste : il vise à développer les facultés fondamentales pour la création artistique, telles que l’imagination, « les capacités d’invention », selon l’expression de Cozens, ou la sensibilité. Les exercices spirituels tendent à apprendre à vivre, tandis que les exercices artistiques ont pour but d’apprendre à créer. Parmi ceux-ci, les exercices par l’informe se distinguent par leur radicalité. D’abord, ils jouent souvent un rôle liminaire : ils exercent l’esprit et dans certains cas le corps en vue de la première étape de la création artistique, l’invention. Mais surtout, ils exercent des facultés fondamentales pour la création artistique, en particulier dans le domaine des arts visuels, pour lesquels écrivent non seulement Vinci et Cozens mais aussi Valéry : les exercices par l’informe ont pour enjeu non seulement d’apprendre à créer, mais aussi d’apprendre à voir. (shrink)

AbstractThe sculptor Olafur Eliasson produces works together with his team that have two main goals: first, he intends to sensitize our daily perception of the world and our surroundings, and second, Eliasson’s works are not only works of art, but they also explore nature, the physical properties of light, of energy, of water, and other elements. With the famous project Little Suns, small plastic lamps with LED light bulbs and solar cells, he contributes to the amelioration of (...) daily life for those who do not have access to electricity even today. In other works he focuses on elementary phenomena such as the movement of elements in a vortex of water or air, on the properties of light, of mirrored light, or the fascinating world of kaleidoscopes. Some of these works are very popular and often include visitors such as the Weather Project in the Turbine Hall of the Tate Modern in London created in 2003. This work is said to have provoked spontaneous meetings, celebrations, and even episodes of civil protest. The work turned the museum into a kind of agora, the public square in Ancient Greek cities that was at the heart of daily life, of politics, of democratic practices. (shrink)

Installation art is one of the most important and provocative developments in the visual arts during the last half century and has become a key focus of artists and of contemporary museums. It is also seen as particularly challenging or even disliked by many viewers, and—due to its unique in situ, immersive setting—is equally regarded as difficult or even beyond the grasp of present methods in empirical aesthetic psychology. In this paper, we introduce an exploratory study with installation art, utilizing (...) a collection of techniques to capture the eclectic, the embodied, and often the emotionally-charged viewing experience. We present results from an investigation of two pieces, both part of Olafur Eliasson’s exhibition “Baroque, Baroque” held at the Belvedere museum in Vienna. These were assessed by pre- and post-viewing questionnaires focusing on emotion, meaning-making, and appraisals, in tandem with mobile eye tracking to consider viewers’ attention to both installed artworks and/or to the museum environment. The data showed differences in participants’ emotional states, appraisals, and visual exploration, which together paint a picture of the aesthetic reactions to the works. These differences also showed how viewers’ appraisal strategies, meaning making, and physical actions facilitated relatively more or less deep engagement with, and enjoyment of, the art. The results are discussed in terms of their implications for museum studies, art education, and theory in empirical aesthetics. (shrink)

Sensibilité is in Valéry’s theory the name of a large grasp of functions, involving both perception and creation, and involved both in art and in experience. So far, this key word of Valéry’s aesthetics can be read as the bridge between his conceptions of art and his idea of the self in order to understand the way this author writes and conceives what philosophy can aim to.

When Introduction à la méthode de Léonard de Vinci was published, Valéry was not yet twenty-four. The period during which he wrote this work, as well as Soirée avec M. Teste, which appeared a year later, was extremely important in his biography, for it defined the principal trends of his thought for decades to come. After a twenty-year period of silence and retirement, there appeared his small volume La Jeune Parque, the collection Charmes, Album de vers anciens, and (...) his Socratic dialogues, all of which won him fame. The reader became aware of a brilliant stylist producing essays most abundant in number and themes, an acute analyst of culture in crisis, of the human community, mind, and morals, and the author of notebooks kept for many years in which he appears, as, among other things, a forerunner of the most diverse ideas in the realm of linguistics, psychology, information theory, aesthetic theory, and the like. Finally, there was to be the posthumous publication of Mon Faust, which, in the mind of the more perceptive reader, markedly emphasizes and sharpens the tragic aspects of Valéry's personality and consciousness of the world, for he is still today sometimes presented as a kind of causeur of high society, a cold master of "manufactured" poetry, an overly brilliant dilettante blinded by science or, at the very best, an utterly academic classicist in the category of those who are as dead as Bossuet or Boileau. All that was still in the future. However, it was precisely in these early works that, with all the fire of youth and maximalism of thought, he formulated ideas that must be central to the attention of those who wish to discover the system of Paul Valéry. (shrink)

Valéry’s conceptions of mind, literature and even philosophy often stress the importance of an effort against heterogeneity that should be led in the name of what the author himself calls pureté. On the other hand, the theories that Valéry develops about composition - which is intended both as an aesthetic and a theoretical concept - show the importance of complexity in his representation of the esprit and allows to compare Valéry’s descriptions of the self with the way (...) he represents creative process and even draws the structure of his own works. (shrink)

Aesthetic autonomy is sometimes equated with an art for art’s sake approach to art. On the contrary, the philosophers whose work is often cited as backup to this concept of aesthetic autonomy held a very different conception of it. I will trace an alternative notion of aesthetic autonomy in the work of Adorno and Habermas, the origins of which can be found in Immanuel Kant’s aesthetic theory, the popular notion of his formalism, notwithstanding. I draw upon the art (...) practice of the contemporary Icelandic-Danish artist Olafur Eliasson in order to demonstrate this alternative notion of aesthetic autonomy. (shrink)

Martin Heidegger is, perhaps, the most controversial philosopher of the twentieth-century. Little has been written on him or about his work and its significance for educational thought. This unique collection by a group of international scholars reexamines Heidegger's work and its legacy for educational thought.

La confrontation de l’Open Access avec la propriété intellectuelle demeure mesurée dès lors que l’exercice du droit d’auteur n’est nullement antinomique avec un modèle de gratuité pour l’utilisateur final. L’existence de prérogatives morales fortes présente les garanties mêmes que la communauté scientifique appelle de ses vœux, à savoir l’identification de la source et la traçabilité de la version originale de la publication. Le constat est sans doute moins angélique s’agissant du mouvement du Public Access, lequel ne se soucie plus guère (...) des intérêts des auteurs, mais est tout entier tourné vers la diffusion des savoirs comme remboursement des tributs versés par les contribuables dans le financement de la recherche. La logique suivie devrait à terme nier l’existence même de droits d’auteurs de la part des chercheurs lesquels verraient la diffusion de leurs travaux leur échapper en totalité. Il n’est cependant pas certain que l’alternative proposée conduise à des résultats souhaitables car le chercheur doit pouvoir bénéficier d’une certaine liberté dans sa recherche et dans sa parole pour être incité à produire des travaux de qualité ; court-circuiter son contrôle intellectuel sur le destin de ses recherches risque, au contraire de le brider. La rencontre des deux aspirations est sans doute possible. Il n’est pas nécessaire pour atteindre le libre accès de détruire la libre recherche.The incipient clash between open access and intellectual property need not come to a head as long as the exercise of authorship rights does not contradict free access for end users. The existence of strong moral prerogatives offers the very guarantees that the scientific community is pressing for: identification of sources and traceability of the original version of a publication. The picture is not so well-tempered in the case of the Public Access movement, which has little concern for authorship and is entirely geared to knowledge dissemination as compensation for the taxpayers’ money spent on research. Taken to its logical conclusion, this would deny the very existence of authorship rights for researchers, who would lose all control over the dissemination of their work. However, the alternative solution proposed may not necessarily produce the desired results, since researchers need to have a certain amount of freedom in their work and in their communication to motivate high-quality output. Short-circuiting their intellectual control over the fate of their research is more likely to inhibit them than otherwise. But the clash between these two aspirations may yet be resolved: achieving free access does not necessarily mean destroying freedom for research. (shrink)

It has been shown that acting in a game-like task improves preschoolers’ working memory when tested in a reconstruction task. The game context and the motor activity during the game would provide goal cues bringing support to the memory processes. The aim of the present study was to test this hypothesis by examining preschoolers’ working memory performance in a game-like task compared to an exercise-like task, which offers less goal cues. In the present study, 5-year-olds had to maintain a series (...) of fruits and vegetables while acting in a game-like task or remaining static during the same task presented in a school-exercise context. Memory performance was tested either through oral recall or reconstruction of the series of memory items. Despite the fact that memory performance did not differ between the two conditions whatever the type of memory tests, performance was worst in the game-like than in the exercise condition when the exercise was presented first. No difference emerged between conditions when the game condition was performed first. This result suggests that preschoolers were able to take advantage of acting in the game-like condition to integrate some task requirements, which were beneficial for performing the exercise condition. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Overcoming Greed:An Eastern Christian Perspective1Valerie A. KarrasAs an Eastern Orthodox Christian, I have chosen to approach the topic of "overcoming greed" from an Eastern Christian perspective, relying particularly on the writings of some of the early theologians of the Greek East. It is not coincidental either that laissez-faire capitalism arose in the Western Christian world, or that the first strongholds of communism developed in Eastern European, traditionally Orthodox, countries. (...) Both phenomena speak to an intrinsic difference in the way in which human beings are conceived as relating to the world and to each other, both personally and communally.The traditional Eastern Christian model of the human person as not simply caretaker of creation, but fundamentally as a mediator uniting all aspects of creation in humanity's own nature,2 has led historically to a general lack of interest in exploiting creation (in fact, the worst environmental problems in the Orthodox world occurred in countries after they came under totalitarian communist domination). Similarly, the Eastern Orthodox emphasis on the relational, and even communal, nature of salvation created an environment hostile to the individualist, exploitative model upon which modern Western economics has been founded (this has been rapidly changing in post-communist Eastern European countries and Russia, however).The Eastern Church identifies this phenomenon of exploitative and abusive relationships toward nature and other persons as a consequence of the fallen condition of humanity, that is, humanity as it currently exists, in a state where our natural communion with God has been ruptured. In this context, Christianity in general and Eastern Christianity in particular recognize greed as one of the passions (equivalent to what Buddhism describes as "cravings") that are part of our fallen human nature, a consequence of our separation from God. Some of the passions are primarily physical in nature, others emotional or psychic, but in fact virtually all passions are a combination of the two.Greed, a passion of both soul and body that is endemic to our current existence, is typical of this understanding. There are two aspects to the vice of greed: (1) the emotional or spiritual dimension, that is, the acquisitive lust that usually betokens either a deep-seated insecurity or, worse, a desire for power and control; and (2) the [End Page 47] external, physical manifestations of greed in the actual acquisition of things, often to the detriment or exploitation of others. Eastern Christian writings attempt to work on both dimensions of the passion of greed, especially the spiritual, while often distinguishing between greed (a moral vice) and wealth (an amoral condition).This article will focus on two early church theologians, Clement of Alexandria and John Chrysostom. In particular, it will focus on their biblical exegeses of two pertinent New Testament passages: Jesus' conversation with a young righteous scholar of the Mosaic Law and the parable of Lazarus and the rich man, respectively. Finally, I will suggest that, for Orthodox Christians, an important key to overcoming greed is disciplined asceticism, to be practiced by all persons and not simply by monks and nuns. Asceticism—the exercise of control over the passions through fasting, prayer, chastity (understood differently for married and unmarried persons), and almsgiving—is the vehicle by which to cultivate an attitude of apatheia or passionlessness, the Christian equivalent of the Buddhist ideal of detachment.Clement was a philosopher-theologian who headed the great Christian catechetical school in Alexandria in the late second century C.E. In his treatise Who IstheRich ManWhoWill Be Saved? 3 Clement mused on the spiritual and soteriological dimensions of greed by reflecting on Jesus' encounter with the wealthy young "lawyer," that is, scholar of the Mosaic Law, who questioned Jesus on how to acquire eternal life. In his response, the young man showed himself righteous in his adherence to the demands of the law, but ultimately unwilling to commit all of himself by giving away his property, even though Jesus said that it was the price to inherit eternal life.Clement pondered whether it were therefore possible for anyone wealthy to be saved, given Jesus' declaration that "it is easier for a camel to go through the eye of a needle than for a rich man... (shrink)

Given what we know about the segregated nature of the brain and the relative absence of multi-modal association areas in the cortex, how percepts become unified is not clear. However, if we could work out how and where the brain joins together segregated outputs, we would have a start in localizing the neuronal processes that correlate with conscious perceptual experiences. In this essay, I critically examine data relevant for understanding the neurophysiological underpinnings of perception. In particular, I examine the (...) possibility that 40 Hz. oscillatory firing patterns in cortex are important lower-level neuronal events related to perceptual experiences. I suggest that `binding' - understood as a process of hooking together disparate psychological units - reduces to a property inherent in the structure of our brain's firing patterns. However, this reduction may not reflect the firing rates of individual cells, but instead a `higher level' order superimposed on individual cells' activity. (shrink)

This paper takes a somewhat slant perspective on flourishing and care in the context of suffering, death and dying, arguing that care in this context consists principally of ‘acts of work and courage that enable flourishing’. Starting with the perception that individuals, society and health care professionals have become dulled to death and the process of dying in Western advanced health systems, it suggests that for flourishing to occur, both of these aspects of life need to be faced more (...) directly. The last days of life need to be ‘undulled’. Reflections upon the experiences of the author as carer and daughter in the face of her mother’s experience of death are used as basis for making suggestions about how care systems and professionals might better assist people in dealing with ‘the most grown up thing’ humans ever do, which is to die. (shrink)

This collection is the first book-length study to re-evaluate all of James Joyce's major fictional works through the lens of cognitive studies. Cognitive Joyce presents Joyce's relationship to the scientific knowledge and practices of his time and examines his texts in light of contemporary developments in cognitive and neuro-sciences. The chapters pursue a threefold investigation—into the author's "extended mind" at work, into his characters' complex and at times pathological perceptive and mental processes, and into the elaborate responses the (...) class='Hi'>work elicits as we perform the act of reading. This volume not only offers comprehensive overviews of the oeuvre, but also detailed close-readings that unveil the linguistic focus of Joyce's drama of cognition. (shrink)

continent. 1.3 (2011): 208-212. … intervals of destructuring paradoxically carry the momentum for the ongoing process by which thought and perception are brought into relation toward transformative action. —Brian Massumi, Parables for the Virtual: Movement, Affect, Sensation 1 Facing a blank canvas or blank page is a moment of pure potential, one that can be enervating or paralyzing. It causes a pause, a hesitation, in anticipation of the moment of inception—even of one that never comes. The implication is that the (...) blank is yours in that moment, and it calls on you to act on it, to think into it, to create on it. Each blank canvas gives you time, of an undefined length, to transform that canvas’ inherent potential into a work. This two-dimensional plane of potential can be projected into a space, which the body can then occupy. When you “destructure” a space in the same way, prepare it to be a blank, much as you build a canvas, you allow your entire body to enter the space of potential, and you rest in anticipation of work, like the hand poised above the page. Artists have found that the deliberate creation of that space of potential through sealing the space and painting it white, thereby erasing details and distractions, can be such a transformative experience as to help define their whole practice. The cessation of distraction, the absence of indicator that a “blanked” workspace provides allows for a new presence of mind, it gives them the room, literally, to move into their work, and from there to move their work into the world. The workspace for the artist, the studio, is often perceived as a lab-like condensation of the gallery or museum, the traditional and idealized white cube. Similarly, with the blank page, a concrete relation between space and time comes forward as the intentional simplification of the architecture changes behavior and perception within the space. The work of “blanking” the studio space is a meditative reduction, an erasure, and in a way, an attempt at drawing away from the world beyond the studio - the sealed space is meant to recede from reality, to become abstracted by its willed lack of details and distractions. Within that space the time for a new beginning is made more present, more attainable, and the focus it fosters becomes another tool to aid creation. At the formative moment of his artistic practice, Tom Friedman used the blank of his studio, saturated in white, sealed off from the world, to fight velocity. He describes how he projected his vision of the end goal, the museum - a place he believes to be defined by slow contemplation - onto his own studio experience. He then sat and reflected on common objects, one by one, framed by the blank box he had created. The domestic objects he brought into the space to study foreshadow his mature works, where often the quotidian object has a single additional element – his intense labor. Friedman makes discrete objects through absurdly intense and focused labor, epitomized, perhaps by his 1,000 hours of Staring , made from 1992-97: Tom Friedman. 1000 Hours of Staring (1992-1997) His labor, to use his own words, is his way to “bring all of who you are to the experience.” Friedman shares his labor, allows the slow, deliberate pace of his work born in the studio to penetrate the museum. Nothing seems effortless, or a gesture, the labor is apparent, displayed, and tangible. He gives us the labor, the personal investment in the physical that saved art for him, that divorced the work from the language he cites as a factor of alienation. When we see his work we do not see words, we see acts, we see objects. He has forced the studio as workspace into the exhibition space, as he stuffs hundreds of more hours of labor into his shows with each new piece, filling the space with material and labor, material and labor – his involvement, his investment, is his gift to us as the viewers, as he introduces the laborious and contemplative pace he feels belongs to the museum. He saves us also from the alienation of language, which first drove him into the sealed studio and away from the discourse of his school. He presents us with his real, the object which stands in stark contrast to the white slate of the studio, the sealed white box he started from, where his individual, self-contained objects begin and end, completed through the intensity of isolation, first of the individual artist, and then of the material he chooses to slowly, slowly, slowly work: Tom Friedman. Untitled (1992) In his in-depth analysis of galleries as a blank white cube, Brian O’Doherty emphasizes the religious connotations implied in the strict laws of the exhibition space and the valuation, aesthetics and elements of control he feels it imposes upon the work. Like Friedman, he recognizes the power of the restricted space – indicating the “perceptual fields of force” – that act on any object introduced into it. Going beyond Friedman’s assessment of the space as highly utilitarian for focusing his perception, O’Doherty emphasizes the rejection of the physical body of the artist or observer, saying that the cube allows for only observation - eyes and mind. He later parallels the picture frame as a psychological container for the artist with the room as the same for the observer. In both cases, this is an emphasis on the alienating nature of the relationship – just as the artist is kept out of the frame by the picture, in the gallery the art forces the body of the spectator out, calling for a self-referential purity. Patrick Ireland. White Cube (1998) O’Doherty makes a point of saying that the installation shot of the gallery without figures is “one of the icons of our visual culture.” In recent years, however, installation shots have begun to include figures, in some cases they are essential to understanding the scale and even the nature of the work, specifically with work that captures the experience of the space and the way that it varies from a white cube. The work of Olafur Eliasson is a case in point, as the Danish artist uses elements of scientific and natural phenomena to alter perception within the controlled gallery environment, tweaking and redirecting O’Doherty’s “perceptual fields of force” to make points about the act of seeing, or seeing yourself seeing, to quote the artist. This indicates a shift in the role of the artwork, not to exclude the body and stand discretely and self-sufficiently, but to include it, to manipulate it and to make the observer aware of the nature of that manipulation and the work’s ability to manipulate. Olafur Eliasson. 360º room for all colours (2002) So though in O’Doherty’s analysis, the intense blankness of the gallery pushed the observer out in favor of the artwork’s isolation, artists can replicate this inhumane sterility in their own workspace to focus their work on the influence of the gallery right from inception. This can be interpreted as an almost opposite understanding of the purpose of sealing and whitewashing the workspace as stated by Friedman. He sought a refuge from the critical language of the art school, and a space that, like the museum, gave him a protracted sense of time, and, he felt, welcomed him in, “to bring all of who you are,” as opposed to O’Doherty’s feeling that the museum was asking you, at least in body, to leave, and allow the work to take on its own life. Friedman does not seem to imply the tension with the cube and critical stance that O’Doherty prioritizes. Where Friedman finds a refuge, O’Doherty defines an opponent. In a third position, Robert Irwin describes his sealed studio space as “the world.” Though he made the same effort as Friedman to seal out all influences and distractions, he implies that he is in dialogue with the world through his own concentration and perception. This is reminiscent of the nature of the monad, as interpreted by Deleuze, a unity that envelops a multiplicity, a sealed container that contains the universe. He went through the same ritual described by Friedman, sealing up the space, painting it white, and then forcing himself to remain inside, staring at his own work, training his concentration relentlessly. But he found that the room became the distraction: …he became aware that a thin crack along the wall a few yards away from the canvas likewise exerted its presence; that when he plastered that crack over and repainted the wall, the canvas itself presented an entirely new aspect.2 The context was in a relentless dialogue with the work, and trying to neutralize that dialogue, to mute the conversation between space and object, became part of his ritual as he “fixed” his space each day in the hope of total concentration on the work. Ultimately, Irwin shaped the trajectory of his art by relinquishing the studio, establishing a post-studio practice, where the work is conceived and created out in the world, in dialogue with the world and reflective of the conditions it finds surrounding it. The white cube failed to ever achieve neutrality, his heightened concentration prevented him from ever neutralizing the space, so, instead of continuing to try to maintain the charade of a perfect blank, he acknowledged the unstoppable voice of place and turned all his efforts onto the object and the world, as a constant dialogue. Some artists push their studio space far from purity, domesticating it like a lair or a living room, and others destroy it, fill it with chaos or detritus, blacken or clutter it so as never to be starting from a blank, and thereby try to avoid the anxiety of facing that void. Similarly artists may never prepare a white canvas, a clean page, a marble block, or other form that is intentionally lacking, in order to try to escape the dialogue with emptiness. But Irwin, like O’Doherty, found an opponent in the white cube, and he learned not to fight it, rather he ended the conflict by making it an ally, an interlocutor, a collaborator. We can vainly strive to start from nothing, to find the lull, the clearing, and to always consider what we do in balance with the empty set. Somehow that intangible cloud of hazy nothingness, that softness of a lapse continually offers a place to bounce off of, to react to, to wrestle with, to rest with, in tension, or a place to begin. Robert Irwin. Excursus: Homage to the Square3 (1998) NOTES 1 Massumi. Parables for the Virtual: Movement, Affect, Sensation. p271. 2 MOMA, NY. Eliasson, 360 ? Room for All Colours . Installation. 2002. (shrink)

This paper is a case study of Olafur Eliasson’s Paris installation of Ice Watch (2014-2018) that coincided with the Climate Change COP-21 conference at the United Nations in 2015, and whose message was poignantly felt as a reminder of global warming, the melting polar regions, and the current environmental crisis. In particular, I explore how and what might we learn from this installation, to consider and rethink the relationship between aesthetic value, ethical value, and the concept of sustainability. (...) Considering that Eliasson’s work requires relational perceptual-intellectual double awareness, it is argued that virtuous appreciation, judgment, and evaluation emerge if engaged for the right kinds of aesthetic, ethical, and epistemic reasons, even if one is left in deep sadness or discomfort regarding the work’s creation. Having responded to objections such as artistic instrumentalism, Ice Watch is vindicated by combining perceptual, multi-sensual experience, and beauty with tragedy, grief, and guilt—emotions derived from intellectual, contextual, and epistemic concerns and also ethical worries, including those that arise from the artist’s actions. I conclude that qualitative, aesthetic experience provides access to understanding nature’s fragility and our own fragility, when accompanied by the right kinds of internally motivated reasons, even in some instances of controversial artworks. (shrink)

In this paper, I argue that Jean-Paul Sartre's theory of the imagination emerges out of a position on perception that is similar to modern naïve realism in that he seeks to add elements of what today is called “relationalism” to his phenomenological description of perceptual and imaginative experience. The problem is that it is not clear that relationalism can be added to the phenomenologist's intentional theory of consciousness in the way Sartre recommends. This paper takes an analytic approach to understanding (...) Sartre's theory of perception, traces his motivation in arguing that perception and imagination are sui generis mental activity and identifies the ways in which Sartre's attempt to add elements of relationalism to the Husserlian account of perception runs into trouble with hallucinatory experience. (shrink)

We might wonder whether there is a difference between experiencing an artwork and simply daydreaming. If the latter, would it be a matter of art communicating something or simply providing a backdrop for personal reverie? According to some influential key texts in philosophy, there is a difference. And it matters because our capacity for communicating the kind of thing art communicates, is a capacity linked to the possibility of not feeling alienated from the world and each other. In this chapter (...) we focus on The weather project, which was a site specific installation Olafur Eliasson created at the Tate Modern in 2003. And to consider how this artwork communicates, we adopt a key concept from Immanuel Kant’s aesthetic theory: “aesthetic ideas”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reflections on Raphael PAUL BAROLSKY The essence of all appreciation and analysis of art is the translation of visual perceptions into compelling verbal form. —Ralph Lieberman cultural unity Horace Walpole, Sir Joshua Reynolds, Johann Wolfgang Goethe, Eugène Delacroix, Honoré Balzac, Friedrich Hegel, Charles Baudelaire, Friedrich Nietzsche, Pierre Renoir, Nathaniel Hawthorne, August Wilhelm von Schlegel, Heinrich von Kleist, Franz Grillparzer, Fyodor Dostoyevsky, Ivan Turgenev, Wilhelm Heinrich Wackenroder, George Eliot, Jean-Auguste (...) Dominique Ingres, Roger Fry, Bernard Berenson, Theodor Hetzer, Roberto Longhi, Heinrich Wölfflin, and Stendhal are among the many essayists, critics, novelists, poets, painters and art historians who have responded to Raphael’s work as painter, architect or archeologist over the centuries. I can well imagine all of those listed above, among many others, united in an imaginary painting similar to the School of Athens—in other words, a vision that reconciles their various views of the world in a harmony analogous to the unity of philosophers in Raphael’s great fresco. Raphael is a towering figure in the history of European culture. The year 2020 was the 500th anniversary of the death of the great painter in Rome at the age of thirty-seven. In the wake of recent exhibitions that commemorated the artist’s achievement, I propose to touch briefly and lightly on a few aspects arion 28.2 fall 2020 100 reflections on raphael of Raphael’s life and works. Please think of these remarks as a series of suggestions, not attempts at definitive interpretation. I think of this essay as a rather experimental piece. THE SCHOOL OF ATHENS i should like to begin with a few brief remarks on what must be Raphael’s most famous work of art. I mean his School of Athens (fig. 1), which is, like Leonardo’s Mona Lisa and Last Supper or like Michelangelo’s David and Creation of Adam, an image widely known and admired. What more is there to say about The School Of Athens, one of the central images in the Stanza della Segnatura? You might spend the rest of your life reading about this great work and never understand it fully. Nevertheless, I want to focus for a moment on a central detail of the work and, on the basis of my description, point to a significant aspect of the fresco that has been universally overlooked. First the description, then the aperçu. Fig. 1. School of Athens. Ca. 1510–1512. Photo Credit : Erich Lessing / Art Resource, NY. Paul Barolsky 101 At the center of the School of Athens we behold the two great philosophers of classical antiquity: Plato and Aristotle. Plato holds a copy of his Timaeus, a dialogue that concerns the harmony of the heavens; Aristotle holds a copy of his Ethics, a work that pertains to human relations in this world. It was the goal of Renaissance thinkers to create a harmony or concord of the thought of these philosophers: a Concordia Platonis et Aristotelis. Raphael’s fresco, as is well known, presents the visual ideal of such harmony. Whereas Aristotle gestures downward, alluding to this world, in which his Ethics matter, Plato points heavenward, evoking the order of the cosmic realm described in Timaeus. Raphael makes visible the ideal of concordia when he movingly pictures the way in which the two philosophers gaze into each other’s eyes, as if to suggest this harmony. Borrowing from the language of Raphael ’s friend, Baldassare Castiglione, Raphael renders “the joining” of their souls. The monumental architecture of the scene, which echoes Bramante and has taproots in Piero della Francesca and Perugino, consists of three barrel-vaults beyond which we see patches of blue sky and puffs of cloud (fig. 2). The grandiose architecture of the image magnifies Raphael’s philosophers. Within this architectural framework, Plato’s gesture is deeply meaningful, since it prompts the viewer to look up and thus ascend toward the perfection of the celestial realm, beyond the imperfections of the physical world. Above the first barrel vault in the fresco we behold a section of the drum of a dome which is open to the sky. Within this section of drum there are two columns that are lined up directly... (shrink)

continent. 1.2 (2011): 125-128. What is the nature of sound? What is the nature of volume? William James, in attempting to address these simple questions wrote, “ The voluminousness of the feeling seems to bear very little relation to the size of the ocean that yields it . The ear and eye are comparatively minute organs, yet they give us feelings of great volume” (203-­4, itals. original). This subtle extensivity of sensation finds its peer in the subtle yet significant influence (...) of habituated action upon our lives. This expansive quality of habit­making is what Craig Dongoski's bodies of work enable us to appreciate. Nearly ten years ago Dongoski had a habit of turning on his audio recorder every day at three o'clock for three minutes. No matter what the setting, what the activity, Dongoski recorded the ambient sounds in his environment at that moment. As it happened, one day he was teaching a drawing class and he recorded the sounds of their pencils scratching across their respective surfaces. This was a critical moment for him. Later he would place a contact mic onto a drawing surface and record the sound of his signature. Signatures change over time, they respond to the conditions in which they are performed. Signatures speak volumes about the author, but a practice of attunement is required for the volume to be audible. To hear all that a signature can tell about its author, the listener must tune into the frequency at which this information is being broadcast. Dongoski's drawings and video works draw­out the peculiar artifact that habit makes of living: habits establish a tempo of living and it seems that one's habitus is the signature of habitual living. I sat down with Craig in an attempt to sound­out some of the depths of thought in his practice. What follows is selected from our conversation. Paul Boshears (PB): Clearly your work is dealing with time: from the painstaking action of rendering the drawing to the free­form approach of launching a microphone into a body of water and waiting to see what's recorded. Craig Dongoski (CD): Are we talking about the films or the drawings? PB: Well, it's a bit of both in my mind. I know the drawings on first glance seem to be these flows of lines without concern but I realize that there is this painstaking action involved. CD: I'm interested in time because I'm interested in forms outside of control, outside of politics, and outside of economics. I think that art, when it's alive, does go beyond those. I'm interested in duality and paradox—a stream of contradiction, I suppose. For instance, scale and size. There is a tendency to think that these are the same thing. But really you can have something small that has a lot of scale—look at Goya's drawings, Los Caprichos , they're very small but they have a lot of scale. Likewise things that are spontaneous don't necessarily mean that they take only two or three seconds to do. This latter distinction is what I'm most interested in. Having that appearance of spontaneity. The image has rhythm, you can latch onto it; but the reality is that it took many hours—and many months in some cases—to arrive at. And this is in keeping with geological time. I like to insert this series of thoughts into my work sometimes as an attempt to make some of this stuff comprehensible. There are all these distractions inundating us throughout our days now. Time gets tweaked by all these technologies that we interact with daily. There's more than just digital time or the mechanical time of your watch. There's biological time, that time in which you're growing. PB: I'm reminded of McLuhan here: he made his career by making that strong claim that the humans of today are not the same humans of three generations ago because technology has fundamentally changed us. Are we not the same human beings as a hundred years ago? CD: I mean, I don't think we're the same human beings that we were when he was around! It's my understanding that before painting a flower, monks would meditate for hours on that flower and then they would complete the painting of that flower in less than a minute. That's what I want to point out about our world today, we have all this information, but how much of it are we metabolizing? PB: Is there a message you're looking for? Or that you're trying to share? CD: These drawings set­up the circumstances for me to continue them forever. I'm only about six years into it, but with more time, things can unfold. You know? If you take this cup of coffee and vow to restrict your work to only this material and medium for seven years—you'll make interesting work. The problem is that most people can't hold on to things or they give up or they get distracted. They don't trust that anything is possible; anything is potential material. Staying with this cup of coffee example, we can get enveloped in the history of the recycling logo, or the process for harvesting coffee and so on. The same is true for my work as it has lead me into places like graphical music scores. I had, of course, known about John Cage's notations and I'd always been interested in sound itself, but this drawing practice made it feasible to explore the intersections in a meaningful way. I think that if you trust your instincts and your curiosities and your abilities, then the bus drives itself. Look at Roman Opalka, he's kind of the patron saint of time painting. The claim is that no one can count to a billion in a lifetime so he's set­out to paint to seven sevens (7,777,777). He began with white numbers on a black field but over the years he has gradually reduced the black field to ever­lightening grays. His plan is to paint these seven sevens on what ostensibly will be white on white. PB: It occurs to me that I've never thought of the actual, literal, meaning of “microphone” in relation to “microscope.” The mic has made everything loud, the world's not allowed to be quiet anymore. Maybe we should call them “macrophones” since telephone's already taken... CD: Well, a microscope is a lens. What got me interested in sound was that a microphone acts like a lens. There are wide angle lenses, or a lens that gets your eye up close to something far away, or at a tiny level. The same is true of the microphone. You can use a parabolic mic to hear what the coach is saying on a sports field or a mic that picks­up the sound from the entire cathedral. There's this whole gamut... I'm kind of playing with the words here. I'm into the minuteness of the sound, but I'm interested in the minuteness of the mark itself. PB: I guess it's a Deluezean, generative, statement, then? It's not a metaphor, it's an actual thing with which we can work. CD : That's right. PB: While doing some background work on you I found myself at interesting places on the internet. For example, Konstantin Raudive and a brief jog into Electronic Voice Phenomena (EVP); perhaps this was just synchronicity. But, it's a happy coincidence nonetheless because the them of this issue of continent. is “the moraine” and one of the nuances of this term is “what remains.” Is there a metaphysical or epistemological problem that you're sorting­out here? CD: Think about fossils: fossils are the first recording device, you know? It's the first, natural, recording device. It's in this way that I think my works are fossilized time. Artifacts of that process. Van Gogh is a strong source for me in this regard: it's not what he's painting it's how. You're seeing his nervous system at work. The what is so incidental, the chairs, the flowers, etc. It's funny: when I first started doing this, before I started drawing voices, I was doing these things in cemeteries. I was doing automatic drawings. And when I took this experiment to its maximum I was taking hydrophones and burying them in abandoned graves. I was thinking about the mic rig as the south coordinate and I'd use a shortwave radio as the north coordinate. Usually it was just white noise, but on the east and west I'd station a writer and a drawer. So I'd have these things going on simultaneously and I'd be mixing them at the same time. PB: How'd it come out? CD: Well, just like you'd expect. It was a lot of white noise. But I think that Raudive was on to something. Burroughs used to say something similar when he'd talk about being in a foreign country where he didn't know the language and then he'd start to hear things. At the base, what I'm doing is pattern recognition. I do have a writing component to the drawings. I haven't exploited it in a while but... I use a vocoder, which was developed to encrypt spy signals during one of the World Wars. The mechanism takes two channels, one being the spy's signal combined with noise and then the other channel is a sine wave so that the intended recipient can pick out the words. So I did something like this with Beowulf. I tried combining the spoken word with other television and radio sources, but that didn't work because a book on tape is usually read in a very steady clip and the result was too garbled. So the second try, instead of drawing I was writing, trying to articulate the sounds that I could hear in this garbled transmission of Beowulf. You start to think you hear something, so you start to write what you think you're hearing. But what you're hearing is just being triggered by this articulating action. When the sound of the drawing lines up with the sound of the word you get something. But it's not ever what you're really hearing. You start writing and you're trying to keep up with what you think you're hearing and it is truly, in the most true sense of the phrase, automatic writing. You can contrive and go into a “spirit trance” or whatever, but... PB: It's uninteresting to you? CD: Well, it's unbelievable. It's just listening to sounds and following along. The magic is out there, there are no tricks or anything. You do this exercise with twenty people and you will get twenty totally different writings. But, you're creating the sound and you're creating the writing as an interpretation. That's the thing with EVP, it's homophonic translation. PB: Do you trust a straight line? I know you start with these meticulous lines at the beginning of the drawings but they do change over time. CD: I'm trying to show that there are these imperfections in structures and that over the reiterations of these structures these imperfections become amplified. But you can see them in tree formation as well. The rings alter their shape as the trees grow. PB: Is that your transmission then? You're not just receiving these sounds but you're broadcasting this message as well? CD: Things exist because of their opposites. These drawings are really about nothing. It's the first body of work I've had where people project so much of stuff onto the works. So there you go, things existing because of their opposites. It's kind of like with Mike Kelley: the work was about a critique of commodity culture and commodifying emotions. Using toys this was a critique of production. But then suddenly people were saying it was about abuse and the abuse that Mike Kelley had suffered. And it wasn't but he heard that and said, “I'll go with it,” and so he did. I think that's the nature of communication: I send this but you receive that instead and this makes me think about what I sent in a different way. (shrink)

Our primal ability to see one thing in terms of another shapes our landscape perception. Although modes of appreciation are tied to personal interests and situations, there are many lines of conflict and incompatibility between these modes. A religious point of view is unacceptable to those without religious beliefs. Background knowledge is similarly required for taking an arts or science-based view of landscape, although this knowledge can be acquired. How to cultivate responses grounded in imagination, emotion, and instinct is less (...) clear, but advocates are eager to spell out notions of virtuous exercise and effective schooling. Carlson’s science-based theory often gets the most attention because he has refined and defended it over many years, but there is a place in aesthetic nature appreciation for the formal or design elements he dismisses as well as for religious, imaginative, emotional, and ambient responses. To date, the normative aspects of these theories have been presented sketchily at best. Working out these details will chart a way for landscape appreciation to become politically correct. (shrink)

Over the last few decades the arts and humanities have seen an increase in interest in questions surrounding gender. Not only did the 1960s, 1970s, and 1980s see the growth of feminism as an academic discipline as well as a political movement, but in recent years there has been a huge expansion of research into Gender Studies, Queer Theory, and LGBT Studies. In essence, these disciplines all offer a critique of the system known as patriarchy, in which the ‘rule of (...) the father’ legitimates the exercise of political power and social control by men. In turn, this critique raises questions about alternatives to the patriarchal system, and it is in this context that some theorists and historians have been interested in the system known as ‘matriarchy’. In so doing, they are linking back to the work undertaken by such late nineteenth-century thinkers as the American anthropologist Lewis H. Morgan and, in particular, the Swiss legal historian Johann Jakob Bachofen. From 1841 to 1845 Bachofen served as Professor for Roman Law at the University of Basel, and it is with the cultural and intellectual life of this city that his work is most often connected. Now Bachofen’s outlook is well summarized by the title of his 1861 work, Mother Right: An Investigation of the Religious and Juridical Character of Matriarchy in the Ancient World. In it Bachofen proposed that humankind had undergone four phases of cultural evolution, which he described as hetaerism; matriarchy; the Dionysian; and the Apollonian. The contrast between the Dionysian and the Apollonian exercised an influence on another thinker connected with Basel, the philosopher Friedrich Nietzsche ; and it was in the Nietzschean circles of the early twentieth century in German-speaking Europe that Bachofen’s work came to the fore. That this happened was due in no small measure to the figure who stands at the centre of Chiara Gianni Ardic’s new study, whose title translates into English as The Flight of the Gods: Myth, Matrarchy, and Fundamentalism in Ludwig Klages. For it was the circle around the charismatic thinker Ludwig Klages, arguably the most significant figure in a group of thinkers and writers known as the ‘Cosmic Circle’, that Bachofen’s ideas found a fruitful reception. The significance of Klages in the history of philosophy has frequently been overlooked, deliberately ignored, or even actively suppressed; so it is extremely welcome that Dr Ardic has undertaken to research so thoroughly the interest in matriarchy demonstrated by Klages and the members of the circle around him. (shrink)

Literary translation, especially poetic translation, is one of the rare domains where aesthetic, literary, and technical fields meet. This characteristic makes it the sort of work where a number of theoretical and practical problems converge. It is necessary to approach the issue on three essential planes. The first is theoretical: translation is an operation defined by rules; the second, functional: translation is a practical procedure, which is to say an a posteriori task; the third, specific: poetic translation is itself (...) a poetic activity.Let us begin with the last. From the point of view of literary creation, there is actually no specific difference between the original text and that of the translation. For poet and translator alike take part in a creative act, each laboring according to his means and tastes. For each of them linguistic competence and poetic competence are essential. Indeed, the act of translating is based on a “task of purification of words and ideas” which requires the application of mental effort on the one hand to the problems and the constraints of the poetic art as such, and on the other hand, to the descriptive and analytic nature of language, which is also music. Which is to say that one should not see translation as a simple operation of a lexical order. Nor should one forget that each language requires a specific lexical classification. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Formless SelfNewman Robert GlassThe Formless Self. By Joan Stambaugh. Albany: State University of New York Press, 1999. 174 pp.For the past seven years I have been deeply involved in a worldwide experiment in global education. Students in the Comparative Religion and Culture (CRC) Program study the world's great religions for ten-week terms in each of East Asia, South Asia, and the Middle East, totaling one academic year (...) in all. Recent programming has taken place in Taiwan, Thailand, India, Nepal, and Turkey, with stops in Rome and Athens. Students have met with Buddhist and Christian teachers in Kyoto, Sojiji, Eiheiji, Taiwan, Bangkok, Chiang Mai, Bylakuppe, Dharmsala, Jerusalem, Rome, Athens, Ankara, and Istanbul. As part of their academic work, students write responses to each encounter and engage in term-end and year-end reflections on their own work. The program brings to light, in a very powerful way, some of the fundamental questions in cross-cultural study and interreligious dialogue. How do we come to understand a religion or culture other than our own? In analyzing their own work, students find themselves using terms from a Jain teacher's talk in Sravanabelagola to frame their response to the Dalai Lama's talk in New Delhi, and terms from the Dalai Lama's talk to understand and respond to the audience with the Pope in Rome. As the students become more sophisticated in understanding issues in interpretation, new questions are posed: How many people (other than ourselves) do we unknowingly bring to understanding an encounter with an other? When we use the Dalai Lama's talk in interpreting the Pope, does this enlarge our understanding of Catholicism, diminish or distort the Pope's message, or create something new altogether? What do we gain and what do we lose?Joan Stambaugh's The Formless Self is "an attempt to present Eastern ideas, or at least oneWestern interpretation of Eastern ideas, toWestern readers in a meaningful way" (p. x). The most referenced names in the index are Heidegger, Nietzsche, Plato, Keirkegaard, Descartes, and Meister Eckhart. These, then, are the key figures Stambaugh brings with her as she enters into conversation with the three Buddhist thinkers Dogen, Hisamatsu, and Nishitani. The latter two figures are themselves well known for their conversations withWestern thinkers. Stambaugh's book is best located within the larger body of work within and about the Kyoto School, that school of Japanese philosophy identified primarily with Nishida Kitaro, Tanabe Hajime, and Nishitani Keiji, and more recently with Abe Masao. In the United States, this school of philosophy reached its zenith of popularity in the late 1980s, culminating in an American Academy of Religion (AAR) award to Abe Masao's Zen and Western Thought and a series of annual AAR dialogues between Abe and John Cobb. Abe's presence hovers over Stambaugh's book as well, from an acknowledgment in the preface (p. x) to a reference in the index that seems to encompass the whole book. The Formless Self is a good short introduction to key beginning texts [End Page 300] in this larger field: Dogen's Genjokoan, the Hisamatsu-Tillich dialogues, and Nishitani's Religion and Nothingness.Stambaugh has in print translations of a substantial number of Heidegger's texts, including a recent translation of Being and Time. As might be expected, she seems to have a special affinity for Dogen's Uji (Being-Time; see especially pp. 31-40), and makes a creative contribution to the different understandings of these difficult concepts. Stambaugh also makes a brave attempt to work with Dogen's discussions of fire turning to ashes, fish in water, and mountains walking/ranging (pp. 39-48) in a productive way. Stambaugh's middle section on Hisamatsu may be the best place to begin, centering as it does on the dialogues with the Protestant theologian Paul Tillich. In 1957, the Zen Buddhist teacher and scholar Shin'inchi Hisamatsu was a visiting professor at Harvard lecturing on his recently published book Zen and the Fine Arts. Though Tillich's aesthetic approach to "ultimacy" made for a fine series of dialogues with Hisamatsu, the numerous difficulties in the dialogue serve as a warning... (shrink)

Excerpt from Empfindung und Vorstellung: Ein Beitrag zur Klarung Psychologischer Grundbegriffe Vor kurzem erschien eine Abhandlung von Carl Stumpf uber Empfindung und Vorstellung, welche auf Grund feinfuhliger Selbstbeobachtungen und unter Berucksichtigung der grossen einschlagigen Literatur in die vielen Winkel und Dunkelheiten dieses Problems der deskriptiven Psychologie hineinleuchtet. Unter sorgfaltiger Analyse der von den verschiedenen Beobachtern gegebenen Beschreibungen und scharfsinniger Untersuchung der logischen Durchfuhrbarkeit jeder einzelnen der bisher ausgesprochenen Auffassungen versucht diese Abhandlung die Frage zu klaren, worin der wesentliche Unterschied beider (...) Erlebnisarten besteht. Als Ergebnis gelangt Stumpf in der Hauptsache zu einer Rechtfertigung der altuberlieferten Auffassung, nach der ein "spezifischer" Unterschied zwischen Empfindung und Vorstellung nicht vorliegt, sich die Vorstellungen vielmehr vor allem durch ihre geringere Intensitat von den Empfindungen unter-scheiden. Ausser an Intensitat fehlt es den Vorstellungen im Gegensatz zu den Empfindungen an Fulle und Bestandigkeit, ferner sind sie dadurch charakterisiert, dass sie willkurlich leichter modifizierbar sind, dass ihnen gegenuber der Glaube an die Realitat fur das erlebende Bewusstsein einer Rechtfertigung bedarf, und dass sie durchschnittlich schwachere Gefuhlswirkungen mit sich fuhren. Vorstellungen stellen sich so den Empfindungen gegenuber als "Erscheinungen zweiter Ordnung" dar: in dem Inhalt der Erlebnisse, nicht in den Akten des Erlebens, ist ihre Verschiedenheit zu suchen. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.". (shrink)

We are far removed, in this section of the Encyclopedia on memory, from the mnemotechnic icons described by Francis Yates in The Art of Memory and much closer to Augustine's advice about how to remember and to psalmodize Scripture. Memory, for Hegel, is the learning by rote of names, or of words considered as names, and it can therefore not be separated from the notation, the inscription, or the writing down of these names. In order to remember, one is forced (...) to write down what one is likely to forget. The idea in other words, makes its sensory appearance, in Hegel, as the material inscription of names. Thought is entirely dependent on a mental faculty that is mechanical through and through, as remote as can be from the sounds and the images of the imagination or from the dark mine of recollection, which lies beyond the reach of words and of thought[…]No wonder, then, that Hegel's Aesthetics turns out to be a double and possibly duplicitous text. Dedicated to the preservation and the monumentalization of classical art, it also contains all the elements which make such a preservation impossible from the start. Theoretical reasons prevent the convergence of the apparently historical and the properly theoretical components of the work. This results in the enigmatic statements that have troubled Hegel's readers, such as the assertion that art is for us a thing of the past. This has usually been interpreted and criticized or, in some rare instances, praised as a historical diagnosis disproven or borne out by actual history. We can now assert that the two statements "art is for us a thing of the past" and "the beautiful is the sensory manifestation of the idea" are in fact one and the same. To the extent that the paradigm for art is thought rather than perception, the sign rather than the symbol, writing rather than painting or music, it will also be memorization rather than recollection. As such, it belongs indeed to a past which, in Proust's words, could never be recaptured, retrouve. Art is "of the past" in a radical sense, in that, like memorization, it leaves the interiorization of experience forever behind. It is of the past to the extent that it materially inscribes, and thus forever forgets, its ideal content. The reconciliation of the two main theses of the Aesthetics occurs at the expense of the aesthetic as a stable philosophical category. What the Aesthetics calls the beautiful terms turns out to be, also, something very remote from what we associate with the suggestiveness of symbolic form.Paul de Man, Sterling Professor of the Humanities at Yale University, is the author of Blindness and Insight and Allegories of Reading and is currently completing a book tentatively titled The Resistance to Theory. His previous contributions to Critical Inquiry are "Political Allegory in Rousseau", "The Epistemology of Metaphor", and "A Letter". (shrink)

Many texts on logic are written with a mathematical emphasis, and focus primarily on the development of a formal apparatus and associated techniques. In other, more philosophical texts, the topic is often presented as an indulgent collection of musings on issues for which technical solutions have long since been devised. What has been missing until now is an attempt to unite the motives underlying both approaches. Paul Hoyningen-Huene’s Formal Logic seeks to find a balance between the necessity of formal considerations (...) and the importance of full reflection and explanation about the seemingly arbitrary steps that occasionally confound even the most serious student of logic. Alex Levine’s artful translation conveys both the content and style of the German edition. Filled with examples, exercises, and a straightforward look at some of the most common problems in teaching the subject, this work is eminently suitable for the classroom. (shrink)

The significance of the study is contingent upon two criteria. All objects in the actual world that can capture a researcher’s attention are inherently complicated. Furthermore, every commodity that an individual manufactures and every work of art that an individual develops are intricate in nature. The entirety of the processes that an individual perceives and instigates are intricate. Although many professions have established techniques for constructing intricate entities, there currently exists no universally applicable concepts or methodologies for comprehensively studying, (...) designing, producing, or generating complicated items.The objective of this work is two-fold: firstly, to develop a comprehensive methodology for analysing complex synthetic processes, and secondly, to propose universal models or synthesis mechanisms that can be used to systematically derive specific process synthesis algorithms for various practical applications. The ability to utilize generalized models and synthesis techniques is highly advantageous when designing realistic computer programming.The authors introduced a comprehensive process model and enumerated its characteristics. Using this concept, techniques for creating and suggesting processes have been formulated and put forward. The concept of a decomposition diagram enables the systematic design of intricate multi-level hierarchical processes. The multitude of processes and the intricacy of their combination give rise to the notion of formulating a synthesis theory. The acquired results can be regarded as the initial stage in the construction of such a theory. The authors’ proposed methods of process synthesis enable the deductive derivation of useful algorithms for application software. Although the concept of the breakdown scheme and synthesis procedures is relatively straightforward, this advancement has been suggested for the first time.In order to further this project, it is necessary to augment the generalized process model with supplementary traits and properties, as well as to further refine the synthesis procedures. A proposal is being made to initiate the development of a theory for synthesizing a comprehensive plan using the decomposition scheme and methods of synthesis and decomposition. (shrink)

Devoted to the art of creativity, to the analysis of the creative act, Valéry was recognized as the greatest intellectual figure of the twentieth century. This is a book of conversations, an intimate reading of texts attempting to absorb their insights, their elegance and their tones. Reading Valéry is an aesthetic experience, a feeling linking the reader to the finesse of thinking. This is the second volume of the author's Paul Valéry studies. The first volume was published (...) by Peter Lang in 1987. (shrink)

“Indulging herself in air and exercise” as she wanders down a lane near the great house of Rosings, Elizabeth Bennet is unaware that she is just about to experience one of her most difficult challenges, and that Mr. Darcy is on his way with his letter.1 Just like present-day personality theorists, Jane Austen manifestly directed a great deal of creative and intellectual energy into devising a great variety of tests. But what are such situations designed to test for? What aspects (...) of character or personality, or traits and abilities, are meant to be scrutinized? A likely response from critics interested in Austen’s ethics is that such challenges should reveal which, if any, of the virtues are in good working order. .. (shrink)

Paul Valéry: The Continuous Search for Reality is William Kluback's fourth volume of Valéry studies. The three previous volumes are: Paul Valéry: Philosophical Reflections (Lang 1987); Paul Valéry: The Search for Intelligence (Lang 1993); and Paul Valéry: Illusions of Civilizations (Lang 1996). These volumes reveal a life-long dedication to one of the greatest figures of twentieth-century Western European civilization. Valéry's work embraces poetry and mathematics, theatre and physics, politics and sociology.

I argue that our experience of expressive properties (such as the joyfulness or sadness of a piece of music) essentially involves the sensuous imagination (through simulation) of an emotion-guided process which would result in the production of the properties which constitute the realisation of the expressive properties experienced. I compare this proposal with arousal theories, Wollheim’s Freudian account, and other more closely related theories appealing to imagination such as Kendall Walton’s. I explain why the proposal is most naturally developed in (...) terms of simulation and briefly comment upon the impact of work on cross-cultural perception of facial expression, modularity and autism for the proposal. (shrink)

Aristotelian ideas are presented in a favorable light in Duhem's historical works surveying the history of the notion of chemical combination (1902) and the development of mechanics (1903). The importance Duhem was later to ascribe to Aristotelian ideas as reflected in the weight he attached to medieval science is well known. But the Aristotelian influence on his own mature philosophical perspective, and more particularly on his concern for logical coherence and the development of his ontological views, is not generally acknowledged. (...) There are, however, clear pointers in this direction in these two earlier books on the history of science, which are unashamedly written in such a way as to project the author's own view of what is important in the relevant areas. Thermodynamics was the pinnacle of Duhemian science, and its interpretation requires the reinstatement, in Duhem's view, of Aristotelian conceptions which have been unfashionable since the rise of certain ideas with the scientific revolution of the seventeenth century. The present paper is not primarily an exposition of these Aristotelian views of Duhem's, but an attempt to pursue the interpretation of a macroscopic, thermodynamical perspective on chemical substances from an elementary viewpoint in the spirit of Duhem (1902), sometimes being more definite than Duhem seems to be, and occasionally taking issue with him on certain points. Some of his leading ideas will determine the general approach, but views and problems will also be taken from modern textbooks in an attempt to lay down the general lines along which an explicit ontology--in Quine's sense--of macroscopic theory might be developed. (shrink)

In the present article, I will address the question of whether Paul Valéry’s thought can somehow contribute to the recent debate concerning the philosophy of literature. Firstly, I will focus on the idea according to which philosophy can be meant not only as a literary genre but also as an art of thinking. This allows Valéry to state that the poet, too, has a philosophy insofar as he or she is able to think abstractly by practicing his or (...) her own mind. Secondly, following some remarks of Derrida and Rorty, I will discuss Valéry’s idea according to which the philosopher is a philosopher to the extent that he or she forgets that philosophy has to be written. This will lead me to distinguish the peculiar aesthetics of the philosopher as writer from that of the poet. (shrink)

This book showcases the way a range of scholars have engaged with Tim Ingold's opus since the publication of his ground-breaking The Perception of the Environment in 2000. Ingold's work has become key for a variety of disciplines ranging from anthropology, archaeology, and human geography to art, architecture, design and studies of material and visual culture. As set out in The Perception of the Environment and subsequent publications, Ingold proposed an understanding of the world that placed sentient, remembering and (...) imagining organisms, or inhabitants, some of them human, at the heart of an extensive field of socio-ecological relations. In this work, Ingold develops broad-ranging analyses of personhood, knowledge and skills, among many other topics. This volume sets out to synthesize critical scholarship drawing on Ingold's work, to lay out its principles, methods and results, and to demonstrate its contribution to reshaping both contemporary anthropology and wider intellectual terrains. By bringing together chapters from a variety of scholars, all critically furthering Ingold's proposals, the book advances a paradigm change occurring in various academic disciplines from 'fixist' to 'emergence' onto/epistemologies. (shrink)