The problems of perception feature centrally in work within what we now think of as different traditions of philosophy in the early part of the twentieth century, most notably in the sense-datum theories of early analytic philosophy together with the vigorous responses to them over the next forty years, but equally in the discussions of pre-reflective consciousness of the world characteristic of German and French phenomenologists. In the English-speaking world one might mark the beginning of the period with Russell’s The (...) Problems of Philosophy (Russell 1912) and its nemesis in Austin’s Sense and Sensibilia (Austin 1962 – published posthumously, but given originally as lectures at the end of our period in 1947). On the continent, a corresponding route takes us from Husserl’s Logical Investigations (Husserl 1900/1) to Merleau-Ponty’s Phenomenology of Perception.. (shrink)

Siegel has argued that visual experience has content. Ivanov has convincingly shown that there is a confusion in Siegel’s argument between perception presenting property-instances and perception presenting properties as being instantiated. According to Ivanov, whether a revised version of Siegel’s argument succeeds depends on the metaphysics of sensible qualities. I argue that Ivanov’s argument rests on a mistake, and I conclude by suggesting how we might go about arguing for or against perceptual content.

A sensible quality is a perceptible property, a property that physical objects (or events) perceptually appear to have. Thus smells, tastes, colors and shapes are sensible qualities. An egg, for example, may smell rotten, taste sour, and look cream and round.1,2 The sensible qualities are not a miscellanous jumble—they form complex structures. Crimson, magenta, and chartreuse are not merely three different shades of color: the first two are more similar than either is to the third. Familiar color (...) spaces or color solids capture, to a greater or lesser extent, these relations between the colors. The same goes for sensible qualities perceived in other modalities: middle C, high C, and D are not merely three different notes, and the taste of lemons, oranges, and sugar cubes are not merely three different tastes. How can this structure of appearance be explained? One idea is that sensible qualities are of two sorts: basic and derived. The basic sensible qualities are the building blocks from which the derived sensible qualities can be.. (shrink)

Plotinus describes sensible objects as conglomerations of qualities and matter. However, none of these ingredients seems capable of accounting for the structure underlying the formation of each sensible object so as to constitute an identifiable and discrete entity. This is the effect of the logos, the organizing formative principle inherent in each object, which determines how its qualitative constituents are brought together to form a coherent unity. How the logos operates differs in various kinds of entities, such as (...) living organisms, artefacts and inanimate objects; however, some basic characteristics render its contribution to reality both coherent and rationally accessible. It further indicates how the various constituents of the sensible universe combine so as to form a unified cosmos. (shrink)

The article reconstructs Leibniz’s theory of the relation between perceptions and reality. Leibniz’s position is different both from that of Descartes, according to whom the perceptions of the senses, unlike those of the mind, are never perceptions of reality, and from that of Locke, according to whom only the perceptions of primary qualities have a resemblance to reality, whereas secondary qualities do not correspond to anything real. The author shows that, according to Leibniz, the expressive link between perception and reality (...) can be pursued in both directions: the analysis of ordinary perception allows us, on the one hand, to arrive at distinct perceptions of reality; on the other hand, Leibniz shows against Locke that even secondary qualities express a certain reality, namely that of the constitution of our body and of our sensory apparatus. (shrink)

Sensibility has traditionally been defined as a relation with the world’s exteriority. However, a certain post-husserlian phenomenology tends to reverse this definition and to redefine sensibility as an internal relation that takes place from within the world. This article focuses on this phenomenological concept of “sensibility” in Levinas and Merleau-Ponty and intends to show that this concept rests upon the presupposition of an alternative according to which we would have whether a sensible experience of identity, or an acosmic experience (...) of otherness—whether a wordly experience of the same or a worldless experience of otherness. Yet, by reducing sensibility to the experience of the world’s interiority and rejecting otherness beyond any worldly experience, this conception fails to account for a significant dimension of sensibility—namely, sensibility as the experience of the world’s own otherness, foreignness or exteriority. It is our hope that, from the critical exposition of this alternative, will eventually appear in conclusion the significant part of this forgotten dimension of sensibility. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.1 (2001) 49-75 [Access article in PDF] Sensible Ends:Latent Teleology in Descartes' Account of Sensation Alison Simmons One of Descartes' hallmark contributions to natural philosophy is his denunciation of teleology. It is puzzling, then, to find him arguing in Meditation VI that human beings have sensations in order to preserve the union of mind and body (AT VII 83). 1 This appears (...) to be just the sort of teleological explanation that he proscribes. Descartes' Anglo-American commentators have had little to say about the teleological overtones of his claims about sensation. His French commentators acknowledge these overtones, but seem largely untroubled by them. 2 It is worth pausing to be troubled, for a closer analysis reveals that Descartes' famous proscription against teleology is not as simple as it is generally thought to be. In the first half of this essay, I argue that Descartes advocates a genuinely teleological conception of the senses. My aim is not to charge Descartes with employing illicit teleology, but to argue that there is a place for teleology even in his revisionist natural philosophy. Accordingly, in the second half of this essay, I argue that Descartes' assault on teleological explanation is [End Page 49] not a sweeping assault on finality, but a more directed attack on particular uses of ends in natural philosophy. Descartes' assault leaves standing a form of teleological explanation that proves crucial to his own treatment of sensation. 1. Descartes' Rejection of Teleological Explanation at a Glance A teleological explanation is one that purports to account for something in terms of its ends or its function relative to the ends of the system of which it is a part. Aristotle's physics provides many classic examples: plants produce leaves for the protection of their fruit; spiders spin webs in order to catch food; animals grow sharp front teeth and dull back teeth in order to facilitate biting and chewing respectively; eyes are for seeing. According to Aristotle, all natural phenomena are directed toward ends and no explanation is complete without a teleological component that specifies the end for the sake of which the phenomenon occurs. Indeed ends take explanatory priorityover other causes: "Both causes [the end and the matter] must be stated by the student of nature, but especially the end; for that is the cause of the matter, not vice versa." 3 And: [T]he causes concerned in natural generation are, as we see, more than one. There is the cause for the sake of which [the end], and the cause whence the beginning of motion comes [the efficient cause]. Now we must decide which of these two causes comes first, which second. Plainly, however, that cause is the first which we call that for the sake of which. For this is the account of the thing, and the account forms the starting-point.4In other words, Aristotle argues that natural substances have the matter they do, have the parts or organs they do, are organized as they are and act as they do for the sake of their ends. To explain why things are as they are, the natural philosopher must therefore explain the ways in which they contribute to ends.Among the late scholastic Aristotelians familiar to Descartes there is considerable debate concerning the causal efficacy of ends. Genuine final causation, in which something is said to be acted on by an end, is limited to the intentional behavior of rational agents who consciously recognize their ends: only something that recognizes an end can be "moved" by one. Even here the sort of causation involved is peculiar: a rational agent is "moved" by an end insofar as the end induces a "metaphorical motion" toward (or desire for) the end in the agent's will. 5 While these scholastic Aristotelians resist attributing final causation [End Page 50] to non-rational creatures, they nevertheless persist in attributing ends to them. When Toletus, Rubio, the Coimbrans and Suarez take up the question whether nature acts propter finem, each answers it affirmatively: natural... (shrink)

In this paper, I present a version of a sense-data approach to perception, which differs to a certain extent from well-known versions like the one put forward by Jackson. I compare the sense-data view to the currently most popular alternative theories of perception, the so-called Theory of Appearing (a very specific form of disjunctivist approaches) on the one hand and reductive representationalist approaches on the other. I defend the sense-data approach on the basis that it improves substantially on those alternative (...) theories. (shrink)

The argument at Phaedo 74 B 4‐C 6 that the equal itself is ‘something different from’ sets of physical equals depends on Leibniz's Law: there is a property that perceptible equals have that the equal itself does not have. What I call the ‘epistemic interpretation’ holds that the property is an epistemic one: having appeared unequal. The ‘ontological interpretation’ holds that the property is not epistemic, but simply the property of being unequal. The most natural reading of the text favours (...) the epistemic interpretation; scholarly support for the ontological interpretation is based on the widely held view that on the epistemic interpretation the argument is manifestly invalid. But this view implicitly relies on an impoverished sense of ‘appearing’ as equivalent to ‘being thought’. Drawing on an analogy with colour perception, I elaborate an experiential sense of ‘appearing’ which makes Plato's argument on the epistemic interpretation philosophically defensible. (shrink)

Publishing has become, in several respects, more challenging in recent years. Academics are faced with evolving ethics that appear to be more stringent in a bid to reduce scientific fraud, the emergence of science watchdogs that are now scrutinizing the published literature with critical eyes to hold academics, editors and publishers more accountable, and a barrage of checks and balances that are required between when a paper is submitted and eventually accepted, to ensure quality control. Scientists are often under increasing (...) pressure to produce papers in an increasingly stringent publishing environment. In such a climate, timing is everything, as is the efficiency of the process. Academics appreciate that rejections are part of the fabric of attempting to get a paper published, but they expect the reason to be clear, based on careful evaluation of their work, and not on superficial or unsubstantiated excuses. A desk rejection occurs when a paper gets rejected even before it has entered the peer review process. This paper examines the features of some desk rejections and offers some guidelines that would make desk rejections valid, fair and ethical. Academics who publish are under constant pressure to do so quickly, but effectively. They are dependent on the editors’ good judgment and the publisher’s procedures. Unfair, unsubstantiated, or tardy desk rejections disadvantage academics, and editors and publishers must be held accountable for wasting their time, resources, and patience. (shrink)

Poetry is fundamentally an engaged level of life in the world of readers and poets alike. It surrounds those concerned, often with an understanding that extends beyond its possibility as the comprehension of meaningful content embodied in a written or spoken artifact. For readers of poetry, memorized lines and rhythms emerge seemingly out of nowhere to be recited, and poets often tell us that lines, rhythms and linguistic content often appear without prompting as they are carried away in writing poetry. (...) Yet literary studies and phenomenology have tended to focus either on the poetic artifact and its cognition, or poetry as a special sphere and mode of revelation. This paper seeks to question the experience of the poetic as a special level of life and an embodied activity, and sketches some points of entry in which we can enter into a discussion on the poetic as such. (shrink)

This paper is a reply to Simon Blackburn's 'Is Objective Moral Justification Possible on a Quasi-realist Foundation?' Inquiry 42, pp. 213-28. Blackburn attempts to show how his version of non-cognitivism - quasi-realist projectivism - can evade the threat of ethical relativism, the thought that all ways of living are as ethically good as each other and every ethical judgment is as ethically true as any other. He further attempts to show that his position is superior in this respect to, amongst (...) other accounts, sensibility theory. According to Blackburn, sensibility theory succumbs easily to the relativistic challenge because it depends on some 'substantive' notion of truth. It is agreed with Blackburn that the threat of relativism is less of a threat to him than at first appears, although I think that it retains some menace, but not agreed that sensibility theorists cannot also counter the threat of relativism. The point is that the threat of ethical relativism depends less on truth than Blackburn supposes. Thus sensibility theorists can counter ethical relativism in much the same way that quasi-realist projectivists can. (shrink)

Jan Westerhoff defends an account of thoroughgoing non-foundationalism that he calls “irrealism,” which is implicitly modeled on a Madhyamaka Buddhist view. In this paper, I begin by raising worries about the irrealist’s account of human cognition as taking place in a brain-based representational interface. Next, I pose first-order and higher-order challenges to how the irrealist—who defends a kind of global error theory—can sensibly accommodate an unlocalized appearance-reality distinction, both metaphysically and epistemologically. Finally, although Westerhoff insists that irrealism itself is (...) not an ontological theory and that the irrealist’s rejection of absolutely general quantification precludes his commitment to any ultimately true theories, I propose strategies inspired by the Svātantrika commentarial tradition of Madhyamaka for how the irrealist might develop a lightweight account of unrestricted quantification that could be used to advance a lightweight ultimately true theory. This, I suggest, may allow the irrealist to (i) preserve a commitment to an unlocalized appearance-reality distinction, (ii) underwrite a distinction between ordinary veridical states and metaphysically accurate epistemic states, and (iii) provide an explanation for the massive error that he claims characterizes ordinary cognition. (shrink)

In this paper, I intend to show that it’s a serious mistake to construe the role of sensible representation in Kant’s work as a nonconceptual content (in the contemporary and technical sense of “content”), which, like a mental indexical would refer to what appears in space and time in the so-called de re form. The interpretation I advance and further support is this: without possessing a representational content, sensible representation must be understood as the basic epistemic relation between (...) the subject and the physical entities in space and time she is acquainted with. Immediate reference of sensible intuition to their respective objects is to be understood as a form of knowledge by acquaintance. I call my own interpretation relationalism. (shrink)

One crucial premise in the argument from illusion is the Phenomenal Principle. It states that if there sensibly appears to be something that possesses a sensible quality, then there is something of which the subject is aware that has that sensible quality. The principle thus enables the inference from a mere appearance to an existence (usually a mental one). In the argument from appearance, a similar move is taken by some philosophers—they infer a content from a (...) mere appearance. There are two kinds of defences for the Phenomenal Principle in the literature, namely, the epistemological one (e.g. H.H. Price) and the semantic one (e.g. Frank Jackson). I argue that neither consolidates the Phenomenal Principle. I particularly demonstrate that the appearance verb in premise 1 of the argument from illusion is not used in the phenomenal sense as it is used in the Phenomenal Principle, which renders the argument essentially invalid. To avoid invalidity, the proponents either give up the phenomenal use, which makes the argument unable to serve its original purpose, i.e. inferring an unusual existence, or they insist on the phenomenal use in all premises of the argument, which will trivialise the argument. I also demonstrate that a similar objection applies to the argument from appearance. (shrink)

Kant holds that the human cognitive power is divided into two "stems", understanding and sensibility. This doctrine has seemed objectionably dualistic to many critics, who see these stems as distinct parts, each able on its own to produce representations, which must somehow interact, determining or constraining one another, in order to secure the fit, requisite for cognition, between concept and intuition. This reading cannot be squared, however, with what Kant actually says about theoretical cognition and the way understanding and sensibility (...) cooperate in it. Such cognition, as Kant conceives of it, satisfies two conditions: it has unity, and it depends on the existence of its object. The first of these conditions entails that the cognitive power must lie in spontaneity, or understanding, while the second implies that this spontaneity depends on receptivity, or sensibility, to be the cognitive power that it is. Consideration of how these capacities must be conceived as cooperating in cognition reveals them to be related, not as interacting parts, but as form and matter. Such a conception of their relation may at first glance seem to be merely another version of dualistic thinking; in fact, however, a proper appreciation of it eliminates the appearance of dualism and helps allay an associated concern that Kant's distinction would taint our cognition with an unacceptable subjectivism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Forms of Knowledge and Sensibility: Ernst Cassirer and the Human Sciences and: Dilthey und Cassirer: Die Deutung der Neuzeit als Muster von Geistesund KulturgeschichteSebastian LuftGunnar Foss and Eivind Kasa, editors. Forms of Knowledge and Sensibility: Ernst Cassirer and the Human Sciences. Kristiansand: HøyskoleForlaget, 2002. Pp. 223. Paper, $25.00.Thomas Leinkauf, editor. Dilthey und Cassirer: Die Deutung der Neuzeit als Muster von Geistesund Kulturgeschichte. Hamburg: Meiner, 2003. Pp. 170. Paper, (...) € 34,80.These two new anthologies on Cassirer attest to the new attention that is being paid to what has often been referred to as "the last neo-Kantian." While interest in Cassirer's oeuvre as a whole, specifically his draft of a philosophy of symbolic forms as a philosophy of culture, has awoken again in the last decade on the European continent—mainly in Germany, but also in France and Italy—it is a pleasant surprise to see him also being well received in the Nordic European countries, as the volume edited by Foss and Kasa demonstrates. Both volumes—successfully, it should be noted—make the case that Cassirer can and in fact ought to play an important role for what goes on in contemporary philosophy and its projects, be they historical, hermeneutical, sociological, linguistic or other. These two books do a good job of demonstrating that Cassirer was unrightfully forgotten and deserves to be reconsidered, especially now that his complete works have and continue to become accessible in critical edition. This novel scholarship is not only about a reassessment of Cassirer's original achievements, as attempted in Foss/Kasa, but also about placing him in the context of twentieth-century philosophy. Leinkauf's volume, in particular, attempts to take stock of the history of philosophy and its meaning for us today—projects that were of paramount interest to Cassirer. It is only logical, hence, to compare his method to Dilthey's, whose manner of doing historiography is framed as a critique of historical reason.Leinkauf's anthology appears in the already well-established Cassirer-Forschungen with Meiner Publishers; as is known, Meiner also edits the critical Cassirer edition and the Collected [End Page 504] Works. Foss's and Kasa's volume, however, is an entirely novel venture into a philosopher who has been only little acknowledged in the Scandinavian countries—perhaps with the exception of Sweden to which the Cassirers emigrated and (after a brief stay in England) became naturalized after the Nazis' seizure of power. This seeming unfamiliarity with Cassirer also explains why the articles in the Norwegian volume are more general and intended to orient Cassirer in the intellectual landscape of these Northern countries that have traditionally been more inclined towards Anglo-American and Eastern-European philosophy. This, however, by no means diminishes the importance of this volume. Indeed, in terms of systematic philosophical approaches presented here, the essays in this volume are, with few exceptions, somewhat more lively and fresher than some of the rather staid historical studies of the German anthology. To be fair, the Leinkauf volume has a decidedly more specific agenda, namely, to locate Cassirer's attempts to interpret modernity, especially his studies of the Renaissance period, in a larger project of a historiography of modernity as a whole; a project that has been so much at the forefront in many philosophical endeavors in the late-twentieth and beginning twenty-first century. Cassirer is contrasted, as the title indicates, with another influential attempt at the same task, namely by Wilhelm Dilthey. This is especially interesting since Dilthey, being a generation older, took no notice of Cassirer's work, and Cassirer, in turn, gave only little attention to Dilthey's work, since his writings on the subject were published later. Thus, the anthology closes a gap both in Cassirer and Dilthey scholarship.What both books have outwardly in common, however, is the fact that they both are collections of papers given at conferences, in Potsdam and Trondheim, respectively. The contributors of the German volume are St. Otto, R. A. Makkreel, M. Mulsow, G. Cacciatore, E. Rudolph, H. Holzhey, U. Renz, G. Scholtz, and G. Hartung. It is no surprise to find some of these well-established authors in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Transcendence and SensibilityAffection, Sensation, and Nonintentional ConsciousnessIrina Poleshchuk (bio)Over the years, the question of sensibility has largely been discussed in a variety of discourses developed in the humanities and has gained attention in psychology and the cognitive sciences. Sensibility has been seen as a constituent part of subjectivity, endowing subjectivity with meanings developed in different layers of subjective and inter-subjective life, but also as setting new horizons of ethical (...) becoming. In this context, Emmanuel Levinas represents a unique philosophical approach: sensibility reveals the core of the ethical encounter with the other person, including traumatic experience and ethical gift of this intersubjective encounter. The ethical event starts from sensibility and from the radicality on which the face-to-face relation is built, but it also results from the sensible life of subjectivity. I address here a famous line in Levinas’s Otherwise than Being, or Beyond Essence: “Only a subject that eats can be for-the-other” (OB 74). In its hunger, and in its constant search for the means of feeding itself, subjectivity is for the first time disclosed as a vulnerable and affected self. This vulnerability [End Page 1] is different in its nature from the vulnerability provoked by the appeal of the other. The satisfaction of needs, the ability to enjoy food, to enjoy laboring to acquire it, but also the memory of the pain caused by hunger all indicate fundamental levels of vulnerability whereby the self is exposed to the affection of the otherness. In the following sections of Otherwise than Being, Levinas moves further toward disclosing a sensible subjectivity endowed with transcendence. Sensibility becomes structured as the other-in-the-same, where the trace of the other is exactly transcendence impregnating subjectivity. Here, being affected by the other, the vulnerable and the sensible self takes its crucial forms: it is pure passivity, it is an ultimate exposure, and it is nonintentional. These modalities of sensibility are to indicate ethical mapping of subjectivity where responsibility for the other eventually becomes irreversible.To approach the novelty of sensibility as the central component of the face-to-face relation, I elucidate the function and meaning of mechanisms enabling subjectivity to be structured as the other-in-the-same. The face-to-face relation is, first of all, an experience of the affective trace left by the appeal of the other. Thus, my goal is to explicate how this affection, manifested as the address of the other, is embedded in Levinas’s reading of sensuous intuition and how the affection enlightens an ethical sensibility at the level of nonintentional consciousness and passivity. Beginning with Husserl’s view of hyletic data, I discuss the work of affection and sensation in intentional consciousness and how these feelings participate in constructing sensibility. I analyze the importance of Levinas’s innovative idea of nonintentional consciousness, leading up to the concept of passivity, which acts as the host of transcendence or, in other words, of the other-in-the-same. Finally, I turn to the phenomenon of two sensibilities and provide an interpretation of their structures and their role in building face-to-face relations.Sensation and AffectionThe first step toward unraveling sensibility is to address Urhyle. Urhyle plays an essential role in the dimension of affection, sensation, [End Page 2] and sensibility. In his earlier works, Levinas addresses hyle and, to some extent, follows Husserl’s reflections on Urhyle and affection. A discussion of Urhyle will help to elucidate Levinasian logic.For Husserl, Urhyle is “a foreign core in me” (Ichfremdekern).1 Being something foreign within consciousness, Urhyle indicates a core within consciousness, which leads to a constitutive bifurcation of the self and of the nonself. The appearance of Urhyle is indirect: it is not constitutive, it does not constitute itself, but rather Urhyle structures the constitution of the self. How can Urhyle be shown? Affected consciousness or sensible data is the first strange or alien content within the self, affecting and exciting the self as nonconsciousness (Unbewüßtsein) on the level of original hyletic (Urhyle) preconsciousness and allowing primary sensibility to grow, which apparently becomes a content of the self.2 Consciousness is, first of all... (shrink)

The Molyneux question asks: would a blind person, who knows spheres and cubes only from touch, be able to recognize these shapes visually immediately upon becoming sighted, without touching them? Molyneux himself answered no. Locke accepted Molyneux’s negative answer. But Locke’s answer appears inconsistent with the doctrine of common sensibles, according to which some ideas are given in more than one sense modality. Motivated by alleviating this tension, philosophers have put forth several interpretations of Locke’s views on shape perception. Here (...) I motivate a novel interpretation of Locke that can better resolve the tension. (shrink)

The work defines three aspects of Souriau’s animal aesthetics by stressing their relevance in the context of early and contemporary ethology: in (1), the concept «biological nature» which is interpreted by Souriau as a realm of appearances and as intrinsically aesthetic; in (2), the concept of animal sensibility, which makes it possible to reframe animals’ artistic behaviours and the sense by which such phenomena establish a meaningful relationship with the environment; in (3), the concept of form, in the description of (...) natural appearances, is presented as it enters into the process of institution that, accordingly to Souriau’s interpretation of biological nature, encompasses non-human animals and humans. All three definitions will allow us a), to present Souriau’s critique of anthropomorphism and his proposal of an «healthy» zoomorphism; b) to reformulate animals’ sensibility in a non-reductionistic fashion; and finally, c) to address the issue with the supposedly sole communicative function of animal artistic behaviors. (shrink)

In saying that sensible things exist "by convention" he does not, of course, mean that the sensible world is something we will or make up. He no doubt was aware of the fact that "sweet, bitter, hot, cold, and color" are given to us, that we do not establish them or enact them the way we establish an institution or enact a law. It is in the logic of his thesis that sensible things are appearances of atoms (...) in configuration. They exist by convention in this sense: we refer to them as if they were individuals, things; as if their character and existence were self-contained and not entirely conditioned and dependent on something else. Strictly speaking, instead of referring to "honey" we should refer to "the constellation of atoms which we experience as something sweet, fluid, etc." The mental attitude which treats animals, plants, houses, tables as ultimate, the attitude which stops with sensation is "obscure knowledge"; the attitude which sees through and beyond these is "genuine knowledge." The thesis is that we never see the world as it is; the nature of things, the reality of the world is something to be apprehended by rational inference, to be seen by a sort of mental vision. For a man who wants to know, the logically correct attitude toward the familiar sensible world is one of going beyond, penetrating beneath, transcending it. (shrink)

Cosmopolitanism is a form of egalitarianism about global justice. Egalitarians hold that economic inequalities are justifiable only under limited conditions. Cosmopolitans, like Brock, embrace basic principles of distributive justice that apply to all human beings. Their opponents, sometimes called liberal nationalists, are also egalitarians but limit the scope of egalitarian justice to cooperating members of a society. Outsiders are owed help to lead minimally decent lives but these are humanitarians obligations, not obligations of distributive justice. Brock’s defense of cosmopolitanism is (...) thoughtful and sensitive but appears to be too weak. Her basic principle of distributive justice appears to allow more inequality than cosmopolitans can accept. Liberal nationalists defend preference for fellow citizens and Brock seems not to have done a fully adequate job answering their arguments, especially their appeal to reciprocity among citizens. It’s therefore difficult to know where Brock stands on some of the crucial issues about global justice. (shrink)

In his latest book about art Arthur Danto claims that aesthetic appearance-visuality in the visual arts-has become more and more irrelevant for most of contemporary art. This essay first immanently critiques the distinction between the aesthetic and artistic properties underlying this claim. Danto's claim about the irrelevance of the aesthetic is not compatible with the spirit of his own writings: what Danto denies in After the End of Art has been a cornerstone of his theoretical work since The Transfiguration (...) of the Commonplace, namely, that the aesthetic is indeed both an elementary and a defining property of art. Examples ranging from Duchamp's Fountain to a recent installation by the Art & Language group are discussed to support this critique. Second, the essay defends Danto's contention that developing a "definition of art" is a sensible enterprise. But it turns out that Danto's "essentialism" concerning art has no essentialist implications in any specific sense. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Kant and the Capacity to Judge; Sensibility and Discursivity in the Transcendental Analytic of the Critique of Pure Reason by Beatrice LonguenesseMichelle GreerBeatrice Longuenesse. Kant and the Capacity to Judge; Sensibility and Discursivity in the Transcendental Analytic of the Critique of Pure Reason. Translation by Charles T. Wolfe. Princeton, NJ: Princeton University Press, 1998. Pp. xv + 420. Cloth, $59.50.Kant and the Capacity to Judge is a translation (...) of Longuenesse’s Kant et Pouvoir de juger, although Longuenesse has revised and added to the original version. The central argument seeks to demonstrate the essential role played by the logical forms of judgment in the arguments of Kant’s first Critique. Longuenesse emphasizes straight away Kant’s efforts (in the Metaphysical Deduction) to deduce a set of pure concepts from the logical forms of judgment. Against many standard readings, she aims to reveal the very “tight” connection between this attempt and subsequent arguments in the Transcendental [End Page 372] Analytic. That Kant takes the functions of judgment to be relevant to these arguments is hardly a novel claim. The originality of Longuenesse’s work, however, stems both from the central and pervasive role she assigns to the logical forms of judgment, and from the impressive, painstaking effort she makes to sustain the close connection between these forms and Kant’s subsequent arguments. According to Longuenesse, any proper understanding of the arguments of the Transcendental Analytic absolutely depends upon relating these “down to the minutest details of their proofs,” to the role of the logical forms (5).These minute details do not escape Longuenesse in her subsequent elaboration on this original thesis. Given the length and detail of her work, I can only highlight a few of the central points and strategies. One should note from the outset, however, that the detail and the scholarship evinced to support her claims constitute much of what is of value in the book. Many of these “supporting arguments” and discussions, which include efforts to trace Kantian conceptions back to their historical/philosophical origins, stand in their own right as independent contributions to Kant scholarship and interpretation.The work is divided into three parts. The first part is essentially propaedeutic. Longuenesse begins by drawing a distinction between the potential or capacity to judge and judgement itself (i.e., the “actualization” of this judgmental capacity under [externally grounded] sensory stimulation) (7). Taking this distinction as her cue, Longuenesse seeks to reveal the way in which the line of argumentation in the transcendental analytic presents an extended investigation into the formal capacity (ibid). The centrality of the logical forms of judgment is secured early on by assigning them a substantive role in the very presentation of something in intuition “as” an “object.” Insofar as she assigns this role to the logical forms themselves, her account clearly undercuts the primary function of the categories in this regard. Relevant here is Longuenesse’s construal of “appearances” as the intentional correlates of our representational capacities and activities (cf. 20–21). Given this, the problem now motivating the transcendental deduction is how to make sense of the relation between this “internalized” object of (indeterminate) empirical intuition (the appearance) and the object corresponding to intuition which concepts allow one to think in a determinate way (the phenomenon). This ability to think the object in a determinate fashion appears to be the essential contribution made by judgement.These preliminary considerations ground Longuenesse’s efforts (in Part Two) to isolate and examine the discursive activity of judgment. Longuenesse stresses the reflective (and not simply the determinative) role of judgment and its forms. Indeed, she suggests that concepts (not merely empirical concepts, but also the pure concepts of the understanding themselves) are formed by reflecting (through acts of comparison, reflection, and abstraction) on the “sensible given.” Drawing extensively from the Logic, she interestingly argues that the form of judgment itself carries with it some inherent claim to objectivity. Thus, objectivity is folded into the formal activity of judging by being identified as a “normative propensity” inherent in every judgment by virtue of its form alone (87–88). Longuenesse accordingly eschews efforts to downplay the role of the logical use of the... (shrink)

This paper proposes a reinterpretation of Arendt’s political thought from the ecological perspective in the context of the crisis that arose from the emergence of the modern world. Firstly, this crisis is described as stemming from the following reasons: the great transformation of the human condition by technology, the displacement of common sense and sensitive knowledge by science, and the possibility of annihilation of life on Earth. Secondly, the paper points out the way in which Arendt redirects this situation towards (...) a phenomenology of public space. Finally, the work shows how the foundations for looking after the Earth in the public sphere can be found in our sensitive roots to the Earth and in its way of appearing. (shrink)

I attribute to Aristotle a theory of sensible qualities that straddles the modern debate between reductive physicalist and primitivist theories of color. On the interpretation I defend, Aristotle identifies sensible qualities with the physical properties of sensibly qualified bodies in virtue of which they move and affect perceivers and sense media. Nevertheless, I argue, Aristotle thinks that the essential nature of these qualities is revealed in ordinary sense experience. From a modern perspective, the resulting picture of sensible (...) qualities as simultaneously causes and manifest features of sense experience appears naive. But as I hope to show, it is in fact the product of an explanatorily sophisticated scientific theory, one which Aristotle finds necessary to meet the complex demands that, for him, make sensible qualities an ontological problem. (shrink)

In 2001, China’s moral education curriculum reform called for a returning to life as a radical shift from its previous empty sermonic pedagogy, hoping to cultivate its twenty-first century children into ethical humans. Accordingly, a notion of ‘human ecology’ appeared in the post-2001 textbook design, which became ‘co-being with’ in the latest 2016 textbook redesign. This paper picks up this co-being with as a philosophical, ethical, and ecological notion and scrutinizes its relevance to the discursive construction of China’s moral child (...) in two steps. First, it draws upon Heidegger’s thinking and the Chinese Daoist ecological understanding to explicate the philosophical significance of this ‘co-being with’ for moral education. Second, it unpacks the discursive embodiments of this ethical–ecological co-being with in connection with the construction of moral subjects in the post-2001 and 2016 textbooks. Through rigorous textual analysis, this paper finds that the post-2001 textbook discourses embody an instrumental trope and a subject vs object binary style of reasoning, which possibly makes egoistic rather than ethical children. The 2016 textbook discourses, especially those on the theme of co-being with, however, constrain the above instrumentality and envision cultivating ethical children. This paper argues this theorized co-being with provides some implications for moral education in China and the world, meanwhile raising some pedagogical challenges as well. (shrink)

What arguments does Plato offer to explain the pre-eminence he confers to the idea of the Good in Republic, 6? Considering in detail the short but key section of the Republic (504b-506d) that precedes the analogy between the Good and the Sun, this paper argues that it is what Plato claims to be the universal recognition that the Good exists independently of any opinion that makes it so important for human thought. Nothing less than the concept that can make everything (...) else intelligible, as the sun makes everything in the sensible world visible. (shrink)

Abstractabstract:Plato's Republic X attack on imitative poetry is based in the metaphysics of appearance, since appearances are the objects and products of imitation. I offer a new reading, showing that Plato's account coherently introduces appearances as a new type of item, distinct from Forms and sensible particulars, and applies beyond imitation to a broad range of appearances. Focusing on the importance of perspective to Plato's reasoning, I argue that an appearance is a relation that comes about between (...) a material particular and an apprehending subject. Ordinarily, appearances are transparent: they confer determinate awareness on the subject, but are not the objects of our awareness insofar as we are appeared to. This reading resolves longstanding obscurities, grounds an improved account of imitation, and shows that Plato here presents the cornerstone of a general theory of appearance. (shrink)

Does the relation of (actual) causation admit of degrees? Is it sensible to say, for example, that ‘as compared to his consuming the light beer, Clement’s consuming the moonshine was more a cause of his becoming drunk’? Suppose the answer is ‘yes’. Suppose also that country A unjustifiably ignites a lethal war with country B, and you intuit that, while most combatants of A are liable to lethal counterattack, most non-combatants of A aren’t similarly liable. Then, you might support (...) your intuition by reasoning as follows. ‘Perhaps most non-combatants of A causally contribute to A’s unjust, lethal war effort. However, unlike most combatants of A, their causal contributions are not of such a degree that makes them liable to lethal counterattack’. Such reasoning is rejected by Carolina Sartorio. This is due to the recent revealing of a certain puzzle, one which suggests to Sartorio that causation doesn’t come in degrees. Now, one motivation for Sartorio’s reaction to the aforementioned puzzle is her thought that we can, for the most part, ‘explain away’ the ‘illusion’ that causation comes in degrees. I’ll argue that Sartorio insufficiently supports her foregoing thought. Using Sartorio’s resources, we cannot (largely) ‘explain away’ the widespread appearance that causation comes in degrees. (shrink)

Romantic Naturphilosophie has been at the centre of almost every account of early nineteenth-century sciences, be it as an obstacle or as an aid for scientific advancement. The following paper suggests a change of perspective. I seek to read Naturphilosophie as one manifestation among others of a more general concern with the question of how experience enables the subject to acquire knowledge about objects. To illustrate such an approach, I focus on Johannes Muller's early work. Here one finds two contrasting (...) images of microscopical observation, its set-up, and the observer: the embryological study of 1830 demands a 'philosophical grasp' of the appearances. In contrast, the investigations of blood of 1832 are presented as a series of controlled experiments. I argue that an interpretation of this contrast in terms of an appropriation and casting aside of Naturphilosophie is not altogether convincing. Instead, both images of microscopy are manifestations of a more general problem, namely, the problem of exactly how subject and object came together in experience. I show how this concern not only shaped the methodological sensibilities particular to Muller's embryology and the investigation of bodily liquids but also provided the epistemological principles and the target for his sense-physiological experiments. It bound Muller's work together with Naturphilosophie and linked Naturphilosophie with other contemporaneous projects in philosophy. All of these enterprises sought to contribute to ongoing debates about how experience allowed the subject to acquire knowledge about the world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The World According to Kant: Appearances and Things in Themselves in Critical Idealism by Anja JauernigPatricia KitcherAnja Jauernig. The World According to Kant: Appearances and Things in Themselves in Critical Idealism. Oxford: Oxford University Press, 2021. Pp. 400. Hardback, $105.00.After Peter Strawson's withering criticisms of the "Metaphysics of Transcendental Idealism" in The Bounds of Sense (London: Methuen, 1966), many Kant scholars devoted their labors to explaining and expanding (...) his project of transcendental epistemology. Recently, however, the tide has turned, and major Kant scholars have tried to fathom the intricacies of his metaphysical doctrines. With its new, systematic, and boldly idealistic interpretation of transcendental idealism, Anja Jauernig's The World According to Kant is an important contribution to this literature.Jauernig casts her reading of Kantian metaphysics in relation to two traditional accounts: the two-world interpretation that seemed obvious to Kant's first readers, and the two-aspect interpretation offered by Gerald Prauss (Kant und das Problem der Dinge an sich [Bonn: Bouvier Verlag, 1974]) and Henry Allison (Kant's Transcendental Idealism: An Interpretation and Defense [New Haven, CT: Yale University Press, 1983]). On the second reading, there are not two sets of objects, one phenomenal and one noumenal, but just one set that can be regarded in two different ways. Jauernig effectively demolishes the original two-aspect reading, noting that it has the consequence that contradictory properties (being F and not being F) are attributed to the same thing (164). The serious competitor to her interpretation is a more recent reading that makes an analogy with secondary qualities. Rae Langton introduces this strategy in Kantian Humility (Oxford: Oxford University Press, 1998), and Lucy Allais offers a new version of it in Manifest Reality (Oxford: Oxford University Press, 2015). On Allais's version, the properties of empirical objects are real, but unusual. As the redness of a rose depends not just on the existence of the rose, but also on the existence of perceivers with retinal cones, the properties of empirical objects depend on cognitive subjects as well on as things in themselves. Jauernig takes Allais's secondary quality analogy and a closely [End Page 160] related view of Tobias Rosefeldt's as her principal foils and marshals many texts to support her new view. To my mind, however, some of the cited texts seem ambiguous, for example, "our sensible representation is in no way a representation of things in themselves, but merely of the manner in which they appear to us" (Ak. 4:287, cited on 256n22). The second part of the citation seems to imply that sensible representations are how things in themselves are "manifest" to us, as Allais would put it.Jauernig would focus on the first part of the citation: a sensible representation in no way represents the thing in itself. In her view, empirical objects or appearances are fully mind-dependent: each of their "ontological ingredients" (elements that make up an object) is mind-dependent. Since empirical objects are fully mind-dependent and things in themselves are mind-independent, they have no "ontological overlap" (32). Phenomena and noumena are therefore numerically distinct things (32). Appearances or empirical objects are "empirically real" (as opposed to illusory), not merely because they agree with the formal conditions of reality, but because cognition begins with the receipt of sensations through the affection of human sensibility by things in themselves. (Here Jauernig's appearances that are grounded in real things but have properties that are "fully" mind-dependent seem similar to Allais's appearances.) Because objects of empirical cognition involve sensations caused by things in themselves, they should be understood as existents, even though they are not part of "fundamental ontology," whose denizens are mind-independent. Appearances exist or perhaps "in-exist" only as "intentional objects" of representations (33). On Kant's theory, as on Leibniz's, there are different levels of reality (39–40).Jauernig energetically engages challenges confronting her strongly idealistic reading. If empirical objects are fully mind-dependent, how do they differ from illusions and fictions? Since Kant anchors empirical reality to empirical intuition, the question becomes, how are appearances or empirical objects the referents of empirical intuitions? Appearances are... (shrink)

(Introduction) The question of heterogeneity does not appear at first glance to be a genuinely phenomenological problem and not even a problem in general. It seems to go without saying that there is “coupling” (Paarung), association, fusion, synthesis or in general any form connection between different data of consciousness, all as it seems obvious (at least from Husserl) that there must be objectities so that we can talk about knowledge and truth. After Kant we got so used to synthetic formations (...) that we hardly think of their possibilities in principle and the problems that these are called upon to resolve. Phenomenology does nothing else but describing the synthetic process, starting with its most elementary (pre-reflective) levels, aiming thus to completely elucidate the constitution of the objectity and, by that, the functioning and the rights of reason. Now, such elucidation does not only involve an approach aimed at the how, but also, the why of this process. In other words, our attention and our theoretical interest must be directed not only towards the course of the constitutive synthesis, but also on what motivates her intrinsically. Questions like "why should he be there in general an objectity? " or "is it principally possible to associate in one form or another data belonging to to the same class or to different classes? ”, questions which are de jure and which therefore refer rather to the legality of the constitution than its more or less contingent functioning, cannot in any way be excluded from the scope of the phenomenological questioning. As much as the epistemological ideal of phenomenological description required above all that it avoid any form of abstraction and idealization, this class of questions is, if not excluded, at least left in shadow. (shrink)

The goal of this paper is to sketch an account of Kant’s signature metaphysical doctrine (transcendental idealism) that (a) has no supporters – as far as I am aware – in the contemporary literature, and (b) draws its primary motivation (as interpretation) from considerations regarding our practical situation and needs as agents. -/- The consideration I focus on here is that people not only have mental and moral features, but they also appear to us – in our daily experience – (...) to have such features: “[w]e can perceive virtue in our experience (Wir können in der Erfahrung wohl Tugend wahrnehmen)” (24: 906). The same presumably goes for vice: When I see you casually torturing a cat, you appear to me to be brown-haired, wearing jeans, moving your arms, laughing, and so on, but you also appear to me to be vicious and cruel. Your character shines through in your actions. I can then make a defeasible inference from those appearances to the moral reality. -/- Such appearances and inferences play a central role in our practices of praise, blame, forgiveness, and punishment. An interpretation of transcendental idealism that gives primacy to the practical will thus seek to analyze the concepts of experience, acquaintance, and appearance/phenomenon in a capacious-enough way that they can apply to mental and moral features too. If successful, such an interpretation would have a clear practical advantage over those that leave us merely conjecturing from experiences of bodies, gestures, and secondary qualities to moral features that do not appear, or even to the non-appearing features of a distinct set of things. (shrink)

In this contribution, we shall examine how Valéry leaves Descartes, and the paradigm of sight, in favor of the dancer Athiktè, typical of the paradigm of hearing and touch. If Descartes offers the pattern of an analytic mapping, that method reveals itself irrelevant to take into account what Valéry calls the C.E.M (Corps Esprit Monde). On the other side, a dancer, like Athiktè appears as the model of poiesis, showing the natura naturans in progress.

One of the most important objections to sense data theory comes from the phenomenon of indeterminate perception, as when an object in the periphery of one’s visual field looks red without looking to have any determinate shade of red. As sense data are supposed to have precisely the properties that sensibly appear to us, sense data theory evidently has the implausible consequence that a sense datum can have a determinable property without having any of its determinates. In this article, I (...) show that a parallel objection applies to standard forms of colour relationism. In light of the phenomenon of indeterminate perception, the colour relationist must either reject intuitively obvious claims about the determinate–determinable structure of colour space or reject the plausible and widely accepted principle that nothing can have a determinable without having one of its determinates. (shrink)

Recent discussions of “German Idealism ” have laid new emphasis on its central concern with the self-determining or “unconditioned” status of self-consciousness, its critique of “reflective” or “foundationalist” epistemologies and metaphysics, and its account of “Reason” or conceptuality as immanent in all human experience and social life. This article contends that this revaluation throws new light upon Karl Marx’s 1841 doctoral dissertation on ancient Greek atomism. It argues that Marx’s interest in comparing the atomistic theories of Democritus and Epicurus lies (...) in their being historical species of reflective or “essentialist” thinking that attempts to identify an underlying “principle” behind or “beyond” sensible “appearance.” Epicurus is accorded praise by Marx on account of his clear awareness of the necessary contradiction at the heart of any such structure, and his oblique demonstration of its internal link with the individualism and alienation of the post-Hellenic world. Intimately related themes are then shown to animate the rhetorical declarations against religion, in the name of “Reason” and “Self-consciousness”, that frame the dissertation. The precise manner in which Marx formulates this opposition, it is argued, indicate a closer and more conscious affinity with the original project of post-Kantian Idealism than has hitherto been appreciated. While Marx is sure to have intended more than a simple recycling of this tradition, it is suggested that a greater sensitivity to its role in shaping his outlook will prove suggestive—if not conclusive—for thinking about where he means to take it. (shrink)

The essay concerns the relationship between the notion of aura and the notion of digital image. The digital image is not simply image-of, not only mimesis of an, identifiable or not, thing or image, and so it does not have a simulacral essence. On the other hand, it is not even an icon or an original image; it is rather a genetic relational form belonging to a multiple rendering system. The digital image is not exactly “image”, but rather body-image, because (...) it is made up of ordered sequences of binary units, or otherwise character strings developing on different levels of a syntax which builds the coincidence of these strings and the sensible appearances, at present mainly sound or visual, but generally perceptible. (shrink)

It is commonly recognized that sartre's philosophy rests upon a doctrine of radical freedom or, More technically, The absolute spontaneity of conscious acts. Simply put, Sartre believes that consciousness alone determines its own intentional mode of being. But one such intentional mode of being is perception, In which sensible appearances seem to be radically dependent upon changes in the body's sense organs. The purpose of this paper is to examine sartre's theory of the body and critically analyze his attempt (...) to reconcile the spontaneity of perception with the relativity of sensible appearances to modifications of the body. The first section of the paper summarizes sartre's criticism of the theory of sensations appearances as a causal relation in which certain "objective" changes in the sense organs produce certain "subjective" changes in perceptions or sensations. Sartre proposed two sets of distinctions involving the relationship between the body and consciousness. His first distinction, Examined closely in the second section, Is between the body as an object in the world (the body-For-Others) and the body as it is experienced by the consciousness whose body it is (the body-For-Itself). (edited). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume's Metaphysical Musicians E. W. Van Steenburgh Having argued to the possible existence ofmathematical points, Hume concedes that checking for their actual existence is difficult because of the minuteness. He writes: the points, which enter into the composition of any line or surface, whether perceiv'd by the sight or touch, are so minute and soconfoundedwith eachother, that'tis utterly impossible for the mind to compute their number.1 He concludesthat theirminutenessrenderspoints (...) uselessforpurposes ofmeasurement. "We are sensible, that the addition or removal ofone of these minute parts, is not discernible either in the appearance or measuring" (T 48). This objection to his points leads Hume to view measuring, not in terms ofpoints, but asjuxtaposition ofobjects one to another or to a common measure, correcting apparent equality by art and instruments. And, he argues, correcting comes to an end when one runs out of art and instruments, although correcting, once set in motion, may go on at the level offancying after art and instruments have announced an end to it. This holds true not only for equality of quantities but of qualities as well. A musician finding his ear become every day more delicate, and correcting himself by reflection and attention, proceeds with the same act ofthe mind, even when the subject failshim, and entertains a notion ofa compleat tierce or octave, without being able to tell whence he derives his standard. (T 48-49) The metaphysical musician, according to Hume, is unable "to tell whence he derives his standard." This objection by Hume looks like it ismissingthe mark. The metaphysical musician could tell from whence he derives his standard. It is derived from sensible appearances. It is derived from the undifferentiated case which, to ears subsequently more discriminating, turns out to be two different notes, not one. The source ofthe standard is specified. What, then, does Hume mean when he states that metaphysical musicians cannot tell us from whence they derive their standard? An apparent standard, if it functions as a standard, has objects forits terms. For the standard is neither equality Volume XVIII Number 2 151 E. W. VAN STEENBURGH itself, whatever that might mean, nor an object; rather, the standard is "being equal to this object," whatever the object might be—in this case a musical note. In other words, an unspecified standard—a standard that is neither this nor that—is not a standard. It becomes a standardifand only ifit is specified for some object. The question now shifts to the object without which no standard is specified. It could be actual. It could be imaginary. Either way, it is an object. Yet, the metaphysical musicians rules that no object satisfies the standard. The outcome is contradiction. If you don't specify the standard, you don't have a standard; and ifyou do, you contradict the ruling that no object satisfies the standard. Hume does not explicitly allege contradiction. However, the other sideofthecontradictioncoin is an unspecifiedstandard. AndthisHume does allege. Hume sometimes does speak as ifan imagined musical note—the object in this case—is itselfa note. He speaks this way out ofdeference to his general theory of ideas as copies of impressions. However, the claim to contradiction, to incomprehensibility, does not depend on Hume's special doctrine of ideas copying impressions. For when we imagine objects, the objects we imagine, if we are consistent, are possible objects. So what we are saying, ifwe say that we can imagine equal objects is this: equal objects are impossible. Either, then, the metaphysical musician's imaginary correction, the imaginary trek toward absolute equahty, is incomprehensible because there is no standard—no objects—by which "correction"makes sense; orelse there is such a standard—object equality is possible—and the general rule that object equality is impossible is contradicted. Suppose we downgrade the a priori necessary rule to a contingent generalization about ordinary objects. Now it is not impossible, only unlikely, that one will find equal actual objects. Given a candidate for prototypicality, one imagines that one is mistaken, that the objects one thinks are equal are not, after all, equal, and soon. Here the only equal objects are always possible objects, never actual ones. One simply refuses to use... (shrink)

Jacques Rancire's theory of the sensible is an attempt to frame and secure the relationship between politics and aesthetics, art and design on the same surface. Accordingly, the reconstruction of the sensible appearances of the world of the built environment, of the dcor of the sensible, as Rancire describes it is more than the negation of bourgeois appearances in the name of either a radical aesthetics or a radical politics; it is, rather, the common invention of (...) class='Hi'>sensible forms and material structures for a life to come. In this respect Rancire's theory has much in common with the historic avant-garde. Following the constructivism of Rodchenko and El Lissitsky, representation here is not just the symbolic life of pictures, but the very materiality of things and their relations. Yet Rancire has little time for the active politicization of art, insofar this destroys, he asserts, the potential democracy of art. This leaves his constructivism in a weakened critical position. This essay explores the hiatuses and limitations of Rancire's cultural theory. (shrink)