The topic of the human face is addressed from a biocultural perspective, focusing on the empirical investigation of how the face is represented, perceived, and evaluated in artistic portraits and self-portraits from the XVth to the XVIIth century. To do so, the crucial role played by the human face in social cognition is introduced, starting from development, showing that neonatal facial imitation and face-to-face dyadic interactions provide the grounding elements for the construction (...) of intersubjective bonds. The neuroscience of face perception is concisely presented and discussed, together with the psychophysics of face perception and gaze exploration, introducing the notions of the left visual field advantage and the left gaze bias. The results of experiments on the perception and the emotional and aesthetic rating of artistic portraits and self-portraits are reported, showing that despite participants’ inability to tell self-portraits and portraits apart, greater emotional, communicative-social, and aesthetic ratings were attributed to self-portraits. It is concluded that neuroscience and experimental aesthetics can contribute to better understand the human face, hence to better understand ourselves. (shrink)

Self-portrait photography presents an elucidatory range of cases for investigating the relationship between automatism and artistic agency in photography— a relationship that is seen as a problem in the philosophy of art. I discuss self-portraits by photographers who examine and portray their own identities as artists working in the medium of photography. I argue that the automatism inherent in the production of a photograph has made it possible for artists to extend the tradition of self-portraiture in (...) a way that is radically different from previous visual arts. In Section I, I explain why self-portraiture offers a way to address the apparent conflict between automatism and agency that is debated in the philosophy of art. In Section II, I explain why mirrors play an important function in the production of a traditional self-portrait. In Sections III and IV, I discuss how photographers may create self-portraits with and without the use of mirrors to show how photography offers unique and important new forms of self-portraiture. (shrink)

It is becoming ever more accepted that investigations of mind span the brain, body, and environment. To broaden the scope of what is relevant in such investigations is to increase the amount of data scientists must reckon with. Thus, a major challenge facing scientists who study the mind is how to make big data intelligible both within and between fields. One way to face this challenge is to structure the data within a framework and to make it intelligible by (...) means of a common theory. Radical embodied cognitive neuroscience can function as such a framework, with dynamical systems theory as its methodology, and self-organized criticality as its theory. (shrink)

Summary Embodied simulation, a basic functional mechanism of our brain, and its neural underpinnings are discussed and connected to intersubjectivity and the reception of human cultural artefacts, like visual arts and film. Embodied simulation provides a unified account of both non-verbal and verbal aspects of interpersonal relations that likely play an important role in shaping not only the self and his/her relation to others, but also shared cultural practices. Embodied simulation sheds new light on aesthetic experience and is proposed (...) as a key element for the dialogue between neuroscience and the humanities within the biocultural paradigm. (shrink)

This exploration of the works of various authors and artists will bring us to a philosophical contemplation of the portrait as a heterotopic space. On one hand, a portrait represents the faces of the self and others, embodying both individuality and collectivity. On the other hand, the space within the conventional frame of a portrait transforms from a mere representation of documented reality to a co-constructed and reified form of expression. The article is divided in three parts. The first (...) part sinks into Lotman’s epistemic groundwork on culture, space, and especially art as a founding philosophical and analytical reference and will also outline the relationship and difference between the semiophere and the facesphere. The second part focuses on establishing a relationship between the facesphere and the heterotopic idea of space and portrait genre. Here the article explores Michael Foucault’s thought in relation to heterotopic space, later proposed in association with the space of the portrait. The third part is devoted to establishing relationships between the theoretical background and the analysis of case studies belonging to the portrait genre selected from photographic works in “Living Pictures: Photography in Southeast Asia,” an exhibition at the National Gallery in Singapore. I will conclude with some brief considerations to summarize the path taken. (shrink)

The present study aims to investigate the psychological mechanisms beneath the change in the facial expression of some of the beheaded characters in Caravaggio’s works, starting from The Head of Medusa, from the artist’s youth, and reaching David with the Head of Goliath, a mature workpiece, searching the continuity between them through a series of self-portraits/ self-insertions of the artist in his work. The psychodynamic analysis is limited by the constitution of its practice to the study of (...) the process of image production and the artistic imaginary, rather than to the investigation of man or the artist out of reach by means of figurative and symbolic language. This approach aims to highlight the drives of the unconscious, the structures of censorship and the technique of operating of the defensive mechanisms that ultimately could contribute to the production of such masterful images that are both seductive and confusing. The study incorporates and continues the contribution of authors such as Leo Bersani and Ulysse Dutoit who applied Laplanche’s theory of generalized seduction theory in the analysis of Caravaggio’s works, but also the mirror stage of Lacan and the masterful study of Winnicott regarding the reflection of the baby in the mimics of his mother, an unconscious unclear image that will stand forever for the perception of the self. The change of the affective resonance, expressiveness and emotional relating to violence is natural in the course of human evolution. While not even the artist Caravaggio can elude it, his work can illustrate by deflection these transforma­tions of the dynamics of the mind, it can raise new questions and open new perspectives of understanding the artistic drive. (shrink)

Scientific psychology and neuroscience are taking increasingly precise and comprehensive pictures of the human mind, both in its physi- cal architecture and its functional processes. Meanwhile, each human mind has an abbreviated view of itself, a self-portrait that captures how it thinks it operates, and that therefore has been remarkably influential. The mind’s self-portrait has as a central feature the idea that thoughts cause actions, and that the self is thus an origin of the body’s actions. (...) This self- portrait is reached through a process of inference of apparent mental cau- sation, and it gives rise to the experience that we are consciously willing what we do. Evidence from several sources suggests that this self-portrait may often be a humble and misleading caricature of the mind’s opera- tion—but one that underlies the feeling of authorship and the acceptance of responsibility for action. (shrink)

Drawing from field theory, Gestalt therapy conceives psychological suffering and psychotherapy as two intentional field phenomena, where unprocessed and chaotic experiences seek the opportunity to emerge and be assimilated through the contact between the patient and the therapist (i.e., the intentionality of contacting). This therapeutic approach is based on the therapist’s aesthetic experience of his/her embodied presence in the flow of the healing process because (1) the perception of beauty can provide the therapist with feedback on the assimilation of unprocessed (...) experiences; (2) the therapist’s attentional focus on intrinsic aesthetic diagnostic criteria can facilitate the modification of rigid psychopathological fields by supporting the openness to novel experiences. The aim of the present manuscript is to review recent evidence from psychophysiology, neuroaesthetic research, and neurocomputational models of cognition, such as the free energy principle (FEP), which support the notion of the therapeutic potential of aesthetic sensibility in Gestalt psychotherapy. Drawing from neuroimaging data, psychophysiology and recent neurocognitive accounts of aesthetic perception, we propose a novel interpretation of the sense of beauty as a self-generated reward motivating us to assimilate an ever-greater spectrum of sensory and affective states in our predictive representation of ourselves and the world and supporting the intentionality of contact. Expecting beauty, in the psychotherapeutic encounter, can help therapists tolerate uncertainty avoiding impulsive behaviours and to stay tuned to the process of change. (shrink)

From prehistoric stone tools, to machines, to computers, things have traveled a long road along with human beings. Changing with the times, places, and methods of their production, emerging from diverse histories, and enveloped in multiple layers of meaning, things embody ideas, emotions, and symbols of which we are often unaware. Bodei addresses issues such as fetishism, the memory of things, the emergence of department stores, consumerism, nostalgia for the past, the self-portraits of Rembrandt and Dutch still-lifes of (...) the seventeenth century. The more we are able to recover objects in their wealth of meanings and integrate them into our mental and emotional horizons, he argues, the broader and deeper our world becomes. (shrink)

From prehistoric stone tools, to machines, to computers, things have traveled a long road along with human beings. Changing with the times, places, and methods of their production, emerging from diverse histories, and enveloped in multiple layers of meaning, things embody ideas, emotions, and symbols of which we are often unaware. The meaning of "thing" is richer than that of "object," which is something that is manipulated with indifference or according to impersonal technical procedures. Things also differ from merchandise, objects (...) that can be sold or exchanged or seen as status symbols. Things, in the philosophical sense, are nodes of relationships with the life of others, chains of continuity among generations, bridges that connect individual and collective histories, junctions between human civilizations and nature. Things incite us to listen to reality, to make them part of ourselves, giving fresh life to an otherwise suffocating interiority. Things also reveal the hidden aspect of a "subject" in its most secret and least explored side. Things are the repositories of ideas, emotions, and symbols whose meaning we often do not understand. In an unexpected but coherent journey that includes the visions of classic philosophers from Aristotle to Husserl and from Hegel to Heidegger, along with the analysis of works of art, Bodei addresses issues such as fetishism, the memory of things, the emergence of department stores, consumerism, nostalgia for the past, the self-portraits of Rembrandt and Dutch still-lifes of the seventeenth century. The more we are able to recover objects in their wealth of meanings and integrate them into our mental and emotional horizons, he argues, the broader and deeper our world becomes. (shrink)

This article argues that psychoanalytic notions of affect – including ideas of anxiety and melancholia, as well as deconstructive concepts of auto-affection – offer a feminist ethico-politics and a notion of affect as interface. Beyond the confines of the experiential and the positivist, both psychoanalysis and deconstruction provide insights into affect as a technology that understands the subject as porous. I consider works by Derek Jarman and Shirin Neshat to demonstrate the importance of the ethico-politics of affect as interface in (...) contemporary cultural production. Both artists, in the process of considering the spectacular nature of notions of feminist and queer, use images of interface as a way of delimiting the spectacular nature of being and demonstrating the singularity of the event, the desire to fix through framing, and the parergonal nature of framing. The presence of the subject is questioned even as an auto-affection is suggestive of a spectral demand of the ethico-political. In the case of Jarman’s Blue, the denial of image as face in favour of the screen as interface is interrupted by sound and voice, which gesture toward representation as impossible but necessary. In the case of Neshat, the persistence of the photographic – the highly aesthetic self-portrait as mugshot – foregrounds face as interface, as one that questions presence through the insistence of a representational apparatus. (shrink)

Frida Kahlo (1907–1954) was a Mexican artist who is remembered for her self-portraits, pain and passion, and bold, vibrant colors. This work aims to use her life story and her artistic production in a longitudinal study to examine with quantitative tools the effects of physical and emotional pain (rage) on artistic expression. Kahlo suffered from polio as a child, was involved in a bus accident as a teenager where she suffered multiple fractures of her spine and had 30 (...) operations throughout her lifetime. She also had a tempestuous relationship with her painter husband, Diego Rivera. Her physical and personal troubles however became the texture of her vivid visual vocabulary—usually expressed through the depiction of Mexican and indigenous culture or the female experience and form. We applied color analysis to a series of Frida's self-portraits and revealed a very strong association of physical pain and emotional rage with low wavelength colors (red and yellow), indicating that the expression of her ailments was, consciously or not, achieved by increasing the perceived luminance of the canvas. Further quantitative analysis that used the fractal dimension identified “The broken column” as the portrait with higher compositional complexity, which matches previous critical acclaim of this portrait as the climax of her art. These results confirm the ability of color analysis to extract emotional and cognitive features from artistic work. We suggest that these tools could be used as markers to support artistic and creative interventions in mental health. (shrink)

The recognition and incorporation of evidence-based neuroscientific concepts into creative arts therapeutic knowledge and practice seem valuable and advantageous for the purpose of integration and professional development. Moreover, exhilarating insights from the field of neuroscience coincide with the nature, conceptualization, goals, and methods of Creative Arts Therapies, enabling comprehensive understandings of the clinical landscape, from a translational perspective. This paper contextualizes and discusses dynamic brain functions that have been suggested to lie at the heart of intra- and inter-personal processes. (...) Touching upon fundamental aspects of the self and self-other interaction, the state-of-the-art neuroscientific-informed views will shed light on mechanisms of the embodied, predictive and relational brain. The conceptual analysis introduces and interweaves the following contemporary perspectives of brain function: firstly, the grounding of mental activity in the lived, bodily experience will be delineated; secondly, the enactive account of internal models, or generative predictive representations, shaped by experience, will be defined and extensively deliberated; and thirdly, the interpersonal simulation and synchronization mechanisms that support empathy and mentalization will be thoroughly considered. Throughout the paper, the cross-talks between the brain and the body, within the brain through functionally connected neural networks and in the context of agent-environment dynamics, will be addressed. These communicative patterns will be elaborated on to unfold psychophysiological linkage, as well as psychopathological shifts, concluding with the neuroplastic change associated with the formulation of CATs. The manuscript suggests an integrative view of the brain-body-mind in contexts relevant to the therapeutic potential of the expressive creative arts and the main avenues by which neuroscience may ground, enlighten and enrich the clinical psychotherapeutic practice. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Becoming a Self: A Reading of Kierkegaard’s “Concluding Unscientific Postscript by Merold WestphalM. Jamie FerreiraMerold Westphal. Becoming a Self: A Reading of Kierkegaard’s “Concluding Unscientific Postscript.” West Lafayette, IN: Purdue University Press, 1996. Pp. xiii + 261. Cloth, $32.95. Paper, $16.95.The Purdue University Press Series in the History of Philosophy describes itself as attempting to provide insight into a philosopher by means of a focus on (...) a single major text. Such a focus is unusual for a series in the history of philosophy, and Westphal’s [End Page 144] accomplishment in this study is a fine example of how fruitfully this can be done. Commentary on over six hundred pages of Kierkegaard’s Postscript is presented in ten manageable chapters, which follow the order of the Postscript and deal with segments of it ranging from as few as twelve pages to as many as one hundred and seventy-five pages. The result is a commentary which can wonderfully guide students through the Postscript in its entirety, or through the assignment of individual chapters to accompany discrete reading selections. Westphal’s discussions are informed by an unusually wide-ranging knowledge of the history of philosophy—he considers the text not only in relation to Plato, Aristotle, Hume, Kant, and Hegel, as others commentators have, but also brings to this work his clear strengths in phenomenological, existential, and postmodern thought (so we get useful comparisons with Gadamer, Derrida, Levinas, Heidegger, Husserl, Merleau-Ponty, and Sartre, among others). Lying behind Westphal’s entire approach to the book is his desire to address the two most common major criticisms of Kierkegaard’s thought, namely, that it is individualist and irrationalist. Thus, the major perspective from which everything is approached is the tension between the fallible yet responsible self—more precisely, the tension between individual and society, and the tension between irrationalist (voluntarist, blind) and rationalist. Westphal does a superb job of laying out the diversity of protests Climacus is registering in the Postscript—against Platonic intellectualism, against systematic philosophical speculation, and against the rhetorical compromising embodied in the “priest-orator.” There are, of course (as one would expect), sensible, suggestive, illuminating, and detailed exegeses of passages concerning all the significant themes associated with Climacus (approximation, appropriation, leap, direct communication, second reflection, dialectic, etc). Westphal examines the Postscript in the light of the distinction between Socratic religion and the non-Socratic (Christian) alternative found in the earlier Philosophical Fragments, to which this Postscript is an admittedly peculiar postscript, and employs material from much of Kierkegaard’s other work, including journal entries. With respect to the (in)famous category of leap, Westphal incorporates contemporary discussions of volitionalism and presents a fine summary of ways in which willing (decision) can be viewed as indirect, yet allowing the relevance of an ethics of belief. In fact, regarding even the commentary on “Truth Is Subjectivity,” where one might feel nothing new could be said, he manages to be innovative, by identifying “four moments” in the presentation of a theory of subjectivity (a satire, a parable, a definition, and a portrait) which make the chapter much more manageable for teaching. After considering Climacus’s presentation of the relation between Religiousness A and Religiousness B, Westphal appends a discussion of his own creation, Religiousness C (Chapter XIV). But all of this discussion would be unhelpful to a reader who does not fully appreciate the role of pseudonymity and indirect communication in Kierkegaard’s works; so Westphal prefaces his entire discussion with a fine chapter on pseudonymity which can be used even in courses where the entire book is not required reading. This chapter, relating pseudonymity to twentieth-century discussions of themes such as the effacement of the author of a text and the forfeiture of the privilege of authorship, is part of a three-chapter introduction setting the Postscript in relation to Kierkegaard’s biography, pseudonymity, and the familiar theory of the aesthetic, ethical, and religious stages. This entire introduction is written in a remarkably [End Page 145] engaging style which will surely seduce readers new to Kierkegaard and his creation, Johannes Climacus. For example, Westphal announces that “the flow of Regina’s... (shrink)

An exploration of issues of vision, blindness, self-representation, and their relation to drawing, which offers detailed readings of a collection of images from the prints and drawings department of the Louvre. The works under consideration depict blindness--fictional, historical, and biblical.

The present contribution is mainly intended to illustrate how some recent discoveries in the field of neurosciences have revolutionized our ideas about perception, action and cognition, and how these new neuro-scientific perspectives can shed light on the human relationship to art and aesthetics, in the frame of an approach known as "experimental aesthetics". Experimental aesthetics addresses the problem of artistic images by investigating the brain-body physiological correlates of the aesthetic experience and human creativity, providing a perspective that (...) is complementary, and not in opposition, to the humanistic one on the arts and the aesthetic. (shrink)

SUMMARY The apothecary occupied a liminal position in early modern society between profit and healing. Finding ways to distance their public image from trade was a common problem for apothecaries across Europe. This article uses the case of a Bolognese apothecary, Filippo Pastarino, to address the question of how early modern apothecaries chose to represent themselves to political authorities and to the wider public. ‘Mercy’, alongside ‘craft’, was a pillar of apothecaries’ social identity. By contrast, no matter how central financial (...) transactions (‘money’) were to their activity, apothecaries did not want to be perceived as merchants. Thus, the assistance and advice apothecaries provided to patients and customers resulted as central aspects of their social role. In this context, Bolognese apothecaries aimed to defend their current status, which had been challenged by naturalist Ulysses Aldrovandi, city authorities and local monasteries. However, Pastarino's claims can also be seen as antecedents to the self-legitimizing strategy that seventeenth-century artisans deployed when faced with the need to enhance their new status as natural philosophers. The present study attributes a name, a date of birth and a shop to Filippo Pastarino, revising previous interpretations. More broadly, by focusing on how these artisans defended their position in the city it enriches our understanding of the self-representation of apothecaries. (shrink)

Philosophers investigating the experiences of the dancing subject (Sheets-Johnstone 1980, 2009, 2011, 2012; Parviainen 1998; Legrand 2007, 2013; Legrand & Ravn 2009; Montero 2013; Foultier & Roos 2013) unearth vast variations of embodied consciousness and cognition in performing body experts. The traditional phenomenological literature provides us with descriptions and definitions of reflective self-consciousness as well as of pre-reflective bodily absorption, but when it comes to the states of self-consciousness dance philosophers refer to as thinking in movement and a (...) form of reflective consciousness at a bodily level – as well as to dancers’ re- ported experiences of being in a trance and yet hyper-aware – we are challenged in terms of terminology and precise descriptions. After empirical research on dancers’ experiences and studies of the above-mentioned philosophies of dance, aligning this material with Husserl, Zahavi and other phenomenologists’ descriptions of reflection and embodied self-consciousness, I find it plausible to acknowledge the existence of a third form of self- consciousness: embodied reflection, a reflective process experienced through and with the embodied and/or emotional self. In this article I aspire to capture the characteristics of this transcendence of the bodily self. (shrink)

Human aesthetic experiences are pervasive; they are triggered by faces, art, natural scenery, foods, ideas, theories, and decision-making situations, among many sources, and seem to be a distinctive trait of our species. Our moral sense, understood as our capacity to judge events, actions, or people as good or bad, appropriate or inappropriate, also seems to be an exclusively human endowment (Ayala 2010). As part of the scientific efforts to characterize the biological foundations of our human uniqueness, recently there has been (...) interest in the brain’s underpinnings of aesthetic reactions to art on the one hand, and in the neural correlates of moral judgment and decision-making on the other (Greene and Paxton .. (shrink)

Paul Crowther argues that art can bridge the gap between philosophy's traditional striving for generality and completeness, and the concreteness and contingency of humanity's basic relation to the world. He proposes an ecological definition of art: by making sensible or imaginative material into symbolic form, it harmonizes and conserves what is unique and what is general about human experience.

In the field of modern photography, aesthetic recreations to varying degrees through the content of the images presented by photography, while forming a certain degree of philosophical aesthetic awareness, can awaken people's emotions and philosophical cognition. As a modeling language, the tone in photography is crucial in embodying the contrasting relationship between light and shade, virtual reality, and the different levels of black and white in black and white portrait photography. It is the most basic factor that constitutes a character's (...) image. Based on the unique performance characteristics of the art of black and white portrait photography, and based on the art of tone in photography and cognitive and aesthetic perspectives in philosophy, this article discusses the role, classification, and influencing factors of tone in black and white portrait photography, and expounds the different philosophical concepts of the East and the West represented by the differences in tone in black and white portrait photography. By analyzing the philosophical concepts and expressions of tone in black and white portrait photography, it can be seen that black and white portrait photography has simple and highly generalized artistic characteristics. It represents the characteristics, connotations, and aesthetic characteristics of black and white portrait photography with a unique art, and at the same time builds a bridge between the photographer and the viewer at the philosophical and aesthetic levels. (shrink)

In this chapter, I will discuss employing exemplars in moral and character education promoting virtue development with the involvement of embodiment. Virtue ethicists propose two phases of virtue development: early virtue habituation and later phronesis cultivation. I will overview prior research on the mechanism of habituation at the biological and neural levels to examine why embodiment is fundamental during the first phase, virtue habituation. Then, I will review recent philosophical and psychological studies about the nature of phronesis, i.e., (...) practical wisdom, to consider how educational activities cultivate it. Based on these preliminary examinations of the course of virtue development, I will examine the previous literature about the role and importance of using exemplars in moral and character education involving concrete and interactive activities with the exemplars involving embodiment during the learning process. Finally, I will draw upon the Self-determination theory about supporting students’ need for autonomy, competence, and relatedness to consider a way to improve the effectiveness of exemplar-applied education along with embodiment. After examining the relevant theoretical frameworks mentioned above, I will discuss several practical guidelines for using exemplars involving character embodiment for virtue development. (shrink)

This paper explores how phenomenological notions of rhythm might accommodate a richer description of preverbal infant-caregiver dialogue. Developmental psychologists have theorized a crucial link between rhythm and intercorporeality in the emergence of intersubjectivity and self. Drawing on the descriptions of rhythm in the phenomenology of Maurice Merleau-Ponty, Erwin Straus, Henri Maldiney and Maxine Sheets-Johnstone, the paper emphasizes the role of art and aesthetic processes proposing that they not only be considered as metaphorical or representational aspects of rhythm but as (...) primary resources that can enrich and deepen our understanding of self-emergence and intercorporeality in preverbal infant-caregiver dialogue. (shrink)

Is philosophy deaf to the sound of the personal voice? While philosophy is experienced at admiring, resenting, celebrating, and, at times, renouncing language, philosophers have rarely succeeded in being intimate with it. Hagi Kenaan argues that philosophy's concern with abstract forms of linguistic meaning and the objective, propositional nature of language has obscured the singular human voice. In this strikingly original work Kenaan explores the ethical and philosophical implications of recognizing and responding to the individual presence in language. In pursuing (...) the philosophical possibility of listening to language as the embodiment of the human voice, Kenaan explores the phenomenological notion of the "personal." He defines the personal as the irresolvable tension that exists between the public character of language, necessary for intelligibility, and the ways in which we, as individuals, remain riveted to our words in a contingently singular manner. _The Present Personal_ fuses phenomenology and aesthetics and the traditions of Continental and Anglo-American philosophy, drawing on Wittgenstein, J. L. Austin, Kant, Kierkegaard, and Heidegger as well as literary works by Kafka, Kundera, and others. By asking new questions and charting fresh terrain, Kenaan does more than offer innovative investigations into the philosophy of language; _The Present Personal_, and its concern with the intimate and personal nature of language, uncovers the ethical depth of our experience with language. Kenaan begins with a discussion of Kierkegaard's existential critique of language and the ways in which the propositional structure of language does not allow the spoken to reflect the singularity of the self. He then compares two attempts to subvert the "hegemony of content": the pragmatic turn of J. L. Austin and the poetic path of Heidegger. Kenaan concludes by turning to Kant and discovering an analogy between the experience of meaning in language and the aesthetic experience of encountering beauty. Kenaan's reconceptualization of philosophy's approach to language frees the contingent singularity of language while, at the same time, permitting it to continue to dwell within the confines of content. (shrink)

In Embodied Minds in Action, Robert Hanna and Michelle Maiese work out a unified treatment of three fundamental philosophical problems: the mind-body problem, the problem of mental causation, and the problem of action. This unified treatment rests on two basic claims. The first is that conscious, intentional minds like ours are essentially embodied. This entails that our minds are necessarily spread throughout our living, organismic bodies and belong to their complete neurobiological constitution. So minds like ours are necessarily alive. The (...) second claim is that essentially embodied minds are self-organizing thermodynamic systems. This entails that our mental lives consist in the possibility and actuality of moving our own living organismic bodies through space and time, by means of our conscious desires. The upshot is that we are essentially minded animals who help to create the natural world through our own agency. This doctrine--the Essential Embodiment Theory--is a truly radical idea which subverts the traditionally opposed and seemingly exhaustive categories of Dualism and Materialism, and offers a new paradigm for contemporary mainstream research in the philosophy of mind and cognitive neuroscience. (shrink)

The paper presents and discusses the “which-is-which content of handedness,” the meaning of left as left and right as right, as a possible candidate for the idea of a genuine embodied cognitive content. After showing that the Ozma barrier, the non-transferability of the meaning of left and right, provides a kind of proof of the non-descriptive, indexical nature of the which-is-which content of handedness, arguments are presented which suggest that the classical representationalist account of cognition faces a perplexing problem of (...) underdetermination of reference of left and right in the which-is-which sense. By way of contrast, no such problems occur in a framework were embodied contents are not mediated by some extra body model which carries the representational power, but are instead directly represented. (shrink)

Is there a substantial difference between a portrait depicting the sitter’s face made by an artist and an image captured by a machine able to simulate the neuro-physiology of facial perception? Drawing on the later Wittgenstein, this paper answers this question by reference to the relation between seeing a visual pattern as (i) a series of shapes and colours, and (ii) a face with expressions. In the case of the artist, and not of the machine, the portrait’s creative (...) process involves the ability to see both aspects. From the perspective of the image’s viewer, the distinction is more difficult to draw. I address this difficulty by further distinguishing between two attributes of portraits: their representational accuracy, and their ability to convey the artist’s reflection on her experience of seeing the sitter face-to-face. While artificial intelligence can mimic this latter reflective ability, it cannot exactly reproduce it. (shrink)

The aim of this paper is to explore what could be meant by modernist portraiture. On the face of it, there is a real tension about the very idea of modernist portraiture inasmuch as one key idea of modernism is negativity and self-negation, whereas portraiture is, in some very obvious sense, not negation. It is the depiction of the sitter. So there are reasons to think that modernist portraiture, in the strong sense of the term, is a contradiction (...) in terms. Nonetheless, I argue that there is such a thing as genuine modernist portraiture – modernist portraiture in the strong sense. But it is not easy to pull it off. And the modernist act of creating portraits of people not present also reveals something important about the nature of depiction and the importance of mental imagery in picture perception. (shrink)

In emphasising improvement, smooth coping and success over variability and regression, skill theory has overlooked the processes performers at all levels develop and rely on for managing bodily and affective fluctuations, and their impact on skilled performance. I argue that responding to the instability and variability of unique bodily capacities is a vital feature of skilled action processes. I suggest that embodied intelligence – a term I use to describe a set of abilities to perceptively interpret and make use of (...) information from body, mind, environment and task requirements, and to modulate one’s focus, awareness and action strategies accordingly – is critical for performing well-learned skills in vulnerable situations. It is critical for staying safe. To investigate these components of skilled action, I employ a cognitive ethnographic method, combined with apprenticeship on the static trapeze, to produce two ‘experience near’ case studies. These document in-situ experiences of awareness, self-regulation and embodied intelligence. Both reveal strong connections between a reflective awareness of bodily vulnerability and variability, and self-regulatory processes – specifically, the down- and up-regulation of anxiety. I then reflect on these case studies in relation to a prospective sense of agency, the awareness of control acts that may lead to performance outcomes. With increased clarity on these features of embodied intelligence and attention during action, other researchers can build on this study to further probe and map the maintenance and functions of embodied intelligence in dealing with the instability of skills. (shrink)

In the current opinion paper, we provide a comparative perspective on specific aspects of primate empathic abilities, with particular emphasis on the mirror neuron system associated with mouth/face actions and expression. Mouth and faces can be very salient communicative classes of stimuli that allow an observer access to the emotional and physiological content of other individuals. We thus describe patterns of activations of neural populations related to observation and execution of specific mouth actions and emotional facial expressions in some (...) species of monkeys and in humans. Particular attention is given to dynamics of face-to-face interactions in the early phases of development and to the differences in the anatomy of facial muscles among different species of primates. We hypothesize that increased complexity in social environments and patterns of social development have promoted specializations of facial musculature, behavioral repertoires related to production and recognition of facial emotional expression, and their neural correlates. In several primates, mirror circuits involving parietal-frontal regions, insular regions, cingulate cortices, and amygdala seem to support automatic forms of embodied empathy, which probably contribute to facial mimicry and behavioural synchrony. In humans these circuits interact with specific prefrontal and temporo-parietal cortical regions, which facilitates higher order cognitive functions such as cognitive empathy and mental state attribution. Our analysis thus suggests that the evolution of higher forms of empathy, such as mentalizing, is also linked to the coupling between the perceptual and motor system related to face processing, which may have undergone a process of exaptation during primate phylogeny. (shrink)

The following is a reflection on the possibility of teaching by example, and especially as the idea of teaching by example is developed in the work of Jean-Jacques Rousseau. My thesis is that Rousseau created a literary version of himself in his writings as an embodiment of his philosophy, rather in the same way and with the same purpose that Plato created a version of Socrates. This figure of Rousseau—a sort of philosophical portrait of the man of nature—is represented (...) as an example for us to follow. This would appear to have been dangerous and destabilizing work, given the mental distress that it caused Rousseau in striving to live up to his fictional self. Rousseau's own ideas on the nature of teaching by example are presented in a discussion of the section in ‘Emile’ which Rousseau takes from an incident in his own life—the story of his meeting with a young Savoyard priest who befriended him and influenced him through the power of his example. (shrink)

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

To what extent are artists and sitters (or researchers and “objects” of investigation) implicated in their representations of others? How implicated are we when we identify with the way different cultures or perspectives represent ourselves? Understanding how specific forms of representation reveal differently authored perceptions of the individual is a critical concern. My overarching concern, as an artist, is to start mapping contemporary practices of identity formation and expression through the investigation of specific non- Western and subcultural modes that prioritise (...) different codes and social processes of cultural production – modes that do not privilege the gaze. Crucially, the case studies operate a strategic reversal of the classical artistic and scientific approaches: both sides in this dialogue of interpretation and representation involving the artist/researcher and the cultural actor are equally subject and object. The resulting artworks present distinct cultural practices as new possibilities for portrayal, and acts of selection, interpretation and definition as forms of cultural production. (shrink)

In recent philosophy of mind, informed by ongoing research in the cognitive neurosciences, there has been a tendency to offer deflationary or reductive explanations of self and selfidentity. The background to such accounts includes a complex history of the problem of personal identity from Hume to Parfit. Paul Ricoeur has provided an insightful perspective on this history based on his distinction between ipse identity and idem identity.1 My intention is not to rehearse that history, or even to update it, (...) but rather, assuming that history as background, to engage in a dialogue with the more recent proponents of deflationary, reductive, and internalist accounts of the self, and especially those accounts that put the notion of a narrative self into question. 2 Philosophically there is some question as to whether an account of the narrative self is a sufficient account of the self more generally, that is, whether the whole story about the self is just that it is nothing more than a story about the self. There is, nevertheless, a growing consensus that the concept of the narrative self captures something essential about human existence. In this regard, specifically, there are three issues that I want to address. First, is it possible to defend an account of the narrative self which is consistent with discoveries in cognitive neuroscience, but that remains nonetheless non-reductive? Second, how does such an account relate to an embodied-enactive approach to questions of self-identity? And third, to what extent does such an account involve dimensions of intersubjectivity? The appeal to neuroscience may seem misplaced to some readers. Ricoeur is clear in his insistence that questions of the mind, addressed by phenomenology and hermeneutics, belong to a discourse different from and irreducible to neuroscience.3 To speak of the body from a phenomenological perspective, or from the perspective of lived action, is quite different from speaking of the body from the perspective of natural science. (shrink)

This paper examines the role of the face as it is caught suspended in private contemplation in candid photography. It starts with a celebrated lineage of photography of anonymous faces that promise the revelation of a secret, absorbed self: Paul Strand's 1916 portrait of a blind street peddler, made with a special right-angled lens; Walker Evans's New York subway portraits, shot clandestinely from under his coat; Luc Delahaye's L’Autre, “stolen” from the Paris Metro in the 1990s; and (...) Philip-Lorca diCorcia's Heads, gigantic strobe-lit portraits on the streets of New York. The paper then turns to Australian photographer Cherine Fahd, whose work insistently alludes to the redemptive potential of this promise. This potential is interpreted in terms of Emmanuel Levinas's ethical responsibility to the other, Ariella Azoulay's “civil contract of photography” and Giorgio Agamben's eschatological understanding of photographic testimony. (shrink)

Automated facial recognition methods have become widely used as a way to ascertain the identity of individuals. Yet the methods by which facial recognition technologies (FRT) operate – the machinic performance of the perception of the human face – are often invisible to those under their gaze. This article investigates the machinic perception of the face through an FRT method known as eigenface, in order to both reveal and problematize the ways of seeing that underlie it. As part (...) of its algorithmic processes, eigenface produces an image. This image can be understood as a portrait of machine recognition, making visible the processes through which the algorithm performs recognition and ‘sees’ the human face. The eigenface portrait reveals a way of seeing that is based on statistical processes of pattern recognition. An analogue antecedent of this application of statistics to the recognition of facial images can be found in the composite portrait. Through a dialectical discussion of composite portraiture in multiple disciplinary fields ranging from sociology to philosophy and the visual arts, this article experiments with providing a cultural and social translation of machine processes of visual perception. The discussion shifts the focus of enquiry towards the aesthetics of the algorithmic process in order to provide an entry point for critique and a possible reimagination on algorithmic knowledge production. (shrink)

Through a series of provocative conversations, Frederick Luis Aldama and Herbert Lindenberger, who have written widely on literature, film, music, and art, locate a place for the discomforting and the often painfully unpleasant within aesthetics. The conversational format allows them to travel informally across many centuries and many art forms. They have much to tell one another about the arts since the advent of modernism soon after 1900—the nontonal music, for example, of the Second Vienna School, the chance-directed music (...) and dance of John Cage and Merce Cunningham, the in-your-faceness of such diverse visual artists as Francis Bacon, Pablo Picasso, Willem de Kooning, Egon Schiele, Otto Dix, and Damien Hirst. They demonstrate as well a long tradition of discomforting art stretching back many centuries, for example, in the Last Judgments of innumerable Renaissance painters, in Goya’s so-called “black” paintings, in Wagner’s Tristan chord, and in the subtexts of Shakespearean works such as King Lear and Othello. This book is addressed at once to scholars of literature, art history, musicology, and cinema. Although its conversational format eschews the standard conventions of scholarly argument, it provides original insights both into particular art forms and into individual works within these forms. Among other matters, it demonstrates how recent work in neuroscience may provide insights in the ways that consumers process difficult and discomforting works of art. The book also contributes to current aesthetic theory by charting the dialogue that goes on—especially in aesthetically challenging works—between creator, artifact, and consumer. (shrink)

After acquiring knowledge of the neuroscience of learning, memory, stress and emotions, teachers incorporate more cognitive engagement and student-centered practices into their lessons. However, the role understanding neuroscience plays in teachers own affective and motivational competencies has not yet been investigated. The goal of this study was to investigate how learning neuroscience effected teachers’ self-efficacy, beliefs in their ability to teach effectively, self-responsibility and other components of teacher motivation. A pilot training-of-trainers program was designed and (...) delivered in Liberia combining basic neuroscience with information on social, emotional, behavioral and mental health issues faced by students. Tier I of the professional development was a 2 weeks workshop led by a visiting neuroscientist. A subset of the 24 Tier I secondary science teachers formed a Leadership Team who adapted the content to the Liberian context and subsequently led additional workshops and follow-up sessions for the Tier II secondary science teachers. Science teachers in both tiers completed the affective-motivational scales from the internationally vetted, multiscale Innovative Teaching for Effective Learning Teacher Knowledge Survey from the OECD. Tier II teachers completed the survey in a pre-post-delayed post design. Tier I teachers completed the survey after the workshop with their attitudes at that time and separately with retrospective projections of their pre-workshop attitudes. Ten of the 92 Tier II teachers participated in structured interviews at follow-up. Statistical analysis of survey data demonstrated improved teacher self-efficacy, self-responsibility for student outcomes, and motivation to teach. Qualitatively, teachers expressed more confidence in their ability to motivate students, engage them through active learning, and manage the class through positive rather than negative reinforcement. Teachers’ own self-regulation improved as they made efforts to build supporting relationships with students. Together, these results demonstrated that (i) teacher affective-motivational attitudes can be altered with professional development, (ii) basic neuroscience, as knowledge of how students learn, can improve teacher competency, and (iii) a training-of-trainers model can be effective in a low and middle income country for disseminating neuroscience knowledge, increasing teachers’ knowledge of students’ social and emotional needs, and promoting educational improvement. (shrink)

The brain matters. Says the opening line from Victoria Pitts-Taylor’s The Brain’s Body: Neuroscience and Corporeal Politics. On the face of it, the human brain matters inasmuch as it is the body’s central information processing organ; the CEO that presides over many of our executive bodily functions. But the brain matters beyond the ways in which it has biologically evolved and currently processes information. The brain also matters in social thought, as neuroscientific research has historically informed widespread perceptions (...) of certain bodies and persons at the social and institutional level. Moreover, the brain is embodied, and bodies accrue social and political meanings beyond what they represent at the level... (shrink)

Recent years have seen a rapid growth in neuroscientific research, and an expansion beyond basic research to incorporate elements of the arts, humanities and social sciences. It has been suggested that the neurosciences will bring about major transformations in the understanding of ourselves, our culture and our society. In academia one finds debates within psychology, philosophy and literature about the implications of developments within the neurosciences, and the emerging fields of educational neuroscience, neuro-economics, and neuro-aesthetics also bear witness (...) to a 'neurological turn' which is currently taking place. Neuroscience and Critique is a ground-breaking edited collection which reflects on the impact of neuroscience in contemporary social science and the humanities. It is the first book to consider possibilities for a critique of the theories, practices, and implications of contemporary neuroscience. Bringing together leading scholars from several disciplines, the contributors draw upon a range of perspectives, including cognitive neuroscience, critical philosophy, psychoanalysis, and feminism, and also critically examine several key ideas in contemporary neuroscience, including: The idea of "neural personhood" Theories of emotion in affective neuroscience Empathy, intersubjectivity and the notion of "embodied simulation" The concept of an "emo-rational" actor within neuro-economics. The volume will stimulate further debate in the emerging field of interdisciplinary studies in neuroscience, and will appeal to researchers and advanced students in a range of disciplines including critical psychology, philosophy, and critical studies. (shrink)

This piece, included in the drift special issue of continent. , was created as one step in a thread of inquiry. While each of the contributions to drift stand on their own, the project was an attempt to follow a line of theoretical inquiry as it passed through time and the postal service(s) from October 2012 until May 2013. This issue hosts two threads: between space & place and between intention & attention . The editors recommend that to experience the (...) drifiting thought that attention be paid to the contributions as they entered into conversation one after another. This particular piece is from the BETWEEN SPACE & PLACE thread: April Vannini, Those Between the Common * Laura Dean & Jesse McClelland, Ballard: A Portrait of Placemaking * Amara Hark Weber, Crossroad * Isaac Linder & Berit Soli-Holt, The Call of the Wild: Terro(i)r Modulations * Ashley D. Hairston, Momma taught us to keep a clean house * Sean Smith, The Garage (Take One) * * * * Ballard: A Portrait of Placemaking from continent. on Vimeo . How do people perceive changing landscapes and lifestyles in our neighborhood? We were drawn to this question, perhaps like our interviewees, because we are interested in a certain mystique in Ballard, because we enact something important about it when we go to its coffee shops and restaurants, and because we are transients from other places. Furthermore, we are not always sure of our place in the city, or how our points of reference here may be changing. Much can be said about Seattle’s role in white settlement and in its original industries: shipping, canning, and logging. Much can be said about the arrival of Scandinavian laborers in Ballard, or how the town of Ballard came to be incorporated into Seattle. But as in maps, while these accounts may ground key details, they do not encompass our imaginations of place. Over the last few decades, new meanings in Ballard have been drawn from the built environment. An old railroad track, since converted into a bike path, allows close-up views of storage lots, dry docks and shipyards still lining the ferryway at Ballard’s south edge. Hardware stores and auto repair shops remain clustered along an early bridge and what used to be the city’s first major highway. Nearby, along Market Street and Ballard Avenue, a parallel world of leisure has sprung up celebrating craft processes of work. This is a world of artisan beer, gluten-free pizza, organic coffee, vintage clothing, designer furniture, and one of the city’s finest year-round farmer’s markets. In the past, a noodle shop, a tapas bar, and a Mexican food cart might all have been out of place, but today, they all hang in the balance. As a widening array of consumer spaces channels urban trajectories into the future, contemporary landscapes and lifestyles are retrofitted to traces of the past. The functional and aesthetic components of cities are affected by scales far outside the neighborhood. But as Ballard’s rapidly changing housing market attests, people resituate themselves and the places around them by winnowing out distances and connections between self and other. Condo owners, young couples, single adults, students, senior citizens, and the homeless scramble, revise and recompile landscapes in dynamic and uneven ways. Often, these shifts are an open secret in which past and future are sutured together — debated, digested, and dreamed over. (shrink)

Mark Johnson’s work The Meaning of the Body presents John Dewey’s pragmatism and pragmatist aesthetics as the forerunners of the anti-Cartesian embodied enactive approach to human experience and meaning. He rejects the Kantian noncognitive character of aesthetics and emphasizes that aesthetics is the study of the human capacity to experience the bodily conditions of meaning constitution that grows from our bodily conditions of life. Using Mark Johnson’s view as a starting-point, this paper offers the beginning of an (...) enactive approach to aesthetic preference contributing to bringing human aesthetic behavior research closer to the enactive approach to human experience. Following enactive studies on bodily sense-making and embodied emotions, I identify the bodily conditions of meaning constitution in which aesthetic preference is grounded with the subject’s self-regulatory visceral embodied constitution of viable degrees of value of the environmental factors according to her bodily structure. Unlike mainstream aesthetic preference research in empirical aesthetics, I claim that the subject’s aesthetic preference constitution requires the lived experience of the bodily conditions of meaning constitution through the conscious experience of the subjectively aroused lived body. The implausibility of the mind/body dichotomy of current aesthetic preference research is highlighted. (shrink)

This paper considers the importance of the body for self-esteem, communication, and emotional expression and experience, through the reflections of those who live with various neurological impairments of movement and sensation; sensory deafferentation, spinal cord injury and Möbius Syndrome. People with severe sensory loss, who require conscious attention and visual feedback for movement, describe the imperative to use the same strategies to reacquire gesture, to appear normal and have embodied expression. Those paralysed after spinal cord injury struggle to have (...) others see them as people rather than as people in wheelchairs and have been active in the disability movement, distinguishing between their medical impairment and the social induced disability others project onto them. Lastly those with Möbius reveal the importance of the face for emotional expression and communication and indeed for emotional experience itself. All these examples explore the crucial role of the body as agent for social and personal expression and self-esteem. (shrink)

The body is a rich object for aesthetic inquiry. We aesthetically assess both our own bodies and those of others, and our felt bodily experiences have aesthetic qualities. The body features centrally in aesthetic experiences of visual art, theatre, dance and sports. It is also deeply intertwined with one's identity and sense of self. Artistic and media representations shape how we see and engage with bodies, with consequences both personal and political. This volume contains sixteen original essays by contributors (...) in philosophy, sociology, dance, disability theory, critical race studies, feminist theory, medicine, and law. They explore bodily beauty, sexual attractiveness, the role of images in power relations, the distinct aesthetics of disabled bodies, the construction of national identity, the creation of compassion through bodily presence, the role of bodily style in moral comportment, and the somatic aesthetics of racialized police violence. -/- Contents: Maria del Guadalupe Davidson, "Black Silhouettes on White Walls: Kara Walker’s Magic Lantern"; A. W. Eaton, "Taste in Bodies and Fat Oppression"; C. Winter Han, "From 'Little Brown Brothers' to 'Queer Asian Wives': Constructing the Asian Male Body"; Deborah L. Rhode, "Appearance as a Feminist Issue"; Shirley Anne Tate, "A Tale of Two Olympians—Beauty, 'Race,' Nation"; Glenn Parsons, "The Merrickites"; Stephen Davies, "And Everything Nice"; Tobin Siebers, "In/Visible: Disability on the Stage"; Jill Sigman, "Live, Body-Based Performance: An Account from the Field"; Barbara Gail Montero, "Aesthetic Effortlessness"; Peg Brand Weiser and Edward B. Weiser, "Misleading Aesthetic Norms of Beauty: Perceptual Sexism in Elite Women's Sports"; Yuriko Saito, "Body Aesthetics and the Cultivation of Moral Virtues"; George Yancy, "White Embodied Gazing, the Black Body as Disgust, and the Aesthetics of Un-Suturing"; Richard Shusterman, "Somaesthetics and the Fine Art of Eating"; Ann J. Cahill, "Sexual Desire, Inequality, and the Possibility of Transformation"; Sheila Lintott and Sherri Irvin, "Sex Objects and Sexy Subjects: A Feminist Reclamation of Sexiness" -/- . (shrink)

This article takes a genealogical approach to the problem of affective communication that we find coalescing around the phenomenon of ‘affective transfer’ identified in experiences such as voice-hearing, telepathy and hypnotic suggestion. These experiences breach the boundaries between the self and other, inside and outside, and material and immaterial, and make visible some of the central issues that are important in re-thinking affect, relationality and embodiment. The article will attempt to re-engage the problematic of subjectivity by asking what (...) a turn to affect entails within such technologies of listening and attention. This is particularly important when such turning or opening to affect engenders a conversation with traumatic memories, albeit a conversation that does not occur primarily in a verbal register. The key focus will be on the marginalized status of telepathic modalities of affective transfer throughout the histories of the development of the psychological sciences. The article uses this as a platform to consider the connections between what is occluded or excluded from the psychological sciences, and what is being silenced within work on affect taking form across the humanities. Taking us back to the practice of telepathy in the 19th century and the problem of hypnotic suggestion in the mid 20th century (the Macy Conferences), the article discloses how both function as carriers of what is being overlooked and silenced in the engagement by many affect scholars with the knowledge-practices of the psychological and neurosciences. (shrink)

This book analyzes the nature and functions of horror films from the vantage of a theoretical reconstruction of George Santayana’s account of beauty. This neo-Santayanan framework forms the conceptual backdrop for a new model of horror’s aesthetic enjoyment, the nature of which is detailed through the examination of plot, cinematic, and visual devices distinctive of the popular genre. According to this model, the audience derives pleasure from the films through confronting the aversive scenarios they communicate and rationalizing a denial of (...) their personal applicability. The films then come to embody these acts of self-assertion and intellectual overcoming and become objects of pride. How horror films can acquire necropolitical functions within the context of abusive systems of power is also clarified. These functions, which exploit the power of anti-tragedy, downward social comparison, or vicarious emotion, work to remediate aggressive, ascetic, or revolutionary impulses in ways that are not injurious to the status quo. This book champions horror as a source of self-empowerment and unmitigated beauty, but also attests to the potential social harms of the genre. (shrink)

In a chapter that hones in on certain Renaissance portraits by Hans Holbein, Giorgione, and Jan van Scorel, Hans Maes examines how it is that we can be deeply moved by such portraits, despite (or perhaps because of) the fact that we don’t know anything about their sitters. Standard explanations in terms of the revelation of an inner self or the recreation of a physical presence prove to be insuffi cient. Instead, Maes provides a more rounded account (...) of what makes said portraits moving and memorable, thereby relying on Barthes’ notion of ‘punctum,’ James Elkins’ account of why people cry in front of paintings, and a phenomenological exploration of the parallel between portraiture and the tradition of the Vanitas painting. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 12.4 (2005) 307-310 [Access article in PDF] Aesthetics, Criticism, and Psychotherapy John Z. Sadler Keywords aesthetics, psychiatry, psychotherapy, Sibley In his wide-ranging survey of how Kantian aesthetic theory is implicated in psychothera-py, John Callender has raised at least a dozen potentially profound and rewarding possibilities in applying aesthetic theory to psychiatry and psychotherapy. Although the idea of marrying aesthetic theory to psychiatry and (...) psychotherapy is not new, Callender's direction of the merger is distinctively novel. The mid-twentieth century had a distinct literature in applying psychoanalytic and psychiatric theory to aesthetic experience, summarized by the sizable bibliography by Norman Kiell, Psychiatry and Psychology in the Visual Arts and Aesthetics: A Bibliography (1965). This line of interdisciplinary work influenced a later generation of art historians and literary theorists in applying (particularly) psychoanalytic theory to interpretation and appreciation of the arts, contributions that are still being developed today, along with the emergence of complementary viewpoints from cognitive neuroscience (Peretz and Zatorre 2003; Rose 2004; Zeki 1999). Callender's project, however, is quite the converse—he wishes to show how philosophical aesthetics can contribute to psychiatry and clinical psychology. Exploring the aesthetics of psychiatry is the innovation.Before focusing my own comments on a few of Callender's points, I wish to call attention to the substantive questions he has directly raised or implied by his discussions. These questions are worthy of further development in this and other journals, and I hope that Callender will succeed in engaging the minds of his readers and inspire them to work in this exciting area in the philosophy of psychiatry. In his elegant review of Kant's key theoretical points of aesthetics, his discussion provokes us to consider the kinds of evaluations that patients make of themselves (moral? aesthetic? others?), as well as the kinds of evaluations clinicians make in their judgments of psychopathology. Evolutionists may wonder about the adaptive significance of aesthetic capacities (e.g., derivatives of grooming? mating displays?). In presenting Kant's notion of "disinterestedness" or contemplative judgment, readers may wonder about overlap with notions of therapist neutrality and unconditional positive regard. Should therapist relationships with patients be dominated by a similar aesthetic sensibility? What does the aesthetic posture have to do with the therapist posture?Importantly, Callender notes the connections and ambiguities between moral values and aesthetic values. This is borne out in his later discussions of clinical case material (considered again below). He focuses primarily on the duplication of aesthetic and moral values in the same terms of praise (honesty, integrity, originality), but there is no question that aesthetic experiences are had by viewers of art exhibiting perverse or depraved [End Page 307] imagery (consider, for instance, Francis Bacon's "3 Screaming Popes" or, even more extremely, the grotesque staged photographs of Joel-Peter Witkin). The implication here is that (as an example) to understand the aesthetics of sadomasochistic art may help us to understand the psychology of sadomasochistic people.By the time he introduces his case material, Callender has raised the issue of intersubjectivity in aesthetic experience, an experience that may be devoid of discursive cognitive content but may be profound with emotional content, thus challenging tenets of cognitive psychology and psychotherapy. His discussion of cases reflecting elements of Kant's components of aesthetic judgment point toward new ways of understanding psychopathology as disturbances in aesthetic self-appraisal.I would like to return to the problem of moral and aesthetic judgments in psychotherapy and in psychopathology. Dr. Callender presents three cases—a woman who has been traumatized by multiple instances of sexual abuse, a young girl with postpartum depression with fears of losing her child because of bad mothering, and a third patient with anorexia nervosa who demonstrates the typically distorted body self-image. I suggest that the aesthetic nature of these patients' self-judgments is not so clear cut as Callender suggests. His sexual abuse case summary certainly suggests a woman consumed by shame. Because shame is a typical "moral emotion," the question is raised of moral badness being involved in her self-concept as well as, or perhaps... (shrink)