Husserl intended the phenomenological method as a new beginning for philosophy. The epoché, the key notion of this method, entails a modification of attitude such that it can completely cancel and disempower all that might be given to us and that might be used for philosophical inquiry. In Ideas I, in particular, this is addressed as the “neutrality modification,” and defined as a universal modification of consciousness that permeates the phenomenological attitude. Neutralization, along with the method, is described by relying (...) on what Husserl calls the “language of neutrality,” which is actually spoken while investigating in the phenomenological attitude, enacted in the descriptions, and also discloses a series of rather peculiar acts that must be performed in order to obtain the phenomenological attitude. This paper discusses the phenomenological language of neutrality, first presenting what “neutrality” means, as well as illustrating the essential expressions of this peculiar language (such as “to put out of action,” “to bracket,” “to suspend,” and so on), then situating it in the context of phenomenological analyses, particularly as regards those devoted to phantasy experiences. Finally, going back to early interpretations of Husserl’s transcendental philosophy, notably the critical readings provided by Levinas and Fink, some key features of the method of epoché are pointed out, suggesting that the study of the specific neutrality involved in the latter can contribute to answering the question of what kind of act epoché is, and if it can even be considered an act at all. (shrink)

Assessments of animal experience and consciousness are embedded in all issues of animal welfare policy, and the field of animal welfare science has been developed to make these evaluations. In light of modern studies of the social construction of scientific knowledge, it is surprising how little attention has been paid to date on how crucial evaluations about animals are made. In this paper, I begin to fill that gap by presenting a historical case study of the attempt to define the (...) pain and distress of one common practice in animal research-the use of the tabletop guillotine to decapitate laboratory rodents. I describe the negotiations involved in reaching consensus on the meaning of the available data and caution animal care and use committees that they should always work with the realization that our scientific knowledge of what animals experience is partial and provisional knowledge at best. (shrink)

There is an exponential speed-up in the number of lines of the quantified propositional sequent calculus over Substitution Frege Systems, if one considers proofs as trees. Whether this is true also for the number of symbols, is still an open problem.

In The Flesh of Images, Mauro Carbone analyzed Merleau-Ponty's interest in film as it relates to his aesthetic theory. Philosophy-Screens broadens the work undertaken in this earlier book, looking at the ideas of other twentieth-century thinkers concerning the relationship between philosophy and film, and also extending that analysis to address the wider proliferation of screens in the twenty-first century. In the first part of the book, Carbone examines the ways that Sartre, Merleau-Ponty, Lyotard, and Deleuze grappled with the (...) philosophical significance of cinema as a novel aesthetic medium unfolding in the twentieth century. He then considers the significance of this philosophical framework for understanding the digital revolution, in particular the extent to we are increasingly and comprehensively connected with screens. Smart phones, tablets, and computers have become a primary referential optical apparatus for everyday life in ways that influence the experience not only of seeing but also of thinking and desiring. Carbone's Philosophy-Screens follows Deleuze's call for "a philosophy-cinema" that can account for these fundamental changes in perception and aesthetic production, and adapts it to twenty-first century concerns. (shrink)

The time of half-sleep : Merleau-Ponty between Husserl and Proust -- Ad limina philosophiae : Merleau-Ponty and the "introduction" to Hegel's Phenomenology of spirit -- Nature : variations on the theme -- The thinking of the sensible.

Jeffery et al. extensively and thoroughly describe how different species navigate through a three-dimensional environment. Undeniably, the world offers numerous three-dimensional opportunities. However, we argue that for most navigation tasks a two-dimensional representation is nevertheless sufficient, as physical conditions and limitations such as gravity, thermoclines, or layers of earth encountered in a specific situation provide the very elevation data the navigating individual needs.

Journal Name: Apeiron Issue: Ahead of print.

The Russian invasion of 2022 was based on an organized process of influence on the Ukrainian population, aimed at obtaining their support or neutralizing their possible resistance, in concert with the state apparatus. We find, in the backdrop of this process, the memorial conflict between these two countries and their neighbours, concerning World War II and the Soviet Union. This war of influence, or political warfare, which falls within new forms of contemporary hybrid warfare, profoundly has to do with images, (...) especially moving images. The cinematic images, the debauchery of their propaganda during the Second World War and throughout the existence of the USSR, still weighs on the bodies and minds; the new media has in many ways inherented them and their way of reenacting or extending propaganda on an individual or group scale. We will then question the place of images, and in particular those in motion, in the war between Russia and Ukraine since 2014 to describe the way in which they have served or still serve the military-memorial device deployed by the Russian invader. (shrink)

Highlights Merleau-Ponty’s interest in film and connects it to his aesthetic theory.

We develop a combinatorial model to study the evolution of graphs underlying proofs during the process of cut elimination. Proofs are two-dimensional objects and differences in the behavior of their cut elimination can often be accounted for by differences in their two-dimensional structure. Our purpose is to determine geometrical conditions on the graphs of proofs to explain the expansion of the size of proofs after cut elimination. We will be concerned with exponential expansion and we give upper and lower bounds (...) which depend on the geometry of the graphs. The lower bound is computed passing through the notion of universal covering for directed graphs. In this paper we present ground material for the study of cut elimination and structure of proofs in purely combinatorial terms. We develop a theory of duplication for directed graphs and derive results on graphs of proofs as corollaries. (shrink)

One point that definitions of art experience disagree about is whether this kind of experience is qualitatively different from experiences related to ordinary objects and everyday contexts. Here, we follow an ecological approach assuming that art experience has its own specific quality that is, not least, determined by typical contexts of art presentation. Practically, we systematically observe typical phenomena of experiencing art in ecologically valid or real-world settings such as museum contexts. Based on evidences gained in this manner, we emulate (...) and implement essential properties of ecological contexts (e.g., free choice of viewing distance and time, large scale of artworks and exhibition-like context) in controlled laboratory experiments. We found, for instance, that for large scale paintings by Pollock and Rothko preferred viewing distances as well as distances inducing most intense art experiences including Aesthetic Aha insights were much larger than typical viewing distances realized in lab studies. Following Carbon’s (2019) terminology of measurement strategies of art experience, the combined use of “Path #1” (real-world context) and “Path #2” (mildly controlled, still ecologically valid settings and contexts), enables us to understand and investigate much closer what is really happening when people experience art. (shrink)

Two of Aristotle’s major legacies, namely, the theory of scientific syllogism and teleology seem to conflict on several planes. Indeed, an array of formal limitations prevents him from formalizing teleological explanations into scientific syllogisms, which are entirely absent from his works. To achieve this, Aristotle resorts to a different tool, the logic of ‘consequence’. This governs both the teleological relation between an end and a means that underlies necessity ‘from a hypothesis’—which is the necessity proper to living things—and a different (...) form of syllogisms, namely, syllogisms ‘from a hypothesis’. His guidelines in the first chapter of his Parts of Animals on the proper form of demonstration to be adopted in biology should be read as laying out the rules of inference for translating teleological explanations into syllogisms ‘from a hypothesis’. (shrink)

Philosophical interpretation of Proust based on the work of Merleau-Ponty and Deleuze.

We analyse the structure of propositional proofs in the sequent calculus focusing on the well-known procedures of Interpolation and Cut Elimination. We are motivated in part by the desire to understand why a tautology might be ‘hard to prove’. Given a proof we associate to it a logical graph tracing the flow of formulas in it . We show some general facts about logical graphs such as acyclicity of cut-free proofs and acyclicity of contraction-free proofs , and we give a (...) proof of a strengthened version of the Craig Interpolation Theorem based on flows of formulas. We show that tautologies having minimal interpolants of non-linear size must have proofs with certain precise structural properties. We then show that given a proof Π and a cut-free form Π′ associated to it , certain subgraphs of Π′ which are logical graphs correspond to subgraphs of Π which are logical graphs for the same sequent. This locality property of cut elimination leads to new results on the complexity of interpolants, which cannot follow from the known constructions proving the Craig Interpolation Theorem. (shrink)

La recherche récente a régulièrement remis en cause la catégorie moderne de « lois sacrées » désignant des inscriptions grecques qui forment un ensemble mal défini. Cet article entend dépasser le corpus traditionnel des « lois sacrées » en présentant un projet de recueil alternatif de « Normes rituelles grecques » (CGRN pour l’acronyme anglais), qui s’appuie sur des critères plus sélectifs et sera publié en ligne.

Succinct representation and fast access to large amounts of data are challenges of our time. This unique book suggests general approaches of 'complexity of descriptions'. It deals with a variety of concrete topics and bridges between them, while opening new perspectives and providing promising avenues for the 'complexity puzzle'.