This paper discusses the significance for the philosophy of perception and aesthetics of certain productions of the ‘offline brain’. These are experienced in hypnagogic and other trance states, and in disease- or drug-induced hallucination. They bear a similarity to other visual patterns in nature, and reappear in human artistry, especially of the craft type. The reasons behind these resonances are explored, along with the question why we are disposed to find geometrical complexity and ‘supercolouration’ beautiful. The paper concludes with (...) a plea on behalf of neuroaesthetics, but with a caution or two. (shrink)

Two studies are reported in which participants’ reports of altered states of consciousness were manipulated using priming methods. Study 1 used both subtle and blunt supraliminal priming methods, while Study 2 used a subliminal priming method. Across the two studies, two different methods for inducing ASC were used. In both studies a direct and an indirect measure of ASC was employed in order to separate the more nonconscious and spontaneous from the more conscious and directive reports of ASC. As predicted, (...) results indicated that the indirect measures of ASC were consistent with the ASC primes participants received. Implications and future research directions are discussed. (shrink)

This chapter has two objectives. The first is to clarify Aristotle’s view of the first principles of the sciences. The second is to stake out a critical position with respect to this view. The paper sketches an alternative to Aristotle’s intuitionism based in part on the use of quantitative inductive logics.

Selfhood and Appearing: The Intertwining represents a most robust and breathtaking re-theorization of themes central to the philosophy of consciousness and relationality. Ranging from re-formulatio...

In this paper I examine the genesis of Kant’s conception of a realm of ends, arguing that Kant first started to think of morality in terms of striving to be a member of a realm of ends, understood as an ideal community, in the early 1760s, and that he was influenced in this by his encounter with the Swedish mystic Emanuel Swedenborg. In 1766 Kant published Dreams of a Spirit Seer, a commentary on Swedenborg’s magnum opus, Heavenly Secrets. Most commentators (...) take Kant’s attitude towards Swedenborg to have been entirely negative, and argue that, at the most, Kant’s encounter with him had a purely negative impact on Kant’s development, inducing him to reject certain of his early metaphysical positions. I argue, in contrast, that Swedenborg had a positive influence on Kant’s development, particularly on his ethics, for Kant’s conception of a realm of ends is modeled on Swedenborg’s conception of heaven as a community of spirits governed by moral laws. (shrink)

This article focuses on the aesthetics of the psychedelic experience. Aldous Huxley’s Doors of Perception remains one of the few studies that investigates the aesthetic dimension of the psychedelic experience as profoundly meaningful as such, because it gives direct attention to the nonhuman otherness of the universe that is hard to describe in words, but that can be felt and sensed. Similarly, Deleuze and Guattari have investigated psychedelics as a perceptual, aesthetic, phenomenon. They argue that psychedelic aesthetics offers (...) an experience at the limits of perception to the point of ultimate abstraction of geometric figures and grains. Drawing upon the works of two experimental filmmakers from two different generations and backgrounds, Philippe Garrel’s enigmatic Le Révélateur ( The Revealer, 1968 ) and Morgan Quaintance’s thought-provoking Surviving You, Always (2021), the borders of the perceptual field by cinematographic means will be investigated. These works are exemplary of how the nonhuman perception of the camera, its ‘bodies without organs’, and its affective intensity evoke a psychedelic, mind-revealing, experience and an ethics of – in Deleuze’s words – ‘becoming not unworthy of the event’. (shrink)

People in a freezer. Self-perception as an explanatory mechanism for the effectiveness of the foot-in-the-door technique According to the foot-in-the-door technique of social influence, everyone who wants to increase the likelihood of having their request fulfilled by another person should first present that person with an easier request. Granting the easier request will make that person more inclined to fulfill the subsequent escalated request. The results of numerous studies confirm this rule. In the psychological literature it is usually assumed (...) that this is possible thanks to the self-perception mechanism. People who comply with an easy request cannot find any external explanation for doing so and therefore draw the auxiliary conclusion that they are "people for whom it is normal to grant such requests". The author of this article, however, points out that the self-perception thesis implicitly assumes no impact of any other types of requests on the individual between the times they hear the two requests posed by the psychologists-researchers. Two simple studies presented here demonstrate that people are normally faced with several requests every day, of which some they fulfill and some reject. This constitutes a serious challenge for the self-perception interpretation of the foot-in-the-door technique. (shrink)

Jody Azzouni argues that we involuntarily experience certain physical items, certain products of human actions, and certain human actions themselves as having meaning-properties. We understand these items as possessing meaning or as having truth values. For example, a sign on a door reading "Drinks Inside" strikes native English speakers as referring to liquids in the room behind the door. The sign has a truth value--if no drinks are found in the room, the sign is misleading. Someone pointing in a direction (...) has the same effect: we experience her gesture as significant. Azzouni does not suggest that we don't recognize the expectations or intentions of speakers ; we do recognize that the person pointing in a certain direction intends for us to understand her gesture's significance. Nevertheless, Azzouni asserts that we experience that gesture as having significance independent of her intentions. The gesture is meaningful on its own. The same is true of language, both spoken and written. We experience the meanings of language artifacts as independent of their makers' intentions in the same way that we experience an object's shape as a property independent of the object's color. There is a distinctive phenomenology to the experience of understanding language, and Semantic Perception shows how this phenomenology can be brought to bear as evidence for and against competing theories of language. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Victorian DoorsErnest L. FontanaILet us begin with a simple observation. If we confine ourselves to mid- and late-nineteenth Anglophone (Victorian) poetry that employs traditional verse stanzas or rooms, it is perhaps not surprising that a line terminating with door most often rhymes with more, particularly as more is found in such locutions as no more or evermore.1 For example, in the work of Emily Dickinson, door rhymes with a (...) more phoneme in 14 of 20 instances. What is of special interest, and the focus of this essay, is the use of door as a rhymed word at the end or near the end of a poem. Of related but secondary interest is its appearance as a rhymed word at the end of an intermediate stanza. Since more signifies a quantitative concept, the frequent use of it to rhyme with door suggests that the designated door often demarcates a site of transition from a state that is quantitatively different (most often less) from the state to which one passes through the door. This imagined other state often involves quantities of time as in the frequent use of no more and evermore. In the first instance the time imagined is completely negated, in the second it is affirmed as a perpetual duration. Poe acknowledged the significance of the door/evermore rhyme in the "The Raven" in which this rhyme occurs at the end of 5 of its 18 stanzas.2 Thus this common English rhyme of door and more requires a signification of transition from one state to another that differ from each other in quantity. Often, particularly in Dickinson, the other state lies beyond the walled or enclosed room of [End Page 277] the self. My essay raises the question of whether without this accidental acoustical concurrence in English, the signification in Anglophone poetry of an implied transition from certain quotidian or phenomenal states to certain visionary or noumenal states would be as frequent or so easily rendered. Does this accidental rhyme in fact generate certain significations or metaphors?3I shall begin my demonstration with what I believe are telling examples of doors as a closural effect of both poems and stanzas.4 In the second, revised version of Hopkins's sonnet "In honour of St. Alphonsus Rodriguez: Laybrother of the Society of Jesus," written in Dublin in 1888, the concluding sestet of this Italian sonnet ends with door.Yet God (that hews mountain and continent, Earth, all, out; who, with trickling increment, Veins violets and tall trees makes more and more) Could crowd career with conquest while there went Those years and years by of world without event That in Majorca Alphonso watched the door.5The sonnet is built on the contrast between honor that is "flashed off exploit," the highly visible exploits of the early Jesuit martyrs and missionaries, with the "Unseen," apparently un-heroic life of the obscure Spanish Jesuit laybrother and hall porter, whose war was "within." While God, through his Jesuit martyrs, "could crown [His] career with conquest," Alphonsus's life passed "without event" as he "watched the door." Hopkins's rhymes his terminal door with the more that results from the silent "trickling increment" of God's ongoing creative act. The foregrounded closural door of the poem becomes, through its position and rhyme, a metaphor for a passage to the abundance resulting from God's creative action, a quantification that extends beyond the perceptible world.Alphonsus is the guardian of the passage to this abundance, one that is subtly implied by the more/door rhyme. The sonnet ends with the reader and Alphonsus positioned on the threshold of an unnamable abundance that is signified by the silence and blank space that follows upon this terminal door. In Browning's "A Lovers' Quarrel," from Men and Women (1855), the male speaker recalls, during the advent of an Italian spring, the amatory intimacies he and his beloved shared during the past winter in their Tuscan farmhouse: "'Twas a time when the heart could shew / All'" (ll. 75–76).6 But the amatory union of the [End Page 278] two lovers has been ruptured by an unidentified, chance "hasty word" spoken... (shrink)

In this article, first of all, the author wants to show that a new justification can be provided for the idea, originally maintained in the disjunctivist camp, that genuine perceptions and hallucinations are metaphysically different kinds of mental states, independently of the fact that they all are perceptual experiences. For even if they share their phenomenal character and their representational content is put aside for the purpose of their metaphysical individuation, as some conjunctivists maintain, they still differ in their mode, (...) insofar as they differ in their functional role. Once things are so put at the metaphysical level, moreover, this account of perceptual experiences leaves room for reintroducing content for such experiences from the rear door; namely, as a singular representational content, just as some direct realists have originally suggested. Finally, this move enables the account to explain not only some intuitive data about perceptual experiences, but also to corroborate its viability, even if it does not rely on antiskeptical motivations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.3 (2006) 92-114 [Access article in PDF] A Global Art System: An Exploration of Current Literature on Visual Culture, and a Glimpse at the Universal Promethean Principle—with Unintended Oedipal Consequences Art Education 11-18: Meaning, Purpose And Direction, edited by Richard Hickman; New York, Continuum; 2nd edition, 2004; 176 pp. Global Visual Culture within a Global Art System I have harbored misgivings about the term (...) "visual culture" for several years. Having read Hickman's book with its collection of notable scholars in art and design education, those misgivings turned into qualified acceptance of "visual culture"—so long as it is understood as a global visual culture within a global art system. The ten chapters presented in Hickman's book clearly explore the notion of visual culture in the context of generating an expansive and appropriate canon of art distinctly relevant to our postmodern, multicultural, multidimensional classroom of multiple intelligences.1 And so, art and design education for the twenty-first century must perform three essential functions: one, it must color the classroom with signs of global human pictorial and textual expressions; two, it must attempt to comprehend an immeasurable universe through creative, scaled-down explorations of the phenomenal world all of humanity is subject to; and three, it must open up the Blakeian doors of perception,2 while remaining free of emotional, educational, social, political, or religious ideological bonds. In this light, Hickman's Art Education 11-18 (2004), is a must read for art and design educators currently bogged down in old curriculum, and a must read for educators who incorporate new pedagogical literature easily into their new curriculum. And I say must read because we are on the verge of a revolution in visual art history and education—immersed in it, struggling to make sense of our beloved classical canon of art, and struggling to come to grips with a strangely foreign, beautifully alien, semeiotic reality we call (vaguely) "visual culture." It is a visual culture and history from the north, east, and south. Not just from the west.Key innovative educational issues addressed in these chapters are (respectively) using the dynamic nature of art to expand the curricula (Richard Hickman); the collapse of cultural borders (Lesley Burgess and Nicholas [End Page 92] Addison); a balanced cultural history of the world (Colin Grigg); recognizing art and recognizing visual culture (Howard Hollands); a range of visual cultures and literacy (Darren Newbury); using computer technology as a pathway to a new art and visual culture (Andy Ash); critical study and analysis (Michele Tallack); hand-making as a universal link to nature and art (Rachel Mason); spirituality in the process of art creation (James Hall); and cross-cultural heritage toward a new canon of art (Hickman).I will review each chapter as it pertains to current literature exploring popular pedagogical terms like "visual culture," "postmodernism," "pluralism," and "radicalism" and (more importantly) as it fits into a global system of art and culture. In addition, I suggest another term ("cosmopolitanism"—to identify the viable gay and lesbian aesthetic and culture) not that they are necessarily different, but they are indeed relevant and operate from a fresh literary and historical perspective. Then, I will illustrate how a new, postmodern canon of art must be linked to global visual culture and art in order to expand the concept of visual culture. Thus, I see two tasks before me: the first task is to inventory the philosophy, pedagogy, and meanings within each of the ten chapters in Hickman's Art Education 11-18; and the second task is to integrate key pedagogical ideas highlighted in each chapter as a method of generating a meaningful, holistic, integrated direction for art and design education in the twenty-first century. Integrating Art and Design Education Art is a design process. All subject regimes, D. N. Perkins suggests, are a design process.3 This may seem too obvious now after all these years since the publication of Knowledge... (shrink)

In this paper I argue for a version of the Total Evidence view according to which the rational response to disagreement depends upon one's total evidence. I argue that perceptual evidence of a certain kind is significantly weightier than many other types of evidence, including testimonial. Furthermore, what is generally called "The Uniqueness Thesis" is actually a conflation of two distinct principles that I dub "Evidential Uniqueness" and "Rationality Uniqueness." The former principle is likely true but the latter almost certainly (...) false. Seeing why the Rationality Uniqueness fails opens the door to seeing how mutual reasonable disagreement is possible even among those who share the same evidence. (shrink)

1. The spatial perception requirementCassam surveys arguments for what he calls the ‘Spatial Perception Requirement’ . This is the following principle: " SPR: In order to perceive that something is the case and thereby to know that it is the case one must be capable of spatial perception. " A couple of preliminary glosses. By ‘spatial perception’ Cassam means either perception of location, or perception of specifically spatial properties of an object, such as its (...) size and shape. Second, Cassam takes it that there is something basic about cases in which one's perceiving that something is the case depends on perception of an object. That is, he takes it that there is something basic about such cases as that in which, for example, you perceive that the door is open by perceiving the door.On this second point, it is not quite obvious that one could not perceive that things are thus and so if one could not perceive material objects. Cannot someone lost in fog, for example, perceive that it is foggy, even if they cannot see a thing because of the fog? Moreover, suppose we have someone who cannot perceive that things are thus and so. This person has only a series of sensations. Is it obvious that this person could not come to have knowledge of their world by reasoning about the probable causes of those sensations? These points seem to me to have some interest, but I will not pursue them here. I will assume we are considering cases in which propositional knowledge is grounded in perception that such and such is the case, and that this in turn depends on perception of objects.One sort of argument you might give for SPR runs as follows. Perception of an object demands that you have perceptually differentiated the object from its …. (shrink)

In 2005, Ethiopia changed its abortion law to curb its high maternal mortality. This has led to a considerable reduction in deaths from unsafe abortions. Abortion is now legal if the woman’s pregnancy is a result of rape or incest, if her health is endangered, if the fetus has a serious deformity, if she suffers from a physical or mental deficiency, or if she is under 18 years of age. The word of the woman, if in compliance with the law, (...) is sufficient to qualify for an abortion. In this context, where the law makes the door slightly open, health workers become important in deciding who gets access to safe services and who doesn’t, thus creating considerable ethical dilemmas. The objective of this study was to explore abortion service providers’ personal experiences and reflections, perceptions of the abortion law, and ethical and dilemmas that arise. Data collection took place from March to May 2016 in Addis Ababa, at different health clinics providing abortion services. Thirty in-depth interviews and three focus group discussions were conducted with 41 abortion service providers at governmental and non-governmental clinics. Content analysis was drawn upon in the interpretation of the findings. When working in a context where the law has slightly opened the door for abortion seeking women, the health workers describe conflicting concerns, burdensome responsibilities, and ambiguity concerning how to interpret and implement the law. They describe efforts to balance their religious faith and values against their professional obligations and concern for women’s health and well-being. This negotiation is particularly evident in the care of women who fall outside the law’s indications. They usually handle ethical dilemmas and decision-making alone without guidance. Moreover, many health workers face a stigma from fellow colleagues not performing abortions and therefore keep their job a secret from family and friends. Health workers in Ethiopia experience ethical dilemmas trying to maneuver between the abortion law, their personal values, and their genuine concern for the health of women. More research is needed to further explore this. (shrink)

If the doors of perception were cleansed, everything would appear to man as it is, infinite. - William Blake, Marriage of Heaven & Hell, Plate 14.

Considering the perception lik a abilty to see, hear or become aware, in this research, focused upon a subject that has left a great mark on the world-wide literature and opened the door to great debates. This subject is mentioned in Nietzsche's famous work, ANTICHRIST. of man and person its nature of development your obstacles and this your obstacles How will be surpassed over One attempt to do has been studied. Same in time human being One individual and society (...) One Part of its aspect civilization to be able to create in front of philosophical, religious, and political of your obstacle’s detection and this your determination to the reader reflection has been made. The main theme of this study while real politics and social of development According to Nietzsche, how it should be done was expressed. A pivotal aspect of Nietzsche’s analysis lies in the contradictory nature of the modern individual's consciousness and ignorance. Despite the allure of advancement, Nietzsche scrutinizes modernity’s superficial enlightenment, championing increased awareness and resilience against societal shortcomings. Nietzche challenges traditional notions of virtue, advocating for a shift away from rigid moral doctrines towards innate instincts and personal growth. Nietzsche’s discourse extends beyond mere criticism, promoting education, primal instincts, and nuanced comprehension of human development. Rejecting simplistic hierarchical frameworks, he attributes human advancement to intrinsic impulses rather than societal constructs. At the core of Nietzsche’s argument lies the concept of instinctual power, crucial for both societal progress and individual fulfillment. The study elucidates Nietzsche’s condemnation of compassion as an impediment to progress, echoing Aristotle’s insights. Nietzsche advocates for an unyielding stance against barriers hindering societal evolution, urging individuals to embrace self-esteem, self-affection, and autonomy. Nietzsche’s "Antichrist" provides profound reflections on humanity’s trajectory, urging a departure from dogmatic beliefs towards instinct-driven growth. The research underscores Nietzsche’s vision of a civilization harmonized with nature, liberated from societal constraints, and driven by individual integrity and primal instincts. (shrink)

The films and live cinema of Vincent Moon are considered in this chapter as ‘psychedelic’: a form of filmmaking and film performances that can open the doors of perception to invisible realms of percepts, affects and durations that are beyond or below ordinary human perception. According to Paul Schrader, films can evoke such spiritual dimensions, in particular through what he called the transcendental style of film, and what Gilles Deleuze termed the time-image. As an audio-visual ethnographer of (...) world religions who is distinctly influenced by shamanic and animistic traditions, Moon brings the transcendental style back to its plane of immanence. His live cinema performances have a ritualistic and ecstatic aspect that recalls the esoteric history of haunted media. Moon's enthralling film performances induce altered states of mind, tap into spiritual realities and immerse the audience in magic. (shrink)

Humphry Osmond wrote to Aldous Huxley in 1956 proposing the term “psychedelic,” coined from two Greek words to mean “mind manifesting.” The scholars, one a psychiatrist and the other a celebrated novelist and philosopher, were exuberant about the potential of drugs for accessing the mind. Huxley favored a phrase from William Blake: -/- If the doors of perception were cleansed everything would appear to man as it is, infinite. -/- He postulated that psychedelics disturbed the “cerebral reducing valve” (...) (1954), and that this was in fact the shared mechanism for regular drug trips, as well as schizophrenic and mystical experiences. If it were the case, the drugs could offer a chemical shortcut to the divine, and a reasonable way to scientifically study mental illness. -/- With such ideas in vogue, the 1950s were heady years, at least for research on psychedelic drugs. More than 750 articles were published on LSD alone. Some studies made use of the drug experience to model schizophrenia, others to develop treatments for alcoholism. And as Nicolas Langlitz explains in Neuropsychedelia: The Revival of Hallucinogen Research Since the Decade of the Brain, the brain as filter – the idea of gates or doors (which, yes, also gave name to the band) – would go on to serve as a significant shared conceptual matrix for psychopharmacologic research, from experimental psychosis to experimental mysticism (10). (shrink)

Review of Huston Smith's ‘Cleansing the Doors of Perception’.

In lieu of an abstract, here is a brief excerpt of the content:Commentary on “Towards a Design-Based Analysis of Emotional Episodes”Dan Lloyd (bio)To think about grief is to think about many things. My one-year-old daughter was practicing opening and closing a cabinet door as I puzzled over a response to Wright, Sloman, and Beaudoin’s “Toward a Design-Based Analysis of Emotional Episodes.” She was completely absorbed in her project, and as I watched my elf at her task, I thought about the (...) voices of loss that speak briefly in section 3.1. How terrible it would be to lose a loved one. With that, I was overcome with a pang of love for my daughter, and further thought about the paper ceased.In the authors’ terms, my feelings about my daughter were “perturbances,” states that interfered with the internal management of my thought process, derailing it from the deliberate project of responding to the paper. Reading and thinking about loss activated the attachment structures involving those whose loss would be most devastating to me. The activation of the attachment structure was my episode of intense feeling, arising in me with an insistence level that temporarily exceeded my academic pursuits. The whole sequence of mental events arose through the interaction of major processes of perception, beliefs, “motivators,” plans, self-monitoring, and global control. The mind, according to the authors, is a collection of such processes.Is that all there is? The familiar objection to this brand of functionalist analysis is that it leaves out the most important part of mind, namely, conscious experience. Such an “architecture” for an “intelligent agent” is at best a simulation of some aspects of cognition, but the feelings, the moods, the subjective what-it-is-like of experience are missing. And without them, say the familiar critics, the mind is missing. The authors are naturally aware of this objection, and are careful to hedge their project: “In our discussion the ‘phenomenological problem’ is factored out and placed to one side.”I wonder, however, whether the authors are too quick to concede that their model omits the phenomenal. The symptoms of grief expressed by its sufferers would all be considered reports of the experience of grief, aspects of its phenomenology. The authors use these reports to guide their analysis of the functional processes of grief, and their analysis in turn explains why the grievers experience their losses as they do. Functionalist psychologists usually base their analyses on strictly observable responses obtained in cognitive psychology experiments. In using first-person reports as their guide, the authors inaugurate a promising union of phenomenology and functionalism. After their treatment of grief, the left over and left out phenomenology is noticeably slimmer.What remains of grief is its pain. In the spirit [End Page 127] of the paper, I will close with a brief speculative extension of the authors’ approach, using it to examine the core of the experience of grief. Like physical pain, emotional pain is curiously resistant to description, and not even easy to remember. (One remembers that one was in pain, and that it was hateful, but such reminiscences are faint shadows of the experience itself.) Though its phenomenology is elusive, pain has a clear function. It is aversive. As the authors note, pain involves “dispositions to terminate or reduce some state or process.” In their terms, pain is a motivator with a very high insistence level. Motivators motivate plans, and an aversive motivator would principally motivate a plan to remove the cause of the pain. However, grief and other chronic emotional pains are marked by irremediability. There can be no plan that replaces the loss, only fantasy plans or reversions to infant strategies of last resort (like crying). Within the cognitive architecture proposed by this paper, emotional pain is thus characterized by a collision of two processes, a highly insistent motive meeting a vacuum where a plan should be. The unanswered insistence would make the collision hateful, while the absent plan would leave a state partly without intentional content, and thus hard to describe or remember. This breakdown, arguably, is the pain—an emergent state or states arising in just this sort of wrenching bind.The traditional critic will insist that the painfulness... (shrink)

Galit Wellner’s exploration of new kinds of digital technologies employing AI algorithms that simulate features and functions of the human imagination leads her to propose a conceptual analysis of the imagination as a composite of perception and memory. Wellner poses the question of whether the output of such technological applications might be regarded as not merely simulating creative activity but as truly imaginative in their own right. Wellner concludes with a qualified “no.” The use of AI algorithms in conjunction (...) with human cognitive activity, conceived in terms of a layered architecture of the faculties in question, can in fact be understood as an essential component of imaginative, and thus creative, production, but humans are still needed in the mix. To the extent that the AI-algorithm-enhanced human system is capable of imagining and creating works of art, imagination can be extended to AI algorithms. But, the algorithms sans humans are not themselves imaginers. For Wellner, AI algorithms can augment and enhance human imaginative efforts, equipping us with a richer and vastly wider array of possibilities and options for aesthetic consideration, but ultimately, the human is the essential element. However, once the door is opened to accepting algorithmically determined alternatives as capable of successfully achieving desired results within a field of possible outcomes, it seems possible that the activities of connecting, coordinating, or meaningfully linking, combining, and establishing new imaginative layers that Wellner reserves as requiring humans to enact might also be programmable, algorithmically achievable tasks that instantiate genuine aesthetic decision making. (shrink)

The COVID-19 pandemic has drastically altered the education sector. Rather than the impact of COVID-19, many higher education institutions are on the verge of insolvency due to a lack of digital transformation readiness and poor business models. The bleak financial future many HEIs will face while others may be forced to close their doors completely will erode HEIs’ ability to fulfil their societal responsibilities. However, HEIs that have survived and maintained their operations anticipate the transition to online learning or (...) the effects of any economic crisis, including university closures in the short, medium, or long term. The entire educational ecosystem was forced to transform its operations quickly and entirely to an online teaching-learning scenario in just a few weeks. Notably, HEIs that have long offered online courses worldwide can easily transition to digital teaching and learning when necessary. The second roundtable session’s result of the International Higher Education Conference, organized by INTI International University on March 31 2022, was used to organize a Delphi method to identify further factors that positively impact HEIs by COVID-19. The importance of these factors was then determined using Kendall’s coefficient of concordance. Recommendations on how HEIs should move towards institutional sustainability during the endemic phase are presented accordingly. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Classics and the Uses of ReceptionJames Bradley WellsCharles Martindale and Richard F. Thomas, eds. Classics and the Uses of Reception. Classical Receptions. Malden: Blackwell, 2006. xiv + 335 pp. 20 black-and-white figs. Paper, $36.95.Passion and parrhesia characterize this collection of twenty-three essays on applications of reception theory and practice to classical studies. Charles Martindale and Richard F. Thomas originally conceived of this project as an invitation to "wider (...) debate about the uses of reception within classics" (2). This volume is the product of an admirably collaborative process, which did not serve to put contributors on message with any particular ideological or theoretical stance but created a forum for sustained dialogue, a sort of salon whose doors are now open to broader participation. Classics and the Uses of Reception throws down challenges to conventional ways of thinking about texts, history, modes of perception, and styles of analysis; this willingness to take a stand gives the collection its passionate quality.Some authors speak to the capacity that reception has for enabling classics to join the fray of contemporary intellectual life with more commitment and to become more attractive to today's students. The essays are intensely self-reflexive and practice a confrontational parrhesia that dismantles assumptions, admits its faults, and prefers open-endedness to gift-wrapped conclusions. This book is a provocation, not a primer, even if there are many fine illustrations of what reception theory and practice look like—and it is not a point of entry for research on, say, pastoral poetry, Sophocles' Antigone, or the Venus de Milo. Prospective readers who hope to find here the footing necessary to make their own receptionalist forays will still need to read their Hans Robert Jauss and Wolfgang Iser, although many essays do describe the intellectual genealogy of reception, both in its theoretical dimensions and in terms of particular topics in classical studies. These topics are appealingly diverse.Diverse too—or divergent in this case?—are the rhetorical strategies of the essays in the collection. In addition to authors who conform to the generic parameters of the expository essay, some authors adopt an insistently centrifugal style that replicates the openendedness of the point of reception, the moment of interaction between a text and its interlocutor. I get that, but I had trouble with the essays that read like theory interloping. I use theory and savor the specificity [End Page 135] of definition, the hyperqualification of thought aspiring to exactitude sans simplicity for its own sake, and complex sentence structure that is a reflex of the ideas it conveys, so if I locate some of the essays in this collection on the spectrum of, at one end, stupefying displays of jargon, and, at the other, postmodern-cute, we are talking about the alienation of an interested reader. In what follows, I summarize, necessarily crudely, the contents of the twenty-three essays in Classics and the Uses of Reception.The first two essays, Martindale's "Introduction: Thinking Though Reception" (1–13) and William W. Batstone's "Provocation: The Point of Reception Theory" (14–20), preface the two sections of the book, "Part I: Reception in Theory" and "Part II: Studies in Reception." A core thread in Classics and the Uses of Reception is the problem of history, which Martindale weighs vis-à-vis reception specifically as it pertains to classics. In light of key tenets of reception theory—first, that meaning is situated but not instantiated and, second, that meaning is a product of the dialogue that emerges in the interface of two horizons of expectations, that of the classical text, broadly conceived to include all communicative media, and that of the reader—reception in classics offers the prospect of retooling how the discipline approaches history so that classicists might more rigorously disclose present dimensions of their encounters with antiquity. Batstone's essay addresses a danger to which virtually any methodology is susceptible: to command an analytical vista impervious to the hints—indeed, responsibility to acknowledge—that what we see has something to do with us. Easing over a palette of thinkers that includes Kristeva, Gadamer, Heidegger, Bakhtin, Lacan, and Freud, Batstone's discussion of subjectivity and... (shrink)

This paper aims to show that genders are enacted, by providing an account of how an individual can be said to enact a gender and explaining how, consequently, genders can be fluid. On the enactive-ecological view we defend, individuals first and foremost perceive the world as fields of affordances, that is, structured sets of action possibilities. Fields of natural affordances offer action possibilities because of the natural properties of organisms and environments. Handles offer graspability to humans because of physical-structural properties (...) of handles and the anatomical-physiological properties of humans. Although humans live in fields of bodily, action, and cultural affordances, our work focuses on cultural affordances, where action possibilities are offered to individuals because of the normative responses of individuals in that culture. Knocking on a door affords entrance because knocking provides cultured individuals on the other side of the door an affordance to which they themselves behave normatively. Usually, behaving normatively in response to cultural affordances brings about sequences of perception-action loops, which we will call “scripts”: for instance, closed doors afford knocking, which affords the individual inside opening the door, which affords an interpersonal meeting, which afford entrance. Although the notion of script has a strong cognitivist flavor, one of the aims of the paper to provide an ecological account of scripts, to show that what cognitivists viewed as representations are in fact environmentally structured perception-action loops. On our account of gender, gendered cultures build and maintain gendered cultural affordance landscapes, that is, landscapes in which the action possibilities individuals face are normed according to a specific body type or situation; most often biological sex. Individuals enact a given gender when they come to perceive the affordances reserved for one gender by their culture and respond in the culturally normative way, thus enacting gendered sequences of perception-action loops. With the shifting landscapes of cultural affordances brought about by several recent social, technological, and epistemic developments in some cultures, the gendered landscapes of affordances offered to individuals in these cultures have become more varied and less rigid, thus increasing the variety and flexibility of scripts individuals can enact. This entails that individuals in such cultures have an increased possibility for gender fluidity, which may in part explain the increasing number of people currently identifying outside the binary. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.1 (2003) 116-133 [Access article in PDF] Writing and the Disembodiment of Language Tony Jackson I AS IS WELL KNOWN, the study of writing in relation to speech played an important part in opening the door to poststructuralist theory, especially in the seminal works of Jacques Derrida. 1 Taking off from his rereading of Saussurean structuralism, Derrida famously made the deconstructive case that reversed and then (...) dissolved the ancient understanding of writing as the secondary, parasitic representation of the authentic signs of spoken language. But the question may well be asked: How will our understanding of writing and speech change if we take off from a nonrelativistic theory of representation? For it is from a thoroughly relativized theory of signs that poststructuralist theory and its derivatives all one way or the other begin. We will look at this in more detail below, but for now suffice it to say that this kind of theory always takes it that representation precedes the real in a fundamental way. No natural relationship exists between any sign and its referent. Given this fundamental disjunction as a foundation, the various theories lead to the practical work of explaining how signification does manage to occur. For example, meaning is a function of logocentrism in Derrida; desire in Lacanian psychoanalytic theory; discourse in theory after Foucault; ideology in the various new historicisms; and so on. In contrast to these understandings of representation, cognitive linguistics—I will use this broad term to include findings from the related but differentiated subfields of cognitive semantics, cognitive grammar, cognitive rhetoric—claims that at least on a very fundamental level semantics always precedes any actual manifestation of language, which is to say meaning precedes representation. This is because a foundational [End Page 116] level of universal concepts arises from biologically determined percepts. According to this view, crucial, general kinds of meaning are a function not of discourse or power but of the evolution of the human organism in the ecosystem of the third planet from the sun. 2In order to see how the cognitive linguistic arguments run, we will take an example from George Lakoff's Women, Fire and Dangerous Things. Lakoff brings in the work of cognitive anthropologist Eleanor Rosch in order to explain the way categorization functions in our perceptual interaction with the world. Rosch's findings, obtained through empirical studies using standard scientific methods, strongly suggest that human experience in its most general sense is "preconceptually structured" by our innate ability to categorize according to base-level prototypes (p. 270). Humans, even children as young as two years old, have a kind of gestalt cognitive process that tends to be oriented toward certain objects and features of the world, such that these objects and features—called cognitive reference points or prototypes—are universally "known," apart from culture and language. An example of this would be the response to primary colors as opposed to secondary colors. Rosch showed that even members of cultures lacking words for the primary colors found it easier to learn names for those colors than for secondary colors (pp. 40-41). We are, it appears, cognitively attuned to the primary colors. Further, we are cognitively constructed so as to sort colors automatically by gradations away from or closer to the primary colors. Culture will of course teach us certain beliefs about colors, but we do not "learn" to respond and operate on this basic level of perception.In the next step of the argument, we find that our "basic-level concepts correspond to [this] preconceptual structure" (p. 270). That is, in considering ourselves as linguistic creatures, we find that thinking or conceptuality also operates according to prototypes. Again, this is held to be true only of specifiable basic-level concepts. Though concepts that arise in cultural life may possibly "impose further structuring on what we experience," nonetheless, "basic experiential structures are present regardless of any such imposition of [learned] concepts" (p. 271). Evolutionarily, language would have to emerge after these innate perceptual structures. Language as a representation would also depend heavily on prototype categorization, not... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Positive Change in Perception and Care for a Difficult PatientMelissa CavanaughIf you asked any healthcare professional if they had ever cared for a difficult patient, I am certain the answer would be a resounding "Yes!" I have encountered many over my forty-two years as an RN. The story of Ms. E. is one of exceptional challenge and, I hope, success.I met Ms. E. in 2012 when I took (...) a nursing position in an outpatient primary care Geriatric Clinic. The clinic was located within an inner city, Level 1 Trauma health system whose mission is to care for the underserved. This organization had cared for the most vulnerable in the area for decades. The clinic model is unique in that it provides a "one-stop shop" for the common medical needs of the older adult. Other specialties, including podiatry, rheumatology, dementia care, and stroke, held appointments in this clinic area. The supporting staff team members assisted in each of these clinics, leading them to interact with the same patients frequently.Most of my previous experiences had been in inpatient units with a quick turnover of patients. There was no time or need to develop a long-term relationship with the patients in these settings. However, the comprehensive services found in this clinic coupled with the low staff turnover, led to a stable group of seniors receiving care in this office. Many of these individuals had been attending this clinic for over twenty years.I heard about Ms. E. before I ever met her. She was well known to the clinic team as a "problem" patient. The general response when she was on the schedule was eye rolling and audible moans. I soon learned that in addition to her scheduled visits, she would randomly appear outside the full glass interior doors. She would hover in the area, tapping on the glass to get the attention of a staff member. She did not hesitate to interrupt staff and other patients to make her needs known when she was in the exam room hallway. Often team members would scatter and hide to avoid dealing with her. If she was not in the building, she was on the triage line with a question or physical complaint. To complicate matters even further, her husband was our patient as well, and they always attended appointments together.Ms. E. suffered from common geriatric chronic diseases such as hypertension, diabetes, and osteoarthritis. Her morbid obesity complicated her diagnoses. Though she was able to safely ambulate with an assistive device such as a cane or walker, she routinely used a motorized chair. She and her husband admitted visiting fast food restaurants often even though they had met with a dietician for counseling on several occasions. They often requested help obtaining medications, yet related stories about visiting the local casino. Ms. E. spoke with a small, weak voice that added to the countenance of helplessness and pity. Unfortunately, these behaviors of noncompliance, attention seeking, and dependency on others extended to her immediate community, and she is estranged from family and friends who may have been a source of support to her. [End Page E1]Ms. E.'s appointments were scheduled at the end of the day due to the expectation and pattern of the extended time they would take. No matter her expressed concerns or needs, our recommendations and interventions were never enough. She continually questioned the assessment information and did not want to accept the education and orders given as the correct response to her problems. As one can see, her appointments could be exhausting!Ms. E. certainly deserved the best and most comprehensive care available from our team. Developing a more therapeutic relationship for her within the clinic became a priority for me. However, it was a daunting task to provide this level of care and to convince her that she deserved and was receiving such care. She presented a laundry list of characteristics that could lead to biases from the staff. Overcoming such individual biases toward her may be a barrier as well. These included her obesity, her lack of initiative, her self-centered behaviors, and her constant need for attention.As healthcare professionals... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Trial of Cn. Piso in Tacitus’ Annals and the Senatus Consultum de Cn. Pisone Patre: New Light on Narrative TechniqueCynthia DamonIn writing the narrative of Germanicus’ death and Piso’s trial in Annals 2 and 3 Tacitus produced, in the estimation of two distinguished and perceptive Taciteans, “a text of unresolved ambiguity.” For Woodman and Martin, Tacitus’ achievement is the more striking when contrasted with the “monotonous confidence” of (...) the Senate’s resolutions in the aftermath of the trial, now available in the recently published Senatus Consultum de Cn. Pisone Patre. 1 Woodman and Martin worked with this document even before its publication and use it to good effect in their commentary. The present essay treats a subject not easily addressed in the commentary format and beyond the purview of the document’s first (1996) editors, namely, Tacitus’ narrative technique.For his history of this episode Tacitus uses the common and effective narrative structure in which a scene is replayed, sometimes called a mirror story: Piso’s trial in Annals 3 contains the second telling of part of a story presented more fully in book 2, the story of Piso’s eastern command and the death of Germanicus. Mirror stories are found in all ancient narrative genres and accomplish a variety of narrative tasks; here the structure conveys the historian’s verdict on the trial. With the SCPP now available we can see with unusual precision how Tacitus selects, suppresses, and deploys material in order to present his case. I argue that in book 2 he offers an account of what really happened (as he reconstructs it, anyway), then in book 3 shows how this “truth” was obscured by a haze of rumor and suspicion in a world driven by obsequiousness and dissimulation. [End Page 143]Mirror StoriesMirror stories, like so much else in ancient historical writing, go back to the Homeric epics. In the Iliad and the Odyssey most mirror stories occur in direct speech: a character will repeat material already reported by the narrator, adapting it to his or her emotional state and rhetorical purpose. 2 Thus Thetis, for example, giving Hephaestus an account of the events that caused the loss of Achilles’ armor, “simplifies” the story given in the narrative so as to heighten her son’s role and strengthen the case for her own request (Il. 18.444–56). 3 The structure serves to distinguish among the epic’s various narrative levels, particularly between narrator-narrative and character-narrative.In novels mirror stories are no longer confined to direct speech. A single example will illustrate how the structure’s mechanics developed. One of several mirror stories in Apuleius’ Metamorphoses is Lucius’ trial for the murder of what he had taken to be a band of robbers (2.32–3.6). The trial culminates in a display of the victims: the cloth covering their bodies is swept away, only to reveal, not bloody corpses but wineskins that had been punctured by Lucius’ sword and stained red by their contents. There were no real victims and Lucius was not guilty of murder; the trial was in fact a farce devised in honor of the god Risus, whose annual festival was being celebrated that day. The spectators at the trial knew what was going on the whole time, but the stranger Lucius did not. Nor (and this is the important point) did Apuleius’ readers, for the fight scene was focalized through Lucius’ eyes. The trial becomes a dramatic revelation of Lucius’ vain and drunken misperceptions: the opponents in what Lucius saw as a heroic action were only some wineskins that had been left lying outside his host’s door. By telling the story twice, once through Lucius’ eyes, and once in the glare of a public trial, Apuleius re-enacts Lucius’ discovery of his own clouded vision for the reader. Of course Lucius is the narrator of the Metamorphoses and knows perfectly well when he tells the story of the “battle” what was really going on, but he allows the reader to have the same eye-opening experience that he himself had had. And in fact Lucius’ eyes are still only half open, as the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:HUME ON CONTINUED EXISTENCE AND THE IDENTITY OF CHANGING THINGS Most discussions of Hume's rather cursory treatment of coherence as a factor in generating belief in what he calls the continu' d existence of objects in Of Scepticism with Regard to the Senses, have taken a common line in interpreting the nature of the problem Hume's treatment is designed to solve. For instance, perhaps the two most ex2 3 (...) tensive discussions, those of Price and Gomberg seem to agree that the problem is: how do we fill in the gaps among our perceptions, complete sequences or series that are incomplete, and come to believe in the existence of a world of unperceived objects. At the same time such discussions have focussed on the issue of whether the inference from the coherence of our perceptions to belief in the continued existence of objects (ICCE) is, as Hume claims, distinguishable from causal inference. Hume is read in such a way that ICCE if not causal is at least quasi-causal; that is, the only difference for Hume between the two sorts of inference has been taken to be one concerning the evidence on which each is based — causal inferences on past constant conjunctions or uniformities, ICCE on something less. I believe that these discussions have invariably omitted a key factor in understanding Hume's treatment of coherence, one that I want to point out and develop in this paper. Hume's discussion of coherence, like his discussion of constancy, is bound up with the concept of identity; for belief in the continued existence of an object, which coherence generates, is a belief about its identity. Hence a causal inference is distinguished from ICCE by Hume as only the latter necessarily involves belief in the identity of an object over time. Once this is recognized, we can view Hume's discussion^of coherence as requiring an answer to the question: "How do we come to believe in the identity of changing things?" I want to consider two interpretations of 106. the exact nature of ICCE for Hume — one suggested by examples offered in his discussion of coherence, the other suggested by remarks about the concept of identity in other sections of Part Four of Book One of the Treatise — and to argue that neither satisfactorily answers this question. This failure raises doubts not only about ICCE but about the tenability of Hume's characterization of the "vulgar" view of perception and his view of identity. When Hume first answers the question, "What qualities of our impressions or perceptions lead us to attribute to them a distinct and continued existence,?" by isolating the qualities of constancy and coherence, I think it is clear that the former is invoked to account for objects which are, at least in a relative sense, unchanging, which have always appear 'd to me in the same order and return upon me without the least alteration (T194), while the latter is invoked especially, if not solely, to account for objects that underto rather large changes over time, things which after a little absence or interruption may become hardly knowable. (T195) Hume's example concerns a fire in his chamber, which undergoes great change from the moment he leaves (or perhaps the moment it is lighted) to the time he returns (or perhaps the time it is a bunch of glowing embers), but which, nevertheless, compared to other fires undergoes a like alteration...in a like time. (T195) Whatever more coherence can do, it is required, at least initially, to account for just those cases which cannot be subsumed under constancy, in other words, cases in which changing objects are taken to possess distinct and continued existence. In the famous paragraph following his initial comments on coherence, Hume seemingly proceeds to explain how coherence gives rise to belief in continued existence. The account runs basically as follows. Hume hears a noise, as of a door turning; he sees a porter coming toward him. But, Hume says, I never have observ' d3 that this noise could proceed from anything but the motion of a 107. door; and therefore conclude, that the present phaenomenon is a contradiction to all past experience... (shrink)

The general theory of perception proposed by Roderick Chisholm in his book Perceiving: A Philosophical Study1 has gained considerable acceptance among contemporary philosophers of perception. In this paper, I will review and evaluate one part of this theory and show where I believe an important modification is necessary. Chisholm distinguishes what he thinks are two importantly different senses of “perceive,” a propositional and a nonpropositional sense, and then proposes a definition of each. The propositional sense of “perceive” is (...) expressed in contexts in which what is perceived is referred to by a propositional clause, as in 1. George perceives that this is a door. The nonpropositional sense is expressed in contexts in which the perceptual object is referred to by a noun or noun phrase, as in 2. George perceives the door. The problem areas I will deal with are, first and foremost, the adequacy of the definitions Chisholm gives of these two senses, and second, the ways in which these senses are related to one another. In the first section, dealing with the propositional sense, I will not be concerned with propositional perceivings in their entirety. Specifically, I will not be concerned with them as instances of knowing that something is such and such, which is a central feature of Chisholm’s definition. Rather, I will be concerned mainly with the mental state, qua mental, which is involved in these perceptions, that is, the mental state considered apart from any relation it may have to the object it is about. I will assume that the mental state involved in a propositional perceiving is a conceptual state, i.e., one which involves the exercise of concepts or thoughts, together with an accompanying propositional attitude. The key locution Chisholm uses to describe this conceptual mental state is “S takes something to have some property.” I will argue that Chisholm’s definition of taking will not do the job it is intended to do in these perceptual contexts. In the second section, I will explore what Chisholm calls the “simplest” nonpropositional sense of “perceive,” which he defines wholly in terms of a causal relation existing between the object perceived and the subject’s sensory state. Significantly, this definition does not make any reference to a taking or to any propositional state on the part of the subject, but only to the subject’s sensory state. Consequently, if one accepts the idea, as I believe Chisholm would, that sensing is a nonconceptual state, then Chisholm’s nonpropositional sense of “perceive” would not refer to any conceptual fact at all. I will consider Chisholm’s definition, and raise the question of whether nonpropositional perceptual contexts should ever be construed as having a propositional meaning, that is, as including the idea that the subject exhibits some thought. As we shall see, Chisholm makes allowance for such a possibility. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume Studies Volume 29, Number 2, November 2003, pp. 205-221 The Origin of the Indirect Passions in the Treatise: An Analogy between Books 1 and 2 HARUKOINOUE 1. The Analogy Between Book 1 and Book 2 If the central design of the Treatise is to demonstrate that "the subjects of the Understanding and Passions make a complete chain of reasoning by themselves" (T 2; SBN xii), as Hume advertises, (...) it seems unquestionable that his intention lies in the illustration of the human mind as an integrated system dependent upon the cooperation of the understanding and the passions, which are discussed separately in Book 1 and Book 2, respectively.1 What is yet to be determined is whether any internal or systematic connection between these two books was originally intended by the author. Is it too fanciful to agree with John Passmore, and to suggest that some dynamic system of the human mind would emerge when we open the door which stands between the first two books?2 The key for this door seems to be found in Hume's account of personal identity. We may well remember how he distinguished two aspects of our identity, one regarding the understanding and another regarding the passions, and claimed that the latter "serves to corroborate" the former "by the making our distant perceptions influence each other, and by giving us a present concern for our past or future pains or pleasures" (T 1.4.6.19; SBN Haruko Inoue is Professor of Philosophy, Sapporo University 3-7-3-1 Toyohira-ku, Sapporo 062-8520, Japan. e-mail: [email protected] 206 Haruko Inoue 261). It seems reasonable to agree with Jane Mclntyre, who suggests that "Hume recognized questions about personal identity not addressed in Book 1, and that Book 2 makes an important contribution to our understanding of Hume's account of the self and its identity."3 And once we get a good understanding of this integrated mechanism of the human mind operating with both wheels, as it were, of the imagination and the passions, all we have to do is to accept his invitation and enjoy the efficiency of this two-wheeled car, driving through the fields of "Morals, Politics, and Criticism." For, if we take his words in his Advertisement seriously,4 it seems quite likely that the Treatise was published first as a set of Book 1 and Book 2, as Passmore suggests,5 and that Book 3 was written as the demonstration of the consistency of his system through the application of the hypothesis established in the first two books. This paper is a modest attempt to illustrate the intimate connection between Book 1 and Book 2: the latter, planned as a proof and reinforcement of the system Hume had established in Book 1, depends on the former. His basic strategy in the Treatise is to explain both systems of the mind by means of the easy transition of the imagination, which connects different perceptions with each other according to two kinds of principles or "properties of human nature " (T 2.1.4.2; SBN 283), viz. "the association both of impressions and ideas, and the mutual assistance they lend each other" (T 2.1.5.5; SBN 284). In Book 1 Hume establishes the system of the understanding in terms of the first association, viz. the association of ideas, and in Book 2 he proceeds to illustrate the system of passions by involving not only the second association but also the concurrence of both kinds of association which he calls "a double relation of impressions and ideas." His basic strategy is thus to apply the same method of reasoning to the illustration of both systems, assuming that "there is an attraction or association among impressions, as well as among ideas" (T 2.1.4.3; SBN 283). The intimate connection between the two systems of the understanding and the passions is illustrated through the demonstration of the "influence of the imagination upon the passions" (T 2.3.6.1; SBN 424), or in terms of the dependence of the latter on the former. It is owing to the dependence of the association of... (shrink)

On the dust jacket of The Subject's Point of View there is a detail from Vilhelm Hammershoi's Interior with Sitting Woman. It is hard to think of a painter who better captures the inner in his work. From the monochrome colour, to the back that faces us, to the door swung open to reveal yet another doorway, we are led to interiority – to the inner. This is a perfect image for a book whose author wants to persuade us to (...) return to the interior – a Cartesian interior.The Cartesian interior has come in for quite a drubbing in philosophy for some considerable time. In the mid-to-late 1970s, a style of argument emerged, designed to challenge this conception of mind and establish in its place an externalist conception of language and of mind. One version of the argument was due to Hilary Putnam and emerged in the context of considerations concerning linguistic meaning; another was due to Tyler Burge and emerged first in the context of considerations concerning the individual in relation to his/her social environment. In his earliest paper, on this topic, Burge wrote of ‘the elderly Cartesian tradition’ where ‘the spotlight is on what exists or transpires “in” the individual – his secret cognition, his innate cognitive structures, his private perceptions and introspections, his grasping of ideas, concepts or forms’. Farkas wants to defend this ‘elderly tradition’, but she does add to it some interesting twists. First and foremost, she places to one side ideas of privacy, of incorrigibility and infallibility. She also wishes to place the issue of dualism to one side. What Farkas concentrates on is privileged access and argues that this is …. (shrink)

The influence of other religions on the Christian community was a perceptible trend that cannot be ignored in the realm of spirituality. Meditation was one such example and consequently requires thoughtful investigation. Some Christians found meditation a valuable spiritual discipline that aids their spiritual growth but, in my opinion, also opened up the door for them to become victims of a subtle spiritual deception. The question posed was: how can Christians distinguish between the many and often-conflicting views on meditation found (...) in easily accessible literature? A need therefore exists to define meditation as a possible Christian spiritual expression by distinguishing its uniqueness from the influences of other non-Christian religions and popular opinion. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 67-70 [Access article in PDF] Response to Mary J. Reichling, "Intersections: Form, Feeling, and Isomorphism" David Stevenson Vassalboro, Maine Mary J. Reichling's essay regarding the three concepts, form, feeling, and isomorphism, is lucid, well structured, and aptly supported by research of other music education philosophers. She states her purpose in the opening paragraph: "to examine and to elucidate various aspects of these (...) three concepts in her [Susanne Langer's] writing, as they are fundamental to an understanding of her aesthetic theory and to the construction of a philosophy of music and music education."A philosophy of music education must be the focus in all ensuing debate, and must remain of paramount importance. Arguments, especially dialectic arguments, are not won or lost; they merely strip away the outer garments until more and more of the truth is exposed. My thoughts regarding Reichling's essay are offered in this vein.Reichling amply makes the point that music is a dynamic moving form. She asserts that "Langer argues that form is not separable from content," clarifying further by saying that "By content Langer is designating the form's import or meaning." And she offers other examples of dynamic, moving forms, among them, "forms created by movements of clouds or fog through the mist and early light." [End Page 67]At this point, perhaps interjecting the notion of perception is in order. I would suggest that the cloud formations offer no content or meaning outside of the viewer's perceptions or imagination. Music (art), being the nebulous subject that it is, ensconced in subjectivity and steeped in perception, both interpersonal and intrapersonal at the same time, exists to be taken by individuals, each at his or her own level of accomplishment, understanding, and interest. Therefore, does the meaning inhere in the form, as Langer and Reichling assert, or is it assigned by the listener (in the case of music) or by the viewer (in the case of the cloud formation)? "If the doors of perception were cleansed every thing would appear to man as it is: infinite."1 William Blake's observation notwithstanding, the truth is that perception is the only thing that we have with which to view our existence. I believe that there is such a thing as absolute truth, and that reality does exist. However, we mere mortals lack the ability to view the world through anything other than our own perceptions. The knowledge or meaning gained through contemplation of the form is, in all likelihood, quite different for each observer.Likewise, imagination and conceptual ability play a role in interpreting what the senses have perceived. Langer, and by quotation, Reichling, offers the notion of a red dot placed on the rim of a spinning wheel that appears to the viewer as a red circle. "When the spinning stops, the form, the red circle, evaporates. Did it really exist? Does it have ontological status? Is it merely an illusion?" I asked my students to close their eyes and imagine a spinning wheel with a red dot placed on the rim. I asked them, "As the wheel spins, do you see the dot?" The answer was that they saw a red circle. Did they really see a red circle, or even a spinning wheel? Of course not, we were in a music classroom. Yet they were able to conceptualize or imagine the image, and I would suggest that that carries more weight in the realm of art than does actual ontological status.The problem with the experiment of the preceding paragraph is that "Langer argues that form is not separable from content, writing that it is not possible 'to divorce the logical form from its one embodiment or expression.'" In the subsequent paragraph Reichling states, When the music stops, when the ballet is concluded, when the play ends, when the wheel stops spinning, memory may remain but the content (content as meaning-my parenthetical interjection), the feeling, the red circle, the image the dancer created is gone. Is this illogical or has knowledge... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Rebirth of Cool:Toward a Science SublimeE. David Wong (bio)We love and hate "the cool." As educators, few things are more coveted than being recognized as teaching the "coolest" class in the school. We look forward to the rare moment when students gasp in awe or scream in amazement. However, in the quiet that returns after the last student rushes out the classroom door, we may feel an uneasy (...) ambivalence. Perhaps we admonish ourselves that serious science is substantial, enduring, and intellectual. We wonder whether our "cool" class was merely superficial, fleeting, and mindless.In this article I examine the cool—this idea we love and hate—and assert its importance in science education. I acknowledge that some experiences can be engaging but are superficial and unimportant—this is the "merely cool." By contrast, some experiences are deeply moving because we feel a growing capacity to perceive meaning and value in the world—this is the "sublimely cool." I draw from philosophy, literature, psychology, and aesthetics to build connections between cool and sublime experiences. By highlighting the surprisingly substantial connection between the cool and sublime, I hope to bring greater depth to the meaning of "cool," this imprecise, but honest, term. I also take care to define sublimely cool experiences in science as having a direct relationship with subject-matter understanding. It is true that the full meaning of aesthetic experiences extends beyond the grasp of words and conceptualization; however, it is equally true that knowledge and reason are central to all worthwhile experiences. The expansion of meaning and perception, not just intense sensation or emotion, is the heart of the sublimely cool experience. Nobel laureate physicist Richard Feynman provides a personal example of how his knowledge of science enhances his sublimely cool experience of Nature: "Poets say science takes away from the beauty of the stars—mere globs of gas atoms. Nothing is 'mere.' I too can see the stars on a desert night, and feel them. But do I see less or more? The [End Page 67] vastness of the heavens stretches my imagination—stuck on this carousel my little eye can catch one-million-year-old light."1Cool as a Sign of Compelling Experience"Cool" is an intriguing expression for it is at once both crude and incisive. On the one hand, "cool" is a colloquial term used by people of all ages and backgrounds in many contexts to describe many things. So wide and informal is its use that "cool" may seem trite and banal. "Cool" is rarely chosen carefully when used: indeed, it is more often an unintentional, reflexive utterance.Thus, the more one thinks before speaking, the less likely "cool" will be used. Nonetheless, because it is an impulsive expression, "cool" may be all the more honest. Dewey made a similar point in his observation of the word "beauty": "Beauty... is properly an emotional term, though one denoting a characteristic emotion. In the presence of a landscape, a poem or a picture that lays hold of us with immediate poignancy, we are moved to murmur or to exclaim 'How beautiful.' The ejaculation is a just tribute to the capacity of the object to arouse admiration that approaches worship."2 With "just tribute" Dewey emphasizes the honesty of the term. By "admiration that approaches worship," Dewey reminds us that the spontaneous uttering of "beautiful" is a sign that a powerful experience has been had. I will make a similar argument that the term "cool"—although common and ordinary—can signal the having of a compelling experience. As a compelling experience, the cool becomes an important resource for teachers.Dewey goes on to describe how the meaning of "beauty" has, unfortunately, lost its value to aesthetic theoreticians: "Beauty is at the furthest remove from an analytic term, and hence from a conception that can figure in theory as a means of explanation or classification. Unfortunately, it has been hardened into a peculiar object; emotional rapture has been subjected to what philosophy calls hypostatization, and the concept of beauty as an essence of intuition has resulted. For purposes of theory, it then becomes an obstructive term."3Because of the way they are... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Sacredness of Nature: Response to Six Objections to Religious NaturalismDonald A. Crosby (bio)The poet Mary Oliver speaks as a kind of religious naturalist when she writes in her book of prose and poetry Winter Hours, “I would not be a poet without the natural world. Someone else could. But not me. For me, the door to the woods is the door to the temple. Under the trees, along (...) the pale slopes of sand, I walk in an ascendent relationship to rapture, and with words, I celebrate the rapture. I see, and dote upon, the manifest.”1 She speaks as a poet and not as a philosopher or religious scholar, but she does so as one who is ardently in touch with the sacredness of nature. Her vocation as a poet is testimony to this constant attunement. Her daily walks in the woods and by the sea are her portals of access to the temple of the natural world. Her every step makes contact with holy ground.Oliver’s poetic vocation shows itself to be in deep sympathy with all of the living and nonliving aspects of nature, and thus with the imminent ecological crisis of our time, when she reflects later in this same book, “The farthest star and the mud at our feet are a family; and there is no decency or sense of honoring one thing, or a few things, and then closing the list. The pine tree, the leopard, the Platte River, and ourselves—we are at risk together, or we are on our way to a sustainable world together. We are each other’s destiny.”2Poet, philosopher, religious scholar, ecologist, and perceptive human being are bound together in Mary Oliver’s alert responses to the sacredness of nature. She captures in both her poetic and prose writing the essential spirit and outlook of religious naturalism. I do not claim that she is a religious naturalist; that would be going beyond what I am capable of knowing. But she certainly sounds like one in many respects throughout the poetry and prose of this book.I want us to keep constantly in mind her spirit and outlook as we ponder the cogency, adequacy, and appeal of religious naturalism as a way of thinking and living religiously, for they are the ultimate tests of that adequacy. I want us to do so by considering objections of various sorts arguing that religious [End Page 24] naturalism fails to be sufficiently religious in the way of satisfying the deepest discernments, needs, hopes, and foundations of authentic religious faith. My plan for this essay is to present what I surmise to be some of the most substantive objections, and to reply to each of them in turn.I do so in defense of the thesis that religious naturalism—at least as I have come to interpret and understand it over many years—is a strong contender for having an honored place among the religions of the world. My personal conception of religious naturalism is of course only one of many, and other religious naturalists might have different kinds of response to at least some of these objections. But my responses indicate the capability of religious naturalism to take such objections seriously into account and to provide plausible answers to them.The objections I want to respond to in this essay are six in number. All of them, as will be seen, assume a kind of panpsychism or the primordiality of some kind of mind or spirit, a view I find unnecessary and tending strongly toward an untenable mind-matter dualism in my defense of religious naturalism. 3 The first one is that nature by itself has no overarching purpose or reason for being. The second is that if mind and spirit are emergent rather than primordial, then they are reducible to blind physical processes, meaning that religion is implausibly reduced to physics. The third objection is that nature is just a mass of meaningless facts, with no objective, dependable values of any kind, including religious values. The fourth objection is that with impersonal nature rather than a personal, loving, God as its focus, religious naturalism lacks essential divine... (shrink)

Since the seventeenth century, mind-body dualism has undergone an evolution, both in its metaphysics and its supporting arguments. In particular, debates in seventeenth- and eighteenth-century England prepared the way for the fall of substance dualism—the view that the human mind is an immaterial substance capable of independent existence—and the rise of a much less radical property dualism. The evolution from the faltering plausibility of substance dualism to the growing appeal of property dualism depended on at least two factors. On the (...) one hand, there was an increasing recognition of the causal and ontological interdependence of mind and body. Important here was a growing appreciation of the dependence of thought and perception on complex activities in the brain. On the other hand, there was a reconceptualization of the nature of matter; no longer inert and passive, matter came to be viewed as active in its own right. The old arguments lost much of their force, opening the door to a new sort of argument. Rather than appealing to the supposed immaterial nature of mental substance and volition, arguments for dualism began to appeal to the subjective nature of conscious experience—and its inexplicable emergence from the brain—as proof of the ontological distinctiveness of conscious properties. Consequently, the nineteenth and twentieth centuries saw the ascent of a more plausible, but still very problematic, property dualism, a position that to this day enjoys significant support. (shrink)

On the dust jacket of The Subject's Point of View there is a detail from Vilhelm Hammershoi's Interior with Sitting Woman. It is hard to think of a painter who better captures the inner in his work. From the monochrome colour, to the back that faces us, to the door swung open to reveal yet another doorway, we are led to interiority – to the inner. This is a perfect image for a book whose author wants to persuade us to (...) return to the interior – a Cartesian interior.The Cartesian interior has come in for quite a drubbing in philosophy for some considerable time. In the mid-to-late 1970s, a style of argument emerged, designed to challenge this conception of mind and establish in its place an externalist conception of language and of mind. One version of the argument was due to Hilary Putnam and emerged in the context of considerations concerning linguistic meaning; another was due to Tyler Burge and emerged first in the context of considerations concerning the individual in relation to his/her social environment. In his earliest paper, on this topic, Burge wrote of ‘the elderly Cartesian tradition’ where ‘the spotlight is on what exists or transpires “in” the individual – his secret cognition, his innate cognitive structures, his private perceptions and introspections, his grasping of ideas, concepts or forms’ . Farkas wants to defend this ‘elderly tradition’, but she does add to it some interesting twists. First and foremost, she places to one side ideas of privacy, of incorrigibility and infallibility. She also wishes to place the issue of dualism to one side . What Farkas concentrates on is privileged access and argues that this is …. (shrink)

In response to Ari Armstrong's essay, "A Direct Realist's Challenge to Skepticism," Huemer defends his views on two issues concerning the nature of perception, against the Objectivist position: First, he argues that perceptual experiences have propositional but nonconceptual content; second, he argues that in perceptual illusions, the senses misrepresent their objects. He finds that the Objectivist view that perception cannot misrepresent because it lacks propositional content not only is absurd but opens the door to philosophical skepticism.

This book provides a comprehensive account of the intentionality of perceptual experience. With special emphasis on vision Searle explains how the raw phenomenology of perception sets the content and the conditions of satisfaction of experience.

Gathering information from both published and unpublished material and interviews with Gibson's family, colleagues, and friends, Reed (philosophy, Drexel U.) chronicles Gibson's life and intellectual development and his attempts to synthesize several contrasting intellectual traditions into what he ultimately called an "ecological approach" to psychology. Annotation(c) 2003 Book News, Inc., Portland, OR (booknews.com).

This book consists of Northwestern University Studies in Phenomenology and Existential Philosophy.

The movement repertoire that develops in the first year of life is a language in itself and conveys desires, intentions, and emotions. This early life in motion serves as the roots of ongoing nonverbal interaction and later verbal expression – in short, this language remains a key element in communication throughout life. In their path-breaking book, gestalt therapist Ruella Frank and psychoanalyst Frances La Barre give readers the tools to see and understand the logic of this nonverbal realm. They demonstrate (...) how observations of fundamental movement interactions between babies and parents cue us to coconstructed experiences that underlie psychological development. Numerous clinical vignettes and detailed case studies show how movement observation opens the door to understanding problems that develop in infancy and also those that appear in the continuing nonverbal dimension of adult communication. Their user-friendly nonverbal lexicon – foundational movement analysis – enhances perception of emerging interactive patterns of parents and their babies, couples, and individual adults within psychotherapy. Clinicians in any setting will find this book to be a masterful application of infant research and movement theory that significantly augments clinical acumen and promotes greater understanding of the nonverbal basis of all relationships. (shrink)