Interdisciplinary dialogue acts as a symbiosis for all the areas that participate and imply enormous projections for both art and science. This paper explores the potential of an interdisciplinary dialogue between Biology and Performance using as a case study the Performance Analfabeta created by the artist Paulina Bronfman. The work was shaped in the context of The Third Conference of the Nucleus of Artistic Research (NIA) of In/Inter/Disciplinary Laboratories hosted by the Faculty of Art of The Pontificia University of (...) Chile (LAB IID). The Lab was led by Chilean biologist Alejandra Zuñiga- Feest and the Brazilian artist Adriana Parente La Selva. This work aims to explore the questions: what does it mean, from the point of view of the arts and sciences, to develop an interdisciplinary laboratory? How is this done? This paper problematizes the creative process of collaboration between sciences and performance as well as the potential impact and link with society that this multidisciplinary dialogue can have. (shrink)

Answering a call for a 2013 exhibition at Ars Electronica bridging art and synthetic biology, a group of artists and designers offer ‘Blueprints for the Unknown’. Their fictional scenarios offer possible futures already embedded in and ready to become our present. By imagining potential events and soon-to-be organisms and bodies, these blueprints perform the untenable relationship between predictable bioengineered living forms and the unpredictable contexts within which such life subsists over time. While synthetic biology focuses on the particularities (...) of each micro-manipulation within a specific timeframe, art practices can speculate on the wider reverberations of modified life, making visible the vulnerable encounters and uneven exchanges across variable living forms and scales, from molecule to human, synthetic to organic. This paper explores the indeterminacies that arise as living forms become synthetically modified, reorganized and redirected at will. (shrink)

Within the biotech era, art that addresses life issues and brings biological life into the artistic context cannot avoid using biotechnology as the technology that facilitates interventions into living matter. Art not only intervenes in the living matter in laboratories but aims to show and cultivate tissues and various living cultures in the gallery space. Galleries have turned from spaces for showing artifacts into event spaces, performances and workshops. In this context, the idea of growing living entities within the artistic (...) milieu testifies to a performative turn, a shift from representational to performative modes of art. Due to the imperative to perform, art which addresses biotechnology requires the presence of living tissues and other living substances in gallery spaces or spaces meant to show art to the public. The author identifies three sorts of microperformativity carried out by biotechnological art in the sense of managing life at the micro level. The most original of these and specific to art that works with living organisms involves the real-time action of living microorganisms or bioengineered tissues within the artistic context in full public view. For this sort of performativity, the artist induces microorganisms or engineered tissues to perform by themselves for the audience. Tratnik examines the project CellF by Guy Ben Ary as an example of such microperformativity. (shrink)

As non-biological machines come to be designed in ways which exhibit characteristics comparable to human mental states, the manner in which the law treats these entities will become increasingly important both to designers and to society at large. The direct question will become whether, given certain attributes, a non-biological machine could ever be viewed as a legal person. In order to begin to understand the ramifications of this question, this paper starts by exploring the distinction between the related concepts of (...) human, person, and property. Once it is understood that person in the legal sense can apply to a non-biological entity such as a corporation, the inquiry then goes on to examine the folk psychology view of intentionality and the concept of autonomy. The conclusion reached is that these two attributes can support the view that a non-biological machine, at least in theory, can be viewed as a legal person. (shrink)

The general perception of how innovative assisted reproductive technologies are introduced is through a carefully controlled series of experiments in an animal model, such as the mouse. Only after the technique has been proven can one consider confirmatory studies on mammals closely related to humans, such as rhesus monkeys or other nonhuman primates. With this background of a peer-reviewed body of well-established published data, there is sufficient foundation and rationale to propose a clinical investigation to a responsible human subjects institutional (...) review board. IRBs weigh the benefits and risks of the new methods to human subjects, and then consider the appropriate informed consent procedures for the particular case. Only after a large number of clinical studies are performed at multiple sites and are peer reviewed can the efficacy and safety of the innovative approach be clearly evaluated. At that time, the potential therapy can be responsibly offered to suitable beneficiaries. (shrink)

PREFACE. THE Author of this very practical treatise on Scotch Loch - Fishing desires clearly that it may be of use to all who had it. He does not pretend to have written anything new, but to have attempted to put what he has to say in as readable a form as possible. Everything in the way of the history and habits of fish has been studiously avoided, and technicalities have been used as sparingly as possible. The writing of this (...) book has afforded him pleasure in his leisure moments, and that pleasure would be much increased if he knew that the perusal of it would create any bond of sympathy between himself and the angling community in general. This section is interleaved with blank shects for the readers notes. The Author need hardly say that any suggestions addressed to the case of the publishers, will meet with consideration in a future edition. We do not pretend to write or enlarge upon a new subject. Much has been said and written-and well said and written too on the art of fishing but loch-fishing has been rather looked upon as a second-rate performance, and to dispel this idea is one of the objects for which this present treatise has been written. Far be it from us to say anything against fishing, lawfully practised in any form but many pent up in our large towns will bear us out when me say that, on the whole, a days loch-fishing is the most convenient. One great matter is, that the loch-fisher is depend- ent on nothing but enough wind to curl the water, -and on a large loch it is very seldom that a dead calm prevails all day, -and can make his arrangements for a day, weeks beforehand whereas the stream- fisher is dependent for a good take on the state of the water and however pleasant and easy it may be for one living near the banks of a good trout stream or river, it is quite another matter to arrange for a days river-fishing, if one is looking forward to a holiday at a date some weeks ahead. Providence may favour the expectant angler with a good day, and the water in order but experience has taught most of us that the good days are in the minority, and that, as is the case with our rapid running streams, -such as many of our northern streams are, -the water is either too large or too small, unless, as previously remarked, you live near at hand, and can catch it at its best. A common belief in regard to loch-fishing is, that the tyro and the experienced angler have nearly the same chance in fishing, -the one from the stern and the other from the bow of the same boat. Of all the absurd beliefs as to loch-fishing, this is one of the most absurd. Try it. Give the tyro either end of the boat he likes give him a cast of ally flies he may fancy, or even a cast similar to those which a crack may be using and if he catches one for every three the other has, he may consider himself very lucky. Of course there are lochs where the fish are not abundant, and a beginner may come across as many as an older fisher but we speak of lochs where there are fish to be caught, and where each has a fair chance. Again, it is said that the boatman has as much to do with catching trout in a loch as the angler. Well, we dont deny that. In an untried loch it is necessary to have the guidance of a good boatman but the same argument holds good as to stream-fishing... (shrink)

Recent advances in AI raise the possibility that AI systems will one day be able to do anything humans can do, only better. If artificial general intelligence (AGI) is achieved, AI systems may be able to understand, reason, problem solve, create, and evolve at a level and speed that humans will increasingly be unable to match, or even understand. These possibilities raise a natural question as to whether AI will eventually become superior to humans, a successor “digital species”, with a (...) rightful claim to assume leadership of the universe. However, a deeper consideration suggests the overlooked differentiator between human beings and AI is not the brain, but the central nervous system (CNS), providing us with an immersive integration with physical reality. It is our CNS that enables us to experience emotion including pain, joy, suffering, and love, and therefore to fully appreciate the consequences of our actions on the world around us. And that emotional understanding of the consequences of our actions is what is required to be able to develop sustainable ethical systems, and so be fully qualified to be the leaders of the universe. A CNS cannot be manufactured or simulated; it must be grown as a biological construct. And so, even the development of consciousness will not be sufficient to make AI systems superior to humans. AI systems may become more capable than humans on almost every measure and transform our society. However, the best foundation for leadership of our universe will always be DNA, not silicon. (shrink)

Cellular and sub-cellular material become creative medium across a range of disciplines that engage with biotechnology, from medicine to art practice. Historically, these practices complicated the boundaries of the body through patriarchal and colonial narratives of abstraction and extraction. In contrast to the ethical requirements of anonymity in medical research, this article suggests that material culture has a duty to know the body it works with. Three brief histories of bodily donation are recounted and aspects of these are contrasted with (...) contemporary approaches to the use of bodily material within art practice. The developing project, Offering the Body, is offered as an example of performative practice that reintroduces a proximity to the body in biotechnological practices and begins to question whether through art practice, the biological body can move from commodity to be considered as a more-than-human resource. (shrink)

The short experimental film Shifting Perspectives stems from a collaborative research project initiated in 2019 in Sydney, Australia, during the 'Choreographic Hack Lab-a week-long laboratory co-presented by Critical Path and Sydney Festival in partnership with the Museum of Applied Arts and Sciences (MAAS), which asked artists and academics to rethink and respond to the idea of the Anthropocene (Pini & George, 2019). The film was later developed in 2020 during a Responsive Residency at Critical Path, Sydney, awarded to anthropologist and (...) choreographer Sarah Pini in collaboration with Jestin George, biotechnologist and visual artist, and Melissa Ramos, visual artist and filmmaker. This work aims to open a multivocal interdisciplinary dialogue across screendance, performance and synthetic biology. Inspired by a recent conversation between two leaders in the field of synthetic biology (Sarah Richardson and Tom Knight) and their divergent approaches to working with microbial life (Agapakis, 2019), the film invites to consider how collaborating with microorganisms can reshape our future in a more-than-human world. (shrink)

An important insight derived from Kant about the workings of the mind is that conscious activity involves both the selection of relevant information, and the integration of that information, so as to form mental coherency. The conscious mind can then utilize this coherent information to solve problems, invent tools, synthesize concepts, produce works of art, and the like. In this paper, it will be suggested that just as biological processes, in general, exhibit selective and integrative functions, and just as visual (...) integration performs the function of selecting and integrating visual module areas, so too, consciousness emerged as a property of the brain to act as a kind of meta-cognitive process that selects and integrates relevant information from psychological modules. The upshot is to establish a psycho-neuro-biological continuum by suggesting that the conscious psychological properties of selectivity and integration are possible because of similar properties that other neurobiological and biological processes exhibit. (shrink)

In this paper, I argue that starting with the organelles that constitute a cell - and continuing up the hierarchy of components in processes and subsystems of an organism - there exist clear instances of emergent biological phenomena that can be considered,,living" entities. These components and their attending processes are living emergent phenomena because of the way in which the components are organized to maintain homeostasis of the organism at the various levels in the hierarchy. I call this view the (...) homeostatic organization view of biological phenomena, and, as is shown, it comports well with the standard philosophical accounts of nomological emergence and representational emergence. To proffer HOV, I describe properties of biological entities that include internal-hierarchical data exchange, data selectivity, informational integration, and environmental-organismic information exchange. Further, a distinction is drawn between particularized homeostasis and generalized homeostasis, and I argue that because the various processes and subsystems of an organism are functioning properly in their internal environments, the organism is able to exist as a hierarchically-organized entity in some environment external to it. Stated simply: that components of biological phenomena are organized to perform some function resulting in homeostasis marks them out to be living emergent entities distinguishable, in description and in reality, from the very physico-chemical processes of which they are composed. German In diesem Aufsatz argumentiere ich dafür, daß - beginnend mit den Organellen, die eine Zelle bilden und die Hierarchie der Komponenten von Prozessen und Subsystemen eines Organismus hinaufführend - klare Fälle emergenter biologischer Phänomene existieren, die als,,lebende Entitäten betrachtet werden können. Diese Komponenten und die sie begleitenden Prozesse sind lebende emergente Phänomene wegen der Art, in der die Komponenten organisiert sind, um die Homöostase des Organismus auf den verschiedenen Ebenen in der Hierarchie aufrechtzuerhalten. Ich nenne diese Sichtweise die homöostatische Organisationssichtweise biologischer Phänomene, und es wird gezeigt, daß sie sich gut mit üblichen philosophischen Darstellungen nomologischer Emergenz und repräsentationaler Emergenz verträgt. Um HOV zu präsentieren, beschreibe ich Eigenschaften biologischer Entitäten, die den intern-hierarchischen Datenaustausch, die Datenselektivität, die informationelle Integration und den Umwelt-Organismus-Informationsaustausch einschließen. Des weiteren wird eine Unterscheidung zwischen partikularisierter und generalisierter Homöostase getroffen, und ich argumentiere dafür, daß ein Organismus fähig ist, als eine hierarchisch organisierte Entität in einigen Umwelten, die ihm extern sind, zu existieren, weil die verschiedenen Prozesse und Subsysteme eines Organismus in ihren internen Umwelten richtig funktionieren. Einfach formuliert: Daß Komponenten biologischer Phänomene organisiert sind, um eine Funktion zu erfüllen, die in Homöostase resultiert, zeichnet sie aus, lebende emergente Entitäten zu sein, die - in der Beschreibung und in der Wirklichkeit - von den physikalisch-chemischen Prozessen, aus denen sie zusammengesetzt sind, unterscheidbar sind. (shrink)

Darwin's art collection : the prints, drawings, and photographs Darwin collected in the 1860s and 70s -- Illustrations and illusion : strategies Darwin used in illustrating his books -- Art, experience, and observation : Darwin's knowledge of art history and use of illustration in his books -- Darwin and the passions : how passion manuals informed Darwin's research -- Photography and evolution meet : connections between photography and biology in the 1860s -- Method to their madness : how photography (...) in mental hospitals influenced Darwin -- Laughing and crying : Darwin's quest for pictures of expressive babies -- Darwin's eyes and ears : the artists who guided Darwin's search for pictures -- Darwin's art photographer : Oscar Rejlander, Darwin's favorite photographer -- Rejlander's performances : posing for Darwin's pictures -- Alice, eugenics, and the spirit world : the aftermath of Darwin's experiments. (shrink)

Bio-art epitomizes a coalescence of art and sciences. It is an emerging contemporary artistic practice that uses a wide range of traditional artistic media interwoven with new artistic media that are biological in nature. This includes molecules, genes, cells, tissues, organs, living organisms, ecological niches, landscapes and ecosystems. In addition, bio-art expands into conceptual art using biological processes such as growth, cell division, photosynthesis and concepts of the origin of life and evolution, explaining them as new artistic media. In this (...) time of global challenges, bio-art communicates thoughts and feelings that involve relationships between the artist, science, public and the biological organism or biological concept. This article reviews the major challenges and driving forces that contributed to emerging biology-centered art and design. (shrink)

Peter Kivy is the author of many books on the history of art and, in particular, the aesthetics of music. This collection of essays spans a period of some thirty years and focuses on a richly diverse set of issues: the biological origins of music, the role of music in the liberal education, the nature of the musical work and its performance, the aesthetics of opera, the emotions of music, and the very nature of music itself. Some of these subjects (...) are viewed as part of the history of ideas, others as current problems in the philosophy of art. A particular feature of the volume is that Kivy avoids the use of musical notation so that no technical knowledge at all is required to appreciate his work. The essays will prove enjoyable and insightful not just to professionals in the philosophy of art and musicologists, or to musicians themselves, but also to any motivated general reader with a deep interest in music. (shrink)

Biology is seen not merely as a privileged oppressor of women but as a co-victim of masculinist social assumptions. We see feminist critique as one of the normative controls that any scientist must perform whenever analyzing data, and we seek to demonstrate what has happened when this control has not been utilized. Narratives of fertilization and sex determination traditionally have been modeled on the cultural patterns of male/female interaction, leading to gender associations being placed on cells and their components. (...) We also find that when gender biases are controlled, new perceptions of these intracellular and extracellular relationships emerge. (shrink)

In this reply to my reviewers, I touch upon Husserl’s notion of fantasy. Whereas Kant positions fantasy outside the scope of his own work, Husserl brings it back. The importance of this notion lies in freeing imagination from the tight link to images, as for Husserl imagination is an activity that functions as a “quasi perception.” Ihde and Stiegler enrich Husserl’s analysis of imagination with various aspects of technology: Ihde shows how changes in the technologies that mediate our imagination will (...) necessarily change our imagination; Stiegler broadens Husserl’s analysis of retention. The two theories can be combined into a new understanding of subjectivity that is modeled as layers. Some layers can be performed by AI. The second part deals with the question of whether AI can be imaginative. Traditionally, imaginative creativity is associated with art. Bioart and AI art are brought as examples of a new definition of art, according to which art is the arrangement of materials in a way that produces a meaning. This definition does not refer specifically to creativity. In both forms of art, the biological/artificial and the human cooperate so that the former arranges the materials and the latter produces the meaning, albeit this division of labor is not clear-cut. The result is a co-shaping process. My conclusion is that algorithms can be considered creative by human standards, but this entails a new mode of imagination that is co-shaped and co-shared by humans and algorithms. The layer paradigm explains how such co-shaping works in practice. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art and Evolution:Spiegelman's The Narrative CorpseBrian BoydIHas art evolved, like opposable thumbs and the whites of our eyes? If it has, will knowing so help us understand better not just art in general but particular works, even works of avant-garde art? Over recent decades many have come to accept that not only have humans evolved from other animals but that many features of their minds and behavior can be (...) explained by the deep past of evolution.1 Yet art remains a puzzle for biocultural analysis. How can we explain art in the hard-nosed terms of biological advantage, especially if it lacks analogies or precursors in other species and seems so pleasurably part of being distinctly human?2Nevertheless we have good reasons to examine whether art might be an adaptation. All cognitively normal individuals in all known societies engage in some form of art, actively or at least passively: music and dance, story, visual art. No one has to be pressured into listening to music on a radio or an iPod. And like language but unlike reading and writing, art develops reliably to a basic level without special training.Art could be what evolutionary biologists call a byproduct, a mere side-effect of our bigger brains or of culture. Yet that seems unlikely. Byproducts by definition do not offer advantages in terms of survival and reproduction: a bodily or behavioral feature whose design offers such advantages we classify as an adaptation. But if art were a byproduct, if it offered on average no advantage in terms of survival and reproduction, many generations of intense evolutionary competition would have eliminated it. If art offered no benefits but exacted the costs it does in time, [End Page 31] energy and resources, it would over many generations have been selected against through the superior fitness of those less inclined to pay such costs, those who preferred to devote their time and energy to securing material or social advantage or simply to save energy by resting.We can understand art in all its varieties, I suggest, as cognitive play with pattern, with multiple, high-intensity patterns. Play exists throughout much of the animal kingdom: in all mammals in which it has been looked for, in birds, and even in invertebrates like octopi. Play, like sleep and dreaming, puzzles and fascinates biologists because it is so widespread and so highly conserved (evolutionary lineages in which play has arisen do not lose it as they continue to evolve) that it must fulfill some function, because it has high costs in energy and risk, and because its functions are not as evident as those of "serious" behavior.3The amount of play in a species correlates highly with the flexibility of its behavior. In all species in which it occurs, play seems remarkably self-rewarding. Animals like pigs and rats play compulsively. In fact this seems the core of play: the self-rewarding nature of play makes animals engage in exuberant, intense behaviors that, under conditions of relative security, allow them to extend their capacities and improve their competence in situations of minimal risk. The skills honed will prove of advantage in real world situations where it is too late to learn on the job, in situations like fight or flight. Because play is compulsive, animals engage in it again and again, incrementally altering their neural wiring, strengthening and speeding up synaptic pathways, improving their capacity and performance.Humans uniquely inhabit what has been called "the cognitive niche":4 we gain most of our advantages from intelligence. We have an appetite for information, and especially for pattern, for information that falls into meaningful arrays from which we can make rich inferences. We therefore like bright, distinct colors, crisp outlines, complex shape or surface design: think of our special fondness for butterflies and flowers. And we have an appetite for open-ended pattern, new kinds of patterns, not only the patterns we have evolved to detect automatically. Vervet monkeys signal to one another in different ways when they see snakes, or leopards, or eagles, because they need to react in different ways to different threats, but they never learn to associate... (shrink)

Assuming that the contemporary world is inevitably set in the context of moistmedia (Ascott 2000), this article discusses some artistic proposals that specifically seek to explore the relationship between dry technology and the wet human body, as in the case of telematic dance. This article is grounded in Clark’s (2003) concept of the ‘extended mind’ and ‘cognitive artefact’; Noë’s (2004; 2012) ‘activism’ theory; and Gallagher’s (2005) ideas surrounding ‘body image’ and ‘body schema’. My discussion of ‘moistmedia’ is focused on Ascott’s (...) ‘Moist Manifesto’ (2000, 2003a), as well as moist theories which contribute to rethinking notions of (tele)presence, time, space, distance and of the very body. Through these new comprehensions we can understand the new perceptual demands that dancers have to deal with in the context of telematic dance. This new art configuration promotes different sensory motor experiences compared with a stage-based dance environment. The networked field of telematic dance is one way in which to render reality fluid in a moist context. In this sense, telematic projects could be assumed as moist art – ‘the hybrid interval between cyber and physical space’ – and as the ‘digitally dry, biologically wet, and spiritually numinous’ (Ascott 2003). Analyses of performances created within the project entitled ‘Embodied Varios Darmstadt’ 58’ (2013–14), with the collaboration of artists from Mexico, Spain, Portugal and Chile, will contribute to my discussion of telematic dance. This telematic artistic project was created to develop the concept of the ‘(tele) sonorous body’ from a theoretical and aesthetic point of view, so as to follow my interest in exploring telepresence beyond visual image. In this article, it is assumed that a human being experiences her/his world through sensory motor skills and that these are in play when s/he interacts with the environment (Noë 2004), a milieu garnered from Ascott’s ‘Moist Manifesto’ (2003a). The cultural shift proposed by this manifesto brings into play some important considerations, including notions of negotiation, construction, context and distributed mind, which overlap with conventional ideas of reception, representation, content and the autonomous brain respectively. Our interactions via telepresence with a dance partner bring about different ways of perceiving one another and oneself, because body image and body schema play an active role in shaping our perceptions (Gallagher 2005). Our actions and perceptions, our body image and body schema are responsible for our behaviour and learning in this world, interweaving these bodies partially wet (i.e. those onstage) with the dry (i.e. those tele-transported through cyberspace. The analysis of ‘Embodied Varios Darmstadt’ 58’ will contribute to understanding the perceptual demands of the dancer within the telematic environment, as well as the new notions of time, space, distance, presence, and the very notion of relationship or body contact in dance embedded into this ‘+ + biological culture’. (shrink)

Thierry Bardini, in his book titled Junkware, proposed that the apt name for contemporary art would be junk art. He stressed the significant change taking place in art: that the narration and explanatory discourse run by an artist is more important than the visual outcome of the project. According to the knowledge from STS (especially Bruno Latour’s writing), knowledge production is based on multilevel translations. Art based on science can be seen as a kind of translation as well. The production (...) of biological knowledge and bio art creation looks pretty similar, being based on the same laboratory protocols. However, something interesting is happening regarding bio art’s presentations in galleries or museums. The audience is usually unfamiliar with the laboratory work process, which results in something akin to getting just one layer of that translation cake. What is the role of an institution in making junk art readable? What does being lost in translation mean in this context? To work on the questions, I use my autoethnographic notes from the performative killing of my cells (immortalized B lymphocytes), which took place at the opening of an exhibition titled Beyond Borders: Processed Body – Expanded Brain – Distributed Agency at Gallery Łaźnia in Gdańsk (18 December 2019). (shrink)

The contributors to Nervous Systems reassess contemporary artists' and critics' engagement with social, political, biological, and other systems as a set of complex and relational parts: an approach commonly known as systems thinking. Demonstrating the continuing relevance of systems aesthetics within contemporary art, the contributors highlight the ways that artists adopt systems thinking to address political, social, and ecological anxieties. They cover a wide range of artists and topics, from the performances of the Argentinian collective the Rosario Group and the (...) grid drawings of Charles Gaines to the video art of Singaporean artist Charles Lim and the mapping of global logistics infrastructures by contemporary artists like Hito Steyerl and Christoph Büchel. Together, the essays offer an expanded understanding of systems aesthetics in ways that affirm its importance beyond technological applications detached from cultural contexts. (shrink)

Science at the Club explores the architecture of the nightclub space as a nucleus for queer testimony, relating it to a judiciary courtroom. This performance challenges legal doctrines of forensic identification and the binary of life and death, by transforming biological and forensic material into ephemeral essences within the performance of the dance floor. Divided into a case study surrounding my performances at nightclubs, research courses taken in human remains recovery and visits to various burial sites of South Texas, I (...) pull from a variety of interdisciplinary studies relating to queer death theory, building on José Esteban Muñoz’s notion of ‘disidentification’ in relation to the human corpse, racial politics in science and the biological arts in a nightclub context. Science at the Club creates a catalyst platform challenging racial and scientific histories of the body and land within the current US political climate, while exploring questions of resurrection and disintegration with a focus on the language of forensics and identity. (shrink)

Mimicry, camouflage, transvestism, chance or cryptic anamorphism, fascination – all ways of changing clothes, habits and habitats in nature as well as in culture, in any symbolic field created by human beings during their history. Art and artification, aestheticization, stylization and beautification are all practices reflecting the need and desire for biological as well as social adaptation, all performances producing functional and fictional frames, boundaries or hierarchies in ordinary life, including the artworld. They can persuade and convince by creating consensus (...) and belief, but they can also lead to a different common sense, a sensorium – a sensorial medium and an aesthetic mediation open to a new world and to new experiences. -/- By investigating mimetism as a fundamental and polymorphic aesthetic performance, this issue of «Aisthesis» aims to rethink the concept, value, and function of mimesis and its media in the context of camouflage, simulation, and dissimulation, where images do not reveal themselves as such, but are to be perceived unambiguously as what they are not – as hieroglyphs or puzzles. In the animal kingdom, as well as in war or in ordinary public life, camouflage consists in taking on the traits, colours, and shapes of a given form or environment. This is a twofold process: on the one hand, by blending two or more shapes in one, the camoufleur seeks to remain hidden and to mislead the others in order to keep a vital secret or an ephemeral whim; on the other hand, however, he/she aims to be recognized by a specific milieu or group, thus betraying a craving for communication and familiarity, as well as a need to convey an agreeable appearance and to share a way of life. (shrink)

This chapter contains section titled: Performance as Art Performed Works and Work‐Performances Work‐Performances and Performance‐Works Performance‐Works and Improvisation.

Today, new artistic practices incorporate scientific techniques linked to medical research that modify the body’s biological performance in vivo, transforming it into a singular laboratory object. In this way, some artists are making works of their bodies by subjecting them to various biotechnological procedures, often invasive. Augmented, the biological body of these performance artists becomes a site for experimentation. DIY (Do It Yourself) enthusiasts or accompanied by biologists and doctors, are these ‘bio-artists’ evidence of the changes brought about by a (...) new mechanisation of the human body, the complexity of which we are only just beginning to understand? Could there be, in the name of art, reasons that justify the creation of utopian bodies that are not eschatological, and that could make us believe in the worst or the best of all worlds? Based on performances by Stelarc, Yann Marussich, Marion Laval-Jeantet and the Quimera Rosa duo, our aim is to analyse what is at stake in this new fabrication of the body outside its biological limits. (shrink)

(Fifth edition with new drawings) -/- This edition of Wild Wise Weird has included two new drawings provided by Dr Ho Manh Tung (Vietnam Academy of Social Sciences). It is also my pleasure to inform readers that despite its fictional nature, Wild Wise Weird has, over the past 900 days, inspired several academic writers in their earnest scientific discourses. Examples concerning ecological and environmental sustainability include: “How can satirical fables offer us a vision for sustainability?” (by Dr Nguyen Minh Hoang) (...) and “A vision for fair and just transitions toward a carbon-free world by J. Mijin Cha” (both in Visions for Sustainability), “Kingfisher: contemplating the connection between nature and humans through science, art, literature, and lived experiences” (Pacific Conservation Biology), and “How an age-old photo of little chicks can awaken our conscience for biodiversity conservation and nature protection” and (Visions for Sustainability). Some other publications concerning technological innovation adoption are “Toward a pluralism of perspectives on AI”, and “Three tragedies that shape human life in the age of AI and their antidotes” (both in AI & Society). -/- Also, Kingfisher inspired a “colorful” Asian dance, as shown in ©2025 Dam Thu Ha – A dance in a Kingfisherish costume performed on January 21, 2025. -/- I sincerely hope that these minor changes bring an improved reading experience to readers as an effort to express my gratitude for their time. -/- Hanoi, March 16, 2025 Quan-Hoang Vuong. (shrink)

This chapter examines the state of the art of physical enhancement, demonstrating how the problem of regulating excellence is becoming more difficult as technology advances. Modifications are grouped into the following categories, building on Ellul's seminal discussions on philosophy and technology: technique, equipment, and biology. Technical enhancements are those that involve knowledge‐based innovations, leading to improved performance. Such examples encompass modifications arising from scientific insights, such as better understanding about the effect of nutrition. An emerging technology is the “Glove,” (...) developed by Heller and Grahn. This innovative cooling device has been utilized by the San Francisco 49ers and it demonstrates the blurred boundary between therapeutic use and enhancement. The “glove” leads us to forms of enhancement that arise from innovations in equipment design, though even this concept has expanded in remarkable ways recently. The chapter also offers insight into some of the major, emerging biotechnological enhancements that affect physical capabilities. (shrink)

The state-of-art research in the field of life’s organization confronts the need to investigate a number of interacting components, their properties and conditions of sustainable behaviour within a natural system. In biology, ecology and life sciences, the performance of such stable system is usually related to homeostasis, a property of the system to actively regulate its state within a certain allowable limits. In our previous work, we proposed a deterministic model for systems’ homeostasis. The model was based on dynamical (...) system’s theory and pairwise relationships of competition, amensalism and antagonism taken from theoretical biology and ecology. However, the present paper proposes a different dimension to our previous results based on the same model. In this paper, we introduce the influence of inter-component relationships in a system, wherein the impact is characterized by direction (neutral, positive, or negative) as well as its (absolute) value, or strength. This makes the model stochastic which, in our opinion, is more consistent with real-world elements affected by various random factors. The case study includes two examples from areas of hydrobiology and medicine. The models acquired for these cases enabled us to propose a convincing explanation for corresponding phenomena identified by different types of natural systems. (shrink)

Embodied cognition is an interpretative—or hermeneutical—cognition inherent in motor-sensory perception intrinsically informed by biological and sociocultural memory, a cognition embedded in the organism as well as the socio-cultural environment interacting with it (Ward et al. TOPOI 36:365–375, 2017), of which technologies are a part. Yet, smart machines are advancing on human abilities to perceive and interpret concerning the accuracy, quantity, and quality of the data processed. Machines process and categorize images, perform classification tasks, they calculate and perform pattern analysis, all (...) machine learning processes are task-specific. Machine learning processes resemble human interpretative processes; however, these are two very different ways of “dealing with something,” although both can be said to be hermeneutical, one enactive, the other material; the first is a meaning-generating interpretative process, the second a statistics-based information output. The information extracted from all the data fed into the computer is the end-product of machine learning, whereas human interpretative enactments are continuous and necessary for any application of the information output. (shrink)

Phillip R. Sloan - Performing the Categories: Eighteenth-Century Generation Theory and the Biological Roots of Kant's A Priori - Journal of the History of Philosophy 40:2 Journal of the History of Philosophy 40.2 229-253 Preforming the Categories: Eighteenth-Century Generation Theory and the Biological Roots of Kant's A Priori Phillip R. Sloan Situating Kant's philosophical project in relation to the natural sciences of his day has been of concern to several scholars from both the history of science and the history of (...) philosophy. Historians of philosophy have displayed an expanded awareness of, and interest in, the importance of the scientific context of the period in which Kant carried out his "Copernican" revolution. Most commonly among philosophers, this interest has been analyzed in relation to Kant's concerns with the foundations of mechanics, matter theory, and the epistemology of Newtonian science, with the central text of interest being the Metaphysische Anfangsgründe. On the other hand, historians of philosophy and historians of science, interested in the issues of the third Critique and in the several papers of Kant dealing with biological and anthropological issues, have emphasized the unified nature of Kant's inquiries into the natural sciences, and the importance of his continued interest in the life and human sciences alongside his interests in the foundations of the physical sciences. The effort to understand the unity of Kant's.. (shrink)

The question of the trait that would distinguish human beings from the rest of the animals has kept humanity awake for centuries. Their ability to express themselves through words, their use of reason, their self-awareness of their finiteness or their capacity to produce and appreciate the art have been some of the faculties that, over the centuries, have come to give humanity a justification for its position in the world. With the advent of Artificial Intelligence, many of these attributes came (...) to be questioned thanks to the ability of non-biological entities to produce, among other performances, artistic and literary works. In this article we will revisit some of the topics that have allowed us to delineate the limits of what is human and, in the light of the latest technological advances, to question the link that humanity, technology and artistic creation have with each other today. (shrink)

Science is being transformed by the increasing capabilities of automation technologies and artificial intelligence (AI). Integrating AI and machine learning (ML) into scientific practice requires changing established research methods while maintaining a scientific understanding of research findings. Researchers are at the forefront of this change, but there is currently little understanding of how they are experiencing these upheavals in scientific practice. In this paper, we examine how researchers working in several research fields (automation engineering, computational design, conservation decision-making, materials science, (...) and synthetic biology) perceive AI/ML technologies used in their work, such as laboratory automation, automated design of experiments, computational design, and computer experiments. We find that researchers emphasised the need for AI/ML technologies to have practical benefits (such as efficiency and improved safety) to justify their use. Researchers were also hesitant to automate data analysis, and the importance of explainability differed between researchers working with laboratory automation and those using AI/ML directly in their research. This difference is due to the different role AI/ML plays in different research fields: laboratory automation performs processes already defined by the researcher and the actions are visible or recorded, while in AI/ML applications the decisions that produced the result may be obscure to the researcher. Understanding the role AI/ML plays in scientific practice is important for ensuring that scientific knowledge continues to grow. (shrink)

The rise of generative artificial intelligence (GenAI), especially large language models (LLMs), has fueled debates on whether these technologies genuinely emulate human intelligence. Some view LLM architectures as capturing human language mechanisms, while others, from a posthumanist and a transhumanist perspective, herald the obsolescence of humans as the sole conceptualizers of life and nature. This paper challenges, from a practical philosophy of science perspective, such views by arguing that the reasoning behind equating GenAI with human intelligence, or proclaiming the “demise (...) of the human,” is flawed due to conceptual conflation and reductive definitions of humans as performance-driven semiotic systems deprived of agency. In opposing theories that reduce consciousness to computation or information integration, the present proposal posits that consciousness arises from the holistic integration of perception, conceptualization, intentional agency, and self-modeling within biological systems. Grounded in a model of Extended Humanism, I propose that human consciousness and agency are tied to biological embodiment and the agents’ experiential interactions with their environment. This underscores the distinction between pre-trained transformers as “posthuman agents” and humans as purposeful biological agents, which emphasizes the human capacity for biological adjustment and optimization. Consequently, proclamations about human obsolescence as conceptualizers are unfounded, as they fail to appreciate intrinsic consciousness-agency-embodiment connections. One of the main conclusions is that the capacity to integrate information does not amount to phenomenal consciousness as argued, for example, by Information Integration Theory (ITT). (shrink)

This essay offers a new perspective on Darwin’s evolutionary theorizing on the human arts of music, poetry and rhetoric. It argues that Darwin’s theory of the human arts is primarily a theory of their effects on our emotions. Contrary to the topical understanding Darwin nowhere claimed that the music of homo sapiens sapiens used to be performed, let alone still is performed in the service of sexual success. He exclusively stipulated that some such evolutionary attractor might have shaped the vocal (...) arts of our «half-human ancestors». In the human music proper, by contrast, he sees this archaic function only persist as a cognitively vague, yet intensely felt «mental reversion to the emotions and thoughts of a long-past age», as widely unconscious and barely decodable memory traces. Read in Gouldian terms the evolved proto-human «musical arts» have thus been «exapted», i.e. lost their presumable biologically adaptive function of evolutionary origin, yet have survived this exaptation and ever since serve new communicative functions while retaining some of their archaic affective power. Moreover, the arts of rhetoric and poetry, by using the hypothetically older neural and vocal architecture of singing (with regards to linguistic prosody, meter, and cadences), coopt this «exapted» emotional power of music into the novel field of symbolic language. Darwin’s understanding of rhetoric and poetry is shown to entail not only explicit references, but also many implicit similarities both with Greek and Latin rhetoric and poetics and, more specifically, with Romanticist assumptions regarding the origin and function of poetry. (shrink)

Efficient community detection in a complex network is considered an interesting issue due to its vast applications in many prevailing areas such as biology, chemistry, linguistics, social sciences, and others. There are several algorithms available for network community detection. This study proposed the Sigmoid Fish Swarm Optimization algorithm to discover efficient network communities. Our proposed algorithm uses the sigmoid function for various fish moves in a swarm, including Prey, Follow, Swarm, and Free Move, for better movement and community detection. (...) The proposed SiFSO algorithm’s performance is tested against state-of-the-art particle swarm optimization algorithms in Q-modularity and normalized mutual information. The results showed that the proposed SiFSO algorithm is 0.0014% better in terms of Q-modularity and 0.1187% better in terms of NMI than the other selected algorithms. (shrink)

This article discusses a concept introduced by art theorist Philip Galanter in several publications over the past decade: complexism is a notion that looks at both past and future while aiming to reconcile (post) modern aesthetics with the cybernetic and biological paradigms. This article focuses on the re-evaluation of the performance arts within the framework of this theory, favouring the idea that every artwork necessarily resists attempts of subordination through language and scientific discourses. By referring to the dispositive, a notion (...) that considers complexism as a conceptual matrix, the author argues that it can be described in terms of pulsion and computation. (shrink)

Fear and concerns regarding AI and robots have existed for a long time, and the emergence of strong artificial intelligence, on par with human intelligence, is likely just a few decades away. The primary purpose of this article is to establish a theoretical framework for navigating the relationship between humans and this advanced form of artificial intelligence. This article first points out that the most fundamental characteristic of life is its continuous process of evolution and iteration. By analyzing the developmental (...) history of intelligence in different species, it can be observed that intelligence also exhibits a similar evolutionary phenomenon. Therefore, from this perspective, intelligence can be defined as a new form of information life. Under this premise, similarities and differences between information life forms and conventional biological life become apparent. The most significant distinction lies in the fact that the survival of biological life is based on non-replicable matter and energy, leading to extensive competition and food chain phenomena within ecosystems. In contrast, the survival of information life relies more on replicable information, fostering tendencies towards peace and communication. Based on this theoretical premise, there is a potential for a harmonious coexistence between humans and AI. This theory also provides guidance for the positive development of human society. (shrink)

If complexity is a necessary but not sufficient premise for the existence and expression of the living, anticipation is the distinguishing characteristic of what is alive. Anticipation is at work even at levels of existence where we cannot refer to intelligence. The prospect of artificially generating aesthetic artifacts and ethical constructs of relevance to a world in which the natural and the artificial are coexistent cannot be subsumed as yet another product of scientific and technological advancement. Beyond the artificial, the (...) synthetic conjures the understanding of aesthetics and ethics no longer from the perspective of the How? type of question, but rather the Why? Given the current infatuation with synthetic biology (i.e., making life from non-life), there is a practical consequence to such considerations. Synthetic life, as any other form of life, implies the possibility of evolution. Anticipation, which is the underlying factor of evolution, is thus expected. At the level of human existence, anticipation is expressed, for instance (but not exclusively), in aesthetic forms and ethical values. This translates, in turn, into an argument for the role aesthetics and ethics play in the process. Consequently, to qualify as life, the synthesis of the physical and the living will have to efficiently handle ambiguity. Current computational facilities, regardless of their nature or performance, operate exclusively in the semiotic domain of the well defined non-ambiguous. (shrink)

This article examines the ways in which Bruce Nauman’s art installations provoke audience experiences analogous to those felt during traumatic events. A central assertion of the present study is that the looping mechanisms of Nauman’s video artworks produce a theoretical stilling of the moving image that is reflective of the fight-flight-or-freeze response to a highly charged incident, which often entails a temporal shift as time appears to slow to a halt. Whereas in the past, the human response to acute stress (...) was typically prompted by a physical threat in the natural environment, today an evolutionary misfire occurs when this survival mechanism becomes prompted instead during everyday situations. Throughout human history, the experience of viewing an artwork has developed into an act of aesthetic appreciation involving a search for meaning. However, in this case, the sensory overload triggered by Nauman’s artwork purposefully impedes neuroprocessing, highlighting the adverse effects of mediation saturation in contemporary society; therefore, a stilling of the moving image in essence functions as a biological adaptation strategy in an attempt to come to terms with the puzzling nature of these artworks. By applying French philosopher Roland Barthes’s theories of the image, this article expands Barthes’s thought from the image to the performative as a reflection of human adaptation to technological advancement. (shrink)

Knowledge and Civilization advances detailed criticism of philosophy's usual approach to knowledge and describes a redirection, away from textbook problems of epistemology, toward an ecological philosophy of technology and civilization. Rejecting theories that confine knowledge to language or discourse, Allen situates knowledge in the greater field of artifacts, technical performance, and human evolution. His wide ranging considerations draw on ideas from evolutionary biology, archaeology, anthropology, and the history of cities, art, and technology.

The unity of this study rests on the notion that both statistics and emergence are intimately connected with randomness. A statistical law discovers an ideal frequency from which the actual frequency diverges only randomly i.e. the divergence is not contained in a law. Statistics and randomness, thus, mutually define each other. Emergence is related on the one hand, to regularly recurring events and, on the other hand, to the non-ordered events on one level which may be contained in a higher (...) order law. A discussion of the three linked notions naturally turns to the relations between the sciences and to the relations between the events which are their objects; thus the apparent oddness of a considered subtitle—‘Towards an adequate Weltanschauung’ —is eliminated, for an adequate Weltanschauung for the contemporary philosopher will have to include a position on the interconnexions between sciences. Perhaps the philosopher of science will readily grant this but recent thrusts in the philosophy of art, as well as the clear tendencies of the human sciences indicate that an understanding of these questions is increasingly important. It must be clear, for instance, that no serious comprehensive study of artistic meaning after Langer can afford to neglect utterly the nature of the shift from biological regularity to artistic pattern. I have passed from the unity on the side of the object to a corresponding unity on the side of the subject. For how is one to go about the discovery of the relevant interconnexions. So an earlier title refers to the concrete logic of discovery which itself is discovered not merely—perhaps not at all—by the verbal objectification of a theory but by the actual operations of the discoverer who is reflecting critically on himself. This view on the nature of philosophic enquiry, from which belief as present within the scientific community and essential to the proper development of science, is excluded, guides the form of the expression which continually points away from itself to the crucial experiments which the reader must himself perform. Indicative of this elusiveness is a reference to Goedel which is little more than an indication that at this point in the argument it would be valuable to do some work on the theorem. One may be inclined to cavil at this mode of expression; nevertheless it may be suggested that if philosophy does differ significantly from science it is possible that its proper mode of expression will likewise differ from that of science, and that this mode requires more investigation than it has yet received. Perhaps Wittgenstein is not aphorism at all. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Thinking Through the Body, Educating for the Humanities:A Plea for SomaestheticsRichard Shusterman (bio)IWhat are the humanities, and how should they be cultivated? With respect to this crucial question, opinions differ as to how widely the humanities should be construed and pursued. Initially connoting the study of Greek and Roman classics, the concept now more generally covers arts and letters, history, and philosophy.1 But does it also include the social (...) sciences, which are often distinguished from the humanities and grouped as a separate academic division with greater pretensions to scientific status? And should our pursuit of humanistic study be concentrated on the traditional methods and topics of high culture that give the humanities an authoritative aura of established nobility, or should it extend to new and funkier forms of interdisciplinary research such as popular culture or race and gender studies?Despite such questions and controversy, it is clear (even from etymology) that the meaning of the humanities essentially relates to our human condition and our efforts to perfect our humanity and its expression. But what, then, does it mean to be human? I cannot pretend here to adequately answer such a complex and difficult question. I will, however, argue that because the body is an essential and valuable dimension of our humanity, it should be recognized as a crucial topic of humanistic study and experiential learning. Though the truth of this thesis should be obvious, it goes sharply against the grain of our traditional understanding of the humanities. One striking example of such antisomatic bias is the very term that German speakers use to designate the humanities, "Geisteswissenschaften," whose literal English translation would be "spiritual (or mental) sciences," as contrasted to the natural sciences (Naturwissenschaften) that treat physical life, [End Page 1] with which, of course, the body is clearly linked. Hence, given the pervasive physical/spiritual opposition, the body is essentially omitted or marginalized in our conception of humanistic studies.2We humanist intellectuals generally take the body for granted because we are so passionately interested in the life of the mind and the creative arts that express our human spirit. But the body is not only an essential dimension of our humanity, it is also the basic instrument of all human performance, our tool of tools, a necessity for all our perception, action, and even thought. Just as skilled builders need expert knowledge of their tools, so we need better somatic knowledge to improve our understanding and performance in the arts and human sciences and to advance our mastery in the highest art of all—that of perfecting our humanity and living better lives. We need to think more carefully through the body in order to cultivate ourselves and edify our students because true humanity is not a mere genetic given but an educational achievement in which body, mind, and culture must be thoroughly integrated. To pursue this project of somatic inquiry, I have been working on an interdisciplinary field called somaesthetics, whose disciplinary connections extend also beyond the humanities to the biological, cognitive, and health sciences, which I see as valuable allies for humanistic research.3Somaesthetics, roughly defined, concerns the body as a locus of sensory-aesthetic appreciation (aisthesis) and creative self-fashioning. As an ameliorative discipline of both theory and practice, it aims to enrich not only our abstract, discursive knowledge of the body but also our lived somatic experience and performance; it seeks to enhance the meaning, understanding, efficacy, and beauty of our movements and of the environments to which our movements contribute and from which they also draw their energies and significance. Somaesthetics, therefore, involves a wide range of knowledge forms and disciplines that structure such somatic care or can improve it. Recognizing that body, mind, and culture are deeply codependent, somaesthetics comprises an interdisciplinary research program to integrate their study. Mental life relies on somatic experience and cannot be wholly separated from bodily processes, even if it cannot be wholly reduced to them. We think and feel with our bodies, especially with the body parts that constitute the brain and nervous system. Our bodies are likewise affected by mental life, as when certain thoughts bring a blush to... (shrink)

Ethical decision making is of concern to researchers across all fields. However, researchers typically focus on the biases that may act to undermine ethical decision making. Taking a new approach, this study focused on identifying the most common compensatory strategies that counteract those biases. These strategies were identified using a series of interviews with university researchers in a variety of areas, including biological, physical, social, and health as well as scholarship and the performing arts. Interview transcripts were assessed with two (...) scoring procedures, an expert rating system and computer-assisted qualitative analysis. Although the expert rating system identified Understanding Guidelines, Recognition of Insufficient Information, and Recognizing Boundaries as the most frequently used compensatory strategies across fields, other strategies, Striving for Transparency, Value/norm Assessment, and Following Appropriate Role Models, were identified as most common by the computer-assisted qualitative analyses. Potential reasons for these findings and implications for training and practice are identified and discussed. (shrink)

Technological progress may eventually produce sophisticated robots with human-like traits that result in humans forming meaningful relationships with them. Such relationships would likely lead to a demand for human–artificial intelligence matrimony. U.S. Supreme Court decisions that expanded the definition of marriage to include interracial and same-sex couples, as well as those that have not extended marriage to polygamous relationships, provide guidance regarding the criteria that human–AI would have to meet to successfully assert a right to marry. Ultimately, robots will have (...) to possess certain characteristics of personhood to marry, including the capacity to contract and to engage in an intimate relationship. Alternatively, if AIs can simulate these abilities sufficiently, we may believe that they have these capacities. Even if AIs genuinely possess the capabilities necessary to enter into a marriage, it is social acceptance of intelligent non-humans as life partners that will likely influence legal development is this realm rather than personhood criteria. However, AIs are likely to face bias due to their “artificial” rather than biological nature. Yet, Peter Singer’s influential argument regarding speciesism in the context of animal rights implies that AIs with specific human-like qualities cannot be justifiably denied certain rights. (shrink)

This chapter contains section titled: Theatrical Performance as Radically Independent of Literature Theatrical Performance as a Form of Art.

In lieu of an abstract, here is a brief excerpt of the content:The Paradoxical Pleasures of Human ImaginationOmar Sultan HaqueHow Pleasure Works: The New Science of Why We Like What We Like, by Paul Bloom. W. W. Norton, 2010, 280 pp., $26.95.Have you heard about that chump who dished out $48,875 for John F. Kennedy's dusty old tape measure? The rock star who allegedly snorted his father's ashes with some cocaine? The creepy German guy who put out an advertisement for (...) someone who would let themselves be eaten by him (only to have hundreds volunteer)? The story about the man who was tired with his wife, but powerfully aroused when he was convinced he was with an exact duplicate of her? How can a staunch atheist also believe in the numinous? Why do people buy expensive wines, and bottled water, even though in blind taste tests, they can't distinguish them from the cheap stuff? Why buy pâté when your palate can't distinguish it from dog food? Why do people pay hundreds of dollars to hear the famous violinist Joshua Bell perform, but then cannot even spare a dime when a disguised Bell plays the same music on the subway in regular garb? Why might someone who trains people to prevent falls and injury enjoy watching a comedian fall and hurt himself? Why would someone pay a few hundred thousand dollars for art that consisted of someone else's unmade bed?It may be is easy to feel smug when thinking about this panoply of apparent irrationality in individual decisions and general human propensities. But the things that uniquely delight us may not be as [End Page 182] capricious as they seem. Many of the pleasures (curious or ordinary) that we get from our relationships with food, sex, irreplaceable objects, performances, safety and pain, music, literature and the imagination may have a deeper logic. They may be explicable by a better understanding of how our evolved minds work, and don't work, amidst our historically novel environments. Or so argues Paul Bloom—a cognitive developmental psychologist at Yale University—in How Pleasure Works, a brilliant and articulate synthesis of philosophy, psychology, evolutionary biology and the arts that elucidates the seemingly whimsical and once mysterious sources of our uniquely human hedonic satisfactions.The theory Bloom utilizes to systematize aspects of a number of pleasure phenomena is called psychological essentialism. This is an idea that has been developed in the last two decades by Bloom and the psychologists Douglas Medin, Andrew Ortony, Frank Keil, and Susan Gelman, among others.1 Psychological essentialism claims that, as Bloom puts it, people reliably, at a very young age, cross-culturally and throughout history, think that "things have an underlying reality or true nature that one cannot observe directly and it is this hidden nature that really matters." We assume that objects, artifacts, non-human animals, people and groups have invisible essences and unseen orders that account for their surface properties. In one of Keil's experiments, for instance, children thought that a dog made to look like a toy dog, a porcupine that had a surgery to make it look like a cactus, and a tiger stuffed into a lion suit were still a dog, porcupine and tiger, respectively. However, when each animal had its 'innards' altered, children said the animals changed into different categories, like objects or plants.2 Psychological essentialism for artifacts or tools is somewhat different from that for animate entities; the essence of artifacts is their history and the intentions of their creators.3According to How Pleasure Works, because of psychological essentialism, many human delights seem to arise that cannot be explained by simply appealing either to their low-level sensual qualities or their practical utility. Thus, the theory helps clarify some of pleasure's paradoxes. Like parents who affectionately keep tokens of their children's time as a baby, someone can enjoy owning a tape measure from a famous person because of its history of uses or other associations with important places or people. Snorting dad's ashes (however noxious to the nostrils), or pigging out on someone whom you admire, can be deeply meaningful because it feels as if one is... (shrink)

Cet article propose une relecture du traité du Pseudo-Longin, le Peri Hupsous (Du Sublime), pour mettre en évidence l’un de ses enjeux philosophiques dont l’intérêt apparaît particulièrement actuel. Au cours de sa conceptualisation du sublime, l’auteur antique produit certes une définition du grand-dire mais il questionne surtout la puissance des œuvres, et ce de façon immanente, avant toute réception subjective. Or cette pensée de la puissance esthétique est solidaire d’une conception de l’art qui récuse tout dualisme de la forme pour (...) saisir l’œuvre en tant qu’unité paradoxale et intimement cohérente. Notre hypothèse tient en l’idée qu’à travers cette adéquation de la puissance à la logique même de la poièsis, le Pseudo-Longin ne nous donne à lire rien de moins qu’une première formulation de ce que nous appellerions dans un vocabulaire contemporain la performativité de l’art. Ce sont les conditions d’une telle performativité, étendue du discours à l’esthétique en général, que cet article tente de repérer tout au long du traité. (shrink)