This paper provides a concise description and discussion of bottom–up and top–down approaches to misattribution of agency in schizophrenia. It explores if first-person accounts of passivity phenomena can provide support for one of these approaches. The focus is on excerpts in which the writers specifically examine their experiences of external influence. None of the accounts provides arguments that fit easily with only one of the possible approaches, which is in line with current attempts to theoretical integration.

A sustainable system has all the essential characteristics of an organism?an irreducible whole that develops, maintains and reproduces, or renews, itself by mobilizing material and energy captured from the environment. What is the nature of the material and energy mobilization that makes an organism? I begin with a brief description of a tentative theory of the organism?developed in detail elsewhere (Ho, 1993; 1994a; 1995a,b; 1996b,c)?as a dynamically and energetically closed domain of cyclic non?dissipative processes coupled to irreversible dissipative processes, which (...) effectively frees the organism from thermodynamic constraints so that it is poised for rapid, specific intercommunication, enabling it to function as a coherent whole. I shall then show how this novel theoretical framework may begin to provide normative criteria for sustainable economic systems, thereby also exposing some of the inadequacies of current models and assumptions. (shrink)

Since Darwin's theory of evolution by natural selection, the idea of descent with modification came to dominate systematics, and so the study of morphology became subgugated to the reconstruction of phylogenies. Reinstating the organism in the theory of evolution (Ho & Saunders, 1979; Webster & Goodwin, 1982) leads to a project inrational taxonomy (Ho, 1986, 1988a), which attempts to classify biological forms on the basis of transformations on a given dynamical structure.Does rational taxonomy correspond to thenatural system that Linnaeus and (...) his contemporaries as well as all pre-Darwinian morphologists had in mind? Here, we examine how rational taxonomy and the natural system can coincide in the dynamics of processes generating forms during development, which conferexclusivity, genericity androbustness to the forms that do exist. We use the example of segmentation, especially inDrosophila, as an illustration to explore the implications of rational taxonomy for evolution and systematics, and the relationship between ontogeny and phylogeny. (shrink)

La premiere partie exposera la conception ambrosienne de la nature en general, puis de la nature humaine plus specialement. Depuis plusieurs annees, pas mal d'etudes ont ete faites sur l'anthropologie chez plusieurs Peres de l'Eglise. Peu a peu s'est dessinee une reponse a cette question: comment les Peres voient-ils l'homme? Quelle est, pour eux, sa nature, son essence? Ces etudes ont beaucoup d'importance pour tous ceux qui veulent aborder le probleme de la loi naturelle chez les Peres. La seconde partie (...) etudiera d'une maniere approfondie la loi naturelle selon l'eveque de Milan. Puisque le concept nature est polyvalent, il est clair que celui de loi naturelle le sera aussi. En traitant de la nature dans la premiere partie et de la loi naturelle dans la seconde, nous faisons une distinction explicite entre les considerations philosophiques et la conception theologique que saint Ambroise a developpees. (shrink)

What is art? What counts as an aesthetic experience? Does art have to beautiful? Can one reasonably dispute about taste? What is the relation between aesthetic and moral evaluations? How to interpret a work of art? Can we learn anything from literature, film or opera? What is sentimentality? What is irony? How to think philosophically about architecture, dance, or sculpture? What makes something a great portrait? Is music representational or abstract? Why do we feel terrified when we watch a horror (...) movie even though we know it to be fictional? -/- In Conversations on Art and Aesthetics, Hans Maes discusses these and other key questions in aesthetics with ten world-leading philosophers of art: Noël Carroll, Gregory Currie, Arthur Danto, Cynthia Freeland, Paul Guyer, Carolyn Korsmeyer, Jerrold Levinson, Jenefer Robinson, Roger Scruton, and Kendall Walton. -/- The exchanges are direct, open, and sharp, and give a clear account of these thinkers' core ideas and intellectual development. They also offer new insights into, and a deeper understanding of, contemporary issues in the philosophy of art. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 123.1 (2002) 1-34 [Access article in PDF] Ninagawa's Production of Euripides' Medea Mae Smethurst [Figures]The Japanese theater director Yukio Ninagawa, known for expressing his opposition to repressive politics in his productions during the 1960s, claimed that he staged the Medea because he wanted Japanese women to know that they could be as strong, as straightforward, as the character Medea. Japan, which has been the largest (...) consumer of his Medea, was and still is a male-dominated society. According to Ninagawa, it is a country in which for a woman to be demure and weak is considered a virtue. 1 And yet, if you look closely at Euripides' Medea you might conclude that Medea, although strong, is not an ideal role model for women. 2 (This was the view of Leda Geh of the Singapore Sunday Star, who reviewed Ninagawa's production in 1992.)Ninagawa's Medea was enormously successful. It ran for more than 250 performances in Japan, in other parts of Asia, and in the West, even though all the performances were in the Japanese language. Between the first productions of the Medea in 1978 and the latest in 1999, Ninagawa played to oversold, sold-out, or virtually sold-out houses in Tokyo, Osaka, and Nagoya, as well as in smaller cities throughout Japan. 3 The 1993 [End Page 1] production in Tokyo had a three-night run, in a theater with a capacity of eight hundred seats, which was on average 84 percent filled. 4 During a second tour to Athens in 1984, over a two-night run at the Herodes Atticus Theater (which has a capacity of six thousand people), fourteen thousand attended the performances. According to the producer Tadao Nakane (whom I interviewed in Tokyo on 15 March 1999), the audiences, including those sitting on the sides of the Acropolis, applauded so long and hard that tears came to his eyes. 5 In London, in 1978, Tokusaburo Arashi's performance of Medea brought him a nomination for an Olivier award 6 and, in the fall of 1999, Ninagawa served as the first non-English-speaking foreign director of the Royal Shakespeare Company's production of King Lear. Given these and other successes, it is clear that Ninagawa was able to bridge the gap between the West and East, on the one hand, by appealing to Western audiences with his Japanese productions and, on the other, by bringing a Western play to Japanese and other audiences.In this article I will consider how Ninagawa was able to take this ancient Greek tragedy and make it popular, not only with other Asian or non-Japanese audiences but also with those in Japan. He based his Medea on the poet Mutsuo Takahashi's 7 line-by-line adaptation of Euripides' [End Page 2] Medea. Not all of Takahashi's lines are used in each production; however, Ninagawa's productions of Medea, like his production of Oedipus the King, do adhere to the words of the text much more closely and fully than do Tadashi Suzuki's Bacchae or Trojan Women. Ninagawa infused his productions of the Medea with a very strong Japanese presence, consisting of elements drawn from Japan past and present. And it is these elements that I believe have helped ensure his success with Japanese audiences who (like us) bring their own cultural baggage to the theater.To demonstrate the Japanese content of the productions, I draw on a live performance of the Medea that I saw in Tokyo in 1993 and on my translations from the Japanese of both Takahashi's adaptation of Euripides' text and Tange Kazuhiko's translation from the ancient Greek. 8 I also draw on programs, playbills, the published notes of Ninagawa, and videotapes of productions. I hope to show how Ninagawa infused the Greek tragedy with a Japanese presence in the Tokyo production of 1993 and to note how that production differed from the version of his Medea performed in Athens in 1984. I place the Tokyo performance within its cultural context by pointing out the Japanese elements... (shrink)

Art and Pornography presents a series of essays which investigate the artistic status and aesthetic dimension of pornographic pictures, films, and literature, and explores the distinction, if there is any, between pornography and erotic art. Is there any overlap between art and pornography, or are the two mutually exclusive? If they are, why is that? If they are not, how might we characterize pornographic art or artistic pornography, and how might pornographic art be distinguished, if at all, from erotic art? (...) Can there be aesthetic experience of pornography? What are some of the psychological, social, and political consequences of the creation and appreciation of erotic art or artistic pornography? This book will contribute to a more accurate and subtle understanding of the many representations that incorporate explicit sexual imagery and themes. It is sure to stir debate, and healthy controversy. (shrink)

What I will aim for in answering the title question is extensional adequacy, that is, I will try to formulate an account that captures as much of the extension as possible of what we ordinarily think counts as a portrait. Two philosophers have recently and independently from one another embarked on the same project. Cynthia Freeland’s theory of portraiture, as it is developed in her book, Portraits and Persons, is discussed in Sections 1 and 2 of this paper. Sections 3 (...) and 4 offer a critical exploration of Paolo Spinicci’s phenomenological study of portraiture. Finally, in Sections 5 and 6, I present an alternative account of portraiture, one that will hopefully address all the objections raised against the two competing theories. (shrink)

According to Bergson , the traditional problem of free will is misconceived and arises from a mismatch between the quality of authentic, subjective experience and its description in language, in particular, the language of the mechanistic science of psychology. Contemporary western scientific concepts of the organism, on the other hand, are leading us beyond conventional thermodynamics as well as quantum theory and offering rigorous insights which reaffirm and extend our intuitive, poetic, and even romantic notions of spontaneity and free will. (...) I shall describe some new views of the organism arising from new findings in biology, in order to show how, in freeing itself from the ‘laws’ of physics, from mechanical determinism and mechanistic control, the organism becomes a sentient, coherent being that is free, from moment to moment, to explore and create its possible futures. (shrink)

The scope of this extraordinary selection of essays, distilled from nearly a thousand works that the author has written, is literally the entire universe and universe of knowledge. It charts the author's quest for the meaning of life faced with a dominant knowledge system she regards as incoherent, meaningless, and often acting against people and planet. She shows how contemporary scientific findings across all disciplines already provide an authentic knowledge system that's coherent with life and the universe. The aim is (...) to transform science thoroughly from inspiration to research to applications that work for people and planet. This book is simply unique in its scope and content. There is no equivalent. The author surveys and explains contemporary science in depth ranging over philosophy, anthropology, quantum physics and chemistry, neurobiology, psychology, genetics and epigenetics, cosmology, art, humanities, and mathematics. It presents a truly holistic view of nature, with profound implications for life in the social, political, and personal realm. (shrink)

This paper provides a concise description and discussion of bottom–up and top–down approaches to misattribution of agency in schizophrenia. It explores if first-person accounts of passivity phenomena can provide support for one of these approaches. The focus is on excerpts in which the writers specifically examine their experiences of external influence. None of the accounts provides arguments that fit easily with only one of the possible approaches, which is in line with current attempts to theoretical integration.

Punishment is a grave intrusion into individual liberty, yet in most liberal criminal justice systems, including England and Wales, those punished are rarely directly engaged in determining their sentence. Consequently, the offender’s agency in respect of sentence—i.e. the offender’s capacity to play an active part in the sentencing process—is limited. Drawing on existing theories of punishment, the article argues that there may be justifications and scope for allowing offenders to exercise agency in a state-centred sentencing process, even though this scope (...) is inevitably limited. It aims to develop a conceptual account of an ‘agentic’ sentencing system, arguing this should be based on the paradigm of a dialogue between the judge and offender. To preserve the state’s fundamental role in sentencing, constraints should be placed on the exercise of agency. The proposed model embodies a conception of sentencing as a decision-making process to be done _with_ offenders, rather than _to_ offenders. Nonetheless, while some objections can be rebutted, others demonstrate the gap between the theoretical ideal of respecting the offender’s agency at sentencing and how an agentic sentencing system might function in practice. (shrink)

Steels & Belpaeme (S&B) are clearly interested in the possible test their models may provide for human language theories. However, they only superficially address the assumptions underlying their own agent architecture, while these are of crucial relevance to the topic of human language. These assumptions fit an Augustinian picture of language, which Wittgenstein challenges in his Philosophical Investigations. It is too early to draw conclusions regarding human language evolution from such models.

By looking at 15th/16th realistic noh and Greek tragedies through the lens of Aristotle and of each other, this comparison reveals a previously unnoticed relationship between the structure of the tragedies and their performance, that is, the involvement of the third actor at the climactic moments of the plot in both and the actor stepping out of character in noh. This observation helps to account for Aristotle’s view that tragedy be limited to three actors.

Emily Brady and Arto Haapala (2003) define melancholy as a complex emotion with aspects of both pain and pleasure that draw on a range of emotions — sadness, love and longing — all of which are bound with a reflective, solitary state of mind. Melancholy, they argue, does not just play a role in our encounters with artworks and the natural environment but also invites aesthetic considerations into play in more everyday situations. As such, melancholy can be considered an aesthetic (...) emotion per se. In this paper, I critically examine the various aspects of Brady and Haapala’s account, then present an alternative analysis of melancholy and its aesthetic relevance. (shrink)

In the years 1975-1976 the Belgian government has given high priority to the restructuring of local government, resp. by the means of mergers of communes : the number of communes has decreased by that way from 2,359 to 596.In the decision-making emphasized were the initiatives taken by the Minister of the Interior as wel! on the domain of the elaboration of the proposals to delimitate the territory of the new communes as on the domain of the defining of the terms (...) of execution with regard to the personnel, the finances, the transition of goods, etc. About the proposals on the delimitation of the territory the local governmentscould only give advice ; they have been sanctioned by the legislative assemblees at the end of 1975 after rather difficult and heated debates.During this period an important resistance developed : on the one side from the communal milieu itself and on the other side from the opposition parties, esp. the Belgian Socialist Party not participating in the government that had made the drawing of the new map of communes according to a broad plan to its aim.Nevertheless, the decision-making also has to be seen from the fact that the opposition parties agreed with the principle of the mergers : they mainly contested the way in which the mergers were executed.The abolition of the federations of communes around the Brussels agglomeration, decided in the same context, has to be seen in the light of the typical Belgian problem of the coexistence of different linguistic groups. (shrink)

Caffeine makes you sexy! This absurd slogan can be seen in the shop windows of a popular Brussels coffee chain – its bold pink lettering indicating how they are mainly targeting female customers. It is one of the silliest examples of something that is both very common and very worrisome nowadays, namely, the constant call on women to look ‘hot’ and conform to the standards of sexiness as they are projected in the media, entertainment industry, and advertising. But what exactly (...) is wrong with this state of affairs and what can be done about it? In a recent essay Sheila Lintott and Sherri Irvin take up this issue and make an elaborate case for what they call a ‘feminist reclamation’ of sexiness. This chapter investigates the merits and shortcomings of their proposal, presents an alternative account, and considers how pornography may be part of the problem but also part of the solution in this matter. (shrink)

Since 1965 Belgian has stopped recognizing governments confining itself to the recognition of states only and maintaining diplomatie relations with the recognized states through wathever government able of exercising effective controle of those states' territory. Nota single exception to this doctrine was made untill 1979.In 1979 however Belgium refused to recognize the government installed in Phnom Penh following the Vietnamese intervention. One year later it also stopped recognizing the Khmer Rouge. In the UN however Belgium went on to accept the (...) Khmer Rouge delegation as the representatives of Cambodia, a state thus being represented by a delegation accredited by an entity that Belgium did not consider to be a government. This contradiction was maintained untill present since neither the coalition between the Khmer Rouge, Sihanouk and Son Sann nor the Supreme National Council were regarded by Belgium as governments.The article reconstructs the Belgium position out of the many statements and arguments the government bas put forward in the UN and the Belgian Parliament. The Belgian position is than examined in the light of international law, its own recognition doctrine and the international and domestic political context.This led to the conclusion that the legal grounds for the Belgian policy were rather weak and that its position almost completly differred from its traditional doctrine. In the Cambodian case however political considerations appeared to have prevailed Belgium chose to join the US, China and Asean and manoeuvred as to follow them in their condemnation of the Vietnamese intervention. Acting even as one of the most faithfull followers of the Asean policy towards Cambodia, Belgium enjoyed the improvement of its own relations with Asean, also in the commercial field.The continuous domestic opposition in and out of the Parliament was not able to change this policy. Even the present Minister of Foreign Alf airs who declared to be inclined to adjust the Belgian position had to hold back in order not to affect the esthablised relations. (shrink)

Numerous philosophers have tried to define modesty, but none of them succeeds in articulating the necessary and sufficient conditions for this virtue. Moreover, all existing accounts ignore the striking self-other asymmetry that is at the heart of modesty. Drawing on the analogy with the practice of giving presents, I clarify and further investigate this self-other asymmetry. In the process, I show why Bernard Williams is right in pointing out the notorious truth that a modest person does not act under the (...) title of modesty and why Alan Bennett is wrong in supposing that all modesty is false modesty. (shrink)

In Belgium, the number of municipalities was reduced from 2,663 to 596 by means of amalgamation.In the sketching of the framework of this reform, attention is first of all given to the manner in which the consensus required for it could be obtained. At the same time, the criteria employed and the pragmaticapplication thereof are investigated.Then, the new municipal division is tested for the motives and objectives that lay at the foundation of this reform. The expectations involved were in large (...) measure, related to the effects that were seen as the inherent consequence of the expansion of the territoria! scale of the municipalities.Finally, this reform is tested with respect to other than territorial components of the municipal administrative power. The reform remains incomplete on several points. This appears, for example, from the continuing absence of functional reforms with regard to decentralisation and from the lack of attention for the adjustment of the municipal working rules both in the area of effective administration as wellt as in the area of open and democratie administration. (shrink)

This paper addresses what is arguably ?? one of the most fundamental questions in the debate on depiction, What is a Picture? It offers a critical discussion of traditional theories of pictorial representation, such as the Resemblance Theory, Conventionalism, and the Illusion Theory; it introduces and analyses the crucial notions of ‘seeing as’ and ‘seeing in’, and concludes by presenting some of the most recent accounts of depiction defended by Kendall Walton, Dominic Lopes, Robert Hopkins, and John Hyman.

The role of the artist's intention in the interpretation of art has been the topic of a lively and ongoing discussion in analytic aesthetics. First, I sketch the current state of this debate, focusing especially on two competing views: actual and hypothetical intentionalism. Secondly, I discuss the search for a suitable test case, that is, a work of art that is interpreted differently by actual and hypothetical intentionalists, with only one of these interpretations being plausible. Many examples from many different (...) art forms have been considered in this respect, but none of these test cases has proved convincing. Thirdly, I introduce two new test cases taken from contemporary visual art. I explain why these examples are better suited as test cases and how they lend support to the actual intentionalist position. (shrink)

The aim of what I propose to call “existential aesthetics” is to investigate the various ways in which art and certain kinds of aesthetic practice or aesthetic experience can be of existential importance to people. Section I provides a definition of existential aesthetics, while Section II delineates this emerging field from cognate areas of research. Sections III and IV explore various subcategories and examples of existential aesthetics. Section V seeks to identify important avenues for future research and Section VI presents (...) some concluding thoughts about the potential of existential aesthetics and why philosophers should be encouraged to fulfill this potential. (shrink)