Harman famously argues that a particular class of antifunctionalist arguments from the intrinsic properties of mental states or events (in particular, visual experiences) can be defused by distinguishing “properties of the object of experience from properties of the experience of an object” and by realizing that the latter are not introspectively accessible (or are transparent). More specifically, Harman argues that we are or can be introspectively aware only of the properties of the object of an experience but not the (...) properties of the experience of an object and hence that the fact that functionalism leaves out the properties of the experience of an object does not show that it leaves out anything mentally relevant. In this paper, I argue that Harman’s attempt to defuse the anti-functionalist arguments in question is unsuccessful. After making a distinction between the thesis of experiencing-act transparency and the thesis of mental-paint transparency, (and casting some doubt on the former,) I mainly target the latter and argue that it is false. The thesis of mental-paint transparency is false, I claim, not because mental paint involves some introspectively accessible properties that are different from the properties of the objects of experiences but because what I call the identity thesis is true, viz. that mental paint is the same as (an array of) properties of the object of experience. The identification of mental paint with properties of the object of experience entails that the antifunctionalist arguments Harman criticizes cannot be rightly accused of committing the fallacy of confusing the two. (shrink)

The greatest chasm in the philosophy of mind--maybe even all of philosophy-- divides two perspectives on consciousness. The two perspectives differ on whether there is anything in the phenomenal character of conscious experience that goes beyond the intentional, the cognitive and the functional. A convenient terminological handle on the dispute is whether there are.

According to the influential thesis of attentional transparency, in having or reflecting on an ordinary visual experience, we can attend only outwards, to qualities the experience represents, never to intrinsic qualities of the experience itself, i.e., to “mental paint.” According to the competing view, attentional semitransparency, although we usually attend outwards, to qualities the experience represents, we can also attend inwards, to mental paint. So far, philosophers have debated this topic in strictly armchair means, especially phenomenological (...) reflection. My aim in this paper is to show how to design an experiment, using the change detection paradigm for studying visual working memory that, if yielding positive results, would support AS. The structure of the argument is as follows. In standard change detection tasks, which involve attention to qualities the experience represents, there exists a known object integration effect (Luck and Vogel in Nature 390(6657):279–281, 1997). I formulate a hypothesis I call “the turn-off hypothesis,” according to which this effect does not exist in change detection tasks where subjects are instructed to attend to mental paint. I argue that, given AS, we have some reason to expect the turn-off hypothesis to be true, but given AT, we do not. Consequently, the truth of the turn-off hypothesis would support AS. I further argue that one can straightforwardly test the turn-off hypothesis, taking the standard change detection paradigm and instructing participants to attend inwards. (shrink)

The greatest chasm in the philosophy of mind--maybe even all of philosophy-- divides two perspectives on consciousness. The two perspectives differ on whether there is anything in the phenomenal character of conscious experience that goes beyond the intentional, the cognitive and the functional. A convenient terminological handle on the dispute is whether there are.

In two papers, Ned Block has argued that representationalists have trouble with the empirical discovery that differences in the degree of visual attention to an object can lead to a difference in h...

According to the Song critic Guo Ruoxu, the last five laws by Xie He are "open to study," while qiyun 氣韻 "necessarily involves an innate knowledge; it assuredly cannot be secured through cleverness or close application, nor will time aid its attainment. It is an unspoken accord, a spiritual communion; 'something that happens without one's knowing how'".1 For Guo Ruoxu, although the qiyun within a work refers to the quality of a painting and cannot be identical with the qiyun of (...) the artist, the ability to produce a painting replete with qiyun is determined by the painter's innate mental disposition. This idea has been echoed... (shrink)

Drawing on the empirical premise that attention makes objects look more intense, Ned Block has argued for mental paint, a phenomenal residue that cannot be reduced to what is perceived or represented. If sound, Block's argument would undermine direct realism and representationism, two widely held views about the nature of conscious perception. We argue that Block's argument fails because the empirical premise it is based upon is false. Attending to an object alters its salience, but not its perceived (...) intensity. We also argue that salience should be equated with mental primer, a close cousin of mental paint that reintroduces difficulties for direct realism and representationism. The upshot is that direct realism and representationism are still in trouble, but not for the reason that Block thinks. (shrink)

Covert spatial attention alters the way things look. There is strong empirical evidence showing that objects situated at attended locations are described as appearing bigger, closer, if striped, stripier than qualitatively indiscernible counterparts whose locations are unattended. These results cannot be easily explained in terms of which properties of objects are perceived. Nor do they appear to be cases of visual illusions. Ned Block has argued that these results are best accounted for by invoking what he calls ‘mental (...) class='Hi'>paint’. In this paper I argue, instead, in favour of an account of these phenomena in terms of the perceptual experience of affordances concerning saccadic eye movement. As part of the argument I draw connections with the empirical literature on the way in which performance efficiency also alters visual appearance. (shrink)

Much of recent philosophy of perception is oriented towards accounting for the phenomenal character of perception—what it is like to perceive—in a non-mentalistic way—that is, without appealing to mental objects or mental qualities. In opposition to such views, I claim that the phenomenal character of perception of a red round object cannot be explained by or reduced to direct awareness of the object, its redness and roundness—or representation of such objects and qualities. Qualities of perception that are not (...) captured by what one is directly aware of or by representational content are instances of what Gilbert Harman has called “mental paint” (Block, 1990; Harman, 1990). The claim of this paper is that empirical facts about attention point in the direction of mental paint. The argument starts with the claim (later modified) that when one moves one's attention around a scene while keeping one's eyes fixed, the phenomenology of perception can change in ways that do not reflect which qualities of objects one is directly aware of or the way the world is represented to be. These changes in the phenomenology of perception cannot be accounted for in terms of awareness of or representation of the focus of attention because they manifest themselves in experience as differences in apparent contrast, apparent color saturation, apparent size, apparent speed, apparent time of occurrence and other appearances. There is a way of coping with these phenomena in terms of vague contents, but vague contents cannot save direct realism or representationism because the kind of vagueness required clashes wth the phenomenology itself. (shrink)

Early modern humans developed mental capabilities that were immeasurably greater than those of non-human primates. We see this in the rapid innovation in tool making, the development of complex language, and the creation of sophisticated art forms, none of which we find in our closest relatives. While we can readily observe the results of this high-order cognitive capacity, it is difficult to see how it could have developed. We take up the topic of cave art and archeoacoustics, particularly the (...) discovery that cave art is often closely connected to the acoustic properties of the cave chambers in which it is found. Apparently, early modern humans were able to detect the way sound reverberated in these chambers, and they painted artwork on surfaces that were acoustic “hot spots,” i.e., suitable for generating echoes. We argue that cave art is a form of cross-modality information transfer, in which acoustic signals are transformed into symbolic visual representations. This form of information transfer across modalities is an instance of how the symbolic mind of early modern humans was taking shape into concrete, externalized language. We also suggest that the earliest rock art found in Africa may constitute one of the first fossilized proxies for the expression of full-fledged human linguistic behavior. (shrink)

I propose for emotion research a dynamic approach to truth in which folk theories, no matter how much they may be infested with magical thinking and peculiar beliefs, can function as potential competitors and valued interlocutors on the platform of theory construction. For demonstration, I present the ancient Chinese notion of ganlei as a counterpoint to Western metaphysics. Potential contributions of this indigenous belief system to theory and research on emotions include bringing greater clarity to existing concepts of empathy and (...) mind reading and participating meaningfully in the current debates on emotions. More important, ganlei suggests a shift of focus in emotion research from epistemological to ontological categories and from mental representations to intermental transactions. 2012 APA, all rights reserved). (shrink)

Human beings have the ability to ‘augment’ reality by superimposing mental imagery on the visually perceived scene. For example, when deciding how to arrange furniture in a new home, one might project the image of an armchair into an empty corner or the image of a painting onto a wall. The experience of noticing a constellation in the sky at night is also perceptual-imaginative amalgam: it involves both seeing the stars in the constellation and imagining the lines that connect (...) them at the same time. I here refer to such hybrid experiences – involving both a bottom-up, externally generated component and a top-down, internally generated component – as make-perceive (Briscoe 2008, 2011). My discussion in this paper has two parts. In the first part, I show that make-perceive enables human beings to solve certain problems and pursue certain projects more effectively than bottom-up perceiving or top-down visualization alone. To this end, the skillful use of projected mental imagery is surveyed in a variety of contexts, including action planning, the interpretation of static mechanical diagrams, and non-instrumental navigation. In the second part, I address the question of whether make-perceive may help to account for the “phenomenal presence” of occluded or otherwise hidden features of perceived objects. I argue that phenomenal presence is not well explained by the hypothesis that hidden features are represented using projected mental images. In defending this position, I point to important phenomenological and functional differences between the way hidden object features are represented respectively in mental imagery and amodal completion. (shrink)

Mental mapping is a method of interpreting with conceptual metaphors. This method is applied to the admiration song in Song of Songs 7:2–7. The song is interpreted in the context of a dance. For the purpose of interpretation, ancient Egyptian dance paintings and love poems are taken into account. The interpretation presents a methodological study that unmasks arbitrary exegesis and implausible interpretations. It discovers its subtle conceptual metaphors and shows a strategy for a comprehensible exegesis. As a side effect, (...) the male chauvinism present in this song is deconstructed. (shrink)

According to the thesis of transparency, subjects can attend only to the representational content of perceptual experience, never to the intrinsic properties of experience that carry this representational content, i.e., to “mental paint.” So far, arguments for and against transparency were conducted from the armchair, relying mainly on introspective observations. In this paper, we argue in favor of transparency, relying on the cognitive neuroscience of attention. We present a trilemma to those who hold that attention can be directed (...) to mental paint. Such attention is either first-order sensory, higher-order cognitive, or higher-order sensory attention. We argue that the notion of first-order sensory attention to mental paint is incompatible with the neuroscience of sensory attention; that higher-order cognitive attention to mental paint is irrelevant to transparency; and that the notion of higher-order sensory attention to mental paint has an apparently incoherent prediction. Via elimination, these considerations support the thesis of transparency. (shrink)

1.1 All mental terms are defined by private ostensive definition. 1.1.1 For example, the word "red" used to denote the conscious colour experience of red, as opposed to red light or red paint, is defined by attending to a red sensation and designating it "red".

In _My Father's House_, the political philosopher Thomas Dumm explores a series of stark and melancholy paintings by the American artist Will Barnet. Responding to the physical and mental decline of his sister Eva, who lived alone in the family home in Beverly, Massachusetts, Barnet began work in 1990 on what became a series of nine paintings depicting Eva and other family members, as they once were and as they figured in the artist's memory. Rendered in Barnet's signature quiet, (...) abstract style, the paintings, each featured in full color, present the ordinary and extraordinary aspects of a twentieth-century American family. Dumm first became acquainted with Barnet and his paintings in 2008. Given his scholarly focus on the lives of ordinary people, he was immediately attracted to the artist's work. When they met, Dumm and Barnet began a friendship and dialogue that lasted until the painter's death in 2012, at the age of 101. This book reflects the many discussions the two had concerning the series of paintings, Barnet's family, his early life in Beverly, and his eighty-year career as a prominent New York artist. Reading the almost gothic paintings in conversation with the writers and thinkers key to both his and Barnet's thinking—Emerson, Spinoza, Dickinson, Benjamin, Cavell, Nietzsche, Melville—Dumm's haunting meditations evoke broader reflections on family, mortality, the uncanny, and the loss that comes with remembrance. (shrink)

Luca Del Baldo's Visionary Academy of Ocular Mentality is an extraordinary testament in the recent history of visual studies. It brings together a group of outstanding scholars who have devoted their lives to art history, philosophy, history, ethnology, focussing predominantly on questions of human perception and imagination. Working from photographs provided by the scholars, Luca del Baldo painted his series of 96 portraits reproduced in this book. The portraits are accompanied by texts written by the persons portrayed, in response to (...) their portrayal, and as an exchange: the artist gifted the original painting to the portrayed person, and the portrayed gifted her or his response. "The result is a unique and profound conversation between image and text focussed on the enigma of the human face in all its mediations.". (shrink)

Prior to the discovery of linear perspective in the fifteenth century, European artists based their compositions more on imagination than the direct observation of nature. Medieval paintings, therefore, can be thought of as ‘mental projections’ of space rather than optical projections, and were sometimes regarded as ‘primitive’ by historians as they lacked the spatial consistency of later works based on the rules of linear perspective. There are noticeable differences in the way objects are depicted in paintings of the different (...) periods. For example, human figures in pre-linear perspective works often vary greatly in size in ways that are not consistent with the laws of optics. Some art historians have attributed this to ‘hierarchical scaling’ in which larger figures have greater narrative significance. But there are examples of paintings that contradict this explanation. In this paper we will consider an alternative to the hierarchical scaling hypothesis: that medieval artists used relative size to elicit empathy and to reflect the perceptual structure of imagination. This hypothesis was first proposed by the art historian Oskar Wulff, but has largely been dismissed since. We argue that artists of this period, far from being naïve, used sophisticated techniques for directing the attention of the viewer to a particular figure in a painting and encouraging them to ‘see’ the depicted space from that figure’s point of view. We offer some experimental evidence in support of this hypothesis and suggest that the way artists have depicted space in paintings has an important bearing on how we imagine and perceive visual space. (shrink)

The theory of so-called‘mental images’, which is put forward again in contemporary cognitive psychology, is criticized by way of elaborating the distinctly different intentional structures of the mental activities of‘remembering something’and‘representing something pictorially’(by means of a painting, photo, sculpture, etc.) It is suggested that psychology in its concept and theory formation could use profitably phenomenological-descriptive analyses of the different forms of intentionality as exemplified in the paper.

Powerful photographs of the grand exteriors and crumbling interiors of America's abandoned state mental hospitals. For more than half the nation's history, vast mental hospitals were a prominent feature of the American landscape. From the mid-nineteenth century to the early twentieth, over 250 institutions for the insane were built throughout the United States; by 1948, they housed more than a half million patients. The blueprint for these hospitals was set by Pennsylvania hospital superintendant Thomas Story Kirkbride: a central (...) administration building flanked symmetrically by pavilions and surrounded by lavish grounds with pastoral vistas. Kirkbride and others believed that well-designed buildings and grounds, a peaceful environment, a regimen of fresh air, and places for work, exercise, and cultural activities would heal mental illness. But in the second half of the twentieth century, after the introduction of psychotropic drugs and policy shifts toward community-based care, patient populations declined dramatically, leaving many of these beautiful, massive buildings—and the patients who lived in them—neglected and abandoned. Architect and photographer Christopher Payne spent six years documenting the decay of state mental hospitals like these, visiting seventy institutions in thirty states. Through his lens we see splendid, palatial exteriors and crumbling interiors—chairs stacked against walls with peeling paint in a grand hallway; brightly colored toothbrushes still hanging on a rack; stacks of suitcases, never packed for the trip home. Accompanying Payne's striking and powerful photographs is an essay by Oliver Sacks. Sacks pays tribute to Payne's photographs and to the lives once lived in these places, “where one could be both mad and safe.”. (shrink)

This paper suggests a critique of the zombie argument that bypasses the need to decide on the truth of its main premises, and specifically, avoids the need to enter the battlefield of whether conceivability entails metaphysical possibility. It is argued that if we accept, as the zombie argument’s supporters would urge us, the assumption that an ideal reasoner can conceive of a complete physical description of the world without conceiving of qualia, the general principle that conceivability entails metaphysical possibility, and (...) the general principle that for any s and t the metaphysical possibility of s & − t entails that s does not necessitate t, we have to conclude not that materialism is false but rather that either materialism or the “mental paint” (or “phenomenist”) conception of phenomenality is false. And further, given the initial advantages of materialism, the fact that proponents of the zombie argument are not allowed to rely on arguments against materialism in confronting this dilemma, and difficulties with arguments in favor of phenomenism, we find ourselves pushed to reject the mental paint conception rather than materialism. Or at any rate, it is hard to see how the proponent of the zombie argument can carry the burden of proof that lies with her. Thus, whether or not those premises of the zombie argument are true, the argument fails to refute materialism. (shrink)

L’art pariétal du Paléolithique supérieur présente, à côté d’un extraordinaire répertoire animalier bien diversifié, un grand nombre de signes qui ne trouvent pas d’équivalents dans la perception de la réalité sensible. Tandis que les images des humains ou des créatures mi-humaines mi-animales sont très rares, ces formes aniconiques, souvent géométrisantes et aisément classifiables, sont globalement plus nombreuses que les animaux. Si saisir l’intentionnalité qui a poussé les premiers artistes à peindre sur les parois représente un défi pour nos compétences interprétatives, (...) les « signes » constituent l’aspect le plus énigmatique de ce défi. Il y a trente ans, en 1988, dans la revue Current Anthropology, a été publié un article de James D. Lewis-Williams et Thomas A. Dowson, « The Signs of All Times. Entoptic Phenomena in Upper Paleolithic Art », ouvrant une nouvelle perspective sur l’origine des signes. En appliquant le modèle neuropsychologique à l’imagerie bidimensionnelle de l’art des grottes, il est possible d’identifier à des signes à valeur universelle, selon les auteurs, les apparitions entoptiques présentes, avec leurs diverses modalités combinatoires, dans l’art rupestre de « tous les temps ». Cette interprétation de l’art des sociétés préhistoriques, qui resitue la naissance des images dans les territoires visionnaires des cultures chamaniques, a soulevé en France des perplexités et des polémiques innombrables, parfois acerbes. Il est prioritaire alors de voir si le modèle neuropsychologique est effectivement en mesure d’offrir un cadre explicatif des données archéologiques des grottes ornées et de ses « constructions symboliques », en mesure d’intégrer tous les indices disponibles dans une construction théorique cohérente. The parietal art of the Upper Paleolithic shows, alongside with an extraordinary and highly diversified animalistic repertoire, a large number of signs which cannot be found in the perception of sensible reality. While images of humans or of anthropo-zoomorphic creatures are very rare, these aniconic forms—while often geometric and appropriate for classification—are globally more copious than animals. If understanding the intentions that prompted the first artists to paint on the walls represents a challenge for our interpretative skills, then the “signs” constitute the most enigmatic aspect of this challenge. Thirty years ago, in 1988, an article written by James D. Lewis-Williams and Thomas A. Dowson, and entitled “The Signs of All Times. Entoptic Phenomena in Upper Paleolithic Art”, was published in the Current Anthropology journal. This article opened up new perspectives on the origin of signs. According to its authors, by applying the neuropsychological model to the two-dimensional imagery of cave art, it is possible to identify universal signs ascribable to the entoptic appearances that can be found—in their different combined modes—in the rock art of all times. This interpretation of the art of prehistoric societies, which has led to the emergence of images within the visionary territories of shamanic cultures, has provoked countless—and sometimes harsh—disputes in France. It has therefore become a priority to evaluate whether the neuropsychological model is actually able to provide an explanatory picture of the archaeological evidence of historiated caves and their constructions symboliques that would be capable of integrating all the clues available into a coherent theoretical structure. (shrink)

I highlight a neglected but striking phenomenological fact about our experiences: they have a pervasively spatial character. Specifically, all (or almost all) phenomenal qualities – roughly, the introspectible, philosophically puzzling properties that constitute ‘what it’s like’ to have an experience – introspectively seem instantiated in some kind of space. So, assuming a very weak charity principle about introspection, some phenomenal qualities are instantiated in space. But there is only one kind of space – the ordinary space occupied by familiar objects. (...) And the only objects appropriately located in ordinary space are outside the subject’s mind. This entails experiential externalism, the view that at least one phenomenal quality is instantiated outside the subject’s mind. Experiential externalism is incompatible with many leading theories of experience, including certain mental paint theories; some forms of representationalism; paradigmatic versions of sense-datum theory; and views on which no phenomenal qualities are instantiated. My argument is structurally similar to familiar arguments based on the ‘transparency of experience.’ However, I suggest, phenomenological intuitions about spatiality are considerably more stable than phenomenological intuitions about transparency. For many philosophers, transparency intuitions fade markedly with respect to non-standard experiences, including experiences associated with blurry or double vision. But spatiality intuitions remain robust even for these experiences. Thus, spatiality intuitions should be more dialectically effective than transparency intuitions for supporting experiential externalism. (shrink)

Aesthetic views of Ludwig Tieck, one of the prominent Romantics, are analyzed and explored. The article uses a complex philosophical-aesthetic method of analyzig texts. It shows that Tieck demonstrates the high status of art (according to him, it exceeds human abilities) using the example of painting. In the process of creative activity the painter lives an enlightened life that is different from ordinary life. He contemplates alternative worlds that are similar to the worlds of dreams and phantasies and attempts to (...) portray them in his creations. The painter sees all that he depicts as a reality, which, according to Tieck, harmonizes the human being with him or herself and with the entire world. Tieck pays a special attention to landscape painting as it expresses the beauty of the world in which God manifests himself to the world. Tieck’s aesthetics pays significant attention to the sources of realist art. Tieck claims that art is useless in a utilitarian sense. In its essence it is symbolic and it elevates the human spirit over mundane reality. Tieck outlines a Romantic ideal of the woman, which lies at the foundation of many Romantic works, especially literature. The poet uses inspiration in his creativity, which Tieck elevates to prophecy. The basis of artistic creativity is the irrational, which is nevertheless arranged by reason. “Sensory joy” and “tendency to pain and suffering” are important in poetry. However, upon this sensory foundation the poet creates a sublime work that is aimed at the invisible and heavenly. Overall, Tieck reveals both the otherworldly character of poetry and its patriotic and nationalist foundations. He creates one of the paradigms of Romantic irony. Tieck’s aesthetics demonstrates essential aspects of Romantic creativity. (shrink)

Charles S. Peirce's epistemological theory of mental diagrams forms the theoretical basis of his attempt to analyze diagrammatic reasoning. Two examples, one from science and another from art, are examined to test the scope of this theory. While the first example shows how scientific diagrams form part of translation processes, similar processes are demonstrated in how paintings are received. The article attempts to connect Peirce and A. J. Greimas's theory of narrative. Relating the two proves useful in allowing Peirce's (...) theory of the connection between the three normative sciences to be discussed on a new basis. (shrink)

The human urge to represent the three-dimensional world using two-dimensional pictorial representations dates back at least to Paleolithic times. Artists from ancient to modern times have struggled to understand how a few contours or color patches on a flat surface can induce mental representations of a three-dimensional scene. This article summarizes some of the recent breakthroughs in scientifically understanding how the brain sees that shed light on these struggles. These breakthroughs illustrate how various artists have intuitively understand paradoxical properties (...) about how the brain sees, and have used that understanding to create great art. These paradoxical properties arise from how the brain forms the units of conscious visual perception; namely, representations of threedimensional boundaries and surfaces. Boundaries and surfaces are computed in parallel cortical processing streams that obey computationally complementary properties. These streams interact at multiple levels to overcome their complementary weaknesses and to transform their complementary properties into consistent percepts. The article describes how properties of complementary consistency have guided the creation of many great works of art. (shrink)

In this paper, the author addresses the problem of socialisation of children with a history of disabilities and mental retardation by means of visual arts. It is important to look at the very sphere of life of these categories of children. As a rule, these children, for the most part, live in dysfunctional families, which makes it almost impossible to provide them with a form of socialization. This article focuses on the extent to which and how a programme of (...) socialisation of these children can be achieved through the medium of visual arts. At the moment there are works of modern pedagogues who have devoted their scientific researches to this problem, but there are few teachers-artists who deal with this problem. In this article the author devotes his creative attention to this issue and reflects on what means of fine arts and visual literacy can develop and guide in the right direction the socialization of children and young people with disabilities by means of fine arts. A number of scientific works devoted to this problem are seriously reviewed. The author is actively trying to draw the attention of the teaching community to the problem of prevailing social conditions, to reach an educational and cognitive level and, as a consequence, to a better product of the set task of socialization of children with special needs and disabilities in the learning process by means of subject disciplines: drawing, painting, composition, printmaking, etc. (shrink)

My interest in undertaking the study of images of Arab women in Western visual ethnography and art emerged from my own life experience. My identity as an Arab feminist having lived in different Eastern and Western communities has shaped my understanding and affected my observation in this research. As an Arab woman being observed in the first place, I am taking the role of the "outside"/inside' observer in this study. I am observing the observers and the observed, and both become (...) the observed in my chosen study. I observe visual images of Arab women under the gaze of Western observers. Ethnographers, photographers, and artists become the observed under my investigation. Here again, visual images of Arab women are observed—in fact they only have been observed as objects, a result of their display as visual images by Western observers. Contemporary North African women, Assia Djebar, Houria Niati, and Leila Sebbar are observers who examine visual images of North African women that were painted by Western artists. In examining their works here, they in turn become the observed. Also I observe Elizabeth Fernea's visual ethnographic work on North African women. Fernea and her project become the observed in my research. Finally, I undertook the role of the observer in this study mainly in order to understand myself and identify my place in the society of other women and men. I introduce a cross‐cultural dialogue that will question the bipolar cultural boundaries in feminist and historiographic scholarship. (shrink)

This volume of Ned Block's writings collects his papers on consciousness, functionalism, and representationism. A number of these papers treat the significance of the multiple realizability of mental states for the mind-body problem -- a theme that has concerned Block since the 1960s. One paper on this topic considers the upshot for the mind-body problem of the possibility of a robot that is functionally like us but physically different -- as is Commander Data of _Star Trek's_ second generation. The (...) papers on consciousness treat such conceptual issues as phenomenal versus access consciousness, Dennett's theory of consciousness, and the function of consciousness, as well as such empirical matters as "How Not to Find the Neural Correlate of Consciousness," and an argument that there are distinct neural correlates for access consciousness and phenomenal consciousness. Turning to the mind-body problem, Block defends physicalism against Max Black's argument concerning phenomenal modes of presentation. The papers on representationism consider "mental paint" as well as the "Inverted Earth" thought experiment -- a world in which colors are reversed but there is a compensating reversal in the words that are used to describe them. _Consciousness, Function, and Representation_, bringing together papers that have appeared primarily in journals and conference proceedings, can be regarded as Block's most complete statement of his positions on consciousness. (shrink)

The transparency argument concludes that we're directly aware of external properties and not directly aware of the properties of experience. Focusing on the presentation used by Michael Tye (2002) I contend that the argument requires experience to have content that it cannot plausibly have. I attribute the failure to a faulty account of the transparency phenomenon and conclude by suggesting an alternative understanding that is independently plausible, is not an error-theory and yet renders the transparency of experience compatible with (...) class='Hi'>mental-paint style views. (shrink)

Kant claims repeatedly that experience involves sensations being ‘ordered and placed’ in space. This paper considers what this surprising claim could possibly mean. After presenting the relevant textual evidence and rejecting two candidate interpretations of it, I defend a qualia or ‘mental paint’ interpretation, according to which experience involves a direct, conscious ‘acquaintance’ with sensations arrayed in a ‘phenomenal space.’ This interpretation allows us to take literally many of Kant's claims about sensation: that it is the matter of (...) both intuition and appearance, that we are conscious of sensation in perception, and that sensible qualities like color are sensations. (shrink)

It’s often said that relational view of experience can’t provide an explanation of mode of presentation phenomena: the idea is that if experience is characterized merely as a relation to an object, then we can’t make sense of the idea that one and the same object can be given in perception in many different ways. I show that we can address this problem by looking at the causal structure in relational experience. Experience of an object is caused by experience of (...) particular properties it has, such as its color and location, and experience of the object is in turn a cause of experience of its properties as characteristics of that object. We can explain mode of presentation phenomena as a matter of there being different sets of properties that can cause perception of one and the same object. I discuss how experiments in vision science and computational models of vision can underwrite this way of finding the causal structure in experience, relationally conceived. I look at an alternative, internalist approach to mode of presentation phenomena, in terms of ‘mental paint’, and suggest that the internalist approach is simply incoherent. Finally, I point out that we have mode of presentation phenomena for the spatial aspects of vision, such as perception of spatial relations and spatial location, but that these phenomena resist analysis in any of the terms proposed so far.On a relational view, visual experience is a relation between the perceiver and the scene observed. It’s often said, quite wrongly, that relational views of experience cannot reckon with mode-of-presentation phenomena. I begin by explaining how a relational view of experience can make sense of the idea of the ‘way’ in which an object is given to the perceiver, in terms of the properties used to single out the object. I explain why relational views are to be preferred to approaches in terms of ‘mental paint’. I then sketch the problem posed by spatial perception. Spatial perception is peculiarly difficult to characterize on a relational view, because it’s difficult to characterize the way in which spatial locations and layouts are given to the subject. (shrink)

The ontology of artworks tells us that a work of art, for example, a painting, cannot be identified as either physical or mental object. By the same token, this paper argues the working of art or artistic labor cannot be identified as either physical or mental labor. However, the works and workings of art are regarded as either physical or mental in the prevailing aesthetic theory. The main reason is that classical Western metaphysics is bifurcated. However, traditional (...) Chinese division of ontological categories is not a bifurcation but a trifurcation, which consists of dao道, xiang象, and qi器. This tripartite distinction avoids substantivism, while at the same time providing a framework that encompasses both the objective and the subjective face of the art work, by means of a dynamic exchange between the two poles. This paper shifts our perspective from classical Western metaphysics to traditional Chinese metaphysics and sets up a dialogue between Chinese and Western aesthetics. The ontological status of works and workings of art is neither physical nor mental, but the “betweenness” of the two. (shrink)

Mental states differ from most other entities in the world in having semantic or intentional properties: they have meanings, they are about other things, they have satisfaction- or truth-conditions, they have representational content. Mental states are not the only entities that have intentional properties - so do linguistic expressions, some paintings, and so on; but many follow Grice, 1957 ] in supposing that we could understand the intentional properties of these other entities as derived from the intentional properties (...) of mental states. Of course, accepting this supposition leaves us with a puzzle about how the non-derivative bearers of intentional properties could have these properties. In particular, intentional properties seem to some to be especially difficult to reconcile with a robust commitment to ontological naturalism - the view that the natural properties, events, and individuals are the only properties, events, and individuals that exist. Fodor puts this intuition nicely in this oft-quoted passage: " I suppose that sooner or later the physicists will complete the catalogue they've been compiling of the ultimate and irreducible properties of things. When they do, the likes of _spin_, _charm_, and _charge_ will perhaps appear upon their list. But _aboutness_ surely won't; intentionality simply doesn't go that deep.... If aboutness is real, it must be really something else. " Some philosophers have reacted to this clash by giving up one of the two views generating the tension. For example, Churchland, 1981 ] opts for intentional irrealism in order to save ontological naturalism, while. (shrink)

Is it not surprising that we look with so much pleasure and emotion at works of art that were made thousands of years ago? Works depicting people we do not know, people whose backgrounds are usually a mystery to us, who lived in a very different society and time and who, moreover, have been ‘frozen’ by the artist in a very deliberate pose. It was the Classical Greek philosopher Aristotle who observed in his Poetics that people could apparently be moved (...) even by the imitation of a person or an act. And although we are usually well aware that it is a simulacrum, not a real situation, it nevertheless sometimes seems as if we ourselves are standing there on the stage or in the painting, so intense and emotional is our response, even though we are just spectators. Aristotle concludes from this that we have intellectual capacities which allow us put ourselves in another’s place and consequently to react to simulated situations as though they are actually happening to us, here and now. In this process, he contends, observation, memory, imagination and emotions are crucial elements. In the past it was not customary to invoke human mental faculties to explain our response to works of art. The Ancient Greeks, after all, knew little about the human body or brain and usually referred to the extended world of the gods in their endeavours to comprehend the ‘inner world’ of human beings. In our time the situation is completely different—such an allusion to the brain no longer surprises us. Whether it is about the mystery of the consciousness, the question of free will or accounts of bizarre psychological aberrations or disorders, we have become accustomed to references to parts of the brain, to images of brain scans, to reports about neural networks and the like. However, because there are so many factors that play a part in our appreciation of works of art we need a complex explanation for it, and it is not enough to look only at certain properties of the brain that are determined by evolution. Those properties are shared by every human being, and so are rather useless in explaining people’s different reactions to the same work of art. Evidently the brains of individuals differ so much that they make it possible for people to respond differently to one and the same artwork. This, of course, raises questions concerning the painted emotions that can be seen in this exhibition. Virtually everyone, after all, is fascinated by such paintings and usually recognizes the emotions they represent. The reactions to these painted emotions are also often similar. This is probably why artworks like this are generally highly valued, then and now, here and elsewhere: from the enigmatically smiling Egyptian Queen Nefertiti and the startled Rembrandt to a seemingly despairing African mask. Aristotle observed that in the theatre players imitate actions that are associated with emotions in a number of ways and that these emotions are shared in a particular fashion by the playwright, the actors and the audience. The audience may even be carried away by these emotions to such an extent that they are in a sense purged of them and can subsequently leave the theatre relieved. Are such emotional reactions perhaps related to the fact that emotions are universal and that brains respond similarly to them? Is this why we can so readily identify painted emotions? May we therefore also assume that the properties of the brain determined by evolution help us to explain these emotions? In answering these questions we shall discuss a number of insights into emotions in psychology and brain science and explore some theories about the possible function of emotions and their expression. (shrink)

We investigated how people interpret conditionals and how stable their interpretation is over a long series of trials. Participants were shown the colored patterns on each side of a six-sided die, and were asked how sure they were that a conditional holds of the side landing upwards when the die is randomly thrown. Participants were presented with 71 trials consisting of all combinations of binary dimensions of shape (e.g., circles and squares) and color (e.g., blue and red) painted onto the (...) sides of each die. In two experiments (N1 = 66, N2 = 65), the conditional event was the dominant interpretation, followed by conjunction, and material conditional responses were negligible. In both experiments, the percentage of participants giving a conditional event response increased from around 40% at the beginning of the task to nearly 80% at the end, with most participants shifting from a conjunction interpretation. The shift was moderated by the order of shape and color in each conditional’s antecedent and consequent: participants were more likely to shift if the antecedent referred to a color. In Experiment 2 we collected response times: conditional event interpretations took longer to process than conjunction interpretations (mean difference 500 ms). We discuss implications of our results for mental models theory and probabilistic theories of reasoning. (shrink)

Some things are _about_, or are _directed on_ , or _represent_, other things. For example, the sentence 'Cats are animals' is about cats (and about animals), this article is about intentionality, Emanuel Leutze's most famous painting is about Washington's crossing of the Delaware, lanterns hung in Boston's North Church were about the British, and a map of Boston is about Boston. In contrast, '#a$b', a blank slate, and the city of Boston are not about anything. Many mental states and (...) events also have "aboutness": the belief that cats are animals is about cats, as is the fear of cats, the desire to have many cats, and seeing that the cats are on the mat. Arguably some mental states and events are not about anything: sensations, like pains and itches, are often held to be examples. Actions can also be about other things: hunting for the cat is about the cat, although tripping over the cat is not. This -- rather vaguely characterized -- phenomenon of "aboutness" is called _intentionality_. Something that is about (directed on, represents) something else is said to "have intentionality", or (in the case of mental states) is said to be an "intentional mental state". (shrink)

Summary A pupil of Köhler and von Hornbostel in Berlin, Arnheim published an article in the Musical Quarterly in 1984, where he applied the principles of visual composition to the musical form. In a painting, for example, the forces of visual composition are essential for aesthetic enjoyment; in music, sounds are essential as they are always occurring in time, and this constitutes the main dynamic vector of music. Starting with the tetrachord of ancient Greek music and analysing the relationships between (...) notes in the major and minor scales, Arnheim identifies what in the Western musical tradition represents the basis on which each note must relate: the tonal centre, the attractive motor that determines the perceptual dynamics of musical expression. Two examples, taken from Schubert and Béla Bartók, show us how the structure of the melodic construction is essential in generating different states of mind; Arnheim, however, does not stop at the simple eliciting of an emotion, but situates the musical structure in a more general framework, which refers to perceptual patterns belonging to any sphere, mental or physical, thanks to which we experience our reality. (shrink)

Delusional beliefs are typically pathological. Being pathological is clearly distinguished from being false or being irrational. Anna might falsely believe that his husband is having an affair but it might just be a simple mistake. Again, Sam might irrationally believe, without good evidence, that he is smarter than his colleagues, but it might just be a healthy self-deceptive belief. On the other hand, when a patient with brain damage caused by a car accident believes that his father was replaced by (...) an imposter or another patient with schizophrenia believes that “The Organization” painted the shops on a street in red and green to convey a message, these beliefs are not merely false or irrational. They are pathological. What makes delusions pathological? This paper explores the negative features because of which delusional beliefs are pathological. First, I critically examine the proposals according to which delusional beliefs are pathological because of (1) their strangeness, (2) their extreme irrationality, (3) their resistance to folk psychological explanations or (4) impaired responsibility-grounding capacities of people with them. I present some counterexamples as well as theoretical problems for these proposals. Then, I argue, following Wakefield’s harmful dysfunction analysis of disorder, that delusional beliefs are pathological because they involve some sorts of harmful malfunctions. In other words, they have a significant negative impact on wellbeing (=harmful) and, in addition, some psychological mechanisms, directly or indirectly related to them, fail to perform the jobs for which they were selected in the past (=malfunctioning). An objection to the proposal is that delusional beliefs might not involve any malfunctions. For example, they might be playing psychological defence functions properly. Another objection is that a harmful malfunction is not sufficient for something to be pathological. For example, false beliefs might involve some malfunctions according to teleosemantics, a popular naturalist account of mental content, but harmful false beliefs do not have to be pathological. I examine those objections in detail and show that they should be rejected after all. (shrink)

We represent the world in a variety of ways: through percepts, concepts, propositional attitudes, words, numerals, recordings, musical scores, photographs, diagrams, mimetic paintings, etc. Some of these representations are mental. It is customary for philosophers to distinguish two main kinds of mental representations: perceptual representation (e.g., vision, auditory, tactile) and conceptual representation. This essay presupposes a version of this dichotomy and explores the way in which a further kind of representation – procedural representation – represents. It is argued (...) that, in some important respects, procedural representations represent differently from both purely conceptual representations and purely perceptual representations. Although procedural representations, just like conceptual and perceptual representations, involve modes of presentation, their modes of presentation are distinctively practical, in a sense which I will clarify. It is argued that an understanding of this sort of practical representation has important consequences for the debate on the nature of know-how. (shrink)

In recent years, much uncertainty and outright scepticism surrounds the notion of character. In the arts—painting, the novel, drama, film—the notion of character has receded into the background. The loss of character is especially conspicuous in those artistic forms in which it traditionally occupied centre-stage: drama, the novel, films. The withdrawal of character from the arts has in fact become a topic of debate in the theory and criticism of the arts. In the arts themselves, the difficulty, if not the (...) impossibility, of attaining character is a common subject. Since ordinary sentiments are readily reflected in the fine arts, it is natural to suspect that character is not held in high regard in everyday life. Even if we take a dim view of the suggestion that the arts mirror ordinary sentiments with little distortion, a decline in the importance of character is evident in other humane disciplines: history is a striking example. Indeed, if we attend to our major social institutions—the family, the courts, the bureaucracy—it would be difficult to point to any in which the question of character is more than a peripheral concern. Indeed, it appears that the appraisal of character is of central concern in modern society only when the individual is in some way beyond the pale: in institutions of punishment, rehabilitation, mental health. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Creativity Belongs to the Person, not to DiseaseJuan J. López-Ibor Jr. (bio) and María-Inés López-Ibor (bio)Keywordscreativity, patho-biography, Saint Teresa, visionsIn the paper, “From the Visions of Saint Teresa of Jesus to the Voices of Schizophrenia,” Cangas, Sass, and Pérez-Álvarez (2008) take an original approach to patho-biography that is very welcome.The temptation to designate historical individuals or characters of fiction as suffering from mental disease has always produced disagreeable (...) feelings in me. This sort of abuse of psychiatry and of the people in question is parallel to the abuse by the media or lay citizens when they describe, say, an especially violent murderer as a schizophrenic—forgetting that the vast majority of people with schizophrenia are not in the least violent. Having read Santa Teresa’s writings during my adolescence, well before I even considered entering medicine, I reacted to comments about her alleged psychiatric illnesses with uneasiness, to put it mildly. The Santa Teresa of La Vida de la Santa Madre Teresa de Jesús (her autobiography), of the Camino de Perfección, and of the El Castillo Interior was surely not a mental patient, it seemed to me. The same would apply to San Juan de La Cruz, Jean D’Arc, Don Quijote, Sancho Panza, Edipus, and Clitemnestra, to mention a few. Even van Gogh’s paintings did not seem to me the productions of a patient with schizophrenia or epilepsy. Of course all of them may have suffered, at certain periods of life, symptoms attributable to a mental disorder, but their creativity rested elsewhere, and was often manifest during healthy periods of their lives. After years spent fighting the stigma of mental diseases, and after organizing several exhibitions of works of art of people with mental diseases, we came to the conclusion that creativity and singularity belong to the person, not to the illness. Some of the diseases of these individuals may have being accidents (van Gogh’s hallucinations and psychotic symptoms, for example, were most probably due to intoxications with absinthe, then rich in hallucinogenic alkaloids such as tujone), or, together with other life circumstances, may have had unspecific influences on the person’s condition. In contrast with many other psychiatric disorders that are represented in ancient Greek and Roman literature, there are no descriptions of individuals with schizophrenia in the Greek and Roman literature dating from the fifth century bc to the beginning of the second century Ad (Evans et al. 2003), and several authors have speculated that schizophrenia did not exist before the eighteenth century (Ellard 1987).Caution is important when dealing with mental health and religious issues in contrast with creativity. The creativity of people suffering from bipolar disorders is well recognized (Jamison 1993) and [End Page 277] the same applies to alcohol and drug intoxication. Tellenbach (1986) has also written on the creativity of depressed persons, although he refers more to the disposition of mood (Schwermut) than to clinical depression as such. The link between melancholia and genius put forward by Aristotle has often been misinterpreted. The philosopher was considering the melancholic temperament and not the melancholic illness as we would understand it today. Of the four temperaments, it is in his view only the melancholic that is gifted with creativity. The sanguine person seeks the immediate pleasures of life, the choleric one considers himself powerful and dedicates himself to manifesting this power, and the phlegmatic individual is disconnected from life and seeks to live without effort or pleasure. The melancholic temperament leads to creativity because of the predominance of doubt, reflection, and dissatisfaction with the miseries of life.Freud’s notion of religiosity as a collective obsessive neurosis is totally mistaken, in my view. The three main themes of obsessions are cleanliness, order, and guilt. In none of these cases is the theme the goal of the action; rather, it is a strategy to contain anxiety. As a consequence, patients with obsessions and compulsions about dirt and cleanliness tend to be dirty themselves, because the real purpose of their compulsions is not in fact to be clean but rather to satisfy a ritual. When order... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Democratizing Psychiatric ResearchRecognizing the Potential and the Limits of Experiential ExpertiseThe author reports no conflict of interests.First, I want to express my gratitude for such thoughtful and generative responses to the manuscript "Why Democratize Psychiatric Research?," which has been in development for several years and is the product of much reflection that has taken place in academic, advocacy, and interpersonal contexts. I am delighted to see such insightful engagement (...) with the piece and to have a chance to respond to both Drs. David Crepaz-Keay and Sam Fellowes here. Given that the authors raise such different questions within their commentaries, I consider each in turn.In his illuminating commentary, Crepaz-Keay makes three important points in response to the epistemic and ethical reasons I lay out as justifications for democratizing efforts in mental health research. First of all, Crepaz-Keay warns that there is "more subjectivity across much of medicine" than in the picture I've painted, and that we might do better to focus on this shared territory, taking up the goal of democratization across all of medicine, rather than risk "othering" psychiatry as uniquely subjective. In this way, Crepaz-Keay emphasizes, mental health service user researchers might "become leaders in progressive medical thinking."I appreciate this call to emphasize the ways in which the importance of subjective experiences cuts across all of medicine and to learn broad lessons from the pioneering participatory work that has been accomplished in the domain of mental health. I agree that much of medicine suffers from a focus on the objective to the neglect of the subjective, and wonder if this focus can sometimes create a distinct kind of worry in territories in which objective measures are widely available. Consider the focus on reducing the size of a tumor at all costs that can sometimes obscure important considerations related to what a good end of life might look like (Gawande, 2014). Particularly [End Page 143] within the process of determining what is worth measuring within research (and what is worth treating within clinical contexts), patient voices are essential to making an informed and beneficial decision. I agree with Crepaz-Keay here—this point applies to all realms of medicine.In contrast, I think other kinds of risks arise in domains in which objective measures are not widely available and therefore subjective reports of patients make up an essential part of any diagnosis or assessment. Another area I often think about is placebo studies, and in this space, stereotypes related to 'real' suffering and 'real' healing circulate widely (Friesen, 2019b). Largely, these stereotypes tend to support the importance and reality of that which occurs at the level of the physical or biological and take much less seriously suffering or healing which is thought to be located 'all in the head' (Friesen & Dionne, 2022). These biases also cut across medicine, influencing which patients are seen as trustworthy, dramatic, or worthy of one's compassion. I would argue that they show up especially in the setting of mental health care and research, in part because of the lack of objective measures and physiological explanations. A psychiatrized patient often has nothing physical or objective to point to with regard to their suffering, and so may be at the whim of a provider in relation to whether they are likely to be believed or discredited. As such, we must be especially alert to the unique risks that arise when evidence for suffering comes in a subjective form, and how efforts toward democratization might help reduce such risks.Second, Crepaz-Keay offers an essential intervention in relation to the importance of anti-racism within participatory practices in psychiatry. Although I do make mention of the lack of representation of racialized communities in participatory psychiatric research in discussing the important role that values play in the development of psychiatric knowledge, Crepaz-Keay accurately points out that this point related to representation is cross-cutting, and highly relevant to several of the other reasons I offer for why psychiatry research ought to be democratized. I am grateful for this invitation to look more broadly at how the exclusion of some voices from participatory efforts might apply across... (shrink)

I agree with Uzi Awret that Diego Velasquez's seminal painting, Las Meninas, is an expression of self-consciousness in many different ways. But my first response was to the feeling tone Velasquez evokes in his work, which felt dark and rather grim to me. I think this painting may be a meditation on the mortification of the flesh, a theme that was surely familiar to Velasquez. It is a contemplation of human vanity. Self-consciousness is not just a cognitive act. The so-called (...) 'self conscious emotions' include pride, vanity, shame and guilt; their cognitive components are self-aggrandizement, perfectionism, and self- criticism. The self-consciousness emotions are enormously powerful motivators in life. Pride and self-celebration can be seen in three-year olds. Starting in middle childhood, children can feel so intensely embarrassed at times that they want to sink into the ground. Mutual ridicule emerges in social play, a game of shaming others and avoiding self-shame. In adults, severe mental disorders like paranoia and depression are thought to be evoked by intense feelings of shame and constant self-criticism. Self-consciousness is a great force in human lives. (shrink)

The greatest intensity of “live” life is captured from as close as possible in order to be borne as far as possible away. Jacques Derrida. Echographies of Television . Rainer Ganahl has made a study of studying. As part of his extensive autobiographical art practice, he documents and presents many of the ambitious educational activities he undertakes. For example, he has been videotaping hundreds of hours of solitary study that show him struggling to learn Chinese, Arabic and a host of (...) other languages. The stacked boxes of tapes are then presented like minimalist monoliths, dense archives of effort. About fifteen years ago, Ganahl began photographing the lectures that he attends. At the time, he hadn’t seen anyone else doing it, so besides his spare selection of images of the speaker and the audience, much of the time the lectures would just pass into memory, undocumented, or recorded in writing alone. Since then, he has felt the transition to digital cause a significant shift in his process. At the same time, he has seen the habit become ubiquitous as others photograph, record, and videotape the lectures all around him. In keeping with the theme of this inaugural issue of continent. , can we propose each small grouping of photographs that result an isthmus stretching between two disparate bodies of mind? The first being the body of the lecture as spelled out in the title of each work – the experience of the event in all its constituent parts. The second is the body of the recipient, the listener, in this case an artist, who plays a minimal role just beyond the prescripted behavior of sitting and listening. He uses a gesture of documentation to draw a line between himself and the event, creating an artwork. Františka + Tim Gilman: As we mentioned before, the theme of the magazine for this issue is "isthmus." It seems like a very good way into your work, and it leads us to ask what connection you see between your photographs of the lecture and the lecture itself? Rainer Ganahl: The relationship is of course a concrete, pictorial one, or if you want a mimetic one but also an abstract one because the photographs carry the title of the lecture, the names of the lecturers, the site, the institution and the time of the lecture. Photos are fixed moments of time and can reproduce images displayed and reproduce visuals presented at a moment but they don’t come with time based recordings that video or sound takes are offering. What remains of a lecture is usually just the memory, some notes and all the announcements of it. In my case I end up with a visual product I declare as my artwork. It might not differ from any snapshot taken by any other student or member of the audience but I do this in a semi-systematic way with certain rules and procedures I have set up. While I am at a lecture I am mainly focusing on the lecture itself. Last night I went to one of Slavoj Žižek which demanded quite some concentration. I even was asking him a question at the end. I took photos as well but still didn’t lose track of the lecture. I didn’t walk around, I was not preoccupied by where I was sitting and what light I was having like some of the other photographing and filming people in the room who came and left, moved around and tried to capture him from this and that angle, from close and far. I just sat there and concentrated on the lecture and yet managed to take about 30 or so images of him, the public around me and of the film clips he presented. Once the lecture is over the story changes: it all becomes a question of the images, their selection, their visual qualities, their labeling and archiving. The function of the images also change: not only do they stand for an intellectual event in a row of lectures that become part of my intellectual history within many possible such histories but they also have to function as art, something not everybody else with images of lecturers demands of their images. This is my specific claim as an artist to impose them as artworks. And as with all artistic propositions the offer can be accepted or rejected. I basically spend my life trying to do exactly that: making what I declare as art, offering something to anybody interested in it as my art, an offer that is not and will never be accepted as such by all people. F+T: What are your criteria for selection, i.e. how do you choose which lectures to photograph, by lecturer, by topic, or do you photograph any and every lecture you can? RG: As everything in my life, I go by my interest which is the result of many factors. If I am aware of a lecturer, read his books or appreciate his works my interest of attending his much higher than if I am not aware of it. I usually don’t go to lecturers simply based on their subjects—something that can happen of course, if the subject, the title of the lecture is promising or at the heart of my interest. Sometimes I also wait for years to get a change to photograph certain people but I do that in a very low-level “keep your ears up” mentality and not in a systematic scanning of all channels and possibilities. I do not go into philosophy departments and photograph everybody teaching there. I go with the flow—and unfortunately a great deal of great talks I also miss because I hear too late of them. Often, I also stumble into them by traveling, by getting emails from friends and by simply being in the right spot at the right time. Somehow you could look at my lecture par cours as some kind of loose intellectual flâneurism . If you know of interesting lectures and events, please, let me know. F+T: Is your selection of images more of a production or post-production method? That is, do you take a lot of photos and select only a few images from each lecture, or do you take them very selectively? Do you have a particular methodology for the selection of images? RG: This all changed a bit with the arrival of digital photography. In the beginning I had to pay a lot of money for film developing. Hence, I was taking either one role - 36 images - or half a role - 13 images - depending on who talked and whether they projected images. With the unlimited capacity of digital imaging I easily end up between 30 and 150 images of one event still depending of whether images are presented or not. In the first years of that project when I wasn’t fully aware yet of what I was doing, I printed at least 2 images of any lecture and sometimes three or even four, a choice that was also constrained by costs. But again, since I have a web site and since images can easily be selected and presented on my web site without generating remarkable costs I have now more and more pain to reduce them to less than ten or eight images for an event. Now, before I have them printed which really is expensive, I can present them already as artwork on my web site without any immediate costs. Thus the economic factor is at the end of the chain which enables me to be more ‘generous’ and include more images. Over the last years I have been mostly selecting at least four photographs for a lecture unit but recently also as many as ten. But so far only one set above four images has been actually printed and sold. What might sound even more shocking is the likely fact that if a curator or a collector demands me to reduce the number of images due to costs, I might compromise at this current stage if the images have not been yet printed or published outside my own web site. This means that to a certain degree any selection that has only seen publication on my web site and not yet been produced runs the risk to change in numbers of images included. Needless to say, I am the last one that finally makes a decision and I do honor all given earlier decision if those were final. F+T: How do you feel the act of photographing the lecture affects your reception of the contents of the lecture? And your recollection afterwards, do you remember the lecture more having photographed it, or just having sat and listened? RG: As mentioned above, I get very little distraction from photographing since I can multitask well and do not obsess about the quality of the image: I photograph from where I am and listen with my ears and not my eyes. I am not sure whether the images serve as a mnemonic devise to the content of the lecture if there are no images involved but they at least remind me that the lecture existed, the title of the lecture and the name of the people and institutions involved. The titles of the hundreds of lectures I took during the past 15 years can also be read as an essay of theoretical life in that period. This will be come more and more visible as time passes by. These images age much better than I do. F+T: You mentioned at the outset of our discussions that you started this practice some time ago and have seen the practice of photographing lecturers become more commonplace. Why do you think that this shift has taken place? RG: The answer is very simple. Photographing is now free of any charge and hence omnipresent. You buy a phone or any other personal digital assistant and it has a camera integrated in it whether you want it or not. There is no need to develop images and there is no hassle to keep images, to distribute images, to organize images and save them. It is all virtual, not creating any costs and doesn’t require any efforts. You don’t spend twenty dollars for photo-developing anymore, you don’t need to walk anymore to your pharmacy or your photo shop to drop off and return to pick up and pay. You don’t need to go to the post office to send somebody a picture. You have a program like Photoshop already built into your camera. Photographing is now a thing for everybody—with functioning cameras made for two year olds. It is technically now nearly impossible to make bad images. The image quality is virtually guaranteed by cheap, high performing, mini-computers packed into miniscule cameras. With all these technological changes, we are undergoing now a cultural paradigm shift that includes permanent recording (not only still image taking) of everything. I wonder even whether babies are just born to be photographed—at least a process where the first photograph is right there. What is interesting now, is how the law is trying to catch up. I am experiencing and expecting more restrictions on photographing and recording—something already in place in many museums and in certain galleries—as the recording devices become more and more invisible and undetectable. It is an interesting cat and mouse play and will end up with some of us that are photographing the world around us in court. The world has become very transparent and everybody is contributing to it with social networking technologies—like twitter and Facebook—that are designed to monitor and communicate every step we make in our lives. F+T: Why did you start the practice? As a way to remember, or to capture the experience of the lecture and the environment there? RG: A couple of years earlier I started to photograph my own reading seminars as part of my art work with results that surprised me positively. I really liked these images of students and people discussing heavy non-fiction with me. The reading seminars justified this kind of pictorialism. Then in 1995 I had the chance to attend an entire seminar by Edward Said entitled “The Representation of Intellectuals at Columbia University,” which really gave me the idea to start this series. Why not also photograph these lectures I visit all the time since this really is a way of representing intellectuals? F+T: The constellation of images and the title seem like a kind of portrait, do you agree? If so, is it a portrait of the speaker, of yourself, or of the event? RG: Well, to follow up on the previous question the lectures are more than just portraits of lecturers since I include not only the speakers but also the audience, an audience that is not named or specifically highlighted as is the speaker. So if we stick with the metaphor of the portrait we would have to extend it also to the environment, the class room, the lecture hall, the arrangements of seats or benches, tables, lecture stands and other stuff typically seen on my images. Often the walls are decorated or even tagged with graffiti or posters and other stuff. There is a big difference between a small seminar room at the English Department of Columbia University, full with books and cabinets and a lecture room at a Paris or Frankfurt university that accommodates 50 to 150 people. We should, maybe, also distinguish between lectures that are one time events—mostly open to the public, free of charge or paid—and events that are weekly, closed to the public and held mostly in universities that can cost fortunes or be paid by the State as it is still predominantly the case in continental Europe. All this, of course, is not necessarily announced in the title of the lecture and is subject to information that isn’t visible on the images. To a certain degree we see also portraits of a general privilege when it comes to the public of certain institutions that are highly selective and extremely costly without forgetting that most of the lectures are dealing with theory, art, philosophy and other highbrow subjects. In general, I would say we see very little if we don’t know already what’s going on, who the lecturer, the institutions, the context are in which we subsequently can zoom into variants like sexual, racial, or age-related make-up without ignoring clothing fashions, hair styling, body mannerisms, gadgets and stuff. F+T: Do you see a relation between this body of work and your other work, for example your language studies? RG: Everything I do is “unfortunately” related. I say unfortunately because this makes my work not so easy to grasp. The relationship to the language studies is relatively clear since both are originally grounded in the domain of education and knowledge production. Nearly all my work comes across that nexus where knowledge and power are addressed. I was at one point wondering what the relationship was to some of my earlier indexical work where I was happy alone with footnotes from books painted on the walls: I came to understand that both are just different manifestations of knowledge and information. F+T: Do you foresee continuing the series indefinitely, or is there an end to it? RG: I think that I will continue this series indefinitely or to be more precise, as long as I go listen to lectures and want to learn something which brings me to your previous question: What do the reading seminars, language studies, historical research and lecture hopping have in common: I learn something. Further Reading Rainer Ganahl’s website William Kaizen. “ Vulgar Politics .” art&education . April 2009. Web. Smith, Roberta. “ Rainer Ganahl: ‘Language of Emigration & Pictures of Emigration .’” New York Times April 23 2010. Web. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Office of Scientific IntegrityDavid P. Hamilton (bio)For most of the 1980s, the specter of scientific fraud popped into public view every few years, usually only to submerge again. Faced with several well-publicized cases of scientists who blatantly faked their data—among the best-known being Harvard cardiologist John Darsee (whose colleagues watched him forge data) (Broad and Wade 1982, p. 14) and Sloan-Kettering Institute immunologist William Summerlin (who painted black (...) spots on white mice to simulate tissue grafts) (Broad and Wade 1982, p. 155)—the scientific community as a whole tended to dismiss the phenomenon as the work of a few deviants. Called in 1981 to testify before then-Representative Albert Gore Jr.'s subcommittee on investigations and oversight, Philip Handler, then-president of the National Academy of Sciences, told the panel that science was perfectly capable of regulating itself, and that the problem of scientific fraud had been "grossly exaggerated" by the press (Broad and Wade 1982). The message was clear: Congress should stick to its knitting, and science would take care of itself.Now, however, scientists are faced with a very different situation: a permanent federal bureaucracy, known as the Office of Scientific Integrity (OSI), devoted to the investigation of alleged scientific wrongdoing. The transition from the days of laissez-faire, when universities were entrusted with all investigations unless they were handled so badly that the federal government was forced to take notice, has been an uncomfortable one for many researchers. Lately, this discomfort has taken shape as a vocal protest against OSI. Largely as a result of this protest, federal officials recently promoted a plan to restructure OSI and change some of its operating procedures, a move with unpredictable consequences for universities and researchers alike.OSI was born largely because of investigations by two influential congressmen: Representatives John Dingell of Michigan and Ted Weiss of New York. While both claimed they acted mainly to make sure taxpayer dollars were not spent on fraudulent research, both also maintained a strong interest in protecting "whistleblowers," the often vulnerable, and usually junior, scientists who first raise questions about bad research. And Dingell seemed to take special pleasure in pointing up the deficiencies of investigations run by universities and by the National Institutes of Health (NIH) itself. (For reasons that are not well understood, [End Page 171] biomedical research seems far more prone to fraud than any other field of science. As a result, NIH, which funds most biomedical research in the United States, has held ultimate responsibility for most prominent cases of fraud.) Plagued as they often were by conflicts of interest, shoddy methodologies, and, in some cases, a willingness to believe any excuse by the accused, no matter how far-fetched, these investigations made easy targets. And the notion that science could "govern itself" grew harder to sustain.In late 1988, Dingell and other congressmen began circulating draft bills that would have created a new office for investigating scientific fraud. Dingell would have placed such an office under the aegis of the Inspector General of the Department of Health and Human Services, raising the possibility that scientific fraud might be probed by the same criminal investigators who unravel Medicare fraud. Unsettled by this vision of the "science police," NIH officials moved quickly to pre-empt Congress. On March 16, 1989, they published a notice in the Federal Register announcing the creation of OSI, an office with responsibility for ensuring thorough university investigations of misconduct and the authority to conduct its own investigations when necessary.From the beginning, OSI took an unusual approach to its work. For one thing, the office had a broad mandate: Although located within NIH, it was responsible for research funded throughout the entire Public Health Service, including the Food and Drug Administration, the Alcohol, Drug, and Mental Health Administration, and the Centers for Disease Control. Furthermore, it was not restricted to scientific fraud. Departmental lawyers, wishing to avoid the legal connotations of the term "fraud"—in particular, a requirement that fraudulent actions not only mislead others but also cause them noticeable harm—decided instead to adopt the term "scientific misconduct," defined as "fabrication, falsification, plagiarism, or other practices that deviate... (shrink)

Religious conversion revolutions the boundaries which delimit personal identity. Therefore, the main semiotic problem of mental and cultural representations of this religious phenomenon is to convey simultaneously a feeling of sameness and otherness, identity and change. In the present paper, mirrors are analysed as cultural mechanisms which enable representations to accomplish this paradoxical task. After a brief survey concerning literature on mirrors, some early-modern religious texts using these optical instruments as representative devices are analysed in-depth: a painting of the (...) Magdalene’s conversion by Artemisia Gentileschi, an engraving representing conversion from a 17th-century French book, a fragment from Sainte Theresa’s spiritual autobiography, a passage from John Calvin’s Institution de la religion chrétienne. In its conclusion, the paper underlines the importance of Saint Paul’s metaphoric conception of mirrors for the cultural history of these objects, and tries to define the role which cultural semiotics should play concerning this kind of representative mechanisms. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:AsphyxiationsSteven Connor (bio)Recent events and sociorhetorical expatiations upon them have reaffirmed breathing as the ideal form of free and unimpeded life, that struggles against the throttlings of oppression. The root meaning of oppression, from the past participle of Latin opprimere, is to press, crush or bear down upon, and the word oppression has commonly been used to signify the feeling of the difficulty of breathing, through some constriction or (...) pressure, as in the nocturnal attentions of the nightmare, the spirit imagined as settling suffocatingly on the chest of the sleeper. As a mare that rides rather than being ridden, the spirit is often imagined as a female succubus, though in Fuseli's 1781 painting the mare is accompanied by a simian incubus who squats on the chest of a female sleeper, prompting these lines from Erasmus Darwin:So on his Nightmare through the evening fogFlits the squab Fiend o'er fen, and lake, and bog;Seeks some love-wilder'd maid with sleep oppress'd,Alights, and grinning sits upon her breast.(Darwin 2.16)'Pressing' meant the forcing of somebody into some condition or service, typically the army or navy. In oppressive weather, the clouds may seem to 'lower', or the humid air to cramp and confine the body.We think of breathing as opening or release, of a piece with open windows and unbounded spaces. Human beings have brewed up fantasies for centuries of more complete modes of breathing that would overcome the constriction represented by the respiratory apparatus, exhorting themselves and each other to breathe more deeply, suffusing, not just the lungs, but the diaphragm, the head, and other items of phantasmal physiology. Indeed, the factitiously hollow spaces of the body–the head that we seek to keep 'clear'–are the proof of the belief in the strange principle of vital vacuity, the idea that we exist most fully in empty spaces of innerness, bodily enclosures evacuated of body. Without this sense of the animating function of the breath, the body suffers the inanition of a "want of living [End Page 74] breath in its lungs, which are full of gases but empty of spirit" (Wilkinson 78). In being taken in and given out, breath seems to commute between what Wittgenstein calls "two kinds of worlds, worlds built of different materials." The fact that "the mental world in fact is liable to be imagined as gaseous, or rather, aethereal," seems to Wittgenstein to be related to "the queer role which the gaseous and the aethereal play in philosophy,–when we perceive that a substantive is not used as what in general we should call the name of an object, and when therefore we can't help saying to ourselves that it is the name of an aethereal object" (Wittgenstein 47). The conception of the soul as an afflatus, or a special kind of magic gas, which has been common among so many different peoples, suggests just this kind of aethereal object-that-is-not-one. It embodies the conviction that we are most essentially present as ourselves where we are closest to being nothing, in an out-of-body kind of body.We breathe out–phew, originally in the seventeenth century a violent expression of disgust or emancipatory emptying, as we might nowadays plosively and purifyingly say poo–when we 'ex-press', as we say, our sense of being, as we also say, 'relieved,' from re + levare, to lift up, implying a lightening, or levitation, that approaches in imagination the condition of air itself. To ventilate is to levitate. To be relieved is to dream of remission from the clinging pressure of your own embodiment, as though you could simply emit or expel your own weight. To inhale is to prepare for stress and struggle: to exhale is to relax, to sigh into satisfaction, converting becoming momentarily to being. Exhalation is therefore the decorporizing of the body, or the corporealization of the incorporeal. But though human beings exalt imaginary emptying, as the purifying expulsion of what is evil, infective, invasive, persecutory, expiration is also death. Speech is the expressive sound formed from the impressing of exhaled breath, the dissolving openness of air given imaginary... (shrink)