This collection of essays is a sequel to the editors' 1976 volume Studies in Nietzsche and the Classical Tradition. Philosophers, theologians, and literary historians discuss important aspects of Nietzsche's attack on Judaism and Christianity. The book contains studies of his view of biblical figures, Luther and Pascal as well as comparisons of his thought with that of Spinoza, Lessing, Heine, and Kierkegaard. Nietzsche's critique of the Old Testament, the Jewish religion of the diaspora, and historical Christianity are also investigated. Of (...) the eighteen articles included here, thirteen were prepared expressly for this volume--five were translated from German, one from French, and one from Hebrew. Contributors to this volume are: Eugen Biser, Harry Neumann, Israel Eldad, Charles Lewis, Jorg Salaquarda, Joan Stambaugh, Max L. Baeumer, Brendan Donellan, Diana Behler, Sander L. Gilman, Gerd-Gunther Grau, Josef Simon, James C. O'Flaherty, Bernd Magnus, Georges Goedert, Hans Lung, and Karl Barth. (shrink)

Non-Invasive Prenatal Testing is a technology which provides information about fetal genetic characteristics very early in pregnancy by examining fetal DNA obtained from a sample of maternal blood. NIPT is a morally complex technology that has advanced quickly to market with a strong push from industry developers, leaving many areas of uncertainty still to be resolved, and creating a strong need for health policy that reflects women’s social and ethical values. We approach the need for ethical policy-making by studying the (...) use of NIPT and emerging policy in the province of Ontario, Canada. Using an adapted version of constructivist grounded theory, we conducted interviews with 38 women who have had personal experiences with NIPT. We used an iterative process of data collection and analysis and a staged coding strategy to conduct a descriptive analysis of ethics issues identified implicitly and explicitly by women who have been affected by this technology. The findings of this paper focus on current ethical issues for women seeking NIPT, including place in the prenatal pathway, health care provider counselling about the test, industry influence on the diffusion of NIPT, consequences of availability of test results. Other issues gain relevance in the context of future policy decisions regarding NIPT, including funding of NIPT and principles that may govern the expansion of the scope of NIPT. These findings are not an exhaustive list of all the potential ethical issues related to NIPT, but rather a representation of the issues which concern women who have personal experience with this test. Women who have had personal experience with NIPT have concerns and priorities which sometimes contrast dramatically with the theoretical ethics literature. These findings suggest the importance of engaging patients in ethical deliberation about morally complex technologies, and point to the need for more deliberative patient engagement work in this area. (shrink)

Despite great advances in understanding genetic mechanisms, there still exists a bias toward equating genes with innate modules that determine important developmental events. But genes are equally relevant to understanding developmental plasticity shaped by ecological events. In other words, the term 'genetic inheritance' does not specify ontogenetic mechanisms. Here we present a case history of a species assumed to be under the control of prespecified genetic wiring to direct critical behavioral events such as communication and mating. We show, however, that (...) exogenetic processes stemming from the species's ontogenetic niche provide an alternative view of the flexibility of development especially with respect to behavioral performance. (shrink)

Based on anthropological fieldwork in Australia and Colombia, this collection of essays uses the workings of the human nervous system to illustrate concepts of culture.

_Wittgenstein, Mind and Meaning_ offers a provocative re-reading of Wittgenstein's later writings on language and mind, and explores the tensions between Wittgenstein's ideas and contemporary cognitivist conceptions of the mental. This book addresses both Wittgenstein's later works as well as contemporary issues in philosophy of mind. It provides fresh insight into the later Wittgenstein and raises vital questions about the foundations of cognitivism and its wider implications for psychology and cognitive science.

continent. 1.3 (2011): 208-212. … intervals of destructuring paradoxically carry the momentum for the ongoing process by which thought and perception are brought into relation toward transformative action. —Brian Massumi, Parables for the Virtual: Movement, Affect, Sensation 1 Facing a blank canvas or blank page is a moment of pure potential, one that can be enervating or paralyzing. It causes a pause, a hesitation, in anticipation of the moment of inception—even of one that never comes. The implication is that the (...) blank is yours in that moment, and it calls on you to act on it, to think into it, to create on it. Each blank canvas gives you time, of an undefined length, to transform that canvas’ inherent potential into a work. This two-dimensional plane of potential can be projected into a space, which the body can then occupy. When you “destructure” a space in the same way, prepare it to be a blank, much as you build a canvas, you allow your entire body to enter the space of potential, and you rest in anticipation of work, like the hand poised above the page. Artists have found that the deliberate creation of that space of potential through sealing the space and painting it white, thereby erasing details and distractions, can be such a transformative experience as to help define their whole practice. The cessation of distraction, the absence of indicator that a “blanked” workspace provides allows for a new presence of mind, it gives them the room, literally, to move into their work, and from there to move their work into the world. The workspace for the artist, the studio, is often perceived as a lab-like condensation of the gallery or museum, the traditional and idealized white cube. Similarly, with the blank page, a concrete relation between space and time comes forward as the intentional simplification of the architecture changes behavior and perception within the space. The work of “blanking” the studio space is a meditative reduction, an erasure, and in a way, an attempt at drawing away from the world beyond the studio - the sealed space is meant to recede from reality, to become abstracted by its willed lack of details and distractions. Within that space the time for a new beginning is made more present, more attainable, and the focus it fosters becomes another tool to aid creation. At the formative moment of his artistic practice, Tom Friedman used the blank of his studio, saturated in white, sealed off from the world, to fight velocity. He describes how he projected his vision of the end goal, the museum - a place he believes to be defined by slow contemplation - onto his own studio experience. He then sat and reflected on common objects, one by one, framed by the blank box he had created. The domestic objects he brought into the space to study foreshadow his mature works, where often the quotidian object has a single additional element – his intense labor. Friedman makes discrete objects through absurdly intense and focused labor, epitomized, perhaps by his 1,000 hours of Staring , made from 1992-97: Tom Friedman. 1000 Hours of Staring (1992-1997) His labor, to use his own words, is his way to “bring all of who you are to the experience.” Friedman shares his labor, allows the slow, deliberate pace of his work born in the studio to penetrate the museum. Nothing seems effortless, or a gesture, the labor is apparent, displayed, and tangible. He gives us the labor, the personal investment in the physical that saved art for him, that divorced the work from the language he cites as a factor of alienation. When we see his work we do not see words, we see acts, we see objects. He has forced the studio as workspace into the exhibition space, as he stuffs hundreds of more hours of labor into his shows with each new piece, filling the space with material and labor, material and labor – his involvement, his investment, is his gift to us as the viewers, as he introduces the laborious and contemplative pace he feels belongs to the museum. He saves us also from the alienation of language, which first drove him into the sealed studio and away from the discourse of his school. He presents us with his real, the object which stands in stark contrast to the white slate of the studio, the sealed white box he started from, where his individual, self-contained objects begin and end, completed through the intensity of isolation, first of the individual artist, and then of the material he chooses to slowly, slowly, slowly work: Tom Friedman. Untitled (1992) In his in-depth analysis of galleries as a blank white cube, Brian O’Doherty emphasizes the religious connotations implied in the strict laws of the exhibition space and the valuation, aesthetics and elements of control he feels it imposes upon the work. Like Friedman, he recognizes the power of the restricted space – indicating the “perceptual fields of force” – that act on any object introduced into it. Going beyond Friedman’s assessment of the space as highly utilitarian for focusing his perception, O’Doherty emphasizes the rejection of the physical body of the artist or observer, saying that the cube allows for only observation - eyes and mind. He later parallels the picture frame as a psychological container for the artist with the room as the same for the observer. In both cases, this is an emphasis on the alienating nature of the relationship – just as the artist is kept out of the frame by the picture, in the gallery the art forces the body of the spectator out, calling for a self-referential purity. Patrick Ireland. White Cube (1998) O’Doherty makes a point of saying that the installation shot of the gallery without figures is “one of the icons of our visual culture.” In recent years, however, installation shots have begun to include figures, in some cases they are essential to understanding the scale and even the nature of the work, specifically with work that captures the experience of the space and the way that it varies from a white cube. The work of Olafur Eliasson is a case in point, as the Danish artist uses elements of scientific and natural phenomena to alter perception within the controlled gallery environment, tweaking and redirecting O’Doherty’s “perceptual fields of force” to make points about the act of seeing, or seeing yourself seeing, to quote the artist. This indicates a shift in the role of the artwork, not to exclude the body and stand discretely and self-sufficiently, but to include it, to manipulate it and to make the observer aware of the nature of that manipulation and the work’s ability to manipulate. Olafur Eliasson. 360º room for all colours (2002) So though in O’Doherty’s analysis, the intense blankness of the gallery pushed the observer out in favor of the artwork’s isolation, artists can replicate this inhumane sterility in their own workspace to focus their work on the influence of the gallery right from inception. This can be interpreted as an almost opposite understanding of the purpose of sealing and whitewashing the workspace as stated by Friedman. He sought a refuge from the critical language of the art school, and a space that, like the museum, gave him a protracted sense of time, and, he felt, welcomed him in, “to bring all of who you are,” as opposed to O’Doherty’s feeling that the museum was asking you, at least in body, to leave, and allow the work to take on its own life. Friedman does not seem to imply the tension with the cube and critical stance that O’Doherty prioritizes. Where Friedman finds a refuge, O’Doherty defines an opponent. In a third position, Robert Irwin describes his sealed studio space as “the world.” Though he made the same effort as Friedman to seal out all influences and distractions, he implies that he is in dialogue with the world through his own concentration and perception. This is reminiscent of the nature of the monad, as interpreted by Deleuze, a unity that envelops a multiplicity, a sealed container that contains the universe. He went through the same ritual described by Friedman, sealing up the space, painting it white, and then forcing himself to remain inside, staring at his own work, training his concentration relentlessly. But he found that the room became the distraction: …he became aware that a thin crack along the wall a few yards away from the canvas likewise exerted its presence; that when he plastered that crack over and repainted the wall, the canvas itself presented an entirely new aspect.2 The context was in a relentless dialogue with the work, and trying to neutralize that dialogue, to mute the conversation between space and object, became part of his ritual as he “fixed” his space each day in the hope of total concentration on the work. Ultimately, Irwin shaped the trajectory of his art by relinquishing the studio, establishing a post-studio practice, where the work is conceived and created out in the world, in dialogue with the world and reflective of the conditions it finds surrounding it. The white cube failed to ever achieve neutrality, his heightened concentration prevented him from ever neutralizing the space, so, instead of continuing to try to maintain the charade of a perfect blank, he acknowledged the unstoppable voice of place and turned all his efforts onto the object and the world, as a constant dialogue. Some artists push their studio space far from purity, domesticating it like a lair or a living room, and others destroy it, fill it with chaos or detritus, blacken or clutter it so as never to be starting from a blank, and thereby try to avoid the anxiety of facing that void. Similarly artists may never prepare a white canvas, a clean page, a marble block, or other form that is intentionally lacking, in order to try to escape the dialogue with emptiness. But Irwin, like O’Doherty, found an opponent in the white cube, and he learned not to fight it, rather he ended the conflict by making it an ally, an interlocutor, a collaborator. We can vainly strive to start from nothing, to find the lull, the clearing, and to always consider what we do in balance with the empty set. Somehow that intangible cloud of hazy nothingness, that softness of a lapse continually offers a place to bounce off of, to react to, to wrestle with, to rest with, in tension, or a place to begin. Robert Irwin. Excursus: Homage to the Square3 (1998) NOTES 1 Massumi. Parables for the Virtual: Movement, Affect, Sensation. p271. 2 MOMA, NY. Eliasson, 360 ? Room for All Colours . Installation. 2002. (shrink)

One of the central texts in the debate about the etiology of Nietzsche's 'illness' is an unpublished interview with one of his physicians, Otto Eiser, by Eugen Kretzer. here reproduced in its totality for the first time, the text reveals much about the debate about the origin and meaning of Nietzche's illness in his own time and among his acquaintances . This exchange has long been believed to have shaped Nietzsche's late break with Bayreuth.Das Interview von Eugen Kretzer mit Otto (...) Eiser, einem der behandelnden Ärzte von Nietzsche, wird hier zum ersten Mal vollständig veröffentlicht. Ihm dürfte eine zentrale Bedeutung in der Frage nach den Ursachen von Nietzsches 'Krankheit' zukommen, und es gibt zugleich Aufschluss über die zeigenössiche Debatte über Herkunft und Bedeutung von Nietzsche Krankheit sowie über Meinungen von Nietzsches Bekanntschaften, bes. Richard Wagner, dazu. Diesse heilt man lange Zeit für den betimmenden Anlass von Nietzsches Bruch mit Bayreuth. (shrink)

Sander Gilman and David Parent present a fascinating sellection of memoirs, anecdotes, and informal recollections by friends and acquaintances of Nietzsche, translated by Parent from the definitive German collection.

Why do physicians who've taken the Hippocratic Oath willingly cut into seemingly healthy patients? How do you measure the success of surgery aimed at making someone happier by altering his or her body? Sander L. Gilman explores such questions in Creating Beauty to Cure the Soul, a cultural history of the connections between beauty of body and happiness of mind. Following these themes through an impressive range of historical moments and players, Gilman traces how aesthetic alterations of the (...) body have been used to "cure" dissatisfied states of mind. In his exploration of the striking parallels between the development of cosmetic surgery and the field of psychiatry, Gilman entertains an array of philosophical and psychological questions that underlie the more practical decisions rountinely made by doctors and potential patients considering these types of surgery. While surveying and incorporating the relevant theories of Sigmund Freud, Alfred Adler, Karl Menninger, Paul Schilder, contemporary feminist critics, and others, Gilman considers the highly unstable nature of cultural notions of health, happiness, and beauty. He reveals how ideas of race and gender structured early understandings of aesthetic surgery in discussions of both the "abnormality" of the Jewish nose and the historical requirement that healthy and virtuous females look "normal," thereby enabling them to achieve invisibility. Reflecting upon historically widespread prejudices, Gilman describes the persecutions, harrassment, attacks, and even murders that continue to result from bodily difference and he encourages readers to question the cultural assumptions that underlie the increasing acceptability of this surgical form of psychotherapy. Synthesizing a vast body of related literature and containing a comprehensive bibliography, Creating Beauty to Cure the Soul will appeal to a broad audience, including those interested in the histories of medicine and psychiatry, and in philosophy, cultural studies, Jewish cultural studies, and race and ethnicity. (shrink)

There are clear associations between the overall quantity of input children are exposed to and their vocabulary acquisition. However, by uncovering specific features of the input that matter, we can better understand the mechanisms involved in vocabulary learning. We examine whether exposure to wh-questions, a challenging quality of the communicative input, is associated with toddlers' vocabulary and later verbal reasoning skills in a sample of low-income, African-American fathers and their 24-month-old children. Dyads were videotaped in free play sessions at home. (...) Videotapes were transcribed and reliably coded for sheer quantity of fathers' input as well as the number of wh-questions fathers produce. Children's productive vocabulary was measured at 24 months using the McArthur Bates Communicative Development Inventory MCDI, and children's verbal reasoning skills were measured 1 year later using the Bayley Scales of Infant Development. Results indicate that the overall quantity of father talk did not relate to children's vocabulary or reasoning skills. However, fathers' use of wh-questions related to both vocabulary and reasoning outcomes. Children's responses to wh-questions were more frequent and more syntactically complex, measured using the mean length of utterance, than their responses to other questions. Thus, posing wh-questions to 2-year-olds is a challenging type of input, which elicits a verbal response from the child that likely helps build vocabulary and foster verbal reasoning abilities. (shrink)

This book charts and challenges the bruising impact of post-Saussurean thought on the categories of experience and self-presence. It attempts a reappropriation of the category of lived experience in dialogue with poststructuralist thinking. Following the insight that mediated subjectivity need not mean alienated selfhood, Meredith forwards a postmetaphysical model of the experiential based on the interpenetration of poststructuralist thinking and hermeneutic phenomenology. Since poststructuralist approaches in feminist theory have often placed women's lived experiences "under erasure," Meredith uses this (...) hermeneutic/deconstructive model to attempt a rehabilitation of the singular "flesh and blood" female existent. (shrink)

I discuss Peter Singer’s claim that the interests of animals merit equal consideration with those of human beings. I show that there are morally relevant differences between humans and animals that Singer’s rather narrow utilitarian conception of morality fails to capture. Further, I argue that Singer’s formal conception of moral equality is so thin as to be virtually vacuous and that his attempts to give it moresubstance point to just the kind of differences between humans and animals that undermine his (...) equalitarian thesis. (shrink)

There is considerable debate amongst philosophers as to the basic philosophical problem Wittgenstein is attempting to solve in _Philosophical Investigations_. In this bold and original work, Meredith Williams argues that it is the problem of "normative similarity". In _Blind Obedience_ Williams demonstrates how Wittgenstein criticizes traditional, representationalist theories of language by employing the ‘master/novice’ distinction of the learner, arguing that this distinction is often overlooked but fundamental to understanding philosophical problems about mind and language. The book not only provides (...) revealing discussions of Wittgenstein’s corpus but also intricate analyses of the work of Brandom, Dummett, Frege, Sellars, Davidson, Cavell and others. These are usefully compared in a bid to better situate Wittgenstein’s non-intellectualist, non-theoretical approach and to highlight is unique features. (shrink)

G. P. Meredith; XIII—Words as Instruments, Proceedings of the Aristotelian Society, Volume 62, Issue 1, 1 June 1962, Pages 241–260, https://doi.org/10.1093/aris.

Humour is a prevalent feature in any form of human interaction, regardless of language modality. This article explores in detail how humour is negotiated in conversations among deafblind Australians who are fluent users of tactile Australian Sign Language. Without access to the visual or auditory cues that are normally associated with humour, there is a risk that deafblind interactants will misconstrue humorous utterances as serious, or be unsure whether their conversation partner has got the joke. In this article, we explore (...) how humorous utterances unfold in tactile signed interactions. Drawing on Conversation Analytic principles, we outline the ad hoc and more conventionalised signals deafblind signers use to signal amusement. Looking at humour in these conversations contributes to a greater understanding of how humour is conveyed across language modalities and further support for humour’s centrality to interactional solidarity. (shrink)

For the past 5 years I have been photographing and interviewing men who play games based on contemporary conflicts. The games attempt to re-create scenarios that the US military is engaged in around the world like the "Hunt for Osama Bin Laden" that took place three years ago on a campground in Northern, Virginia. On a sociological level, the work speaks about the way that trauma and conflict penetrate a culture sheltered from the horrors of war. Many of the scenarios (...) are created and inspired from news reports and images and the stages where the games are played are often a poor imitation of the original scenes from photographs. The book will bring together the series of 24 photographs with essays discussing and analyzing the influence of the media, particularly photographs and video, on the culture at large and how conflict is "discussed" in the visual realm. (shrink)

Various claims for theory-laden perception have involved empirical as well as conceptual considerations. Thomas Kuhn cites New Look psychological research in discussing the role of a paradigm in perception (1970) and Paul Churchland (1988) appeals to biological evidence, as well as New Look sources similar to Kuhn's. This paper offers a critical examination of the empirical evidence cited by Kuhn and Churchland, including a look at the underlying experimental work. It also offers a comment on the application of such evidence (...) in a naturalized epistemology. (shrink)

Excerpt from Kant's Critique of Aesthetic Judgement: Translated, With Seven Introductory Essays, Notes, and Analytical Index It seems a strange fact that the works which have exerted the greatest and most permanent influence are those of which it is most difficult to give a final and conclusive interpretation. Is it that the philosophic mind merely amuses itself looking for the answers to riddles the solution of which destroys the interest, so that it is not so much misinterpretation as explanation that (...) great philosophers have to fear? Or is it that philosophers propose questions which depend upon higher categories than those of common understanding, with the natural result that their point of view is but imperfectly comprehended by lesser minds? Or is it simply that the works that have exerted most influence are those which arc most comprehensive and many-sided, and that different critics seize upon different aspects of the whole, and throw the emphasis on different points? It is not necessary to attempt to answer these questions generally, or further than affects Kant's Aesthetics. Certainly no work has exerted an equal influence on the subsequent history of aesthetics, and yet it has been most variously interpreted. However, while critics differ as to Kant's meaning on many essential points, they seem to be mostly agreed that the chief source of strength in the work lies in its comprehensiveness and its method. How they have been able to arrive at this conclusion in the face of their own criticisms, is a different matter. For they have for the most part attempted to show that the work as a whole involves an important modification of Kant's fundamental position of critical idealism, and that in its different parts it betrays considerable hesitation and vacillation of opinion on vital questions, and, moreover, frequently falls into flagrant inconsistency. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

What does it take to follow and not merely admire Jesus? How do religious affections reshape the practice of Christian values like love, peace, justice, and compassion? How can they possess both universal truth and local meaning? What role can they play in public life? In Fidelity of Heart Gilman answers these questions, while showing, in an innovative and provocative approach, how Christians can practice these values in ways continuous with the life of Jesus.

This edition contains the Critique of Aesthetic Judgement and Critique of Teleological Judgement. The introductions and notes that accompanied the translations in the original two volumes have now been dropped in order to make the translations available in a single volume.

In this article I set out an argument that skins and screens, once distinctly different types of surface, are merging. I show how in contemporary highly mediatized worlds skins are required to be visually expressive while also noting a parallel movement whereby screens are becoming more affective. Using the ‘designer vagina’ – specifically labiaplasty – as a case study I show how ideal bodies exist simultaneously as screen and as skin, as image and as affect. In turn, I argue that (...) two-dimensional images and three-dimensional ‘real life’ bodies are blending in ways that parallel skin–screen mergers. (shrink)

This book presents a systematic account of the role of the personal spiritual ideal of wu-wei--literally "no doing," but better rendered as "effortless action"--in early Chinese thought. Edward Slingerland's analysis shows that wu-wei represents the most general of a set of conceptual metaphors having to do with a state of effortless ease and unself-consciousness. This concept of effortlessness, he contends, serves as a common ideal for both Daoist and Confucian thinkers. He also argues that this concept contains within itself a (...) conceptual tension that motivates the development of early Chinese thought: the so-called "paradox of wu-wei," or the question of how one can consciously "try not to try." Methodologically, this book represents a preliminary attempt to apply the contemporary theory of conceptual metaphor to the study of early Chinese thought. Although the focus is upon early China, both the subject matter and methodology have wider implications. The subject of wu-wei is relevant to anyone interested in later East Asian religious thought or in the so-called "virtue-ethics" tradition in the West. Moreover, the technique of conceptual metaphor analysis--along with the principle of "embodied realism" upon which it is based--provides an exciting new theoretical framework and methodological tool for the study of comparative thought, comparative religion, intellectual history, and even the humanities in general. Part of the purpose of this work is thus to help introduce scholars in the humanities and social sciences to this methodology, and provide an example of how it may be applied to a particular sub-field. (shrink)