Much has been written on the ability of sharing platforms to affect market conditions. In this research we focus on another piece of the puzzle, which is often overlooked but can play a significant role in shaping market structure and conduct: the users of the platform – whether suppliers or consumers (hereinafter jointly or severally: “the crowd”). As will be shown, the power of the crowd can both positively and negatively affect social welfare. Accordingly, this paper seeks to recognize the (...) effects of crowd power and to identify both market-based as well as regulatory solutions to increase its welfare-increasing qualities, while reducing its negative ones. To do so, the study develops in a three stages. The first part explores the welfare effects of the sharing economy on the crowd. This serves as a basis for the second part, which focuses on the role of the crowd in shaping sharing platform markets. The third part then explores the potential role, as well as the limitations, of regulation in ensuring that crowd actions increase welfare. As will be shown, the current legal framework which regulates crowd actions might limit the realization of some of the potential positive effects of social platforms. In particular, new thinking might be needed with regard to rules regulating the use of crowd power to counteract a dominant sharing platform’s market power. (shrink)

This book offers, for the first time in aesthetics, a comprehensive account of aestheticism of the 19<SUP>th</SUP> century as a philosophical theory of its own right. Taking philosophical and art-historical viewpoints, this cross-disciplinary book presents aestheticism as the foundational movement of modernist aesthetics of the 20<SUP>th</SUP> century. Emerging in the writings of the foremost aestheticists - Oscar Wilde, Walter Pater, James Whistler, and their formalist successors such as Clive Bell, Roger Fry, and Clement Greenberg - aestheticism offers a uniquely synthetic (...) definition of art. It captures the artwork’s relations between form and content, art’s independent ontology and autonomy, art’s internal completeness, criticism, immunity to recruitment, the uniqueness of each medium, and musicality, as well as the logical-theoretical affiliation of art for art’s sake to epistemology, ethics and philosophy of language.<BR> Those are used by Michalle Gal to formulate a definition of art in terms of a theory of Deep Formalism, setting aestheticism, which aspires to preserve the artistic medium, as a critique of the current linguistic-conceptual aesthetics that developed after the linguistic turn of aesthetics. (shrink)

Contemporary philosophy can be characterized along the lines of a profound and vigorous debate between the prevalent ideas of 20th century philosophy’s linguistic–conceptualist age, on the one hand, and the re-emergent field of what we might call ‘visualist’ philosophy on the other hand, which is experiencing a revival within the framework of the current visual turn in philosophy. Thoughtful Images: Illustrating Philosophy through Art by Thomas E. Wartenberg stands at the intersection of these two camps. The philosophical visual turn foregrounds (...) the importance of the visual sphere, and it is this sphere with which Wartenberg engages. Investigating the genre of philosophical images throughout history, Wartenberg’s significant book joins the controversy between the characterization of humans as linguistic–conceptual or rather as visual beings. Do we reach intellectual superiority only through linguistic–conceptual schemes, or, rather, is it the richness of visuality and its level of detail – which can never be fully captured by language – that allows us a true glimpse of our reality and our very selves? I shall later claim that Wartenberg falls on the linguistic–conceptualist side of the polemic. But, a concrete example that may actually support the visualist perspective is found in the book’s final chapter, which is devoted to what Wartenberg terms ‘graphic philosophy’. Here, Wartenberg analyses Alison Bechdel’s Fun Home: A Family Tragicomic – a memoir produced through illustrations that address the philosophical question of scepticism via Bechdel’s ‘epistemological crisis’. Bechdel is overcome with doubt over the truth status and objectivity of her own personal diary entries. Wartenberg argues that ‘this is parallel to Descartes’s worry in the Meditations that he might be mistaken about everything he takes to be true’, and is knowingly resolved by Ludwig Wittgenstein in his On Certainty (Wartenberg 2023: 282). He emphasizes the centrality of images in the memoir to portray a conceptually life-changing event for Bechdel, namely an encounter with a woman in a restaurant whose appearance assists her in figuring out her own identity. Wartenberg notes that text itself is insufficient to express Bechdel’s ideas here, arguing that ‘the visual information … is essential to our understanding of this incident in the book. Bechdel here uses a picture to convey information quickly in a readily understood manner, something that could not be done as efficiently with words alone’ (281). (shrink)

This essay characterizes the perception of the visual hybrid as nonconceptual, introducing the terminology of nonconceptual content theory to aesthetics. The visual hybrid possesses a radical but nonetheless exemplary aesthetic composition and is well established in culture, art, and even design. The essay supplies a philosophical analysis of the results of cross-cultural experiments, showing that while categorization or conceptual hierarchization kicks in when the visual hybrids are juxtaposed with linguistic descriptions, no conceptual scheme takes effect when participants are presented with (...) mere visual hybrids. In isolation, the hybrids do not lend themselves to classification. I draw four conclusions from these experimental outcomes: 1. The perception of visual hybrids follows the structure of a nonconceptual mental content, because the original categories or concepts of the hybrids’ components are not combined into one, and their properties are not applied to one another, therefore none of the components reconstructs the other such that it is introduced to a new category. 2. Language freezes the hybridity of the visual hybrid into conceptuality. 3. Given that language has a freezing effect in the case of an extreme visual phenomenon such as the hybrid, it is all the more restraining in moderate artistic compositions, such as visual metaphors, in which properties of one component (the source) are applied to the other (the target). In those, nonconceptuality emerges from relatively organized compositions, forms, and relations, and from the dependence of objects and their properties on perceptual context. 4. Thus, the nonconceptualist terminology is suitable for the analysis of aesthetic perception in general and aesthetic perception’s relation to language. Keywords aesthetics, perception, nonconceptual content, hybrids, visual metaphors. (shrink)

This chapter presents the meeting points and conflicts between Arthur Danto’s philosophy of art and George Dickie’s avowedly succeeding theory. Its focus is on the internalist-externalist debate on the ontology of the artwork as created and perceived within the artworld. It shows that both Danto and Dickie developed anti-formalist theories, that contributed to the demise of aesthetic modernism. Inverting the formalist distinction between internal and external properties of the artwork, they classified the sensuous properties of the artwork as secondary in (...) its essence and identity. Accordingly, Danto and Dickie’s definitions of art emerged from the challenge “to be consistent with art appearing in every possible way.” Both negated the Neo-Wittgensteinians’s proposal to forgo the project of defining art and found the then-new pluralism to be revealing of the essence of art, directing philosophy to art’s nonexhibited infrastructure – beyond the reach of the eye. Across from this, the chapter presents their opposing ideas as revealed through different analyses of the concept of the “artworld”: as an intellectual sphere by Danto versus an institutional one by Dickie. Danto’s internalist/intentionalist ontology begins with the mental and stretches to its embodying material. Opposing it, Dickie’s externalist ontology points to social practices as constituting the artwork, which is attributed with the status of “arthood” by agents in its social sphere. Accordingly, I claim, Danto’s ontology is more versatile than Dickie’s. -/- . (shrink)

This chapter presents the formalist account of the moral status of an artwork as an aesthetically significant and autonomous form, with due emphasis on the Anglo-American art-for-art’s-sake aesthetic, as it developed between 1870 and 1960. The author shows that the formalist art-is-above-morals approach is a substantive moral stance in itself. Formalist aesthetics is usually presented in the literature as evincing a purist indifference to ethics, construing moral properties as external to art, in opposition to the internal pure properties of art’s (...) composition. The chapter demonstrates that this is a misrepresentation of the complex formalist prescriptive idea of the relations between art and ethics. Through its autonomy and imperviousness to external co-opting—which is accomplished by due focus on aesthetic form—art on the formalist account is held to be a paradigm of the liberalist principles of individual freedom and self-fulfillment, thus an inherent means to the good. (shrink)

Design is an omnipresent, aesthetic-functional phenomenon, one that is culturally loaded and broadly influential. Since ancient times, design has played a crucial role in shaping both our intimate daily experiences and broader societal structures. It influences behavior, preferences, cultural norms and movements, political or personal identities, and economic systems. Today, design is not only a thriving field of practice but also an evolving area of academic inquiry, one that is becoming a self-standing discipline. It is, of course, important to define (...) ‘design’ . But, in developing our understanding of it, we also need to analyze its relationships to associated fields, such as ontology, cognition and perception, ethics, politics, social conduct, fine or popular art, everyday aesthetics, and science and technology. The special issue Design and its Relations takes up this mission. We aim to reveal and study the interactions between design as an aesthetic-functional field and various auxiliary concepts, ideas, phenomena, and disciplines. The essays in the special issue thus address a range of design affiliations. These include both (a) relatively abstract affiliations—such as aesthetics, perception and appreciation, beauty, ethics, science, rationalism, and the idea of abstractness itself—and (b) more direct topics, including design’s relations to photographic systems and even cultural views of parenthood given through the evolution of crib shapes (which is a typical substantiation of design’s impact on humanity’s foundations). (shrink)

This article presents a visualist theory of design that contrasts with the instrumental rationalism that dominates the philosophy of design. My critique of rationalism is based on two omnipresent and paradigmatic phenomena in design: the variety of forms for one single function and the variety of uses of one form. Instrumental rationalism defines design as a coherent line that runs from a rational goal to the proper means and proper use of an object. Therefore, this philosophy values design according to (...) its efficiency. However, the diverse aesthetic forms of design objects and the creative ways that users engage with them. do not follow the instrumental rational plan, but rather aesthetic motivations and design’s visual affordance. I argue that the variety of forms of design objects and emergent uses are often more substantial than rationality in the constitution of design. Claiming that these encounters are innate to our essence and ontology as visual beings, I offer a visualist anti-rationalist theory of design and human nature. Keywords: instrumental rationalism, form, affordance, emergent properties, Visualism. (shrink)

In view of the current progress of what has been named the ‘visual turn’ or the ‘pictorial turn’,1 it is exciting to witness Sam Rose’s return to early aesthetic formalist-modernism, which was so passionate about the medium, its appearance, and visuality. Rose’s project shares a recent inclination to think anew the advent of aesthetic modernism.2 It is founded on the presumption that visual art ought to be – and actually has always been – theoretically subsumed under one meta-project. This meta-project (...) does not necessarily have a clear telos, but it does have a history. In support of this view, Rose appeals to Stanley Cavell’s claim that ‘only masters of a game, perfect slaves to that project, are in a position to establish conventions which better serve its essence. This is why deep revolutionary changes can result from attempts to conserve a project, to take it back to its idea, keep it in touch with its history’ (p. 155). According to Rose’s post-formalist view, the idea of art’s meta-project is the idea of form. (shrink)

This essay offers a Jewish approach to ethnography in religious ethics. Following the work of other ethnographers working in religious ethics, I explore how an ethnographic account of reproductive ethics among Haredi Jewish women in Jerusalem enhances and improves Jewish ethical discourse. I argue that ethnography should become an integral part of Jewish ethics for three reasons. First, with a contextual approach to guidance and application of law and norms, an ethnographic approach to Jewish ethics parallels the way ethical decisions (...) are made on a daily basis in Jewish communities. Second, ethnography bolsters the voices of those involved in ethical discourse. Third, ethnography facilitates the bridge between local ethical questions and global ethical discourse. (shrink)

This essay presents the Aestheticism of the 19th century as the foundational movement of modernist-formalist aesthetics of the 20th century. The main principle of this movement is what I denominate “productive opacity”. Aestheticism has not been recognized as a philosophical aesthetic theory. However, its definition of artwork as an exclusive kind of form—a deep, opaque form—is among the most precise ever given in the discipline. This essay offers an interpretation of aestheticism as a formalist theory, referred to here as “deep (...) formalism”, focusing on the thinking of leading aestheticists, Walter Pater, Oscar Wilde, and James Whistler. These three thinkers defined artwork as a form saturated with an inextricable content, viz. opaque form. (shrink)

This book offers a new definition of metaphor-as an ontological and visual construction, whose roots are external visual forms, and its motivation is our attachment to forms. This definition, which Michalle Gal names “visualist,” challenges the ruling conceptualist theory of metaphors and places a new emphasis on how we experience rather than understand metaphors. In doing so, she responds to the visual turn that is taking place in literature and the media, demanding that the visual become a site of philosophical (...) analysis. This focus on the external visual world allows Gal to employ visual theories to capture the essence of metaphor. She looks beyond conceptual or semantic mechanism, and returns to theories of Arnheim and Gombrich and the current evolution of ideas about the visual or material and embodied cognition. Proposing to see visual metaphors in their basic form, she uses a new externalist terminology of ontology, visuality, composition, affordance, construction, and emergence. Setting out a new theory that takes into account that humans are visual no less than cognitive creatures, Visual Metaphors and Aesthetics lays the foundation for a new vocabulary to talk about metaphors. (shrink)

ntroduction to Design Theory introduces a comprehensive, systematic, and didactic outline of the discourse of design. Designed both as a course book and a source for research, this textbook methodically covers the central concepts of design theory, definitions of design, its historical milestones, and its relations to culture, industry, body, ecology, language, society, gender and ideology. -/- Demonstrated by a shift towards the importance of the sociocultural context in which products are manufactured and embedded, this book showcases design theory as (...) an emerging sub-discipline of design, unique in its practice-based approach and its broad perception of design. It offers an in-depth understanding of the central concepts, such as "form" and "function", "theory" and "practice", through a discussion of key case studies and historical examples, such as the advent of the view of design in antiquity, the introduction of mass production to modernist design or the ideological shifts in design in the mid-twentieth century, as well as analytical tools for further dissection and learning in practice. With a focus on a combination of several theoretical knowledge foundations — aesthetics and philosophy, critical theories, cultural studies, design history and design anthropology — the reader is enabled to approach design as a central pivot around which contemporary culture revolves, reflecting, reaffirming or challenging social and cultural structures. -/- Aimed towards undergraduate and postgraduate students, as well as teachers and scholars, from across the design disciplines, Introduction to Design Theory invites readers to engage with design from an interdisciplinary perspective, departing from the traditional academic compartmentalisation of practice, history and philosophy. -/- . (shrink)

This paper proposes to define metaphor as a visual-material structure, the sphere of which is ontological rather than cognitive or conceptual. It argues that the essence of metaphor, as either an aesthetic or a communicative unit or both, resides in the qualitative dimension and appearance, or even materiality, of the metaphorical medium and its form. The paper thus offers a new theory of metaphor, focusing on the medium of metaphor, which composes and transfigures or reconstructs its target anew: a composition (...) that is prior to understanding or conceptualizing the target. In doing so, the paper presents a formalist ontology of metaphors, established via an externalist account of metaphors, as opposed to the prevailing cognitivist-conceptualist account which I characterize as internalist. The various kinds of metaphor – linguistic, poetic, visual or material – are based on their external structure, rather than an internal-conceptual mechanism of understanding, as assumed by a significant segment of the literature. Visual metaphor, therefore, is the paradigmatic kind of metaphor, the analysis of which can be generalized to other kinds of metaphor. Furthermore, the paper tries to overcome the current discrepancy between the formalist character of the metaphorical medium and the dominance of cognitivist and conceptualist theories of metaphor. Challenging these, I claim that if the identity of metaphor is indeed based on its composition, then it is actually based on its aesthetic qualities. That is to say, not only are there autonomous visual or material metaphors, that are not based on linguistic or conceptual ones, but linguistic and conceptual metaphors are based on visuality: they are enabled by the structural possibilities offered by visual media. (shrink)

The paper analyzes the visual aspect of metaphors, offering a new theory of metaphor that characterizes its syntactic structure, material composition and visuality as its essence. It will accordingly present the metaphorical creating or transfiguring, as well as conceiving or understanding, of one thing as a different one, as a visual ability. It is a predication by means of producing non-conventional compositions – i.e., by compositional, or even aesthetic, means. This definition is aimed to apply to the various kinds of (...) metaphors: conceptual, linguistic, visual, and material. It will thus challenge the definition of metaphor as a conceptual or linguistic phenomenon in nature that is based on its semantic mechanism, broad concepts, and cognitive value. Those definitions have been prevalent since the second half of 20th century, under the influence of the philosophy of language, and later of cognitive studies. (shrink)

Researchers from diverse disciplines, including organismal and cellular physiology, sports science, human nutrition, evolution and ecology, have sought to understand the causes and consequences of the surprising variation in metabolic rate found among and within individual animals of the same species. Research in this area has been hampered by differences in approach, terminology and methodology, and the context in which measurements are made. Recent advances provide important opportunities to identify and address the key questions in the field. By bringing together (...) researchers from different areas of biology and biomedicine, we describe and evaluate these developments and the insights they could yield, highlighting the need for more standardisation across disciplines. We conclude with a list of important questions that can now be addressed by developing a common conceptual and methodological toolkit for studies on metabolic variation in animals. (shrink)

Human Flourishing, Liberal Theory, and the ArtsMAUTNERMENACHEM routledge. 2018. pp. 198. £125.

The issue of infinity appeared in cosmology in the form of a question on spatial and time finiteness or infinity of the universe. Recently, more and more talking is going on about “other universes” (different ones from “our”), the number of which may be infinite. Speculations on this topic emerged in effect of the discussions on the issue of the anthropic principle, and the so-called inflation scenario. In truth, this kind of speculations are hardly recognized as scientific theories, however, they (...) may be included in a sort of “scientific fringe” fulfilling a beneficial heuristic function.All of the speculations regarding numerous universes boil down to the juggling of probabilities, i.e. to the applying of the theory of probability to the universes’ set. However, without probabilistic measure being introduced onto this “set” (as it is not known whether it is a set in a technical sense of this term)—and there is no knowledge at all as to how to do this—such considerations may not go beyond a vague intuition.The producing of other universes usually results from an assumption that the disturbing of original circumstances, of values of physical constants, or of other parameters characterizing the universe is possible. On the other hand, the idea of the final theory seems to assume that the mathematical structure of this theory should be rigid, i.e. that the disturbing of its parameters leads on to the very same structure. This would have eliminated the possibility of the existence of other universes.The idea of infinite number of universes sometimes has an anti-theological undertone: there is no need for assuming purposeful acting of the Creator, since all possibilities are fulfilled. The reaction of a theologian may be as follows: Just the same, God may create just a single universe, as much as an infinite number of universes. What’s more, one may risk saying that God is not interested in nothing that may be short of infinity. (shrink)

The paper develops a conception of marital love as a complex recognitive relation, which I articulate by juxtaposing it against other recognitive relations that figure in Hegel's theory of modern civil society (i.e., respect and esteem). Drawing on Hegel's early writings, I argue that, if love is to provide its unique sort of recognition, it must obtain between “living beings who are equal in power”—a peculiar form of equality that I name (drawing on Stanley Cavell's work) “dynamic equality.” I conclude (...) that it is by Hegel's own lights that we should reject his notorious conception of the sexual difference. However, I also offer reasons why, from Hegel's early 19th century perspective, he could consider the following two conditions as compatible: (1) equality within marriage and (2) sexual hierarchy outside marriage, namely, in civil society. (shrink)

This volume contains Kalecki's writings on the theory of growth of a socialist economy and the theory of economic efficiency of investment. These are supplemented by essays on some economic and social problems of People's Poland. Though quite theoretical in nature, both the Introduction to the Theory of Growth in a Socialist Economy and Kalecki's many studies in the theory of economic efficiency of investment projects are deeply rooted in his practical experience as an economic planner. It is only in (...) this light that the significance of his contributions to the theory of economic efficiency of investments can be assessed, and his ideas on socialist reproduction can be seen as a whole. Its central point is economic planning, which for Kalecki was the fundamental feature of a socialist economy. (shrink)

The paper reconstructs Hegel’s account of shame as a fundamental affect. Qua spiritual, the human individual strives for self-determination; hence she is ashamed of the fact that, q...

Containing nearly all the material which has survived on Kalecki's activity - both theoretical and practical - from 1955 to 1964.

The sixth volume of the Collected Works of Micha/l Kalecki, one of the twentieth-century's pre-eminent economists, contains his empirical studies of the capitalist economy, published primarily in pre-war Poland. The first part of the book collects together reviews of business conditions in commodity markets, studies of the structure and operations of large companies and cartels, and articles on international economic relations. These studies, written between 1928 and 1935, demonstrate Kalecki's keen insight into the international consequences of the Great Crisis of (...) 1929-33, and into the developments in Nazi Germany. The second part contains Kalecki's papers on the methodological problems of examining business fluctuations and on constructing indicators of economic trends. Part 3 comprises, Kalecki's estimates of the national income in Poland and of its structure. These studies, conducted between 1931 and 1935, were unique at the time in taking into account the distribution of aggregate income between the main social classes. The editorial notes and annexes at the end of the volume not only provide invaluable background information and explanatory glosses on the main text, but also give invaluable insights into the development of Kalecki's thought. (shrink)

In his Berlin Lectures of the 1820s, the German philosopher Arthur Schopenhauer (1788–1860) used spatial logic diagrams for philosophy of language. These logic diagrams were applied to many areas of semantics and pragmatics, such as theories of concept formation, concept development, translation theory, clarification of conceptual disputes, etc. In this paper we first introduce the basic principles of Schopenhauer’s philosophy of language and his diagrammatic method. Since Schopenhauer often gives little information about how the individual diagrams are to be understood, (...) we then make the attempt to reconstruct, specify and further develop one diagram type for the field of conceptual analysis. (shrink)

The mathematical nature of modern science is an outcome of a contingent historical process, whose most critical stages occurred in the seventeenth century. ‘The mathematization of nature’ (Koyré 1957 , From the closed world to the infinite universe , 5) is commonly hailed as the great achievement of the ‘scientific revolution’, but for the agents affecting this development it was not a clear insight into the structure of the universe or into the proper way of studying it. Rather, it was (...) a deliberate project of great intellectual promise, but fraught with excruciating technical challenges and unsettling epistemological conundrums. These required a radical change in the relations between mathematics, order and physical phenomena and the development of new practices of tracing and analyzing motion. This essay presents a series of discrete moments in this process. For mediaeval and Renaissance philosophers, mathematicians and painters, physical motion was the paradigm of change, hence of disorder, and ipso facto available to mathematical analysis only as idealized abstraction. Kepler and Galileo boldly reverted the traditional presumptions: for them, mathematical harmonies were embedded in creation; motion was the carrier of order; and the objects of mathematics were mathematical curves drawn by nature itself. Mathematics could thus be assigned an explanatory role in natural philosophy, capturing a new metaphysical entity: pure motion. Successive generations of natural philosophers from Descartes to Huygens and Hooke gradually relegated the need to legitimize the application of mathematics to natural phenomena and the blurring of natural and artificial this application relied on. Newton finally erased the distinction between nature’s and artificial mathematics altogether, equating all of geometry with mechanical practice. (shrink)

This is the first volume in a new, definitive, seven-volume edition of the works of Michal Kalecki, one of the twentieth century's most distinguished economists. Kalecki was one of the three contemporary economists to arrive at the conclusions publicized by Keynes, although Kalecki arguably presented these views even earlier than Keynes. Volume I contains Kalecki's writings on the theory of the business cycle and full employment. His seminal Essay on the Business Cycle Theory is preceded by his earlier theoretical (...) studies and followed by publications which developed and defended its main concepts and ideas. This volume also contains the 1939 book Essays in the Theory of Economic Fluctuations, the work which established his reputation. Also included are papers documenting his confrontation with Keynes's General Theory, including Kalecki's review of that work, and his various studies on the theory and policies relating to full employment, both the well known `Political Aspects of Full Employment' and `Three Ways to Full Employment', and those which have unfairly received less attention. The editorial comments and annexes at the end of the volume, besides giving valuable information on the background to the main texts, include illuminating exchanges of correspondence between Kalecki and Keynes, Joan Robinson, and others. (shrink)

The seventh volume of the Collected Works of Michal Kalecki, one of the twentieth century's preeminent economists, contains his empirical studies of the wartime and post-war economy in Britain and the USA, together with papers on the work of other economists and miscellanea.The first part of the book collects together his articles on the economic conditions of Britain during the Second World War, focusing on the rationing of consumption and war finance, and its post-war reconstructions. These articles are among (...) Kalecki's best known, and contributed significantly to his world renown as an economist. Part two contains studies of post-war America, comparing the economy with the situation before the War. Part three contains a group of articles under the title `Political economy and economists', and includes book reviews and essays on the study of economics. Part four collects essays on a variety of topics, including Polish economic planning, construction engineering, and the theory of numbers. As in previous volumes, editorial notes and annexes by Professor Osiaty'nski provide invaluable background information and explanatory glosses on the main text. Among other things, they reveal details of Kalecki's work for the United Nations.Since this is the final volume of the Collected Works, it concludes with a chronology of biographical information and a complete bibliography of Kalecki's writings from 1927 to 1987. (shrink)

Consider Maria, a 32-year-old Spanish-speaking expectant mother who immigrated to the United States five years ago. Despite taking English classes and working in a predominantly English-speaking en...