Adriano Ardovino, Raccogliere il mondo. Per una fenomenologia della rete [Angela Maiello] • Clive Bell, L’Arte [Filippo Focosi] • Alessandro Bertinetto, Il pensiero dei suoni. Temi di filosofia della musica [Domenica Lentini] • Terrence Deacon, Incomplete Nature. How Mind Emerged From Matter [Mariagrazia Portera] • Roger Scruton, La bellezza. Ragione ed esperienza estetica [Filippo Focosi] • Miriam Bratu Hansen, Cinema and Experience. Sigfried Kracauer, Walter Benjamin and Theoder W. Adorno [Domenico Spinosa] • Lawrence Barsalou, scritti sulla “Grounded (...) Cognition” [Gialuca Consoli] • Dis-forme , Università degli Studi di Palermo, 28-29 maggio 2012 [Michele Bertolini e Pietro Conte]. (shrink)

As is perhaps more well-known than the contents of the book itself, Siegfried Kracauer’s Theory of Film: The Redemption of Physical Reality, while deemed an important work of “classical” film theory, has never been fully embraced by film theorists.1 Agreeing with Miriam Bratu Hansen that Kracauer’s work is “often misread as ordaining a ‘naively realist’ theory of film”, the purpose of this article is to examine what Kracauer actually means when he writes, “My book differs from most (...) writings in the field in that it is a material aesthetics, not a formal one. It is concerned with content. […] Films come into their own when they record and reveal physical reality”. My.. (shrink)

Miriam and I were born in 1949, only a month apart. The world we were born to was deeply marked by then-recent history. Our playgrounds were the rubble fields in the streets and the extended woods between Frankfurt, where I grew up, and Darmstadt, where Miriam grew up, some twenty-five miles apart.

Although with “aura” Benjamin designates more a “family”, or a “constellation” of phenomena, than a univocal concept, the analogical traits of these phenomena are grounded in an aesthetic unity of sense. The aesthetic (as distinguished from the “artistic”) understanding of “aura” is not juxtaposed to the “anthropological, perceptual-mnemonic, and visionary” dimension of it (Bratu Hansen), but it is rather its root. As a transcendental aspect of perception and imagination, though, the aura marks our experience in different ways, according (...) to determinate historical conditions. If, in a post-traditional society, every attempt to produce auratic experiences is doomed to produce phony auratic phenomena, the potentialities of the aura are nevertheless not exhausted: the “room-for-play” (Spielraum) of experimentation invoked by Benjamin can be maintained open only in the interplay of auratic and non-auratic polarities: attention vs. distraction, distance vs. nearness, tactile vs. optical, determined vs. undetermined. (shrink)

In recent years, permissivism—the claim that a body of evidence can rationalize more than one response—has enjoyed somewhat of a revival. But it is once again being threatened, this time by a host of new and interesting arguments that, at their core, are challenging the permissivist to explain why rationality matters. A version of the challenge that I am especially interested in is this: if permissivism is true, why should we expect the rational credences to be more accurate than the (...) irrational ones? My aim is to turn this challenge on its head and argue that, actually, those who deny permissivism will have a harder time responding to such a challenge than those who accept it. (shrink)

This paper defends a challenge, inspired by arguments drawn from contemporary ordinary language philosophy and grounded in experimental data, to certain forms of standard philosophical practice. The challenge is inspired by contemporary philosophers who describe themselves as practicing “ordinary language philosophy”. Contemporary ordinary language philosophy can be divided into constructive and critical approaches. The critical approach to contemporary ordinary language philosophy has been forcefully developed by Avner Baz, who attempts to show that a substantial chunk of contemporary philosophy is fundamentally (...) misguided. I describe Baz’s project and argue that while there is reason to be skeptical of its radical conclusion, it conveys an important truth about discontinuities between ordinary uses of philosophically significant expressions (“know”, e.g.) and their use in philosophical thought experiments. I discuss some evidence from experimental psychology and behavioral economics indicating that there is a risk of overlooking important aspects of meaning or misinterpreting experimental results by focusing only on abstract experimental scenarios, rather than employing more diverse and more ecologically valid experimental designs. I conclude by presenting a revised version of the critical argument from ordinary language. (shrink)

Film Theory addresses the core concepts and arguments created or used by academics, critical film theorists, and filmmakers, including the work of Dudley Andrew, Raymond Bellour, Mary Ann Doane, Miriam Hansen, bell hooks, Siegfried Kracauer, Raul Ruiz, P. Adams Sitney, Bernard Stiegler, and Pier Paolo Pasolini. This volume takes the position that film theory is a form of writing that produces a unique cinematic grammar; and like all grammars, it forms part of the system of rules that govern (...) a language, and is thus applicable to wider range of media forms. In their creation of authorial trends, identification of the technology of cinema as a creative force, and production of films as aesthetic markers, film theories contribute an epistemological resource that connects the technologies of filmmaking and film composition. This book explores these connections through film theorisations of processes of the diagrammatisation of cinematic matters of the filmic world. (shrink)

The Voice and the Void es una monografía sobre la justificación o legitimización de la referencialidad del lenguaje. Se parte de supuesta falta de legitimidad de la representación lingüística mediante una reflexión sobre casos extremos de irrepresentabilidad--tales como los discursos humorístico, religioso, científico y filosófico--a lo largo de la historia para llegar a la crítica postmoderna y discutir dicha falta de legitimidad aplicando una lógica basada en la doble negación implícita a la legitimación de la referencialidad lingüística.

In this pilot study, deliberate practice and competence-based assessment were incorporated into a first-year graduate course on professional issues and ethics. Students responded to challenging simulations of basic ethical situations in therapy before and after the course. Aspects of deliberate practice were incorporated into the course. Student self-report ratings and independent performance ratings blind to timing found improvements in students’ ability to manage basic ethical situations in practice. Pilot evidence suggests competence-based assessment and training have potential use for training students (...) preparing to engage in their first therapy practicum experiences. Additional controlled studies are needed to examine the benefits of competence-based assessment and training. (shrink)

Next SectionIn response to public outrage stemming from exposés of animal abuse in research laboratories, the US Congress in 1985 mandated Institutional Animal Care and Use Committees (IACUCs) to oversee animal use at institutions receiving federal grants. IACUCs were enjoined to respect public concern about the treatment of animals in research, but they were not specifically instructed whether or not to perform ethical cost-benefit analyses of animal research protocols that IACUCs have chosen, with approval contingent upon a balancing of animal (...) pain and suffering against a reasonable expectation of resultant human benefit. IACUCs have chosen not to make such ethical judgments but, rather, restrict themselves to an advisory role, often tweaking the details of animal-use protocols, but eventually approving all of them. This disinclination by IACUCs to take a broader ethical view of their authority and responsibilities may reflect a membership composition highly skewed towards animal researchers themselves (67%) and institutional veterinarians (15%), both with vested interests in continuing animal research. The resultant ethical monoculture may impair IACUC's ability to meet public concern for laboratory animal welfare. Psychological research has established that unconscious bias affects us all, that deliberations among the like-minded lead to adapting extremist positions, and that groupthink blinds organisations to alternatives that might be obvious to outsiders. Taken together, skewed IACUC membership composition and psychological research insights into unconscious bias and groupthink suggest that an infusion of ethical diversity by increasing the percentage of institutionally unaffiliated members on IACUCs would broaden their ethical perspectives and enable them to better address public concerns about laboratory animal welfare. (shrink)

This article argues that late Heidegger’s analyses of the Fourfold can be used as a methodological starting point for discourse analyses. It argues that the Fourfold points out elements or foundations of discursive structures that orient us to differing, and to some extent opposing, directions that are at the same time mutually interdependent. A discursive analysis of how the Fourfold is at play in prevailing discursive exchanges and structures will thus be a matter of situating ourselves in a conceptual space (...) beyond existing practices and structures, from which we get a picture of their inadequacies. As such, the article contributes to a critical understanding of discourse analysis. It will be argued that through understanding the Fourfold, we can better understand the problems with various aspects of ‘measuring’, which are founded upon the (concealed) instability of elements of the Fourfold – which shapes practical discursive engagements. By foregrounding this structural instability we can approach it critically. I demonstrate how this approach might be used in an analysis of a debate between Greta Thunberg and Bjørn Lomborg. (shrink)

The question naturally arises: Is public art inherently violent, or is it a provocation to violence? Is violence built into the monument in its very conception? Or is violence simply an accident that befalls some monuments, a matter of the fortunes of history? The historical record suggests that if violence is simply an accident that happens to public art, it is one that is always waiting to happen. The principal media and materials of public art are stone and metal sculpture (...) not so much by choice as by necessity. “A public sculpture,” says Lawrence Alloway, “should be invulnerable or inaccessible. It should have the material strength to resist attack or be easily cleanable, but it also needs a formal structure that is not wrecked by alterations.”12 The violence that surrounds public art is more, however, than simply the ever-present possibility of an accident—the natural disaster or random act of vandalism. Much of the world’s public art—memorials, monuments, triumphal arches, obelisks, columns, and statues—has a rather direct reference to violence in the form of war or conquest. From Ozymandias to Caesar to Napoleon to Hitler, public art has served as a kind of monumentalizing of violence, and never more powerfully than when it presents the conqueror as a man of peace, imposing a Napoleonic code or a pax Romana on the world. Public sculpture that is too frank or explicit about this monumentalizing of violence, whether the Assyrian palace reliefs of the ninth century b.c., or Morris’s bomb sculpture proposal of 1981, is likely to offend the sensibilities of a public committed to the repression of its own complicity in violence.13 The very notion of public art as we receive it is inseparable from what Jürgen Habermas has called “the liberal model of the public sphere,” a dimension distinct from the economic, the private, and the political. This ideal realm provides the space in which disinterested citizens may contemplate a transparent emblem of their own inclusiveness and solidarity, and deliberate on the general good, free of coercion, violence, or private interests.14 12. Lawrence Alloway, “The Public Sculpture Problem,” Studio International 184 : 124.13. See Leo Bersani and Ulysse Dutoit, “The Forms of Violence,” October, no. 8 : 17-29, for an important critique of the “narrativization” of violence in Western art and an examination of the alternative suggested by the Assyrian palace reliefs.14. Habermas first introduced this concept in The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society, trans. Thomas Burger and Frederick Lawrence . First published in 1962, it has since become the focus of an extensive literature. See also Habermas’s short encyclopedia article, “The Public Sphere,” trans. Sara Lennox and Frank Lennox, New German Critique 1 : 49-55, and the introduction to it by Peter Hohendahl in the same issue, pp. 45-48. I owe much to the guidance of Miriam Hansen and Lauren Berlant on this complex and crucial topic. W. J. T. Mitchell, editor of Critical Inquiry, is Gaylord Donnelly Distinguished Service Professor of English and art at the University of Chicago. His recent book is Iconology: Image, Text, Ideology. (shrink)

This article argues, contra-Derrida, that Foucault does not essentialize or pre-comprehend the meaning of life or bio- in his writings on biopolitics. Instead, Foucault problematizes life and provokes genealogical questions about the meaning of modernity more broadly. In The Order of Things, the 1974-75 lecture course at the Collège de France, and Herculine Barbin, the monster is an important figure of the uncertain shape of modernity and its entangled problems. Engaging Foucault’s monsters, I show that the problematization of life is (...) far from a “desire for a threshold,” à la Derrida. It is a spur to interrogating and critiquing thresholds, a fraught question mark where we have “something to do.” As Foucault puts it in “The Lives of Infamous Men,” it an ambiguous frontier where beings lived and died and they appear to us “because of an encounter with power which, in striking down a life and turning it to ashes, makes it emerge, like a flash [...].”. (shrink)

As part of the international efforts to observe the Venus transit of June 1769, Protestant Denmark-Norway engaged the Viennese astronomer Maximilian Hell, despite Hell being Catholic and even Jesuit. Hell’s site of observation was Vardø in the remote northeastern corner of Norway. He had ambitions to present his journey and scientific results—which reached far beyond astronomy—in a grand work entitled Expeditio litteraria ad Polum arcticum. This work was never printed, although several fragments were published otherwise. Among the pieces not published (...) were his geomagnetic observations. Hell’s original manuscripts contain a considerable amount of declination readings as well as notes on instruments, practical procedures, and theoretical reflections involved in his work. In Vardø he set up a magnetic observatory, along with the astronomical one, and recorded, on an irregular schedule, the magnetic declination several times a day from April to June 1769. The records exhibit a clear signature of the diurnal variation as well as magnetic storms. Hell vigorously refuted contemporary suggestions of a connection between magnetic storms and Northern Lights. On the return voyage, a number of observations of magnetic declination along Norway were carried out, with a technique combining a gnomon with observations of the Sun’s altitude with a quadrant. (shrink)

This book presents a new nominalistic philosophy of mathematics: semantic conventionalism. Its central thesis is that mathematics should be founded on the human ability to create language – and specifically, the ability to institute conventions for the truth conditions of sentences. This philosophical stance leads to an alternative way of practicing mathematics: instead of “building” objects out of sets, a mathematician should introduce new syntactical sentence types, together with their truth conditions, as he or she develops a theory. Semantic conventionalism (...) is justified first through criticism of Cantorian set theory, intuitionism, logicism, and predicativism; then on its own terms; and finally, exemplified by a detailed reconstruction of arithmetic and real analysis. Also included is a simple solution to the liar paradox and the other paradoxes that have traditionally been recognized as semantic. And since it is argued that mathematics is semantics, this solution also applies to Russell’s paradox and the other mathematical paradoxes of self-reference. In addition to philosophers who care about the metaphysics and epistemology of mathematics or the paradoxes of self-reference, this book should appeal to mathematicians interested in alternative approaches. (shrink)

Bringing together 20 foundational texts in contemporary modernist criticism in one accessible volume, this book explores the debates that have transformed the field of modernist studies at the turn of the millennium and into the 21st century. The New Modernist Studies Reader features chapters covering the major topics central to the study of modernism today, including: Feminism, gender and sexuality; Empire and race; Print and media cultures; Historical and geographical debates. Each text includes an introductory summary of its historical and (...) intellectual contexts, as well as guides to further reading to help students and teachers explore the ideas further. Includes essential texts by leading critics such as: Pascale Casanova, Anne Anlin Cheng, Brent Hayes Edwards, Rita Felski, Susan Stanford Friedman, Mark Goble, Miriam Hansen, Andreas Huyssen, David James, Fredric Jameson, Heather K. Love, Douglas Mao, Mark S. Morrisson, Michael North, Jessica Pressman, Lawrence Rainey, Paul K. Saint-Amour, Bonnie Kime Scott, Urmila Seshagiri, Robert Spoo, and Rebecca Walkowitz. (shrink)

Reflections on the various articles which will be published in the criminal law and philosophy dedicated to my retirement.

In this article we will suggest that the traditional account of the freedom of expression needs revision. The emergence of Internet media has shown that the traditional ideal of a plurality of voices does not in itself lead to fruitful public spheres. Inspired by Foucault’s interpretation of the Greek concept parrhesia we suggest that the plurality of voices should be supplemented with an ideal of courageous truth-telling. We will furthermore argue that the notion of courage has two dimensions that should (...) be taken into account. On the one hand a Derridean reading of courage brings out a disruptive and aporetic feature of courage. On the other hand, courage also needs to be articulated through some kind of goal, which in a public setting calls for a deliberative dimension. We conclude by suggesting that public spheres with courageous truth-telling will facilitate societies in which strong voices and opinions are continuously challenged by less strong voices. (shrink)

Three forms of leadership are frequently identified as prerequisites to the re-humanization of the healthcare system: ‘authentic leadership’, ‘mindful leadership’ and ‘ethical leadership’. In different ways and to varying extents, these approaches all focus on person- or human-centred caring. In a phenomenological action research project at a Danish hospital, the nurses experienced and then described how developing a conscious sense of wonder enhanced their ability to hear, to get in resonance with the existential in their meetings with patients and relatives, (...) and to respond ethically. This ability was fostered through so-called Wonder Labs in which the notion of ‘phenomenon-led care’ evolved, which called for ‘slow thinking’ and ‘slow wondrous listening’. For the 10 nurses involved, it proved challenging to find the necessary serenity and space for this slow and wonder-based practice. This article critiques and examines, from a theoretical perspective, the kind of leadership that is needed to encourage this wonder-based approach to nursing, and it suggests a new type of leadership that is itself inspired by wonder and is guided by 10 tangible elements. (shrink)

Inappropriate behaviors in peer review may involve bullying and can have negative effects on authors and the dissemination of knowledge. In this paper, we have discussed the causes, forms, harms, and potential mitigation measures of bullying in peer review. We call for attention to these behaviors and advocate for future research within a reasonable framework.

Parent and preschool teacher ratings of the 10 noun categories of MacArthur-Bates Communication Development Inventory were used to study expressive language in 2–4-year-old children with autism spectrum disorder across the home and preschool context. There was no significant difference in the total number of words the children said in the two contexts, but the children said significantly more words in the noun categories “Furniture and rooms” and “People” at home. Only one third of the words the children said were said (...) both at home and in the preschool, while the other two thirds were said only at home or only in preschool. This suggests that what words the children use across contexts differ substantially and that their vocabulary is larger than it seems when measured only in one context. This novel study highlights the importance of assessing the language in children with ASD in multiple contexts in order to better measure their vocabulary and to design appropriate language interventions. (shrink)

Until fairly recently, positions within the global justice debate have been quite polarised along the statism/cosmopolitanism dichotomy. Recently, the dichotomy has been challenged, but the idea that the proximity of a view to cosmopolitanism also tracks its critical potential in political terms has not. This article rejects this premise. In order to do so, it also provides a novel, more systematic challenge to the statism/cosmopolitanism dichotomy. The main suggestion is that we should consider two aspects simultaneously, and identify positions within (...) the debate on the basis of how they relate to both of these. First of all, participants in the debate can make three different kinds of claims, which I shall call moral, political, and institutional. Secondly, views position themselves within a spectrum in each of the three dimensions, rather than deciding between cosmopolitanism and statism – and at different at different points of the spectrum with regard to their moral, political, and institutional commitments respectively. This account gives us a better grasp of what taking a stand in the global justice entails. Crucially, it enables us to understand that the transformative and critical potential of a specific view depends on a variety factors, and not only on its stand at the moral level. One can be fairly critical of the status quo without endorsing a cosmopolitan, or even nearly cosmopolitan, moral outlook. In short, the moral story is not the whole story. (shrink)

In this paper I am analyzing Peter Unger’s famous argument in favour of mereological nihilism (according to this view elementary particles are the only existing objects), called: „Sorites of Decomposition”. This argument is based on the fact that we can remove one, single atom from a compound object without making it ceased to exist.

Dialogic Materialism: Bakhtin, Embodiment and Moving Image Art argues for the relevance of Mikhail Bakhtin's theories of dialogism as a means of examining the interdisciplinary nature of contemporary moving image art forms. The volume comprises six chapters divided into two sections. The first section, Part I, illustrates the key concepts in Bakhtin's multifaceted dialogism and develops these ideas in relation to moving image art. The main focus of this first part is the proposal of what the author terms dialogic materialism, (...) which builds upon the Marxism inherent in Bakhtin, examining the material processes of cultural exchange with a particular emphasis on multi-perspective subjective relations. Part II consists of case studies that apply dialogic materialism to the moving image artwork of three artists: Stan Douglas, Jamelie Hassan and Chris Marker. Applying Bakhtinian theory to the field of the visual arts provides a means of examining the fundamentally dialogic nature of moving image art making and viewing, a perspective that is not fully developed within the existing literature. (shrink)