Critical posthumanism as a philosophical, antifascist nonhierarchical imagination for nursing offers a liberatory passageway forward amidst environmental collapse, an epic pandemic, global authoritarianism, extreme health and wealth disparities, over‐reliance on technology and empirics, and unjust societal systems based in whiteness. Drawing upon philosophical and theoretical works from Black and Indigenous scholars, Haraway's idea of the Chthulucene, Deleuze and Guattari's rhizomatic thought, and Kaba's abolitionist organizing among others, we as activist nurse scholars continue the speculative discussion outlined in prior papers. Here (...) we further imagine how we can engage a radical philosophical mission of care for all beings human and non, walking and working alongside the people and communities nurses accompany, connected as we are on this dystopian celestial orb. Discussion is centred on critical analyses of traditional justice framing in nursing, and on the praxis possibilities found within rhizomatic thought, making kin, and just episteme while knitting filaments of nursing theory and history, humming song lyrics from collective memory, and critically dismantling received wisdoms to stumble toward a more emancipatory present future. (shrink)

In this essay I will suggest that part of what makes the young Jamaican poet Ishion Hutchinson so remarkable is the fact that much of his work – in this age of “anything goes” post-postmodernism – is clearly modernist poetry, in both structure and effect. This structure will be that explained in my expanded version of Michael Riffaterre’s semiotic theory of poetry, which deals withmodernistwork. I will suggest that one of the distinctive features of the latter is that a modern (...) poetic text is distinguished by two underlying “matricial” propositions, each of which generates a set of variant images having the same underlying semantic structure. Thisparadigmaticmethod of signifying is unique to poetry. Each matrix is reassembled by the reader from a comparison of the images of each set. The matrices are linked syntagmatically in a variety of relations such as negation or difference of scale. This bimatricial relation (subject-sign) has an intertextual counterpart (object-sign) of similar structure but different lexicon. The interpretant of these two complex signs has a sociolectic counterpart of similar lexicon but different structure. The semantic contrast thus established produces innovation, which is the other distinctive feature of modern poetry. It turns out that much of Hutchinson’s innovative work is structured in this way. (shrink)

Burt C. Hopkins presents the first in-depth study of the work of Edmund Husserl and Jacob Klein on the philosophical foundations of the logic of modern symbolic mathematics. Accounts of the philosophical origins of formalized concepts—especially mathematical concepts and the process of mathematical abstraction that generates them—have been paramount to the development of phenomenology. Both Husserl and Klein independently concluded that it is impossible to separate the historical origin of the thought that generates the basic concepts of mathematics from (...) their philosophical meanings. Hopkins explores how Husserl and Klein arrived at their conclusion and its philosophical implications for the modern project of formalizing all knowledge. (shrink)

Is it legitimate to acquire one’s moral beliefs on the testimony of others? The pessimist about moral testimony says not. But what is the source of the difficulty? Here pessimists have a choice. On the Unavailability view, moral testimony never makes knowledge available to the recipient. On Unusability accounts, although moral testimony can make knowledge available, some further norm renders it illegitimate to make use of the knowledge thus offered. I suggest that Unusability accounts provide the strongest form of pessimist (...) view. I consider and reject five Unavailability accounts. I then argue that any such view will fail. But what is the norm rendering moral testimonial knowledge unusable? I suggest it lies in the requirement that we grasp for ourselves the moral reasons behind a moral view. This demand is one testimony cannot meet, and that claim holds whatever account we offer of the epistemology of testimony. However, while appeal to this requirement forms the most plausible pessimist view, it is another question whether pessimism is correct. (shrink)

Volume XVIII Special Issue: Gian-Carlo Rota and The End of Objectivity, 2019 Aim and Scope: The New Yearbook for Phenomenology and Phenomenological Philosophy provides an annual international forum for phenomenological research in the spirit of Husserl's groundbreaking work and the extension of this work by such figures as Scheler, Heidegger, Sartre, Levinas, Merleau-Ponty and Gadamer. Contributors: Gabriele Baratelli, Stefania Centrone, Giovanna C. Cifoletti, Jean-Marie Coquard, Steven Crowell, Deborah De Rosa, Daniele De Santis, Nicolas de Warren, Agnese Di Riccio, Aurélien Djian, (...) Yuval Dolev, Mirja Hartimo, Burt C. Hopkins, Talia Leven, Ah Hyun Moon, Luis Niel, Fabrizio Palombi, Mario Ariel González Porta, Gian-Carlo Rota, Michael Roubach, Franco Trabattoni and Michele Vagnetti. Submissions: Manuscripts, prepared for blind review, should be submitted to the Editors electronically via e-mail attachments. (shrink)

Many films are made by a two-tier process: the photographing of events which themselves represent the story the film tells. The latter representation is often illusionistic. I explore two consequences. The first concerns what we see in film. I argue that we sometimes see in such films, not events representing the story told, but simply the events composing that story. The way is thereby opened to a unified aesthetic of film, whether made the two-tier way or not. The second consequence (...) is that, since we see these films as photographic, we sometimes experience them as photographic recordings of the events, possibly fictional, that compose the story told. (shrink)

How do pictures represent? In this book Robert Hopkins casts new light on an ancient question by connecting it to issues in the philosophies of mind and perception. He starts by describing several striking features of picturing that demand explanation. These features strongly suggest that our experience of pictures is central to the way they represent, and Hopkins characterizes that experience as one of resemblance in a particular respect. He deals convincingly with the objections traditionally assumed to be (...) fatal to resemblance views, and shows how his own account is uniquely well placed to explain picturing's key features. His discussion engages in detail with issues concerning perception in general, including how to describe phenomena that have long puzzled philosophers and psychologists, and the book concludes with an attempt to see what a proper understanding of picturing can tell us about that deeply mysterious phenomenon, the visual imagination. (shrink)

What philosophical issue or issues does Molyneux’s question raise? I concentrate on two. First, are there any properties represented in both touch and vision? Second, for any such common perceptible, is it represented in the same way in each, so that the two senses support a single concept of that property? I show that there is space for a second issue here, describe its precise relations to Molyneux’s question, and argue for its philosophical significance. I close by arguing that Gareth (...) Evans conflated the two issues, and thereby provide further grounds for distinguishing them. (shrink)

What is sensory imagining and what role does it play in our lives? How does visualizing a castle, running through a tune in one's head, or imagining the taste of fish ice cream relate to perceiving such things, or to remembering them? What are the connections between imagining and agency, and how does it relate to emotion and other affect? The Profile of Imagining offers a theory that answers these and many other questions. It argues that sensory imagining involves the (...) redeployment of resources central to perception, though in a radically different context and to very different effect. The result is a view that explains central features of imagining's phenomenology and functional role, including its capacity to capture what it would be like to perceive its objects, while acknowledging the many and striking differences between imagining and sensing. Hopkins shows how the view can be extended to imagining in other forms, especially the imagining of affect; and uses it to argue for some surprising conclusions: that imagining something is not a way to engage with its aesthetic character; and that imagining provokes real feeling much less often than is usually assumed. -/- Table of contents: Introduction; Ch.1 Imagining and agency; Ch.2 To be given as a representation; Ch.3 Knowledge of sensory profiles; Ch.4 Profiles in imagination; Ch.5 Observation, overflow and attention; Ch.6 Episodic memory; Ch.7 Learning from imagining; Ch.8 Aesthetic engagement, imagining and the draw of the real; Ch.9 Reacting to imagining?; Conclusion. (shrink)

All worldviews have some sort of moral vision for why and how they pursue their goals, though these moral visions may be more or less explicitly stated. Transhumanism is no different, though sometimes people forget that transhumanism is not the alien dream of a posthuman mind but is instead a very human ideology driven by very human interests and moral ideals. In this paper, I lay out some of those ideals in very general terms, advocating a high-minded moral vision for (...) transhumanism that is born of and extends the desire for human flourishing. Though taken to new heights, transhumanism coheres with age-old views of ourselves as our own projects. What the end and direction and scope of those projects can be, however, is generated by, but not limited to, human nature. (shrink)

The main concepts of the free energy (FE) neuroscience developed by Karl Friston and colleagues parallel those of Freud's Project for a Scientific Psychology. In Hobson et al. ( 2014 ) these include an innate virtual reality generator that produces the fictive prior beliefs that Freud described as the primary process. This enables Friston's account to encompass a unified treatment—a complexity theory—of the role of virtual reality in both dreaming and mental disorder. In both accounts the brain operates to minimize (...) FE aroused by sensory impingements—including interoceptive impingements that report compliance with biological imperatives—and constructs a representation/model of the causes of impingement that enables this minimization. In Friston's account (variational) FE equals complexity minus accuracy, and is minimized by increasing accuracy and decreasing complexity. Roughly the brain (or model) increases accuracy together with complexity in waking. This is mediated by consciousness-creating active inference—by which it explains sensory impingements in terms of perceptual experiences of their causes. In sleep it reduces complexity by processes that include both synaptic pruning and consciousness/virtual reality/dreaming in REM. The consciousness-creating active inference that effects complexity-reduction in REM dreaming must operate on FE-arousing data distinct from sensory impingement. The most relevant source is remembered arousals of emotion, both recent and remote, as processed in SWS and REM on “active systems” accounts of memory consolidation/reconsolidation. Freud describes these remembered arousals as condensed in the dreamwork for use in the conscious contents of dreams, and similar condensation can be seen in symptoms. Complexity partly reflects emotional conflict and trauma. This indicates that dreams and symptoms are both produced to reduce complexity in the form of potentially adverse (traumatic or conflicting) arousals of amygdala-related emotions. Mental disorder is thus caused by computational complexity together with mechanisms like synaptic pruning that have evolved for complexity-reduction; and important features of disorder can be understood in these terms. Details of the consilience among Freudian, systems consolidation, and complexity-reduction accounts appear clearly in the analysis of a single fragment of a dream, indicating also how complexity reduction proceeds by a process resembling Bayesian model selection. (shrink)

Throughout the COVID-19 pandemic the use of the term “hero” has been widespread. This is especially common in the context of healthcare workers and it is now unremarkable to see large banners on hospital exteriors that say “heroes work here”. There is more to be gleaned from the rhetoric of heroism than just awareness of public appreciation, however. Calling physicians and nurses heroes for treating sick people indicates something about the concept of medicine and medical professionals. In this essay, I (...) will examine three aspects of the social role of medicine exposed by the language of heroism. One, if a hero is someone who goes above and the call of duty, then does that mean exposing oneself to risk of infection is no longer a duty of physicians? If so, does that mean the “profession” of medicine is much like any other business? Two, physicians and nurses are not the only “heroes” this go-around. Anyone deemed essential to the US “infrastructure” is designated by the US government as having “special responsibilities” to remain at their posts for the public good, which explicitly puts physicians in the same category as sewage workers and grocery store cashiers. Three, what does it mean to belong to a profession that does have self-sacrifice and risk-taking as part of its mission—especially a profession that rarely gets called upon to practice these obligations? (shrink)

By permission of The Gale Group, this article is reprinted (here on-line) from “Nicholas of Cusa,” pp. 122-125, Volume 9 of the Dictionary of the Middle Ages, edited by Joseph R. Strayer (New York: Charles Scribner’s Sons, 1987 ). The short bibliography at the end of the original article has been omitted; and the page numbers of the article are here changed.

I offer two, complementary, accounts of the visual nature of representational picturing. One, in terms of six features of depiction, sets an explanatory task. The other, in terms of the experience to which depiction gives rise, promises to meet that need. Elsewhere I have offered an account of this experience that allows this promise to be fulfilled. I sketch that view, and defend it against Wollheim's claim that it cannot meet certain demands on a satisfactory account. I then turn to (...) Wollheim's own view, arguing that it suffers from crucial obscurities. These prevent it from meeting the explanatory commitments I describe, and are only exacerbated by the demands Wollheim himself imposes. (shrink)

What is special about photographs? Traditional photography is, I argue, a system that sustains factive pictorial experience. Photographs sustain pictorial experience: we see things in them. Further, that experience is factive: if suchandsuch is seen in a photograph, then suchandsuch obtained when the photo was taken. More precisely, photographs are designed to sustain factive pictorial experience, and that experience is what we have when, in the photographic system as a whole, everything works as it is supposed to. In this respect (...) photographs differ from handmade pictures, and from other information-preserving tools, such as the readings on a geiger counter. This distinctive feature can be used to explain what is epistemically special about photographs, and also to give an account of the distinctive phenomenology of looking at a photograph rather than a handmade picture. All this provides the background against which to assess claims that digital photography differs from traditional in certain key ways. (shrink)

Is testimony a legitimate source of aesthetic belief? Can I, for instance, learn that a film is excellent on your say-so? Optimists say yes, pessimists no. But pessimism comes in two forms. One claims that testimony is not a legitimate source of aesthetic belief because it cannot yield aesthetic knowledge. The other accepts that testimony can be a source of aesthetic knowledge, yet insists that some further norm prohibits us from exploiting that resource. I argue that this second form of (...) pessimism has certain advantages over the first. I offer two candidates for the non-epistemic norm that, on this view, stands in the way of our taking aesthetic testimony. And I argue that this form of pessimism meets a challenge to pessimism in general – that of explaining why, if testimony cannot be a legitimate source of aesthetic belief, we can nonetheless rightly rely on the aesthetic recommendations of others. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2015 Heft: 207 Seiten: 185-200.

When we see something in a picture, do we enjoy visual experience as of the depicted object? Gombrichians say yes: when viewing ordinary pictures we simultaneously see the picture and seem to see its object. But why, then, isn’t seeing-in contradictory, and how are these two elements somehow integrated into a single experience? Gombrichians’ attempts to answer appeal either to our awareness of the picture’s design, or to the idea that picture and object are not given as in the same (...) place. I argue that neither answer is successful, and thus that Gombrichianism is false. (shrink)

Kant claims that the judgement of taste, the judgement that some particular is beautiful, exhibits two ‘peculiarities’. First: [t]he judgement of taste determines its object in respect of delight with a claim to the agreement of every one , just as if it were objective.

Stimulated by our conversations at the 2018 International Philosophy of Nursing Society Conference and our shared interests, the coauthors present an argument for augmenting the broader discussion of “missed care” with our synthesized concept called structural missingness. We take the problem of missed care to be largely grounded on a particular economic construction of the healthcare system within an era of what some are calling the Capitalocene, capturing the pervasive influence of capitalism on nature, humanity and the world order. Our (...) perspective is that of the United States, however, extrapolations can be made to the social and healthcare systems in other countries. We are concerned with the underlying conditions that structurally reify inequality and ultimately undermine nursing practice. To situate the discussion, we briefly review existing literature on the contextualization of missed care. We understand contemporary circumstances of missed care as a function of the neoliberalization of healthcare, including the idea of nursing as a commodity. From this, we discuss the implications of missed care, which forms the basis of our critique. Synthesizing the term “structural missingness, we locate a moral imperative in the professional and disciplinary commitments of nursing to consider who and what have been left out. This moral imperative for the nursing profession, along with other social and health related professions, underscores our obligation to be involved in uncovering inequities and conceptualizing upstream solutions for structural missingness. (shrink)

I raise two questions that bear on the aesthetics of painting and sculpture. First, painting involves perspective, in the sense that everything represented in a painting is represented from a point, or points, within represented space; is sculpture also perspectival? Second, painting is specially linked to vision; is sculpture linked in this way either to vision or to touch? To clarify the link between painting and vision, I describe the perspectival structure of vision. Since this is the same structure we (...) find in painting, the link is that painting manifests the perspective of vision. Touch is also perspectival, but the perspective involved is different from that in vision. Thus we can answer my second question, concerning the relations of the art forms to the senses, by addressing the first, concerning the role of perspective in sculpture. I argue that sculpture exhibits neither the perspectival structure of vision, nor that of touch. It is not perspectival, and it is not linked to either sense as painting is to vision. I close by considering the aesthetic significance of these conclusions. (shrink)

v. 1. Monologion. Proslogion. Debate with Gaunilo. Meditation on human redemption.

Many attempts to define depiction appeal to viewers' perceptual responses. Such accounts are liable to give a central role in determining depictive content to picture features responsible for the response, design. A different project is to give a compositional semantics for depictive content. Such attempts identify syntax: picture features systematically responsible for the content of the whole. Design and syntax are competitors. But syntax requires system, in how picture features contribute to content, that design does not. By examining John Kulvicki's (...) semantics for basic depictive content, I argue that the relevant systematicity is absent from the pictorial realm. (shrink)

Between people who unabashedly support eating meat and those who adopt moral vegetarianism, lie a number of people who are uncomfortably carnivorous and vaguely wish they could be vegetarians. Opposing animal suffering in principle, they can ignore it in practice, relying on the visual disconnect between supermarket meat and slaughterhouse practices not to trigger their moral emotions. But what if we could have the best of both worlds in reality—eat meat and not harm animals? The nascent biotechnology of tissue culture, (...) originally researched for medical applications, holds out just such a promise. Meat could be grown in vitro without killing animals. In fact, this technology may not just be an intriguing option, but might be our moral obligation to develop. (shrink)

Perceptual filling-in for vision is the insertion of visual properties (e.g., color, contour, luminance, or motion) into one’s visual field, when those properties have no corresponding retinal input. This paper introduces and provides preliminary empirical support for filled/non-filled pairs, pairs of images that appear identical, yet differ by amount of filling-in. It is argued that such image pairs are important to the experimental testing of theories of consciousness. We review recent experimental research and conclude that filling-in involves brain activity with (...) relatively high integrated information (Phi) compared to veridical visual perceptions. We then present filled/non-filled pairs as an empirical challenge to the integrated information theory of consciousness, which predicts that phenomenologically identical experiences depend on brain processes with identical Phi. (shrink)

Hopkins begins his study with Plato's written and unwritten theories of eidê and Aristotle's criticism of both. He then traces Husserl's early investigations into the formation of mathematical and logical concepts, charting the critical necessity that leads from descriptive psychology to transcendentally pure phenomenology. An investigation of the movement of Husserl's phenomenology of transcendental consciousness to that of monadological intersubjectivity follows. Hopkins then presents the final stage of the development of Husserl's thought, which situates monadological intersubjectivity within the (...) context of the historical a priori constitutive of all meaning. An exposition of the unwarranted historical presuppositions that guide Heidegger's fundamental ontological and Derrida's deconstructive criticisms of Husserl's transcendental phenomenology concludes the book. By following Husserl's personal trajectory Hopkins is able to show the unity of Husserl's philosophical enterprise, challenging the prevailing view that Husserl's late turn to history is inconsistent with his earlier attempts to establish phenomenology as a pure science. Contents: Introduction Part I Descriptive Psychology 1. Investigation of the Origin of Number 2. Investigation of the Origin of Logical Signification Part II Cartesian Transcendental Phenomenology 3. Investigation of the Origin of Objective Transcendence 4. Investigation of the Origin of Subjective Transcendence Part III Historical Transcendental Phenomenology 5. The Crisis of Meaning in Contemporary European Science 6. Historical Investigation of the Phenomenological Origin Part IV Husserl and his Critics 7. Fundamental Critiques of Transcendental Phenomenology 8. A Husserlian Response to the Critics. (shrink)

The problem of ‘collective unity’ in the transcendental philosophies of Kant and Husserl is investigated on the basis of number’s exemplary ‘collective unity’. To this end, the investigation reconstructs the historical context of the conceptuality of the mathematics that informs Kant’s and Husserl’s accounts of manifold, intuition, and synthesis. On the basis of this reconstruction, the argument is advanced that the unity of number – not the unity of the ‘concept’ of number – is presupposed by each transcendental philosopher in (...) their accounts of the transcendental foundation of manifold, intuition, and synthesis. This presupposition is ultimately traced to Kant’s and Husserl’s responses to Hume’s philosophy of human understanding and the critical limits of what Kant calls the ‘qualitative’ unity of transcendental consciousness. These critical limits are exposed in both philosophers’ attempts to account for that ‘qualitative’ unity on the basis of the ‘quantitative’ unity of number. (shrink)

Three philosophical problems -- the problem of the external world, the problem of other minds, and the problem of consciousness -- seem rooted in the way we conceive experience. We tend to think of our experiences as having a nature which is radically distinct from that of the world which they present to us. This emerges in a series of oppositions as between experience and the world, which we can set out as follows.

Representational pictures and sculptures both present their objects visually: to grasp what they represent is in some sense to see, not only the representation before one, but the object represented. But is the form of visual presentation the same? Or does a deep difference lie at the heart of our experience of these representations, a difference in how each presents us with its object? Almost all philosophical discussion of pictures and 3D representations has assumed or implied a negative answer to (...) this question. The notable exception is M.G.F.Martin’s account of pictures in terms of an ‘image’, a pure visibile that presents the represented object and its features without exemplifying them. In order to interpret Martin’s view so as to bring out its plausibility, I relate it to the somewhat similar position advocated by Lambert Wiesing’s account of pictures and our experience of them. That done, I ask whether a position drawing on both these positions can justify drawing a fundamental distinction between the ways in which pictures and sculptures present what they represent. (shrink)

Darwin's and Freud's theories cohere in explaining human group conflict.

What kind of mental state is episodic memory? I defend the claim that it is, in key part, imagining the past, where the imagining in question is experiential imagining. To remember a past episode is to experientially imagine how things were, in a way controlled by one’s past experience of that episode. Call this the Inclusion View. I motive this view by appeal both to patterns of compatibilities and incompatibilities between various states, and to phenomenology. The bulk of the paper (...) defends the account against four objections. Imagining and remembering seem to differ in whether they are active or passive, in the forms of singular content they involve, in their relations to observation and in their relations to belief. I argue that these differences can be accommodated, and some even explained, once we flesh out what else is involved in episodic memory, in addition to imagining the past. (shrink)

This paper argues that an account of picturing in terms of the experience it sustains, in particular an experience of resemblance in outline shape, is superior to Dominic Lopes’, view, on which pictures engage our recognitional capacities for the objects they depict. Lopes’ position fails to do the work proper to a philosophical theory of picturing. Lopes argues that the experienced resemblance view pays insufficient attention to empirical work, and that it incurs unwelcome empirical commitments. I refuse the commitments Lopes (...) offers, and suggest that the view is more open to the empirical than he thinks. (shrink)

Reid’s discussion of Molyneux’s question has been neglected. The Inquiry discusses the question twice, offering opposing answers. The first discussion treats the underlying issue as concerning common perceptibles of touch and vision, and in particular whether in vision we originally perceive depth. Although it is tempting to treat the second discussion as doing the same, this would render pointless various novel features Reid introduces in reformulating Molyneux’s question. Rather, the issue now is whether the blind can form a reasonable conception (...) of visual appearances, a conception that would allow them to perform Molyneux’s task. In explaining why Reid thought they can, I draw on his account of primary quality concepts as independent of sensation; of concept possession as ability, not acquaintance with sensation; and of visual appearance itself as in key part a matter of the perception of a primary quality, visible figure. Thus the issue does not concern cross-modality, what vision has in common with touch; but how even what is central in vision is amodal, able to be grasped independently of any sensory mode. Reid’s second Molyneux discussion thereby forms a focus for the Inquiry’s central claims, and the rejection of the Ideal Theory they entail. (shrink)

What are the legitimate sources of aesthetic belief? Which methods for forming aesthetic belief are acceptable? Although the question is rarely framed explicitly, it is a familiar idea that there is something distinctive about aesthetic matters in this respect. Crudely, the thought is that the legitimate routes to belief are rather more limited in the aesthetic case than elsewhere. If so, this might tell us something about the sorts of facts that aesthetic beliefs describe, about the nature of our aesthetic (...) judgements, or about the responses that ground them. Getting the epistemology right here may help with the metaphysics, the semantics or the philosophical psychology. Investigating the legitimate sources of aesthetic belief may thus teach us something important about the aesthetic realm. (shrink)

The New Yearbook for Phenomenology and Phenomenological Philosophy provides an annual international forum for phenomenological research in the spirit of Husserl’s groundbreaking work and the extension of this work by such figures as Scheler, Heidegger, Sartre, Levinas, Merleau-Ponty and Gadamer.