Douglas Yacek’s recent book The Transformative Classroom proposes a useful aspirational model of transformative education. In this critical commentary, I review this model and suggest that while it succeeds in overcoming some ethical shortcomings of other dominant models of transformative education, I would like to suggest that focusing on more subtle transformative gestures could have the benefit of being less dependent of the teacher’s intention to transform and of being less constrained by the expectation that (...) transformation should take place primarily in the classroom. When transformation is conceived as an educational fiction, it may be conceived as a retroactive experience constructed around memories of the teacher’s transformative gestures, thereby adding to Yacek’s aspirational model by allowing for transformation to continue beyond the walls of the classroom. (shrink)

People frequently gesture when problem-solving, particularly on tasks that require spatial transformation. Gesture often facilitates task performance by interacting with internal mental representations, but how this process works is not well understood. We investigated this question by exploring the case of mental abacus, a technique in which users not only imagine moving beads on an abacus to compute sums, but also produce movements in gestures that accompany the calculations. Because the content of MA is transparent and readily manipulated, the (...) task offers a unique window onto how gestures interface with mental representations. We find that the size and number of MA gestures reflect the length and difficulty of math problems. Also, by selectively interfering with aspects of gesture, we find that participants perform significantly worse on MA under motor interference, but that perceptual feedback is not critical for success on the task. We conclude that premotor processes involved in the planning of gestures are critical to mental representation in MA. (shrink)

We examined the effects of three different training conditions, all of which involve the motor system, on kindergarteners’ mental transformation skill. We focused on three main questions. First, we asked whether training that involves making a motor movement that is relevant to the mental transformation—either concretely through action or more abstractly through gestural movements that represent the action —resulted in greater gains than training using motor movements irrelevant to the mental transformation. We tested children prior to training, immediately after training, (...) and 1 week after training, and we found greater improvement in mental transformation skill in both the action and move-gesture training conditions than in the point-gesture condition, at both posttest and retest. Second, we asked whether the total gain made by retest differed depending on the abstractness of the movement-relevant training, and we found that it did not. Finally, we asked whether the time course of improvement differed for the two movement-relevant conditions, and we found that it did—gains in the action condition were realized immediately at posttest, with no further gains at retest; gains in the move-gesture condition were realized throughout, with comparable gains from pretest-to-posttest and from posttest-to-retest. Training that involves movement, whether concrete or abstract, can thus benefit children's mental transformation skill. However, the benefits unfold differently over time—the benefits of concrete training unfold immediately after training ; the benefits of more abstract training unfold in equal steps immediately after training and during the intervening week with no additional training. These findings have implications for the kinds of instruction that can best support spatial learning. (shrink)

Speakers frequently perform representational gestures to depict concepts in an iconic fashion. For example, a speaker may hold her index finger and thumb apart to indicate the size of a matchstick. However, the process by which a physical handshape is mentally transformed into abstract spatial information is not well understood. We present a series of experiments that investigate how people decode the physical form of an articulator to derive imaginary geometrical constructs, which we call “gesture form.” We provide quantitative (...) evidence for several key properties that play a role in this process. First, “profiling,” the ability to focus on a structural subunit within the complex form of the physical hand. Second, “perspective,” for which we show that one and the same handshape seen from different perspectives can lead to different spatial interpretations. Third, “selectivity,” the fact that gestures focus on specific spatial features at the expense of others. Our results provide a first step toward mapping out the process of how representational gestures make the communication of spatial information possible. (shrink)

Our earliest tools are our bodies. Our hands raise and turn and toss and carry and push and pull, our legs walk and climb and kick allowing us to move and act in the world and to create the multitude of artifacts that improve our lives. The list of actions made by our hands and feet and other parts of our bodies is long. What is more remarkable is we turn those actions in the world into actions on thought through (...) gestures, language, and graphics, thereby creating cognitive tools that expand the mind. The focus here is gesture; gestures transform actions on perceptible objects to actions on imagined thoughts, carrying meaning with them rapidly, precisely, and directly. We review evidence showing that gestures enhance our own thinking and change the thought of others. We illustrate the power of gestures in studies showing that gestures uniquely change conceptions of time, from sequential to simultaneous, from sequential to cyclical, and from a perspective embedded in a timeline to an external perspective looking on a timeline, and by so doing obviate the ambiguities of an embedded perspective. We draw parallels between representations in gesture and in graphics; both use marks or actions arrayed in space to communicate more immediately than symbolic language. (shrink)

In this wide-ranging and probing book Erin Manning extends her previous inquiries into the politics of movement to the concept of the minor gesture. The minor gesture, although it may pass almost unperceived, transforms the field of relations. More than a chance variation, less than a volition, it requires rethinking common assumptions about human agency and political action. To embrace the minor gesture's power to fashion relations, its capacity to open new modes of experience and manners of expression, is to (...) challenge the ways in which the neurotypical image of the human devalues alternative ways of being moved by and moving through the world—in particular what Manning terms "autistic perception." Drawing on Deleuze and Guattari's schizoanalysis and Whitehead's speculative pragmatism, Manning's far-reaching analyses range from fashion to depression to the writings of autistics, in each case affirming the neurodiversity of the minor and the alternative politics it gestures toward. (shrink)

Deleuze’s film-philosophy makes much of the notion of virtual images in Bergson’s Matter and Memory, but in doing so he transforms a psycho-meta-physical thesis into a unBergsonian ontological one. In this essay, we will offer a corrective by exploring Bergson’s own explanation of the image as an “attitude of the body”—something that projects an actual, corporeal, and postural approach, not only to cinema, but also to philosophy. Indeed, just as Renoir famously said that “a director makes only one movie in (...) his life. Then he breaks it into pieces and makes it again,” so Bergson wrote that each philosopher only makes one “single point” throughout his or her whole career. And this one point, he then declares, is like a “vanishing image,” only one best understood as an attitude of the body. It is embodied image that underlies an alternative Bergsonian cinema of the actual and the body —one that we will examine through what Bergson’s has to say about “attitude” as well as “gesture” and “mime.” We will also look at it through a gestural concept enacted by a film, to be precise, the five remakes that comprise Lars von Trier’s and Jørgen Leth’s The Five Obstructions. This will bring us back to the idea of what it is that is being remade, both by directors and philosophers, in Renoir’s “one film” and Bergson’s singular “vanishing image” respectively. Is the “one” being remade an image understood as a representation, or is it a gesture, understood as a bodily movement? It is the latter stance that provides a wholly new and alternative view of Bergson’s philosophy of cinema. (shrink)

ABSTRACT This essay examines Satyajit Ray’s children’s film Goopy Gyne Bagha Byne to interrogate the ways it signals the utopian. Contending that its utopian desire manifests through the trope of wish-fulfillment, it illuminates the trope’s centrality in the film’s imagination and articulation of freedom. Moreover, the essay suggests that the film’s utopianism is also anchored in its irrealist aesthetics. Engaging with the film’s figuration of ghosts and its violation of the narrative structure of the real, the essay illuminates how these (...) formal features inform, and are informed by, a utopian desire. Furthermore, the essay notes that despite its inherent utopianism, Goopy Gyne Bagha Byne fails to resolve some of the more obdurate social contradictions in its diegetic world, especially around questions of class, gender, and caste. Arguing that these “failures” are in keeping with its utopian spirit, I suggest they draw our attention to the imperfections of our real conditions of existence and flag the limits of textual utopianism. In so doing, they refer negatively to the social field beyond pointing to the abiding importance of class struggle as the ultimate agent of transformative social change. (shrink)

Spatial skills predict important life outcomes, such as mathematical achievement or entrance into Science, Technology, Engineering, and Mathematics disciplines. Children significantly vary in their spatial performance even before they enter formal schooling. One correlate of children's spatial performance is the spatial language they produce and hear from others, such as their parents. Because the emphasis has been on spatial language, less is known about the role of hand gestures in children's spatial development. Some children are more likely to fall (...) behind in their spatial skills than others. Children born premature constitute such a risk group. Here, we compared performance of term and preterm-born children on two non-verbal spatial tasks—mental transformation and block design. We also examined relations of children's performance on these tasks to parental spatial language and gesture input and their own production of spatial language and gesture during an independent puzzle play interaction. We found that while term and preterm-born children as a group did not differ in the mental transformation or block design performance, children varied widely in their performance within each group. The variability in mental transformation scores was predicted by both a subset of spatial words and all spatial gestures children produced. Children's spatial language and gesture were in turn related to their parents' spatial language and gesture. Parental spatial language and gesture had an indirect relation on children's mental transformation, but not block design, scores via children's spatial language, and gesture use. Overall, results highlight the unique contributions of speech and gesture in communicating spatial information and predicting children's spatial performance. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 114-121 [Access article in PDF] TRANSFORMING IMAGES: HOW PHOTOGRAPHY COMPLICATES THE PICTURE, by Barbara E. Savedoff. Ithaca, New York: Cornell University Press, 2000, 233 pp., $35.00 hardcover. The very title of Barbara Savedoff's book invites us on a journey into photography's multiple roles. Photographic images transform their subjects at the same time that they themselves are the results of transformations. They also (...) complicate comfortable distinctions between fact and fiction because the world from which they come is complicated.This book appears at a time full of fear (felt by some) and excitement (felt by others) sparked by digital image-making, in which the culture of photography is undergoing transformations of its own. It is a passionate time, with some unwilling to throw the still photograph into the "defunct" pile, while others are all too ready to do so. The limits and possibilities of the still photograph need to be redefined if it is going to have any meaning to anyone anymore.Through the din of voices, through the heated discussions, Savedoff's voice rings clear. Her meditations on the nature of still photography and its relation to the pictorial forms that preceded it (painting, drawing, printmaking) and proceed from it (film, digital photography) are written in a style that seeks to include, not exclude the reader. Art is complicated enough. Writing about art need not complicate it further.Savedoff focuses her inquiry on the way photographs transform works of art and other representations. From the insight that this specificity allows, she attempts to build a more general account of photographic transformation. First, she examines the fascination in Western painting — a fascination that has been influenced by legends and literature — with the idea that representations are alive or can come to life. She begins with paintings that actually illustrate such legends. Then she goes on to paintings where the distinction between the "real" and the "represented" is ambiguous. One such type she calls "gestural ambiguity," found frequently in Northern Renaissance and late Italian Renaissance paintings, "where figures that are given the placement and coloring of stone statues are at the same timegiven the expressive aspect or functions of living beings. Artworks are depicted as though they were alive" (p. 14). Another type, "perceptual ambiguity," is found in Postimpressionist paintings, when artworks and "real" things are painted in the same manner (p. 24). The latter type of ambiguity is created when paintings or sculptures within a painting are depicted in a styleand scale similar to their surroundings, blurring the distinction between what is "real" and what is "represented" in the painting.Savedoff uses some excellent examples in analyzing these ambiguities. And just when the reader begins [End Page 114] to question whether, if there are different ways of achieving ambiguity in paintings of artworks, there must also be different purposes for each, Savedoff addresses precisely this. "In paintings from the Renaissance to Impressionism," she writes, "ambiguity is used to further an ideal of illusionism in art: the artwork is shown as capable of life or at least of being confused with real things" (p. 30). Although this kind of ambiguity may animate representations within the painting, it does so without casting doubt on the status of the "real" things depicted. In contrast, ambiguity used in Postimpressionist paintings were done so for quite a different effect: "to undermine any tendency of the painting toward illusionism and to undercut the status of the 'real' things depicted" (p. 30).Although she critiques the nature and purpose of ambiguity in paintings thoroughly, when Savedoff addresses ambiguity in photography her conclusions are not as well defended. In photography, she writes, "perceptual ambiguity"— that is, the blurring of the distinctions between people and representations — can result from the nature of the medium itself: "the stillness, the flatness, and, in black and white photographs, the limitation of monochrome values" (p. 43). A deliberate choice of angle, framing, and lighting by the photographer can alsoreduce the differences. "Gestural ambiguity" in photography, she continues, can be created when the photographer juxtaposes... (shrink)

Since Wittgenstein's Tractatus first appeared in 1921 two interpretations of it have been offered. The received view emphasizes the book's philosophy of mathematics, logic, and language. The alternative view stresses its philosophy of religion, ethics, and aesthetics; it thereby takes seriously Wittgenstein's assertion that the "point" of the Tractatus is ethical. The aim of my dissertation is to build upon and improve the alternative interpretation in three ways. First I show through examination of the Western mystical canon that Wittgenstein's axiology (...) is based on a conception of mentality in which the subject-object distinction is annulled. This clears the ground for clarification of the metaphor of the Tractatus as a "ladder" of transcendence. Next I illustrate through scrutiny of Schopenhauer's theory of art how this metaphor ties up with Wittgenstein's claim that "Ethics and Aesthetics are one." Like Schopenhauer, Wittgenstein holds that moral transformation may be wrought by aesthetic contemplation. I then conclude with a sketch of the Lebensform implied by such transformation which depends on the parallels implied by such transformation which depends on the parallels between Tolstoy's idea of the life outside of time and Wittgenstein's notion of das gute Leben. In so doing I depict the Tractatus's ethical point as gestural, recommending a kind of existence of which the book itself is an expressive part. (shrink)

This essay—part of a larger project of constructing a new, historically informed philosophy of dance, built on four phenomenological constructs that I call “Moves”—concerns the second Move, “gesture,” the etymology of which reveals its close connection to the Greek word “metaphor.” More specifically, I examine the treatments of gesture by the philosophers George Herbert Mead and Etienne Bonnot de Condillac, both of whom view it as the foundation of language. I conclude by showing how gesture can be used in analyzing (...) various types of dance, which in turn suggests transformational potential for philosophy, dance, and society as a whole. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Most Crucial Gesture for a Living BeingLuce Irigaray (bio)When I wrote L'oubli de l'air, my first book on Heidegger, published in 1983–translated as The Forgetting of Air in 1999–the problem of breathing was almost ignored, strange, even inappropriate. As it was for the figure of Antigone, which is connected to it, in Speculum in 1974, to speak of air seemed to be irrelevant, not to say suspicious. In (...) our Western tradition, life as such was not a subject that could be culturally approached. It was too trivial and not worthy of Culture. We are just beginning to understand where that has led us. Indeed, breathing is the most crucial key component of our relation to ourselves, to the other(s) and to the world. And it is a pity that we only discover that because our breathing is now more than ever put in danger.Breathing in relating to ourselvesComing into the world requires us to breathe by ourselves. We were conceived by two different beings and, in the womb of our mother, we received oxygen through her blood. Being born means assuming the fact that we are each only one(s), alone, and we must take charge of our own being to live. This, at first, happens naturally. Our body breathes to survive. But no one and nothing, at least in the West, teaches us how to develop this breathing–except, sometimes, by singing… And yet, our breath is that which allows us to reach our full humanity.Breathing is necessary not only to survive but also to transform a mere natural existence into a human and spiritual existence that remains fleshly. In our tradition, the spiritual, and more generally the cultural, is considered to be something abstract, which is imposed on us to master and dominate our natural belonging. Such a way of conceiving of our becoming human splits us into two irreconcilable parts, of which one rests uncultivated in the family home, or at least at the level of the so-called private life, and the other is dependent on authorities who are presumed to know the path we must follow to become cultured and spiritual. Thus, the development of our existence evades our responsibility and our [End Page 207] shaping. We are torn between a subjection to nature and a subjection to culture, without reaching our unity and the possibility of a real being in charge of our existence and of a becoming of our own. Besides, the latter is paralyzed by the split between our body and our mind, each needing the other to evolve as a human being.It could be otherwise, if our upbringing and our school and academic education would include how to cultivate our breathing. As is the case in the beginning of our life, breathing by ourselves is the condition of our autonomous and personal development. A living being must grow to remain alive and it must grow in faithfulness to its own origin. In fact, few people continue growing beyond a natural development. This means that they then begin to die and never become really human–which requires a becoming other than merely natural. They are sort of automata, resulting from a certain time and place determined by history and the environment. They do not live and behave according to a dynamism and an identity of their own. They are products of a socio-cultural milieu, pieces of a constructed world, without bringing to the world the unique and irreducible presence of a living being.To be capable of a true faithfulness to ourselves, we must cultivate our breathing, which permits us to continuously pass from our bodily belonging to a personal, cultured belonging by transforming the properties of our own breath. Indeed, this can evolve from a more material and undifferentiated to a more subtle, individual and spiritual nature and consistency. It is so much so that our Judeo-Christian tradition asserts that we were born of the breath of God. After doing yoga for more than forty years, I would like to suggest that we can be born again by making our breathing spiritual. What is more, we then... (shrink)

According to the deductivist view of mathematics which became the rule during the nineteenth century, formal proofs working with symbolic formulas replaced the intuitive knowledge that used to be gained by the step-by-step construction of geometric fgures and diagrams. Twentieth century epistemological refection on symbolic formulas and formal proofs, however, took them to be diagrams respectively exhibiting formal relations and transformations. The claim was also made that, for such diagrams to be proofs, temporal displays of transformations—and of other speech acts—were (...) required. By returning to the signifcant elements of contemporary theories of mathematical proofs, we will here show how these proofs came to be a matter for semiotics and pragmatics as much as for formal logic. Once this is done, we will provide a few arguments against the standard objections to the ability of diagrams to present temporal order or perform speech acts. (shrink)

What does it mean to be responsible for our actions? In this brief and elegant study, Giorgio Agamben traces our most profound moral intuitions back to their roots in the sphere of law and punishment. Moral accountability, human free agency, and even the very concept of cause and effect all find their origin in the language of the trial, which Western philosophy and theology both transform into the paradigm for all of human life. In his search for a way out (...) of this destructive paradigm, Agamben not only draws on minority opinions within the Western tradition but engages at length with Buddhist texts and concepts for the first time. In sum, Karman deepens and rearticulates some of Agamben's core insights while breaking significant new ground. (shrink)

Sartre’s Critique of Dialectical Reason depends upon an ideal of subjectivity that operates linguistically. The subject of the Critique progresses through three transformations: first, the organic subject; second, the serial subject; third, the common subject. Each stage reveals different configurations of the expressive possibilities inherent in Sartre’s late conception of subjectivity and his materialistic view of language. The organic subject emerges in the initial contradiction between the human organism and its material environment. This contradiction results in the primordial movement of (...) signification that projects a future structured in response to the material system. The serial subject then emerges within the system of language and a social structure of antagonistic struggle. Finally, the common subject emerges out of the dissolution of the serial subject by means of a repetition of the original expressive gesture. This common subjectivity is the site of a complete communication occurring within the group-in-fusion. (shrink)

This paper will philosophically extend Julian Leff’s Avatar therapy paradigm (AT) for voice-like hallucinations that was initially proposed for treatment-resistant Schizophrenia patients into the realm of gesture-enhanced embodied cognition and Virtual Reality (VR), entitled g+TA (gesture-enhanced Avatar Therapy). I propose an philosophy of technology approach of embodied rhetorics of triadic kinetic “actions” in the sense of Charles Sanders Peirce that transforms the voice hallucination incorporated by an avatar- and that can confront acousmatic voice-like hallucinations with a method of gesture synchronization (...) and dyssynchronization and gestural refusal of interaction that the player with the Avatar can resist in full embodiment. This paper therefore introduces a gesture-enhanced, extended version of Cybertherapy with Avatars that tackle multimodal bodily experience of voice-like hallucinations beyond mere visual or auditory stimulation. This is put forward theoretically in a 4E-cognition approach that expands Avatar Therapy with gestures into VR. (shrink)

Using Foucault’s conceptual frame from The Archaeology of Knowledge to read Foucault’s late deployment of “spirituality,” this article argues that Foucault’s enigmatic gesture in using this concept reveals a refusal of “rupture” from the Christian pre-modern discourse of “spirit.” Despite attempts to alter the “field of use,” Foucault’s genealogical commitment ensures a Christian continuity in modern discourses of transformation. In a detailed examination of the 1982 Collège de France lectures, the article returns Foucault’s use of “spirituality” to the Alexandrian joining (...) of philosophy and theology and the specificity of Christian practice and belief. (shrink)

The challenge I address in this chapter is a fear of repetition, as I turn to a performance by an artist whose work has already provoked my own thought and writing—the Chinese-born artist based in Germany, Yingmei Duan. At a performance in a London gallery, in spite of my personal acquaintance with the artist and despite my own fears, misgivings, and hesitancy, I found space-time-matter transformed by her presence. Or perhaps it is because of this hesitancy and the unanticipated power (...) of the gesture that I was prompted to respond in kind, mouthing manacled words to camera in the making of a video piece that attempted to link on to that gesture. The art is in the gesture, not the artist or the work, and it is the presence of the remainder that is the concern of this chapter. In what follows, I attempt to evoke the complexity of the gesture, which resists and rejects expected articulations, prompting a transference of affect. Accepted forms of communication are broken down and the codified body dismembered, as Lyotard writes: “The body doesn’t belong to you.”. (shrink)

Theater rehearsals are (usually) confronted with the problem of having to transform a written text into an audio-visual, situated and temporal performance. Our contribution focuses on the emergence and stabilization of a gestural form as a solution for embodying a certain aesthetic concept which is derived from the script. This process involves instructions and negotiations, making the process of stabilization publicly and thus intersubjectively accessible. As scenes are repeatedly rehearsed, rehearsals are perspicuous settings for tracking interactional histories. Based on videotaped (...) professional theatre interactions in Germany, we focus on consecutive instances of rehearsing the same scene and trace the interactional history of a particular gesture. This gesture is used by the director to instruct the actors to play a particular aspect of a scene adopting a certain aesthetic concept. Stabilization requires the emergence of shared knowledge. We will show the practices by which shared knowledge is established over time during the rehearsal process and, in turn, how the accumulation of knowledge contributes to a change in the interactional practices themselves. Specifically, we show how a gesture emerges in the process of developing and embodying an aesthetic concept, and how this gesture eventually becomes a sign that refers to and evokes accumulated knowledge. At the same time, we show how this accumulated knowledge changes the instructional activities in the rehearsal process. Our study contributes to the overall understanding of knowledge accumulation in interaction in general and in theater rehearsals in particular. At the same time, it is devoted to the central importance of gestures in theater, which are both a means and a product of theatrical staging. (shrink)

There are as many meanings to drawing and painting as there are cultural contexts for them to exist in. But this is not the end of the story. Drawings and paintings are made, and in their making embody unique meanings that transform our perception of space-time and sense of finitude. These meanings have not been addressed by art history or visual studies hitherto, and have only been considered indirectly by philosophers. If these intrinsic meanings are explained and further developed, then (...) the philosophy of art practice is significantly enhanced. The present work, accordingly, is a phenomenology of how the gestural and digital creation of visual imagery generates self-transformation through aesthetic space. (shrink)

Departing from the intention to explore Frank Gehry’s drawings serving to their own designer to grasp ideas during the process of their genesis, the article examines Frank Gehry’s concern about the revelation of the first gestural drawings and all the sketches and working models concerning the evolution of his projects, and his intention to capture the successive transformation and progressive concretisation of architectural concepts. The article also compares Gehry’s design process with that of Enric Miralles, Alvar Aalto, Bernard Tschumi, and (...) Le Corbusier. It sheds light on Miralles, Aalto, Le Corbusier and Gehry’s interest in a holistic understanding of all the parts of an architectural project, which is expressed through their tendency to draw the different sketches concerning the same project on the same sheet of paper. At the core of Gehry’s design approach is the osmosis of function and morphology. This aspect of his design vision could be compared to Alvar Aalto’s design process. At the core of the article are the distinction between communication drawings and conceptual drawings, and Gehry’s concern about achieving an osmosis between function and morphology. The article also investigates Gehry’s use of uninterrupted self-twisting line in his sketches, exploring his intention to enhance a straightforward relationship between the gesture and the decision-making regarding the form of the building. (shrink)

Although we tend to associate social transformation with major events, historical turning points, or revolutionary upheaval, Revolutionary Routines argues that seemingly minor everyday habits are the key to meaningful change. Through its account of influential socio-political processes – such as the resurgence of fascism and white supremacy, the crafting of new technologies of governance, and the operation of digital media and algorithms – this book rethinks not only how change works, but also what counts as change. Drawing examples from the (...) affective politics of Trumpism and Brexit, nudge theory and behaviour change, social media and the international refugee crisis, and the networked activism of Occupy and Black Lives Matter, Carolyn Pedwell argues that minor gestures may be as significant as major happenings, revealing the powerful potential in our ability to remake shared habits and imaginatively reinhabit everyday life. Revolutionary Routines offers a new understanding of the logics of habit and the nature of social change, power, and progressive politics, illustrating diverse forms of consciousness and co-operation through which political solidarities might take shape. (shrink)

On 6 January 1795, the twenty-year-old Schelling—still a student at the Tübinger Stift—wrote to his friend and former roommate, Hegel: “Now I am working on an Ethics à la Spinoza. It is designed to establish the highest principles of all philosophy, in which theoretical and practical reason are united”. A month later, he announced in another letter to Hegel: “I have become a Spinozist! Don’t be astonished. You will soon hear how”. At this period in his philosophical development, Schelling had (...) been deeply under the spell of Fichte’s new philosophy and the Wissenschaftslehre. The text Schelling was writing at the time was the early Vom Ich als Prinzip der Philosophie, though his characterization of this text would much better fit the somewhat later work which is the focus of the current paper: Schelling’s 1801 Darstellung meines System der Philosophie (hereafter: Presentation). The Presentation is a text written more geometrico, following the style of Spinoza’s Ethics. While Spinoza’s influence and inspiration is stated explicitly and unmistakably in Schelling’s preface, the content of this composition might seem quite foreign to Spinoza’s philosophy, so much so, in fact, that Michael Vater—the astute translator and editor of the recent English translation of the text—has contended that “despite the formal similarities between Spinoza’s geometrical method and Schelling’s numbered mathematical-geometrical constructions, Schelling’s direct debts to Spinoza are few”. The Presentation is an extremely dense and difficult text, and while I agree that at first glance Schelling’s engagement with the concept of reason (Vernunft) and the identity formula ‘A=A’ seems to have little if anything to do with Spinoza (especially since Spinoza’s key terminology of ‘God’, ‘causa sui’, ‘substance’, ‘attribute’, and ‘mode’ is barely mentioned in the Presentation), I suspect that at a deeper level Schelling is attempting to transform Spinoza’s system by replacing God, Spinoza’s ultimate reality, with reason. Though this might at first seem bizarre, I believe it can be profitably motivated and explained upon further reflection. It is this transformation of Spinoza’s God into (the early) Schelling’s reason that is the primary subject of this study. I develop this paper in the following order. In the first part I provide a very brief overview of Schelling’s lifelong engagement with Spinoza’s philosophy, which will prepare us for my study of the 1801 Presentation. In the second part, I consider the formal structure and rhetoric of the Presentation against the background of Spinoza’s Ethics, and show how Schelling regularly imitates Spinoza’s tiniest rhetorical gestures. In the third and final part I turn to the opening of the Presentation, and argue that Schelling attempts there to distance himself from Fichte by developing a conception of reason as the absolute, or the identity of the subject and object, just as the thinking substance and the extended substance are identified in Spinoza’s God. (shrink)

Several prominent contemporary philosophers, including Jürgen Habermas, John Caputo, and Robert Bernasconi, have at times painted a somewhat negative picture of Gadamer as not only an uncritical traditionalist, but also as one whose philosophical project fails to appreciate difference. Against such claims, I argue that Gadamer’s reflections on art exhibit a genuine appreciation for alterity not unrelated to his hermeneutical approach to the other. Thus, by bringing Gadamer’s reflections on our experience of art into conversation with key aspects of his (...) philosophical hermeneutics, we are able to better assess the viability of Gadamer’s contributions to contemporary discussions of difference and alterity. -/- Sections two through six focus on key concepts in Gadamer’s account of art’s dynamic ontology and our experience of art. Such concepts include the play structure of art, hermeneutic identity, tarrying with a work, and contemporaneity. The opening sections provide not only a discussion of these central themes, but they also (1) draw attention to the various ways in which difference and otherness are integral to Gadamer’s account, and (2) utilize relevant musical examples that prepare the reader for a more focused discussion of a Gadamerian approach to free jazz in section seven. By highlighting how Gadamer’s understanding of art possesses a dialogical play structure, is characterized by identity and difference, requires actively engaged spectators and auditors, and is amenable to what many criticize as an unintelligible musical expression, viz. free jazz, Gadamer’s project is shown as other-affirming and open to ambiguity and dynamism. That is, the essential structures and concepts characterizing Gadamer’s reflections on art are likewise central to his overall hermeneutical project, and hence are not rightly described as un-attuned to difference or other-negating. Rather, Gadamer’s philosophical project upholds difference, since it requires a dialogical interplay between self and other that creates the possibility for a transformative experience. (shrink)

In contemporary societies, the processes of transindividuation by which knowledges are transformed into cycles and rhythms of metastability have been dramatically short-circuited. In turn, this has provoked the spiritual misery and pseudo-fabulations so prevalent all around us, including our educational contexts. For Stiegler, this is nothing short of a noetic reticulation that deprives us from ways of thinking ourselves beyond or outside of our digital experience. But digitality has not only intensified the commodification of knowledges (savoirs), it has also rendered (...) even knowledge production automated, recursive and probabilistic, the uncritical implementation of ChatGPT being a prime example. What this means is that knowledge and knowledge production have been subsumed under the rubric of recursive optimization for predictive performance. To understand this transformation, I discuss the implications of the widespread use of Bayesian statistics in machine learning. My argument is that we need to develop new speculative tools aimed at what is known as priors in Bayesian models, which is to say the probability of an occurrence before the collection of new data. What this means for education is that we need to address not only the effects of automation, but also the very conditions that give rise to these. (shrink)

Interactivity has been linked to better performance in problem solving, due in part to a more efficient allocation of attentional resources, a better distribution of cognitive load, but perhaps more important by enabling the reasoner to shape and reshape the physical problem presentation to promote the development of the problem solution. Interactivity in solving quotidian arithmetic problems involves gestures, pointing, and the recruitment of artefacts to facilitate computation and augment efficiency. In the experiment reported here, different types of interactivity (...) were examined with a series of mental arithmetic problems. Using a repeated-measures design, participants solved series of five 11-digit sums in four conditions that varied in the type of interactivity: no interactivity, pointing, pen and paper, and tokens. Performance in the four conditions was measured in terms of accuracy, calculation error, and efficiency. These quantitative analyses were supplemented by a detailed qualitative examination of a participant’s actions in the different conditions. The integration of artefacts, such as tokens or a pen, offered reasoners the opportunity to reconfigure the physical presentation of the problem, enacting different arithmetic strategies: the affordance landscape shifts as the problem trajectory is enacted through interactivity, and this generally produced better “mental” arithmetic performance. Participants also felt more positive about and better engaged with the task when they could reconfigure the problem presentation through interactivity. These findings underscore the importance of engineering task environments in the laboratory that offer a window on how problem solving unfolds through a coalition of mental and physical resources. (shrink)

A fresh, graceful translation of one of the most important and timeless classics-the foundational work of Daoism-by award-winning novelist Ken Liu, who contextualizes and demystifies this famously enigmatic text. Laozi's Dao De Jing was written around 400 BC by a compassionate soul in a world torn by hatred and ambition, dominated by those that yearned for apocalyptic confrontations and prized ideology over experience. By speaking out against the cleverness of elites and the arrogance of the learned, Laozi upheld the wisdom (...) of the concrete, the humble, the quotidian, the everyday individual dismissed by the great powers of the world. Earthy, playful, and defiant, Laozi's words gave solace to souls back then, and offer comfort today. Now, this beautifully designed new edition serves as both an accessible new translation of an ancient Chinese classic and a fascinating account of renowned novelist Ken Liu's transformative experience while wrestling with the classic text. Throughout this translation, Liu takes us through his own struggles to capture the meaning in Laozi's text in a series of thoughtful and provocative interstitial entries. Unlike traditional notes that purport to be objective, these entries are explicitly personal and unapologetically subjective. Gradually, as Liu learns that true wisdom cannot be pinned down in words, the notes grow sparser until they fade away entirely. His journey suggests the only way out of struggle is to engage with texts that have survived the millennia, wrestling with ideas that gesture at something eternal, in hopes that we might eventually reach that moment of transcendent joy. Liu's translation, by eschewing cleverness, paradoxically reveals the slipperiness of Laozi's original. The Dao De Jing has been translated countless times and will be translated countless times in the future. In that constant change and flow, we finally find our home in Dao, the eternal principle that allows us, finite beings in time and space, to reckon and reconcile with the infinite. (shrink)

This article explores the connection between habits and the performing arts, arguing that habits are not only fundamental to the practice and appreciation of these arts but also inherently performative in nature. Drawing on insights from various philosophical traditions (including cognitive science, pragmatism, and phenomenology), it examines how habits function within artistic processes as resources for creativity and adaptation. Engaging critically with Noë’s interpretation of the entanglement between art and life, this article highlights the dual nature of habits: as routine (...) practices that scaffold artistic expression and as dynamic, transformative elements responsive to specific cultural and performative contexts. By focusing on key notions such as gesture, style, and rituality in the performing arts, this article discusses the role of habits in aesthetic experiences, highlighting how habits shape both artistic performances and audience engagement. This perspective challenges traditional views that oppose habits to creativity, defending instead the idea that habits are creatively operative in both the performing arts and their reception. (shrink)

. Certain properties of the body and emotions facilitate the transmission of religious knowledge and the development of religious states through particular qualities of perception and memory. The body, which is the ground of religious experience, can be understood as transformative: the characteristic that recalled emotion is “refelt” in the present enables emotion to be cultivated or developed. Emotions and the stimuli that evoke them are necessarily culturally specific, but the automatic nature of this process is universal. Religious traditions (...) have made use of these processes to educate the feeling toward certain qualities and to develop religious experience, through the use of sacred images, ritual posture and gesture, and repetition of ritual acts. Neuroscience contributes to our understanding of the emotional processes that take place when emotions are evoked, refelt, and developed; the neurobiological processing of emotion parallels experience. Keeping experience central makes it possible to bring religion and neuroscience together in a nonreductive examination of spiritual experience. (shrink)

The role of gesture in music has been widely investigated in different disciplines, from experimental psychology to aesthetics, from musicology to anthropology. What seems to drive the different researches is the question about the relationship arising between gestures and sound, and how this relationship affects the experience of music. In this article, I focus on the role of the hand in the production, listening and expression of music. After briefly referring to the influence of body development on language, I (...) consider some typical responses to listening to music that involve the hand, suggesting that musical experience relies on the ability of the listener-performer to transform sound perceptions into motor units. In the conclusion, I delve deeper into the topic in a phenomenological direction, proposing that gestures can be configured as a bodily continuation of the musical material rather than mere motor reactions or conventional responses to sound perception. (shrink)

Arguably, there is no gesture more typical to philosophy than its repudiation, the sense that philosophical endeavor is a symptom of the pathologies or dislocations of everyday life it seeks to remedy. Throughout the nineteenth century—in the writings of the German Romantics, Young Hegelians, Marx, Kierkegaard, and Nietzsche—the repudiation of philosophy is a constant. Sometimes this repudiation takes a reflective form in which traditional philosophical claims are translated into another vocabulary, or are deflated ; sometimes alternative methods are adopted that (...) attempt to undermine, explain away, what is thought of as uniquely philosophical; sometimes rhetorical strategies are adopted that aim to bring about a “conversion” in the reader away from philosophy and toward a more fully immanent or existential self-understanding; and sometimes that more everyday self-understanding that is to be the antidote to philosophical reflection is construed as not yet available but would come to be in an ideal or utopian future if particular radical transformations of current practices were accomplished. Apart from Kierkegaard, these attempts typically construe themselves as continuous with the critique of religion, as if philosophy were nothing but religious excess in rational dress, and thus continuous with modernity’s drive toward secularity. Because the stakes of repudiation are inevitably normative—the protest against philosophy for the sake of a more “realistic,” more truly natural or historical, conception of what is rational or good—the critique of philosophy becomes, despite itself, philosophical, burdened with presuppositions it can neither sustain nor forgo. In brief, this is the lesson of Daniel Brudney’s meticulous and patient excavation of the writings of the young Marx. (shrink)

Marta Suria writes *Ella soy yo* as part of her response to the irruption of the memories of the sexual aggressions she had suffered since childhood. She is convinced that the way she narrates her experience will transform and liberate her. How is it at all possible that a certain kind of narrative may transform and li- berate us? In this paper, we will first describe the conception of the relationship between language and experience that lies behind this perplexity and, (...) secondly, we will sketch an alternative conception that will hopefully allow us to account for the transformative power of certain kinds of narratives. This alternative conception will hinge on the idea of expression and on the concept of aspect perception. For this purpose, we will firstly argue that language can be used not only to describe or evaluate our experience, but also to express it; we will, then, defend the view that linguistic or gestural expressions of our experiences not only announce or manifest them, but contribute to shaping and modulating them; finally, we will highlight the transformative, humanizing power of certain expressive uses of language. (shrink)

Since Hegel, philosophy cannot stop thinking its end. The violent transformations which Hegel's philosophy has uncovered and caused in the structure of philosophical terms and in the terms under which philosophy is possible is Hamacher's topic. Starting from Hegel's commentaries on biblical scripture, Hamacher traces the genealogy and unfolding of Hegel's thought into his mature works--the Phenomenology of Spirit, the Encyclopedia, the Philosophy of History--focusing throughout on the limits and borders, the limitations and extremities of its conceptual and textual movements. (...) Because the concept for Hegel is the end of the thing--the point where it peaks--because it occurs by severance from its representational content, the trace of this splitting appears imprinted into its discursive articulation. The Hegelian text is punctuated by a series of terms and topics that operate according to the logic of the turning point: one function activating its opposite, they serve as pores between mutually exclusive experiences and establish their unity. This dialectical procedure falters, its unity dissolves, the pores turn into aporias, wherever conceptual exigencies surpass the reality they have instilled. Hamacher shows that dialectics, proceeding by way of aporias, remains unable to account for its own movement. Hegel's system must be read from the point where its rupture fails to converge with its end. Analyzing both the historical and the systematic aspects of Hegel's philosophy, addressing Kant and religious fetishism, Nietzsche and the impossible repetition of the same, Marx and the aroma of religion, Freud and the hysterical body, Hamacher's argument is directed toward what in Hegel's philosophy of spirit resists spiritualization and defeats philosophy. Aspiring to be the last philosophy, speculative idealism has to incorporate all previous systems and spiritualize its incorporation. Its logic of ingestion must, however, reject with repulsion and nausea everything that resists appropriation. Emphasizing Hegel's claim to present the political theology of modern society, Hamacher shows that the mechanism of nausea meant to keep the system intact is in fact itself a mechanism foreign to its body; it averts the promised incorporation, defeats idealization, leaves the body politic disintegrated, and voids the claim of the most powerful ontology of modern society to mark the end, the completion and plenitude--the pleroma--of philosophy and history. What remains--the indigestible, the unreadable, the nondiscursive--demands yet another kind of discourse and another practical gesture: toward a pleroma other than Hegel's. (shrink)

A leading philosopher and theologian, Jean-Louis Chrétien uses poetry and painting to explore a theme that runs through all of his work: how human life is shaped by the experience of call and response. For Chrétien, we live by responding to the call of experience with words, gestures, expressions, and silence. In luminous meditations on Rembrandt, Delacroix, Manet, Verlaine, Keats, and other artists, Chrétien shows how “talking hands of painters” and the “secretly lucid” voices of poets confront the finitude (...) of the human body. Hand to Hand is a deeply cultured renewal of art in all its provocative, transforming, spiritual presence. (shrink)

Seen as contributing to human enhancement, implanted technologies have recently been receiving a lot of attention. However, reflections on these technologies have taken the shape of rather speculative ethical judgments on “hyped” technological devices. On the other hand, while science and technology studies and philosophy of technology have a long tradition of analyzing how technological artifacts and tools transform and configure our lives, they tend to focus on use configurations rather than the intimate relations brought about by implanted technologies. Even (...) the cyborg has lost some of its hermeneutic power as it has been detached from its material grounds, becoming a discursive entity. In this article, I reclaim the importance of materiality and explore how people live with spinal cord stimulation, which is a type of neuromodulation technology. Implanted in bodies and seemingly out of sight, this technology does not cease to matter. Embodiment and incorporation are crucial for people to live well with SCS. Embodying the neuromodulation technology entails groping processes in which gestures are central and an increased intimacy with one’s bodily materiality. Incorporating it is highly relational and entangled with the bodies of loved and distant ones, humans and nonhumans. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Witness of the Body: The Past, Present, and Future of Christian Martyrdom ed. by Michael L. Budde and Karen ScottElizabeth Sweeny BlockWitness of the Body: The Past, Present, and Future of Christian Martyrdom Edited by Michael L. Budde and Karen Scott Grand Rapids, Mich.: Eerdmans, 2011. 238 pp. $22.00In Michael L. Budde’s introduction to this volume, he asserts its twofold purpose: to identify criteria for distinguishing authentic Christian (...) martyrdom from inauthentic and to return martyrdom to a more central place in Christian life. This collection of essays—some of which were presented as part of a lecture series at DePaul University during the 2006–7 academic year—aspires to reconsider and redefine martyrdom in order to remove both the “freak-show element” and the “heroic exceptionality” associated with martyrdom in modern culture (viii). The goal of the volume, which is part of the Eerdmans Ekklesia Series, is to resituate martyrdom within the everyday life of the church, and the majority of the essays argue for the ongoing significance of a revised martyrdom for this distinctive community. These eleven essays are as much about martyrs themselves as they are about how martyrdom is perceived, received, and remembered. The interdisciplinary volume [End Page 211] is successful in encouraging a broader understanding of martyrdom, one that may not necessarily include death, and in drawing attention to the ongoing need for memorializing Christian martyrs to inspire commitment and transformation.The volume is divided into four parts representing both chronological and substantive distinctions. Part 1, “Martyrdom as the Church’s Witness,” introduces the problem of isolating the requirements of martyrdom and defining who fits into this category, a challenge addressed throughout the volume. Part 2, “Martyrdom Builds the Church,” discusses positive elements of martyrdom, especially with respect to the value of women’s bodies, drawing on both the early female martyrs in general and Joan of Arc in particular. Part 3, “Martyrdom Destroys the Church,” recounts some of the most difficult aspects of modern martyrdom, calling for a more accurate history and recognition of the emergence of a new kind of martyrdom in which one’s loyalty is to country, not faith. Part 4, “Martyrdom and the Future Church,” calls attention to the need to continue celebrating the memory of martyrs and describes the contemporary Christian martyr as a peacemaker not seeking martyrdom in the traditional sense of the word.What stands out as a theme across a number of the essays, and what I judge to be a valuable contribution to Christian ethics, is an emphasis on the way martyrs live(d), suggesting that what can and should be emulated by Christians today is a commitment to action on behalf of conversion and transformation. Tripp York’s essay rightly argues that martyrdom need not be viewed as merely reactionary, as a way of life in opposition to something, but as transformative and “for the sake of the world” (37). Michael Budde makes a similar assertion that martyrdom is better defined as deep loyalty than as treason, thereby suggesting that this kind of loyalty to Christ ought not to be limited to the special calling of a few but seen as the commitment of all Christians. Stephen Fowl’s essay conveys the meaning of the title of this volume, identifying martyrdom as part of the larger practice of “believers’ witness of the body to God’s drama of salvation” (44). He argues that in life or death, one can magnify Christ, and one’s bodily actions and responses can reflect one’s character and commitments. Emmanuel Katongole provides powerful recognition of the ways in which Christian martyrs “keep the church from sleeping” (193) and “embody the mundane gestures and practice of peaceableness in their everyday living” (199). This volume succeeds in shifting the focus from martyrdom in the traditional sense—being put to death because of one’s faith—to the ways Christians today remember, respond to, and emulate the lives and actions of martyrs. [End Page 212]Elizabeth Sweeny BlockUniversity of ChicagoCopyright © 2013 Society of Christian Ethics... (shrink)

On June 11, 1963, in a dramatic gesture that caught the nation's attention, Governor George Wallace physically blocked the entrance to Foster Auditorium on the University of Alabama's campus. His intent was to defy Attorney General Nicholas Katzenbach, sent on behalf of the Kennedy administration to force Alabama to accept court-ordered desegregation. After a tense confrontation, President Kennedy federalized the Alabama National Guard and Wallace backed down, allowing Vivian Malone and James Hood to become the first African Americans to enroll (...) successfully at their state's flagship university. That night, John F. Kennedy went on television to declare civil rights a "moral issue" and to commit his administration to this cause. That same night, Medgar Evers was shot dead. In The Schoolhouse Door, E. Culpepper Clark provides a riveting account of the events that led to Wallace's historic stand, tracing a tangle of intrigue and resistance that stretched from the 1940s, when the university rejected black applicants outright, to the post-Brown v. Board of Education era. We are there in July 1955 when Thurgood Marshall and lawyers at the NAACP Legal Defense Fund win for Autherine Lucy and "all similarly situated" the right to enroll at the university. We are in the car with Lucy in February 1956 as university officials escort her to class, shielding her from a mob jeering "Lynch the nigger," "Keep 'Bama white," and "hit the nigger whore." Clark exposes the many means, including threats and intimidation, used by university and state officials to discourage black applicants following the Lucy episode. And he explains how University of Alabama president Frank Anthony Rose eventually cooperated with the Kennedy administration to ensure a smooth transition toward desegregation. We also witness Robert Kennedy's remarkable face-to-face plea for Wallace's cooperation and the governor's adamant refusal: "I will never submit voluntarily to any integration in a school system in Alabama." As Clark writes, Wallace's carefully orchestrated surrender would leave the forces of white supremacy free to fight another day. And the Kennedys' public embrace of the civil rights movement would set in motion a political transformation that changed the presidential base of the Democratic party for the next thirty years. In these pages, full of courageous black applicants, fist-shaking demonstrators, and powerful politicians, Clark captures the dramatic confrontations that transformed the University of Alabama into a proving ground for the civil rights movement and gave the nation unforgettable symbols for its struggle to achieve racial justice. (shrink)

The objective to which this manuscript is oriented to is focused on the analysis of interpersonal communication in sport. The multimodal essence of human nature adopts special characteristics in individual and team sports, given the roles that athletes adopt in different circumstances, depending on the contingencies that characterize each competition or each training session. Themixed methodsframework allows us to advance in the ways of integration between qualitative and quantitative elements, taking advantage of the proven possibilities of systematic observation, which we (...) can considermixed methodin itself, and which provides rigor and flexibility in the study of the communicative flow in sport. In any sport, the procedure followed by systematic observation may require direct observation, which is characterized by its high perceptiveness, or indirect observation, when it comes to verbal behavior or documentary material. In all cases, the procedure is structured in three macro-stages: QUAL-QUAN-QUAL. In this work we start from a conceptual positioning about interpersonal communication, to later show the sequential gear in sports about obtaining qualitative data, its transformation into other types of data that are still qualitative but have been structured, analyze them quantitatively, and return to a qualitative stage where the interpretation of the results is possible. This process ofquantitizingconstitutes the cornerstone that gives shape and structure to any research on interpersonal communication in sport that combines the fine nuances of qualitative data (a motor action, a gesture, an exclamation,…) with the power of robust quantitative data analysis suitable for the treatment of organized qualitative data, which will provide qualitativefeed-back. (shrink)

Brain–machine interfaces are systems that allow the control of a device such as a robot arm through a person’s brain activity; such devices can be used by disabled persons to enhance their life and improve their independence. This paper is an extended version of a work that aims at discriminating between left and right imagined hand movements using a support vector machine classifier to control a robot arm in order to help a person to find an object in the environment. (...) The main focus here is to search for the best features that describe efficiently the electroencephalogram data during such imagined gestures by comparing two feature extraction methods, namely the continuous wavelet transform and the empirical modal decomposition, combined with the principal component analysis that were fed through a linear and radial basis function kernel SVM classifier. The experimental results showed high performance achieving an average accuracy across all the subjects of 92.75% with an RBF kernel SVM classifier using CWT and PCA compared to 80.25% accuracy obtained with EMD and PCA. The proposed system has been implemented and tested using data collected from five male subjects and it enabled the control of the robot arm in the right and the left direction. (shrink)

To ask about the future of Husserlian Phenomenology at this time is actually quite a natural gesture – caught up, as it is, in the anxiety wrought by the difficulties that come with the beginning of a new millennium and the malaise of the postmodern. Though, it must be borne in mind that it is a gesture that simultaneously puts the sense of ‘naturalness’ into question. It answers to a conscientious zeitgeist that seeks to catch itself in mid-act (between breaths) (...) – as an attitudinal re-orientation, break, or moment of suspense – in order to find its bearings and to re-discover its responsibility as a rigorous philosophical praxis. And, as it does so, the history of the movement of phenomenology exemplifies nothing other than the constant re-iteration of this turn to momentarily step outside its history (or, at least, a naïve, un-reflective attitude to it) in order to re-turn to itself with greater clarity and precision. This is the epoché at the heart of phenomenology as it unfolds in time. Thus, in order to re-gather itself and to re-establish the sense / significance of its time / history so as to forge ahead, phenomenology must perpetually return to its beginnings. This is, arguably, the essence of the meaning of phenomenology as an ‘infinite task.’ This infinite task is none other than an infinite re-iteration of phenomenological questions that always remain open to further analysis. Such is the thought of a ‘phenomenology of phenomenology,’ which traces itself throughout Husserl's work.1 1 To ask about the future of Husserlian phenomenology already problematizes the idea of a ‘terminus.’ If this elicits panic and alarm in certain philosophic and scientific domains then this is only the effect of an orientation that has not grasped the meaning of epoché. It is a question of a change in consciousness itself – a transformation of the manner of waiting-towards the not-yet.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Image of the Performing BodyEric C. Mullis (bio)Elsewhere I have discussed the principles of embodied expression that are developed in the practice of the performance arts—dance and theatre.1 These principles, it was argued, disclose the work that must be done in order to transform the human body into an aesthetically expressive medium. That is, precarious balance, the interplay of oppositional energies, and the compression of energy must be (...) mastered if a performance artist is to overcome the artifice of the stage and develop scenic presence. However, in that essay I said little regarding the manner in which the body acquires these skills and little about the effects that the transformation has on the artist's experience of embodiment. I would like to continue here by discussing how the body is modified in the process of developing the skill sets necessary for performance as well as how this developmental process affects the performer's corporeal experience. More specifically, I will draw on the notions of the body schema and the body image in order to clarify how the body can be transformed into an aesthetically expressive medium. In the first section I discuss the functions of the body image and body schema as well as the nature of their interaction. In the second section I discuss what relevance these concepts have for our understanding of the skill acquisition process. Finally, since the points made in the first two sections can be applied to non-peformative practices (such as sport, yoga, and martial arts) the last section focuses on the performance arts by discussing how the body schema and body image are developed in order to create a space of effective gesture.Body Image and Body SchemaShaun Gallagher argues that "The body image consists of a complex set of intentional states and dispositions—perceptions, beliefs, and attitudes—in [End Page 62] which the intentional object is one's own body."2 That is, there are three kinds of intentional content that constitute the body image—the body percept, the body concept, and the body affect. The image of my body is rooted in sensorimotor and kinesthetic perceptions, specific beliefs about my body, as well as emotions that often arise in response to such beliefs. Perception gives me a sense of the condition of my body at any point in time, while conceptions build upon perceptual content and allow one to understand the nature of one's embodiment. For example, the belief that the body is akin to a machine that can run well, break down, be diagnosed, and repaired is widespread since it is based in a widely accepted philosophy of medicine. That is, the body is often conceived as a thing that must be fixed by those who have the expertise that allows them to understand its intricate systems and processes. This example not only gives us insight into the perceptual and conceptual content of the body image but also demonstrates that beliefs about the body are conditioned by culture. This latter point is also supported by observations regarding the manner in which the body is invested with emotion. For example, some may feel frustrated with their bodies since they do not meet social standards of beauty, while others experience the joys of physical competition and accomplishment that are brought about by participating in widely practiced games. This brief discussion illustrates that the image that one has of one's body is a synthesis of perceptual experience, beliefs about the nature of one's body, and emotional responses.In 1911 Head and Holmes defined the body schema as the postural model of the body.3 In this account, the body schema functions by continually comparing the body's present posture to those held in the immediate past. That is, at the preconscious level, the schema provides a standard against which changes in posture can be judged. It must be stressed that the body schema functions below the surface of consciousness and, unlike the body image, does not include perceptions, attitudes, or beliefs about the body and is consequently not subject to cultural influence. Gallagher notes that the body schema "is a system of sensory-motor... (shrink)

continent. 1.2 (2011): 92-93. A collection of Images produced by intentionally corrupting the circuitry of a Kodak DC280 2 MP digitalcamera. By rewiring the electronics of a digital camera, glitched images are produced in a manner that parallels chemically processing unexposed film or photographic paper to produce photographic images without exposure to light. The DCP Series of Digital Images are direct visualizations of data generated by a digital camera as it takes a picture. Electronic processes associated with the normal operations (...) of the camera, which are usually taken for granted, are revealed through an act of intervention. The camera is turned inside­out through complexes of short­circuits, selected by the artist, transforming the camera from a picture taking device to a data capturing device that renders raw data (electronic signals) as images. In essence, these images are snap­shots of electronic signals dancing through the camera's circuits, manually rerouted, written directly to the on­board memory device. Rather than seeing images of the world through a lens, we catch a glimpse of what the camera sees when it is forced to peer inside its own mind. With the digital photo, this light, from out of the night, no longer comes entirely from the day, it doesn't come from a past day that would simply have become night (like the photons emenating from Baudelaire's face.) It comes from Hades, from the realm of the dead, from underground: it is an electric light, set free by materials from deep within the belly of the earth. And electronic, that is to say, a decomposed light. Digitization breaks the chain, it introduces manipulation even into the spectrum, and by the same token, it makes phantoms and phantasms indistinct. Photons become pixels that are in turn reduced zeroes and ones on which discrete calculations can be performed. Essentially indubitable when it was analog (whatever its accidental manipulability), the this was has become essentially doubtful when it is digital (it is nonmanipulation that becomes accidental). —Bernard Steigler, The Discrete Image There are so many ways to take something apart. Deconstruction, differentiation, dissection, dissolution. A whole slew of concepts and processes towards atomization which aim, eventually, to evoke or locate an essence of some kind, in material science as in philosophy. In picking things apart, what is it we attempt to do? To simplify? To comprehend? To confront? To disprove? With Stearns’ DCP Series we see that destructive scrutiny can sometimes bring about new forms. To create this series of images, Stearns applies circuit bending techniques to modern photography—his fingers and stray wires cutting across the camera’s circuitry at the moment of registration. As with Moholy­Nagy’s vinyl records and Nam June Paik’s cathode ray TVs, Stearns deconstructs the technological inscription of his era. In so doing, the function of the digital camera is revealed, but its transduction inverted: A recorder becomes a synthesizer, the scientist an artist. In a single, simple gesture, these works example a media archeology of the present. We resist the urge to call these photographs. —Jamie Allen. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:ST. AUGUSTINE'S NOVELISTIC CONVERSION Tyler Graham Syracuse University In his famous biography of St. Augustine, Peter Brown attempts to explainwhat set the Confessions "apart from the intellectual tradition to which Augustine belonged" (Augustine ofHippo 169). While he concedes that "the Confessions are a masterpiece ofstrictly intellectual autobiography" (167), he concludes that it is more important to realize that they "are, quite succinctly, the story of Augustine's 'heart,' or of (...) his 'feelings'—his affectus"(169). He continues to explain that "in the Confessions, however, the evocation of Augustine's feelings forms part of the wider study of the evolution ofhis will" (172). Thus, Brown suggests that Augustine's central anthropological concern is to determine the origin and/or causes ofhuman desire (i.e. the "evolution of will"). Augustine's "exhaustive analysis ofhis motives" (as Brown describes it) is linked to his lifetime struggle to explain the complex interaction between his free will and a divine will (grace) to transform his "sinful" desires and create a "new heart" within him. In Brown's view, the Confessions reflect Augustine's struggle to discover whether desire originates in God or man. We can agree with Brown that this theological agenda is important to Augustine, for it will resurface in all of his theological struggles stretching from his pre-Christian engagement with the Manichees to his final battle with Pelagius. Nevertheless, I will argue in this paper that the Confessions reflect another important dimension to Augustine's morphology ofdesire. Regardless 136Tyler Graham of its divine or human source, Augustine's desires often begin with the imitation of another person. In portraying examples of his life up to and including his famous conversion in the year 386 (Book VIII), Augustine consistently shows that his desires have been copies or imitations ofvarious models whom he has chosen to follow. Writers such as Brown have considered the importance ofdesire (or the will) in the Confessions, and critics like Geoffrey Harpham (whom we will address later) have examined Augustine's interest in mimesis during various scenes in the book. Yet, with the exception ofAvitol Wohlman, no one (to my knowledge) has adequately considered the combination of the two: mimetic desire. In the first book ofthe Confessions, Augustine recounts his childhood, and, by the eighth chapter, he has already introduced a theme which will haunt the entire work: the link between desire and language. My desires were internal; adults were external to me and had no means ofentering into my soul. So I threw my limbs about and uttered sounds, signs resembling my wishes. (1:8) Language is born as a result ofthe need to express desire. For Augustine, words, gestures, and all utterances connect the "internal" wants to the "external" object ofcommunication (in this case, adults). In fact, ifAugustine links desire with the soul (external adults could not "enter his soul"), then language becomes the bridge between souls: it communicates desire from soul to soul. When Augustine reaches boyhood, and he begins to learn the accepted modes of articulation, the link between language and desire remains: "By groans and various sounds and various movements of parts of my body I would endeavor to express the intentions ofmy heart to persuade people to bow to my will" (1:13). Language communicates desire, but it also seeks to transform and generate desire. Beyond simply explaining his wishes, Augustine's language is persuasive, seeking to get others to "bow to my will." Whereas some people would like to remember their childhood as a time of innocence, joy, and peace, Augustine depicts his early life as "sinful," unhappy, and fraught with tears and conflicting interests. For an infant ofthat age, could itbe reckoned good to use tears in trying to obtain what it would have been harmful to get?.. The feebleness of infant limbs is innocent, not the infant's mind. (1:11) St. Augustine 's Novelistic Conversion137 Although he does notrememberbis own infancy, Augustine extrapolates from his analysis ofother children. I have personally watched and studied a jealous baby. He could not yet speak and, pale with jealousy and bitterness, glared at his brother sharing his mother's milk. Who is unaware ofthis fact ofexperience? Envy among infants is universal... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"Call me Dr. XXX!"Yilu MaDisclaimers. Names have been changed to protect the privacy of those mentioned.Scheduled to interpret for a Mandarin-speaking woman, I entered the examination room and introduced myself to the neurologist and the patient, who was accompanied by her husband, brimming with smiles and sitting on the edge of the chair."How are you, Katie?" the husband greeted the doctor, using his accented English."Call me Doctor XXX!", the (...) physician returned, her eyebrows knotted with gravity. Immediately, the friendly and light-hearted air in the room froze.This occurred many years ago at a small clinic where I usually went to interpret as a per-diem interpreter. It happened so quickly that I was totally unprepared, and honestly, shocked at the way the physician reacted to the husband. I felt bad for the patient who sat next to her husband without saying anything, being quiet throughout the interactions. She suffered from dementia and was so dependent on her husband. I also felt slightly angry at the doctor's insensitive response to a mere friendly gesture, though seemingly improper, given the conventional power dynamics between the patient and the physician and the way doctors are esteemed in the American medical culture. But the doctor could have reacted to this perceived slight and disrespect with a mere laugh or simply pretended not to have heard it.Even more distinct was the fact the doctor showed her irritation in front of a third party—me, the medical interpreter. I felt she almost directed that to me and right in my face, and yet I felt powerless, helpless, and even embarrassed. I wondered if the doctor would do the same in front of her other colleagues—physicians and nurses. She might have been more diplomatic. Was her rebuke an impulsive reaction or a deliberate projection of her power, putting the husband back into his place? Should I intervene to ameliorate the impact and explain it? What if the doctor became angry with me if I ventured, and would it worsen things despite my good intentions? All these questions were stirring around in my head. Eventually, I decided to mind my own business and stayed in my role. But this episode of her open reprimand and implicit power projection stuck in my mind then and many years after.Over the years, I moved up from a medical interpreter to the Director of the Interpreter Services Department of a major teaching hospital in Boston and worked deliberately to elevate the status of [End Page 151] medical interpreters by educating clinicians about who we are, what we do, what qualifications and trainings we have and the unique roles we play in cross-cultural communication and care delivery. We demythologized medical interpreters' traditionally reductive role of mouthpiece and advocated their full-fledged member role on the care team. Through our regular conversations and dialogues (instead of top-down teaching sessions by clinicians), medical interpreters partner and team up with physicians, nurses, social workers, chaplains, ethicists, residents, and fellows. We learn from one another to foster a culture of collaboration and mutual respect, gradually bringing about a transformation of power dynamics; medical interpreters are valued for their unique roles of language conduit, clarifier, cultural broker and patient advocate. Interpreters now are empowered to ask questions, seek clarification, and advise on care approaches before, during, and after medical encounters with confidence and teamwork spirit.One of the tangible changes that we collectively implemented is that for each patient appointment, we will allocate time for a short meeting between the interpreter and the provider in what we call a "pre-huddle"; the purpose of the quick meeting is for the provider to brief the interpreter about the patient's medical condition and the goal of treatment. The provider will use the opportunity to solicit any input from the interpreter around language and cultural challenges.The interpreter, possibly having worked with the patient before, will provide some background and context if proper and necessary. This simple process change has boosted the interpreter's morale and engagement. Both parties feel comfortable and familiar with each other's roles and moves. By working in such an environment of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.1 (2001) 113-126 [Access article in PDF] Gadamer on Poetic and Everyday Language Christopher Lawn Gadamer's writings since the appearance of his ground-breaking Truth and Method 1 elaborate and defend the diverse claims of his much-contested philosophical hermeneutics. This is taken further in many recently translated essays where we witness the application of basic hermeneutical insights to areas as various as pedagogical theory and modern medical (...) practice. These investigations are important, as they testify to the universality of hermeneutics. Yet more significant in Gadamer's recent work is a pronounced turn towards "the poetic." Despite large claims in Truth and Method about the irreducibility of the linguistic, there is precious little on the poetic in this work, apart from a few asides about the relationship between poetry and the everyday language of conversation. The distinction between poetic language and everyday language of the "life world" makes a token appearance in Truth and Method (TM, pp. 469-70) and increases in significance in more recent works, especially those occasional essays devoted to aesthetics, poetics, and hermeneutically inspired readings of modern German lyric poets. 2A good deal turns on the distinction between "everyday" or "ordinary" language and "poetic" language. Gadamer's increasing appreciation of the poetic leads him into interpretations of contemporary poetry, notably the hermetic lyric of Paul Celan. 3 The different dimensions to language are brought into relief when considered in relation to the notion of play. Like the poetic, "play" and "playfulness" are cursorily mentioned in the First Part of Truth and Method as repressed aspects of the truth of the work of art. When hermeneutically reclaimed, they stand as a buttress against subjectivist, modernist versions of the aesthetic. Yet Gadamer fails to fully thematize "play," as it disappears [End Page 113] from view in Parts Two and Three of Truth and Method, losing itself in the interpretive turn towards those other facets of hermeneutic truthfulness, historicality and language. In the later essays, specifically those reflecting upon the poetic and the aesthetic, "play" becomes wider and assumes a much greater significance. Play, and this is most evident in the language of poetry, reveals itself to be a fundamental characteristic of language itself.Notions of "play" and "language-games" are more obviously associated with the later work of Wittgenstein. Many critics have observed, en passant, an obvious proximity between Wittgenstein and Gadamer, although their closeness has been noted rather than explored 4. Converging around the issue of everyday language, Gadamer and Wittgenstein radically disagree vis-à-vis "poetic language." For all his appreciation of language's specificity and consequent resistance to theory, its endless slipperiness and variety, Wittgenstein, early or late, seldom confronts language at its most opaque and elusive, that is, in the poetic.What does this Wittgensteinian silence about "poetic language" reveal? The movement away from a logic-driven picture theory of meaning (in the Tractatus Logico-Philosophicus) to the more informal, loosely textured, pragmatics of language (in the Philosophical Investigations), represents hostility to philosophical abstraction and an appreciation of the "rough ground" of ordinary, philologically speaking, "living,"language. What should we say of the literary and poetic dimensions to language, themselves significant dimensions to "living" language? The ability of the language-games to change, the capacity of language to transform itself and work in new uncharted regions--about these Wittgenstein is largely silent.Gadamer's concern with the poetic shows how many of these questions might be addressed from within another philosophical tradition. Were Wittgenstein less inscrutable, it would be tempting to regard the ordinary/poetic distinction, and its dependence upon the notion of "play," as a clear advance on the familiar language-game model. This is a temptation I partially resist. Wittgenstein's enigmatic comments, in the closing pages of the Philosophical Investigations, on "aspect-dawning," "seeing-as," gestures, and pictures, not to mention his compressed and aphoristic "poetic" style, force one to draw back from such an easy conclusion. [End Page 114] I In "Philosophy and Poetry" (OTROTB, pp. 131-39) the different aspects of language are likened to types of currency in... (shrink)

At the centre of Adorno’s critical theory of society lies the problem of Bann or Bannkreis: why do individuals systematically act in ways that reinforce conditions that are obviously incompatible with their freedom and pursuit of happiness? Despite criticism of Dewey’s experimentalism by several Frankfurt School critical theorists claiming that the American pragmatist fails to account for systematic blockages to critique, Dewey does in fact formulate his approach to social critique as a response to the problem that social life might (...) be made immune to transformative claims. In Human Nature and Conduct, thirty years prior to Adorno’s Bannkreis, he conceptualizes a ‘vicious circle’ in which attempts to transform social life seem to be caught and points to a way out. This article shows that Adorno and Dewey share in a project at the heart of critical theory, the project of a disclosing critique of society. In different and mutually completing ways, the Frankfurt School critical theorist and the American pragmatist point out the extent to which their contemporary societies are caught in antagonistic and painful vicious circles and thereby point to the objective possibility of another form of social life. The article is historical, but it is animated by the intent to brush a fruitful path for disclosing critique today. From Adorno, this critical practice gains the idea that theory of society can be a disclosing gesture, which presents an important corrective to Dewey’s failure to trace the eclipse of the public. From Dewey, it gets a reminder that these theories must find ways to continue into ordinary life experience through group action for their disclosure to come full circle. (shrink)

Stereotypes about exotic peoples and animals of the Orient shaped popular origin stories about COVID-19 in media reports. Outbreak narratives centred on the seafood market in Wuhan began to fall apart as new evidence was published by medical doctors, virologists, and epidemiologists. No viruses in bats or pangolins have been found that are direct ancestors of SARS-CoV2, the virus responsible for COVID-19 symptoms. Viruses are also being transformed as they interact with the human institutions, infrastructures and behaviours that facilitate their (...) spread. Epidemiological growth curves are shaped by national and foreign capital, cosmopolitanism, aspirations for independence and ongoing interdependence, the discourse of power and the discourse of resistance, as well as coexistence and violence. In reckoning with SARS-CoV2, we need to anticipate disruptive surprise of viral emergence rather recursively search for origins. Departing from Foucault’s foundational insights, this article gestures towards genealogies of possible viral futures. (shrink)

Levinas rarely speaks about non-human animals directly, but his texts and his interviews are saturated with animal rhetoric. Levinas’s most ubiquitous gesture is to cast non-human animals as beings whose striving to live is a form of violence. These images constitute violence as endemic to nature, and provide the essential contrast to what Levinas regards as the strictly human event of ethics. In order to sufficiently interrogate the fate of non-human animals in Levinas’s philosophy, we must address the manner in (...) which this animal imagery functions in Levinas’s rhetoric. What conceptions of the human are sustained, and what possibilities for an ethical comportment toward non-human animals are foreclosed, as a result of this oppositional imagery? How do essential vulnerabilities appear only as violence, and what forms of violence remain unacknowledged through their veiling by related vulnerabilities? What philosophical consequences result from Levinas’s relegation of violence, including human violence, to the figure of the animal or to animality? How might Levinas’s philosophy be transformed if we were to address ourselves to his imaginative acts of segregation and complementarity vis-à-vis human beings and non-human animals? (shrink)

At least since the Lisbon Memorandum on Lifelong Learning, European education has been increasingly framed in terms of a neoliberal rallying cry. Such a gesture has widely affected education and schooling in Europe and has pushed educational institutions and processes towards a significant transformation. Such a transformation – and this is my point – is anything but benign: it implies a lack of invaluable educational features such as critical agency, democratic sharing, and meaning creation. In this paper, I wish to (...) address this issue in the light of Dewey’s thought and philosophy of education, mainly in reference to his masterpiece Democracy and Education. In particular, drawing from the Deweyan conception of democracy and meaning creation, I wish to argue that a different conception of education, where education is not rationed, individualised or commodified, is required. I also argue that the EU framework on education is inconsistent, as it is not able to fulfil its own goals. By enacting the EU educational framework, we indeed lose sight of the variety, complexity and unpredictability of education and society. (shrink)