According to a core tenet of contemporary philosophy, aesthetic properties are primarily represented in experiences. Obviously, however, the tenet does not apply in any straightforward manner to many items that nevertheless seem to have aesthetic properties. Examples include literary works, mathematical objects, scientific ideas, and works of conceptual art. Aesthetic properties need not be represented in perceptual experiences, but what is an experience if not a perceptual state? This paper adapts Fred Dretske’s distinction between analogue and digital representation to develop (...) a broad conception of a kind of state that is an experience but need not be perceptual. Aesthetic properties are primarily represented in states so conceived. (shrink)

What you see can shape how you feel, and the route from seeing to feeling sometimes involves empathy – as you might empathize with a woman you see grieving the death of her child. But empathy also comes from what you see in pictures. Bellini's Pieta? is one among many paintings, drawings, prints, and photographs that evoke empathy – and are designed to do so. Going further, it seems that episodes of empathy triggered by pictures can help build up a (...) person's capacity for empathic response. Indeed, they do so by fortifying the link between seeing and empathy in a distinctive way. To establish this thesis, we need a broad conception of empathic response and also the right conception of what we see in pictures. (shrink)

Having been invented by scientists, who first saw it as a new tool of inquiry and only later began to suspect the possibility of photographic art, photography's special epistemic character has dominated thinking about its nature. Photographs are introduced as evidence in scientific reports, journalism, and courts of law. They can also be used to make discoveries. According to the new theory of photography, a photograph is a product of a photographic process where an artifactual image is rendered from a (...) photographic event that records information in a light image of a pro‐photographic scene. One class of photographic practices is epistemic, centering on norms that restrict the photographic process in order to ensure belief‐independent feature‐tracking. For historical reasons, this restricted conception of photography dominated both the design of the technology and its use. It would be perfectly accurate to call the epistemically centered practice as standard photography. (shrink)

This book is about the processing of information in face-to-face communication when a speaker makes both audible and visible information available to a perceiver. Both auditory and visual sources of information are evaluated and integrated to achieve speech perception. The evaluation of the information source provides information about the strength of alternative interpretations, rather than just all-or-none categorical information, as claimed by “categorical perception” theory. Information sources are evaluated independently; the integration process insures that the least ambiguous sources have the (...) most influences on the judgment. Similar processes occur in a variety of other behaviors, ranging from personality judgments and categorization to sentence interpretation and decision making. The experimental results are consistent with a fuzzy logical model of perception, positing three operations in perceptual (primary) recognition: feature evaluation, feature integration, and pattern classification. Continuously valued features are first evaluated, then integrated and matched against prototype descriptions in memory; finally, an identification decision is made on the basis of the relative goodness-of-match of the stimulus information with the relevant prototype descriptions. (shrink)

The first art of photography best aligns with the production of photographers like Henri Cartier‐Bresson, Edward Weston, Andre Kertesz, and Diane Arbus. Modernism is the moniker that tends to be applied to these photographers and their peers in retrospect, usually by art historians, especially in connection with the writings of John Szarkowski. As curator of photography at the Museum of Modern Art in New York from the 1960s through the 1980s, Szarkowski commanded attention and used it to lead the cheer (...) for modernist photography. A recurring theme of photography writing is that looking at photographs enables one to experience bits of the world that are distant in time or space‐the past or the far away. Confidence in the epistemic power of photography amplifies the revelation: what is revealed is reality, not an artist's fancy or a side effect of the mechanical imaging process. (shrink)

When we look at photographs we literally see the objects that they are of. But seeing photographs as photographs engages aesthetic interests that are not engaged by seeing the objects that they are of. These claims appear incompatible. Sceptics about photography as an art form have endorsed the first claim in order to show that there is no photographic aesthetic. Proponents of photography as an art form have insisted that seeing things in photographs is quite unlike seeing things face-to-face. This (...) paper argues that the claims are compatible. While seeing things in photographs is quite unlike seeing things face-to-face, nevertheless seeing things in photographs is one way of seeing things. The differences between seeing things by means of photographs and by means of the naked eye provide the elements of an account of the aesthetic interests photographs engage. (shrink)

Previously published studies have reported that 150 min of short-term monocular deprivation temporarily changes perceptual eye dominance. However, the possible mechanisms underlying monocular deprivation-induced perceptual eye dominance plasticity remain unclear. Using a binocular phase and contrast co-measurement task and a multi-pathway contrast-gain control model, we studied the effect of 150 min of monocular pattern deprivation in normal adult subjects. The perceived phase and contrast varied significantly with the interocular contrast ratio, and after MPD, the patched eye became dominant. (...) Most importantly, we focused on the potential mechanisms of the deprivation effect. The data of an averaged subject was best fitted by a model, which assumed a monocular signal enhancement of the PE after the MPD. The present findings might have important implications for investigations of binocular vision in both normal and amblyopic populations. (shrink)

The representation of color by pictures raises worthwhile questions for philosophers and psychologists. Moreover, philosophers and psychologists interested in answering these questions will benefit by paying attention to each other's work. Failure to recognize the potential for interdisciplinary cooperation can be attributed to tacit acceptance of the resemblance theory of pictorial color. I argue that this theory is inadequate, so philosophers of art have work to do devising an alternative. At the same time, if the resemblance theory is false, then (...) color depiction has interesting implications for color science. Empirical researchers must rethink the widespread assumption that color recognition requires color constancy. I suggest that a neuropsychological account of color recognition will be instrumental to completing the philosophical task, but by the same token scientists might do well not to proceed without casting an eye to the work of philosophers of art. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Exclusivity and ParticularityJohn Dominic CrossanSeveral of the authors spoke of the imperial exclusivity so characteristic of Christianity. For José Ignacio Cabezón, “What Buddhists find objectionable is (a) the Christian characterization of the deity whose manifestation Jesus is said to be, and (b) the claim that Jesus is unique in being such a manifestation” (p. 56). For Bokin Kim, “most Christians hold to an exclusive view of Christ that claims (...) his uniqueness” (p. 76). For Rita Gross, “the exclusive claims made on behalf of Jesus by Christians appalled me even as a teenager, and my repugnance for exclusive truth claims on the part of religions—any religion—has not diminished since. Thus, part of my journey is working out both a theory and a praxis of religious pluralism that is neither relativistic nor universalistic, that encourages both commitment to one tradition and appreciation of other traditions” (p. 64). I myself find such exclusivistic claims for Christianity, or any other religion, insulting in theory and lethal in practice, objectionable in history and obscene in theology. They are implicitly genocidal even if political impotence limits the divine ethnic cleansing they imagine. But how, as Gross repeats, does one establish “a position that is neither relativistic nor exclusivistic”? (p. 65). My own answer is particularity, but I must explain that in terms of my understanding of Trinity, divinity, and particularity.Trinity seems a particularly and peculiarly Christian understanding of God, but my proposal is that the structure of the Holy is Trinitarian in all religions that I know about and even in all those I can imagine. I speak very deliberately about the Holy (not about God) as the infinite mystery that surrounds and supports, fascinates and terrifies us. It is that against which we interact as meaning-seeking beings. Be it absolute open meaninglessness or absolute univocal meaning, our interaction with it does not seem to be an option but a necessity. And my point is that the Holy is Trinitarian in structure. It is not just on the one hand that religion is Trinitarian in structure. But it is not on the other hand that the Holy in itself and apart from us is Trinitarian in structure. It is, I propose, that the Holy in itself as seen by us across the spectrum of world religious experience is Trinitarian in structure. That Trinity [End Page 97] involves, first, ultimate metaphor, that foundational image that imagines the Holy as, for example, power, person, state, or order, as nature, god/goddess, nirvana, or mandate of heaven. It involves, second, material manifestation, some physical object in which that metaphorical vision is peculiarly, specially, or even uniquely incarnated, some person, place, or thing, some individual or collectivity, some cave or shrine or temple, some clearing in the forest or tree in the desert where that ultimate referent is encountered and experienced. It involves, finally, preliminary preparation, for there must be at least one believer to begin with and eventually more to end with. But, as there are always nonbelievers as well, some prior affinity must exist, as it were, between this metaphor rather than that, this manifestation rather than that, and this believer rather than that. For me, therefore, all faith and all religion, not just my own Christianity, is Trinitarian in structure and that structure seems to inhere in the Holy itself, at least insofar as we can see it. For me, therefore, Christianity and Buddhism differ most profoundly on their ultimate metaphor for the Holy: it is person (God) for the former but state (nirvana) for the latter. In Christianity, of course, our ultimate metaphor is rather overinvested: it is person; and that person is parent; and that parent is father. But I leave those specifications aside for the moment.Divinity is the term I use for any material manifestation. By calling such manifestations divine I mean precisely that a religion’s ultimate metaphor is experienced by believers as peculiarly, specially, or even uniquely present in that physical phenomenon. In that sense I understand both Christ and the Buddha to be divine in exactly the same way—that is, as incarnations of the Holy but within different ultimate metaphors. Christ did... (shrink)

Tolstoy's remarkably economical novella The Kreutzer Sonata manages to create one of the most intense, vivid, and thought-provoking portraits of jealousy in the canon, and is as disturbing to read today as it no doubt was in 1889. The rather unhinged protagonist, Pozdnyshev, explains to his traveling companion and narrator: “Of all the passions, it is sexual, carnal love that is the strongest, the most malignant and the most unyielding” (48). This article identifies not only the “bestial” element of human (...) sexuality in Tolstoy's story but also the array of animals which the author offers to ventriloquize a certain complex (and times confused) polemic about gender relations. In other words, this analysis offers an interpretation of The Kreutzer Sonata as bestiary; one which offers a moral taxonomy of creaturely life and creaturely love. From the green-eyed monster of jealousy itself, through the Venus fly-trap and porcine couple, right up to the wild murderous beast, Pozdnyshev's confession is read via this zoological trope in order to emphasize, and question, that mobile border which separates the human from the inhuman, the civilized from the uncivilized. And it does so in order to highlight the incoherencies of the anthropocentric discursive regulation of this very same borderline. Animality and animosity are thus presented as the twin avatars of Tolstoy's intense and challenging vision. (shrink)

Long considered "the noblest of the senses," vision has increasingly come under critical scrutiny by a wide range of thinkers who question its dominance in Western culture. These critics of vision, especially prominent in twentieth-century France, have challenged its allegedly superior capacity to provide access to the world. They have also criticized its supposed complicity with political and social oppression through the promulgation of spectacle and surveillance. Martin Jay turns to this discourse surrounding vision and explores its often contradictory (...) implications in the work of such influential figures as Jean-Paul Sartre, Maurice Merleau-Ponty, Michel Foucault, Jacques Lacan, Louis Althusser, Guy Debord, Luce Irigaray, Emmanuel Levinas, and Jacques Derrida. Jay begins with a discussion of the theory of vision from Plato to Descartes, then considers its role in the French Enlightenment before turning to its status in the culture of modernity. From consideration of French Impressionism to analysis of Georges Bataille and the Surrealists, Roland Barthes's writings on photography, and the film theory of Christian Metz, Jay provides lucid and fair-minded accounts of thinkers and ideas widely known for their difficulty. His book examines the myriad links between the interrogation of vision and the pervasive antihumanist, antimodernist, and counter-enlightenment tenor of much recent French thought. Refusing, however, to defend the dominant visual order, he calls instead for a plurality of "scopic regimes." Certain to generate controversy and discussion throughout the humanities and social sciences, _Downcast Eyes_ will consolidate Jay's reputation as one of today's premier cultural and intellectual historians. (shrink)

Failure increases the motivation to escape self-awareness. To date, however, the role of self-conscious emotions (shame and guilt) in triggering escape responses after failure has not been sufficiently addressed. In this pre-registered study (N = 156 undergraduates), we adapted a classic paradigm (avoidance of one’s image in a mirror) to a modern eye-tracking technology to test the hypothesis that shame proneness moderates the effect of failure on self-awareness avoidance. Individual differences in guilt and shame proneness were assessed before priming thoughts (...) of failure or success. Then, an eye-tracking paradigm was used to monitor gaze avoidance of one’s screen-reflected face during a neutral, unrelated task. Unexpectedly, results showed that guilt but not shame proneness exacerbated self-avoidance after failure. The present findings challenge the dominant view that shame fosters avoidance more so than guilt. (shrink)

Most eighteenth- and nineteenth-century portrait paintings have eyes staring outward at the beholder. A minority of these eyes have slightly elevated pupils in comparison to the iris. These off-centre pupils are not the norm, but they occur regularly in works by skilful European portrait painters in the eighteenth and nineteenth centuries. This article takes a closer look at selected portrait paintings by Danish artists Jens Juel and Constantin Hansen and argues that the discrepancy between the pupils and the rest of (...) the paintings creates an illusion of movement or presence when looking the paintings in the eye. The discrepancy creates an aesthetic effect corresponding with Merleau-Ponty’s concept of internal discordance. According to Merleau-Ponty, visual art can create the illusion of movement by portraying its parts in different moments. These internal discordances make the painting “move” because the beholder unconsciously creates a fictive link between the parts thereby expanding time in space. The article combines presence theory (Jean-Luc Nancy and Hans Ulrich Gumbrecht), phenomenology (Merleau-Ponty) and art theory and perception theory (James Elkins, Dominic McIver Lopes and Michael Fried) in order to study the effects and possible reasons for creating pupils out of sync with the rest of the painting. (shrink)

Drawing on theories related to interpersonal and intergroup behavior, this study investigated effects of personality traits (i.e., empathy and identity insecurity) and attitudes (i.e., anti-migration attitudes and social dominance orientation) on the perceived severity of digital hate against immigrants in Austria. Findings of autoregressive path modeling using two-wave panel data revealed that empathic suffering and egalitarianism positively predicted perceived severity, while anti-migrant attitudes exhibited a negative prediction. In terms of interactions between personality and attitudes, we observed that the prediction (...) of empathic suffering becomes less relevant for egalitarian individuals, which indicates an overwriting process that might be a promising way to counteract socially harmful digital hate perceptions. Implications for research on annotation tasks and hate interventions are discussed. (shrink)

Argues that Heidegger's early reading of Aristotle provides him with a critical resource for addressing the problematic domination of theoretical knowledge in Western civilization.

In the Québécois political vision of the twentieth century, sovereignty became synonymous with mastery. French Canadians sometimes claimed solidarity with racialized and Indigenous peoples, yet they saw their liberation as a matter of taking their rightful place in the seat of the oppressors. The idea of mastery has prevented the Québécois from seeing that their liberation is bound up with that of other groups oppressed by colonial powers. The Eye of the Master confronts the missed opportunities for a decolonial version (...) of indépendance in Quebec by examining the quest for mastery that has been at the root of every version of independence offered to the people of Quebec since the mid-twentieth century. Exploring political discourse, popular culture, and the family photo album, Dalie Giroux revisits the mythology of being “masters in our own house” and identifies the obstacles blocking a more comprehensive version of liberation based on solidarity. Drawing from the living forces of Indigenous thought and anti-racist, ecological, and feminist movements, Giroux envisions life without conquest, domination, exploitation, and surveillance. Making the case for a different future, beginning in the here and now, The Eye of the Master offers a major new intervention in contemporary political thought to Canadian readers and all those who imagine a different North America. (shrink)

One of the dominant behavioral markers of visual-expert search strategy, Holistic Visual Processing (HVP), suggests that experts process information from a larger region of space in conjunction with a more focused gaze pattern in order to improve search speed and accuracy. To date, extant literature suggests that visual search expertise is domain specific, including HVP and its associated behaviors. The current study is the first to use eye tracking to directly measure the HVP strategies of two expert groups, radiologists and (...) architects, in comparison to one another and a novice control. In doing so, we replicated and extended this prior research: visual expertise is domain specific. However, our eye tracking data indicate that contrary to this prior work, HVP strategies are transferable across domains. Yet, despite the transfer of HVP strategies, there is neither reduced search time nor greater accuracy in visual search outside of an expert’s domain. Therefore, our data suggest that HVP behaviors are a particular form of visual search mechanism that, outside of an expert’s native search-ecology, are not necessarily conducive to more general visual search success. It is in addition to explicit knowledge of an expert’s domain, how to search, and where to search, that HVP strategies are their most effective for visual search success. (shrink)

The purpose of this article is to explore the meaning of domination and slavery in the political philosophy of Augustine of Hippo (354–430), particularly in the major work of his later years, the City of God. It offers an exploration of this aspect of Augustine's thought in the light of relatively recent scholarship on the meaning of these terms for political philosophy (in particular, the work of Quentin Skinner and Philip Pettit). It finds that, in Augustine's eyes, the nature of (...) domination or slavery in the political sphere differed from its nature in the domestic sphere. (shrink)

Art perception offers action affordances for the self-generated movement of the eyes, the mind, and the emotions; thus some scenes are ’easy to look at', and evoke different kinds of moods depending on what kind of affordances they present for the eyes, the brain, and the action schemas that further the dynamical self-organizing patterns of activity toward which the organism tends, as reflected in its ongoing emotional life. Art can do this only because perception is active rather than passive, and (...) begins with efferent activity in emotional brain areas (e.g. hypothalamus, amygdala, hippocampus and anterior cingulate) which then motivates afferent processing (parietal imaging activity which finally, after a 1/3-second motivational/selective process is complete, resonates with occipital patterns, resulting in perceptual consciousness). The limbic system ’categories’ that motivate the ’looking-for’ of selective attention are categories of utility, to be understood in terms of emotional affordances and whole-organism affective meanings. Art plays with this looking-for, using it to make us engage in different afforded actions that relate to different limbic (emotional) categories. The drawings of children and of the artistically untutored reveal this structure when we fail to ’draw what we see’, drawing instead what we conceptualize that we ought to be seeing. Art teaches us to get beyond this almost complete dominance of habitual categories, and to see things more freshly -- both in the perceptual and in the emotive sphere. Rather than reinforcing our preconceptions, it forces us to see how they affect our view of reality. -/- Because neither perceptions nor emotional responses are really passive ’responses’ at all, art does not cause us to feel a certain way. Instead, we ’use’ art for the purpose of symbolizing our emotions. Our most important feelings are not directly ’about’ the perceptual objects that trigger them. The object in conscious attention during the feeling of an emotion is normally not the intentional object of the emotion, i.e., it is not the object in relation to which our actions could serve the purpose of the emotion. Emotions are not even triggered by simple ’stimuli’, but rather by the meaning for us of a stimulus in a total context determined by ongoing and dynamical organismic purposes. Emotions arise from the total life process, which is a dynamical system -- not as an isolated chemical event or a causal result of a simple stimulus. For this reason, emotions call not just for satiation or pleasure, but for explication; this is why art is different from entertainment or pretty decoration. Visual art affords not only a meaningful, self-directed dance of the eyes, but also a meaningful dance of this emotional explicating process. (shrink)

Man controls and dominates the habitat of most animals, both domestic and wild and there is a need for a pragmatic, workable approach to the problem of reconciling animal welfare with economic forces and the needs of man. It is the author's contention that much of the current philosophical discussion of animal welfare is misdirected now that it is possible to measure to some extent what animals think and feel and how much they can appreciate their quality of life. The (...) book deals with farm animals, pets, wild animals and laboratory animals and dicusses their environmental requirements, fear and stress, their response to pain, injury, disease and death, behaviour and aggression, and the implications of biotechnology and genetic engineering. Finally, the book tries to reconcile reverence for life with the inescapability of killing and reviews the prospects of preserving and enhancing quality of life for animals through legislations, education, economic and moral incentives. (shrink)

Rather than focusing on German philosophy or the French avant-gardes, as many books on the history of aesthetics do, Teukolsky takes up British responses to modern art controversies, thus providing a unique view on the development of artistic forms and art history. She considers the plentiful archive of Victorian "art writing"-essays addressed to the visual arts- to reveal the key role played by nineteenth-century writers in the rise of modernist Anglo-American aesthetics. Though Victorians are most often associated with realism, certain (...) art writers promoted a formalism that would come to dominate canons of twentieth-century art. Teukolsky analyzes the canonical writing of authors like John Ruskin, Walter Pater, and Oscar Wilde alongside texts belonging to the rich field of Victorian print culture--gallery reviews, scientific treatises, satirical cartoons, advertisements, and early photography monographs among them. Spanning the years 1840 to 1910, her argument also adds substance to our understanding of the transition from Victorianism to modernism, a period of especially lively exchange between artists and intellectuals, here narrated with careful attention given to the historical particularities and real events that stamped their imprint on such interactions. (shrink)

According to the reading offered here, Descartes' use of the meditative mode of writing was not a mere rhetorical device to win an audience accustomed to the spiritual retreat. His choice of the literary form of the spiritual exercise was consonant with, if not determined by, his theory of the mind and of the basis of human knowledge. Since Descartes' conception of knowledge implied the priority of the intellect over the senses, and indeed the priority of an intellect operating independently (...) of the senses, and since, in Descartes' view, the untutored individual was likely to be nearly wholly immersed in the senses, a procedure was needed for freeing the intellect from sensory domination so that the truth might be seen. Hence, the cognitive exercises of the Meditations, modeled not on the sense- and imagination-based exercises of Ignatius of Loyola, but on the Augustinian procedure of turning away from the senses and imagination to perceive the unpicturable with the fleshless eye of the mind. In accordance with this reading, the function of Descartes' skeptical arguments is not to introduce skepticism so that it can be defeated but to aid the meditator in withdrawing the mind from the senses in order to attend to truths of the pure intellect. These truths then offer the basis for a new natural philosophy, including a new theory of the senses. (shrink)

The oral eye is a metaphor for the dominance of global designer capitalism. It refers to the consumerism of a designer aesthetic by the 'I' of the neoliberalist subject, as well as the aural soundscapes that accompany the hegemony of the capturing attention through screen cultures. An attempt is made to articulate the historical emergence of such a synoptic machinic regime drawing on Badiou, Bellmer, Deleuze, Guattari, Lacan, Rancir̈e, Virilio, Ziarek, and Zizek to explore contemporary art (post-Situationism) and visual (...) cultural education. Jagodzinski develops the concept of an 'avant-garde without authority,' 'self-refleXion' and 'in(design)' to further the questions surrounding the posthuman as advanced by theorists such as Hansen, Stiegler and Ziarek's 'force' of art. (shrink)

Nikos K. Logothetis University of Manchester, Manchester, UK In binocular rivalry, the visual percept alternates stochastically between two dichoptically presented stimuli. It is established that both processes related to the eye of origin and binocular, stimulus-related processes account for these fluctuations in conscious perception. Here we studied how their relative contributions vary over time. We applied brief disruptions to rivalry displays, concurrent with an optional eye swap, at varying time intervals after one stimulus became visible (dominant). We found that early (...) in a dominance phase the dominant eye determined the percept by stabilizing its own contribution (regardless of the stimulus), with an additional yet weaker stabilizing contribution of the stimulus (regardless of the eye). Their stabilizing contributions declined in parallel with time so that late in a dominance phase the stimulus (and in some cases also the eye-based) contribution turned negative, favoring a perceptual (or ocular) switch. Our findings show that depending on the time, first processes related to the eye of origin and then those related to the stimulus can have a greater net influence on the stability of the conscious percept. Their co-varying change may be due to feedback from image- to eyeof-origin representations. (shrink)

Past research on recruitment has shown that employer image predicts job seekers’ perceptions of organizational attractiveness. We contribute to this body of work by examining job seekers’ reactions to a market-dominant employer that has suffered from a case of corporate social irresponsibility (CSI). We show that job seekers’ reaction is buffered in the case of dominant employers’ wrongdoing. This effect is stronger for job seekers who are very interested in working in the dominant employers’ industry. Market dominance, however, reduces (...) the negative impact of CSI only under certain circumstances. We find that market dominance provides a buffer against the negative effect of CSI only when (1) CSI is directly relevant to the domain of performance of the organization and (2) job seekers feel very certain about their attitudes toward the organization. In two experiments with participants actively looking for employment at the time of study, we tested a model of moderated mediation examining how market dominance and CSI influence perceived employer ethicality and perceived employer competence. These two variables, in turn, explain how job seekers form perceptions of organizational attractiveness. This is the first study to explore how job seekers react to potential employers that are dominant in a market but have suffered from a CSI incident. The study identifies the boundary conditions that explain why sometimes market-dominant employers can emerge relatively unscathed in the eyes of job seekers following CSI. The research opens important managerial implications concerning the recruitment efforts of organizations that have suffered from CSI. (shrink)

Both modernist and post-modern social criticism of power presuppose that agents frequently consent to power relations, which a political theorist may wish to critique. This raises the question: from what normative position can one critique power which is, as a sociological fact, legitimate in the eyes of those who reproduce it? This paper argues that "symbolic violence" is a useful metaphor for providing such a normative grounding. In order to provide an epistemological basis of critique, it is further argued that (...) social actors have multiple interpretative horizons available to them as part of their everyday social practices. Thus, they are not caught in a preconstituted web of meaning from which there is no escape, as is sometimes implicit in the over-socialized perceptions of agency associated with post-modernism. (shrink)

A complete model of smile interpretation needs to incorporate its social context. We argue that embodied simulation is an unlikely route for understanding dominance smiles, which typically occur in the context of power. We support this argument by discussing the lack of eye contact with dominant faces and the facial and postural complementarity, rather than mimicry, that pervades hierarchical relationships.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Downcast Eyes: The Denigration of Vision in Twentieth-Century French ThoughtVirginia A. La CharitéDowncast Eyes: The Denigration of Vision in Twentieth-Century French Thought, by Martin Jay; xi & 632 pp. Berkeley: University of California Press, 1993, $35.00.The book jacket flyleaf for Martin Jay’s Downcast Eyes proclaims in exuberant and laudatory terms that this study has a double agenda: one is to show that vision is by no means the (...) dominant sense in ordering Western culture and the other is to posit instead a “plurality of ‘scopic regimes, particularly in the climate of postmodernism. Indeed, antiocularcentrism provides the unifying thread of Jay’s work, which reviews the theory of vision from Plato to Bergson in the first three chapters and concentrates on “the culture of modernity” in chapters four through eight; the ninth chapter interestingly and curiously places Derrida and feminist criticism side by side under the aegis of “phallogocularcentrism” and presents Derrida and Irigaray if not as the high points of modernism, then at least as the center of the poststructuralist discourse, which argues for the elevation of the word over the eye and so offers downcast eyes as the new logo for what is now identified as postmodernism. Jay’s last chapter addresses postmodernism as a foreclosure on visual practice or the ocularcentric. The short seven-page conclusion attempts to place a positive note on the author’s admitted denigration of the notion of visuality in modern French intellectual thought and culture by calling for a plural or multiple—“polyscopic”—visual experience. Hence, Jay concludes that his notion of downcast eyes or disillusionment is “no solution” (p. 592) to the problem. Certainly, Broodthaer’s “L’Oeil” on the jacket cover does not present [End Page 162] downcast eyes but rather the very feminine alluring eye of a seductress. In this sense, the real message of Jay’s work is reader, beware! His provocative title and even more provocative subtitle initiate from the outset a critique of one of the long-held and cherished myths about the dominance and prominence of the visual sense in Western culture, especially in modern French thought. It is the unsettling of the comfortableness of this notion which Jay’s work successfully undertakes.The study is well-organized and lucidly written. It forcefully argues the author’s case. Unfortunately, there is no bibliography. The omission of a bibliography undercuts the project and casts scholarly suspicion on the entire venture. In all truth, the inclusion of a bibliography would dramatically call attention to serious lacunae in the scholarship. The French thinkers presented and analyzed, such as Bataille, Barthes, Sartre, Foucault, Derrida, Irigaray, and Lyotard, have been studied in depth—at times brilliantly—but Jay ignores this rich corpus of critical material. In particular, his treatment of important French poets such as Rimbaud, the surrealists, Ponge, and others is so skewed in order to reinforce his denigration of the dominant role of vision in twentieth-century French writing that the reader in the field of French studies questions the quality of the basic research undertaken for the project and the author’s skill at reading with understanding and sensitivity hermetic material in the original French. Once these questions are raised, the very nature of Jay’s study itself becomes suspect.As the reader progresses through the volume, it seems that most of Jay’s analyses of the primary texts are based on English translations and are in fact limited to those works available in translation. While this may not be the actual case, the lack of a bibliography reinforces such a suspicion and contributes to the steady erosion of the credibility of the study. Even worse, it poses a troubling if not invidious question: who is the audience for Downcast Eyes? Surely, the audience is not humanists who specialize in twentieth-century French studies. If the intended audience is one of scholars and their students in cultural history and the social sciences with little grounding in contemporary French intellectual thought as manifested in its literature and literary criticism, this audience needs to begin its reading with Jay’s conclusion which is a masterfully subtle denigration of his own work on... (shrink)

No one before Platter and Kepler proposed retinal reception of an inverted visual image. The dominant tradition in visual theory, especially that of Alhazen and his Western followers, subordinated the intra-ocular geometry of visual rays to the requirement for an upright image and to preconceptions about the precise nature of the visual spirit and its part in vision. Henry of Langenstein and an anonymous glossator in the late Middle Ages proposed alternatives to Alhazen, including the suggestion of double inversion of (...) the image. Leonardo da Vinci was aware of both Alhazen's theory and Henry's contradiction, but perhaps not of the anonymous hypothesis of double inversion. Leonardo's visual ‘theory’ has more the character of a critique than of a theoretical alternative, and he did not transcend the medieval concept of visual spirit. (shrink)

The market is traditionally hailed as the very exemplar of a system under which people enjoy freedom, in particular the negative sort of freedom associated with liberal and libertarian thought: freedom as noninterference. But how does the market appear from the perspective of a rival conception of freedom (freedom as non-domination) that is linked with the Roman and neo-Roman tradition of republicanism? The republican conception of freedom argues for important normative constraints on property, exchange, and regulation, without supporting extremes to (...) the effect that ‘property is theft’ or ‘taxation is theft’ or anything of that kind. It does not cast a cold eye on commerce; it merely provides an alternative view of the attractions. (shrink)

"The eye that gathers impressions is no longer the eye that sees a depiction on a surface it becomes a hand, the ray of light becomes a finger, and the imagination becomes a form of immediate touching."-Johann Gottfried Herder Long recognized as one of the most important eighteenth-century works on aesthetics and the visual arts, Johann Gottfried Herder's Plastik (Sculpture, 1778) has never before appeared in a complete English translation. In this landmark essay, Herder combines rationalist and empiricist thought with (...) a wide range of sources-from the classics to Norse legend, Shakespeare to the Bible-to illuminate the ways we experience sculpture. Standing on the fault line between classicism and romanticism, Herder draws most of his examples from classical sculpture, while nevertheless insisting on the historicity of art and of the senses themselves. Through a detailed analysis of the differences between painting and sculpture, he develops a powerful critique of the dominance of vision both in the appreciation of art and in our everyday apprehension of the world around us. One of the key articulations of the aesthetics of Sturm und Drang, Sculpture is also important as an anticipation of subsequent developments in art theory. Jason Gaiger's translation of Sculpture includes an extensive introduction to Herder's thought, explanatory notes, and illustrations of all the sculptures discussed in the text. (shrink)

Dominant Northern development expertise acknowledges religion mostly as impeding development processes and aim to secularize and ‘modernize’ the South. This paper seeks to map out the various intersections of church and actors’ livelihoods, and explain those nodal points through villagers’ eyes. The study employed ethnographic interviewing to weave life-histories of households, and analyzed data to locate patterns and concepts at intersections of church and livelihood. The paper reports that actors employed church as arena to construct, extend and defend livelihoods; and (...) re-engineering a resource-system church is promising. Thus church interlocks with livelihood construction processes, presenting opportunities for synergy in mission. (shrink)

The dominant public philosophy of the United States of America has long been some version of liberalism--dedicated to individual liberty, equal rights, religious freedom, government by consent, and established limits on political power. Today, however, we find ourselves in unusual times, when the major political parties have powerful and growing wings that embrace decidedly illiberal public philosophies. On the Left, critical theory eschews Enlightenment rationalism and liberal ideas of toleration and individual liberty as structures that serve to support inequality and (...) oppression. On the Right, conservative scholars excoriate liberalism for privileging an ideal of individual autonomy that eats away at the civilizing bonds of family, tradition, religion, and country. What seems new here is not the critiques themselves, but the power and popularity of political movements that openly and proudly reject the first principles of America's long-dominant public philosophy. Can the center hold? Can the principles of 1776 survive? Or has liberalism run its course? With these questions in the air, this book proposes to return with fresh eyes to the beginning of liberalism and the political philosophy of John Locke. Instead of looking at Lockean liberalism as a simple and timeworn ideological program, the essays reexamine Locke's project by remaining alive to the complexity and nuance with which he addressed his subject. The Locke that emerges is indeed an ambitious and radical thinker, but one not as imprudent or unmindful of custom as his conservative critics would have it, nor as tolerant of oppression as his progressive critics aver. (shrink)

A dominant view of guilt and shame is that they have opposing action tendencies: guilt- prone people are more likely to avoid or overcome dysfunctional patterns of behaviour, making amends for past misdoings, whereas shame-prone people are more likely to persist in dysfunctional patterns of behaviour, avoiding responsibility for past misdoings and/or lashing out in defensive aggression. Some have suggested that addiction treatment should make use of these insights, tailoring therapy according to people’s degree of guilt-proneness versus shame-proneness. In this (...) paper, we challenge this dominant view, reviewing empirical findings from others as well as our own to question (1) whether shame and guilt can be so easily disentangled in the experience of people with addiction, and (2) whether shame and guilt have the opposing action tendencies standardly attributed to them. We recommend a shift in theoretical perspective that explains our main finding that both emotions can be either destructive or constructive for recovery, depending on how these emotions are managed. We argue such management depends in turn on a person’s quality of self-blame (retributive or ‘scaffolding’), impacting upon their attitude towards their own agency as someone with fixed and unchanging dispositions (shame and guilt destructive for recovery) or as someone capable of changing themselves (shame and guilt productive for recovery). With an eye to therapeutic intervention, we then explore how this shift in attitude towards the self can be accomplished. Specifically, we discuss empathy-driven affective and narratively-driven cognitive components of a process that allow individuals to move away from the register of retributive self-blame into a register of scaffolding ‘reproach’, thereby enabling them to manage their experiences of both shame and guilt in a more generative way. (shrink)

To our contemporary eyes, science appears as the most reliable guide to the human enterprise. However, we possess little awareness as to what the proper meaning of scientific specialization is, and this knowledge is indispensable if we are not to proceed mindlessly in our relationship with being. Italian philosopher Emanuele Severino sees in scientific specialization the most coherent consequence of humanity’s most ancestral interpretation of the world, which all human decisions and actions enact. To him, this coherency is what makes (...) the dominance of scientific specialization on our time necessary. By focusing on one of Severino’s major theoretical works (Oltre il linguaggio, 1992), and with reference to other key texts, this essay introduces international readers to a specific facet of Severino’s discourse. In doing so, it translates passages of his works that have never appeared in English. (shrink)

In this eye-opening study at the intersection of psychoanalytic theory and political organization and thought, Elliott Schwebach explores why property can be understood to be oppressive and how political theory overlooks its unique significance as a pillar of social violence. Synthesizing insights from Pierre-Joseph Proudhon, Sigmund Freud, Ives Hendrick and Frantz Fanon, Schwebach investigates human activity as shaped by the effects of property regimes and traces broader implications for understanding the legacies of colonial domination. He then shifts focus to contemporary (...) eco-theory, challenging the Lockeanism that continues to characterize premodern Indigenous environmental engagements and presenting novel frameworks for understanding healthy ecopolitical activity based upon the trajectories of psychological drives. This unique perspective validates creative expressions of decolonial resistance and offers fruitful alternatives to customary positions in psychoanalytic and environmental political philosophy. The book will be an indispensable resource for scholars of property, Freudian psychology, political ecology, and the visionary thought of Frantz Fanon. (shrink)

Experiments on visually grounded, definite reference production often manipulate simple visual scenes in the form of grids filled with objects, for example, to test how speakers are affected by the number of objects that are visible. Regarding the latter, it was found that speech onset times increase along with domain size, at least when speakers refer to nonsalient target objects that do not pop out of the visual domain. This finding suggests that even in the case of many distractors, speakers (...) perform object‐by‐object scans of the visual scene. The current study investigates whether this systematic processing strategy can be explained by the simplified nature of the scenes that were used, and if different strategies can be identified for photo‐realistic visual scenes. In doing so, we conducted a preregistered experiment that manipulated domain size and saturation; replicated the measures of speech onset times; and recorded eye movements to measure speakers’ viewing strategies more directly. Using controlled photo‐realistic scenes, we find (1) that speech onset times increase linearly as more distractors are present; (2) that larger domains elicit relatively fewer fixation switches back and forth between the target and its distractors, mainly before speech onset; and (3) that speakers fixate the target relatively less often in larger domains, mainly after speech onset. We conclude that careful object‐by‐object scans remain the dominant strategy in our photo‐realistic scenes, to a limited extent combined with low‐level saliency mechanisms. A relevant direction for future research would be to employ less controlled photo‐realistic stimuli that do allow for interpretation based on context. (shrink)

In the eyes of many, liberalism requires the aggressive secularization of social institutions, especially public media and public schools. The unfortunate result is that many Americans have become alienated from the liberal tradition because they believe it threatens their most sacred forms of life. This was not always the case: in American history, the relation between liberalism and religion has often been one of mutual respect and support. In Liberal Politics and Public Faith: Beyond Separation , Kevin Vallier attempts to (...) reestablish mutual respect by developing a liberal political theory that avoids the standard liberal hostility to religious voices in public life. He claims that the dominant form of academic liberalism, public reason liberalism, is far friendlier to religious influences in public life than either its proponents or detractors suppose. The best interpretation of public reason, convergence liberalism, rejects the much-derided "privatization" of religious belief, instead viewing religious contributions to politics as a resource for liberal political institutions. Many books reject privatization, Liberal Politics and Public Faith: Beyond Separation is unique in doing so on liberal grounds. (shrink)

The dominant paradigm in the sciences of language conceives the subject-in-community as a truth-sayer, a communicator, and a player-economist. The major ontology of the human community reconstructs being-together as a system of interactions and transactions subject to the rules of economic rationality and, as a consequence, the community as source and target of finite strategical games. The primordial value then is the circulation of information and ideal communication is favored by the truth-functional status of our discourses. However, this dominant ontology (...) has a few cracks. This is where the aesthetic dimension intrudes, establishing here and there the blink of an eye, shattering the economic, communicational, and truth-saying phantasm, scattering the field of being-together, fragmenting it. These aesthetic fringes conduct themselves according to the isotopy of blossoming, of rupture and fracture, of thresholds and discontinuity. Their effect is one of bedazzlement, trembling, shaking, upheaval, lightheadedness. Infinite games in conversation, the musicality of voices, understanding by flair and tact, the temporariness of nostalgic memory, reasonable pathos, are what has been emphasized in this book. (shrink)

Scientific thought today is dominated by the spirit of synthesis, in contrast with eighteenth and nineteenth century works which were characterized by their analytical impulse. However, this movement is still lurking in the collective unconscious, and not having achieved as yet its complete flowering, it remains ignored by most of the intellectual élite. Not only because it is impossible to see the forest for the trees, but especially because, influenced by an academic tradition inherited from the great masters of past (...) centuries, the élite today is loathe to open its eyes to the reality of our own times. Official science, most universities and specialists have been trained to feel a horror for general ideas. It would, therefore, seem that this intellectual tendency is not likely to favor the creation of vast conceptions, were it not for the fact, as we shall see later, that despite themselves, scholars and researchers are carried along by the same movement of ideas. For, in order to advance into the most varied domains of scientific thought in our time, it is sometimes necessary to establish such intimate relationships among special fields, widely separated from each other in terms of their subject matter, that actually the sketching out of veritable syntheses is taking place to some degree everywhere. It is really very simple; in the absence of such generalizations, one would be pawing the ground. (shrink)

The reductionistic vision of evolutionary theory, "the gene's eye view of evolution" is the dominant view among evolutionary biologists today. On this view, the gene is the only unit with sufficient stability to act as a unit of selection, with individuals and groups being more ephemeral units of function, but not of selection. This view is argued to be incorrect, on several grounds. The empirical and theoretical bases for the existence of higher-level units of selection are explored, and alternative analyses (...) discussed critically. The success of a multi-level selection theory demands the recognition and development of a multi-level genetics. The way to accomplish this is suggested. The genotype/phenotype distinction also requires further analysis to see how it applies at higher levels of organization. This analysis provides a way of defining genotype and phenotype for cultural evolution, and a treatment of the innate-acquired distinction which are both generalizeable to analyze problems of the nature and focus of scientific change. (shrink)

Philosophers have long distinguished between appearance and reality, and the opposition between a supposedly deceptive surface and a more profound truth is deeply rooted in Western culture. At a time of obsession with self-representation, when politics is enmeshed with spectacle and social and economic forces are intensely aestheticized, philosophy remains moored in traditional dichotomies: being versus appearing, interiority versus exteriority, authenticity versus alienation. Might there be more to appearance than meets the eye? In this strikingly original book, Barbara Carnevali offers (...) a philosophical examination of the roles that appearances play in social life. While Western metaphysics and morals have predominantly disdained appearances and expelled them from their domain, Carnevali invites us to look at society, ancient to contemporary, as an aesthetic phenomenon. The ways in which we appear in public and the impressions we make in terms of images, sounds, smells, and sensations are discerned by other people's senses and assessed according to their taste; this helps shape our ways of being and the world around us. Carnevali shows that an understanding of appearances is necessary to grasp the dynamics of interaction, recognition, and power in which we live-and to avoid being dominated by them. Anchored in philosophy and traversing sociology, art history, literature, and popular culture, Social Appearances develops new theoretical and conceptual tools for today's most urgent critical tasks. (shrink)

Listening to someone from some distance in a crowded room you may experience the following phenomenon: when looking at them speak, you may both hear and see where the source of the sounds is; but when your eyes are turned elsewhere, you may no longer be able to detect exactly where the voice must be coming from. With your eyes again fixed on the speaker, and the movement of her lips a clear sense of the source of the sound will (...) return. This ‘ventriloquist’ effect reflects the ways in which visual cognition can dominate auditory perception. And this phenomenological observation is one what you can verify or disconfirm in your own case just by the slightest reflection on what it is like for you to listen to someone with or without visual contact with them. (shrink)