The aim of this article is to mount a challenge to gesture-first hypotheses about the evolution of language by identifying constraints on the emergence of symbol use. Current debates focus on a range of pre-conditions for the emergence of language, including co-operation and related mentalising capacities, imitation and tool use, episodic memory, and vocal physiology, but little specifically on the ability to learn and understand symbols. It is argued here that such a focus raises new questions about the plausibility of (...) gesture-first hypotheses, and so about the evolution of language in general. After a brief review of the methodology used in the article, it is argued that existing uses of gesture in hominid communities may have prohibited the emergence of symbol use, rather than ‘bootstrapped’ symbolic capacities as is usually assumed, and that the vocal channel offers other advantages in both learning and using language. In this case, the vocal channel offers a more promising platform for the evolution of language than is often assumed. (shrink)

This book consolidates and extends the authors’ work on the connection between iconicity and abductive inference. It emphasizes a pragmatic, experimental and fallibilist view of knowledge without sacrificing formal rigor. Within this context, the book focuses particularly on scientific knowledge and its prevalent use of mathematics. To find an answer to the question “What kind of experimental activity is the scientific employment of mathematics?” the book addresses the problems involved in formalizing abductive cognition. For this, it implements the concept and (...) method of iconicity, modeling this theoretical framework mathematically through category theory and topoi. Peirce's concept of iconic signs is treated in depth, and it is shown how Peirce's diagrammatic logical notation of Existential Graphs makes use of iconicity and how important features of this iconicity are representable within category theory. Alain Badiou’s set-theoretical model of truth procedures and his relational sheaf-based theory of phenomenology are then integrated within the Peircean logical context. Finally, the book opens the path towards a more naturalist interpretation of the abductive models developed in Peirce and Badiou through an analysis of several recent attempts to reformulate quantum mechanics with categorical methods. Overall, the book offers a comprehensive and rigorous overview of past approaches to iconic semiotics and abduction, and it encompasses new extensions of these methods towards an innovative naturalist interpretation of abductive reasoning. (shrink)

Investigations of iconicity in language, whereby interactants coordinate meaningful bodily actions to create resemblances, are prevalent across the human communication sciences. However, when it comes to analysing and comparing iconicity across different interactions and modes of communication, it is not always clear we are looking at the same thing. For example, tokens of spoken ideophones and manual depicting actions may both be analysed as iconic forms. Yet spoken ideophones may signal depictive and descriptive qualities via speech, while manual actions (...) may signal depictive, descriptive, and indexical qualities via the shape, movement, and placement of the hands in space. Furthermore, each may co-occur with other semiotics articulated with the face, hands, and body within composite utterances. The paradigm of iconicity as a single property is too broad and coarse for comparative semiotics, as important details necessary for understanding the range of human communicative potentialities may be masked. Here, we draw on semiotic approaches to language and communication, including the model of language as signalled via describing, indicating and/or depicting and the notion of non-referential indexicality, to illustrate the multidimensionality of iconicity in co-present interactions. This builds on our earlier proposal for analysing how different methods of semiotic signalling are combined in multimodal language use. We discuss some implications for the language and communication sciences and explain how this approach may inform a theory of biosemiotics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:IconsEwa HarabaszArtistEwa Harabasz was born in Czestochowa, Poland. She currently lives and paints in New York City, where she is represented by The Luxe Gallery. Her paintings have been recently featured in several solo shows in Poland, most recently at Galeria BWA in Bielsko Biala, Le Guern in Warsaw, Galeria Miejska Arsenal in Poznan, and Galeria Wozownia in Torun. Her work was also featured in a solo exhibition at (...) the Luxe Gallery in New York. Her paintings have been included in a number of group shows including “Poza” at Real Art Ways in Hartford (see the catalog, “Poza: On the Polishness of Polish Contemporary Art”). Ewa Harabasz's new work will be presented in 2008 as part of the group show “Identity and Otherness in the Face of Anxiety” at the Socio-Political Contemporary Art Museum in Jerusalem, Israel.Harabasz has worked in church and religious art conservation in Italy and Poland, and grew up in Czestochowa, the seat of a Polish national religious shrine—a Byzantine icon called “Black Madonna.” She has been a visiting assistant professor at Cornell University since 2005.StatementThe images painted by Ewa Harabasz present themselves as ambiguous “icons”: it is unclear whether they refer to media representations of present-day war and destruction or to religious or spiritual iconography. Harabasz appropriates mass media images from the wars in Bosnia and Iraq, the Beslan tragedy, and London underground transportation terrorism by using photographic transfer methods combined with painting on wood in the style of inspirational religious art. Harabasz insists that the spectacle inherent in her images is a critical reflection on how the destruction and horror of human suffering in war and terrorism is often glamorized and dramatized, and turned into present-day pseudo-icons by the mass media to be consumed by the public as a “redeeming” experience. Writer Dora Apel cautions viewers to reflect “that these works are less analogous to the Byzantine icons of Harabasz's native Poland than the International Gothic paintings of the late Middle Ages, which demanded of religious art that it correlate with people's everyday experience. Paintings of the fourteenth and fifteenth centuries employed an extensive use of gold to create a sumptuous surface but combined it with a radical naturalism. The images ultimately pictured the workings of secular power, combined with religious figures. This came about at a time when religion focused increasingly on human and humane concerns. Similarly Harabasz uses a spiritual lens to focus on worldly experience, achieving, for modern sensibilities, the same elegance, coloristic splendor, narrative detail, and lyricism as those earlier medieval works.”Harabasz says that despite her obvious references to the Madonna images and other religious iconography, she wishes these images to be viewed as “false icons.” While saints and martyrs are immortalized via religious art, the survivors and victims whom media notoriously immortalize had no choice in their suffering. [End Page 81] Click for larger view View full resolution[End Page 82] Click for larger view View full resolution[End Page 83] Click for larger view View full resolution[End Page 84] Click for larger view View full resolution[End Page 85] Click for larger view View full resolution[End Page 86] Click for larger view View full resolution[End Page 87] Click for larger view View full resolution[End Page 88] Click for larger view View full resolution[End Page 89]Copyright © 2008 The Johns Hopkins University Press... (shrink)

In the present study, cross-modal (i.e., across sensory modalities such as smell and sound) iconicity (i.e., resemblance) and indexicality (i.e., contiguity) in lexical sensory and emotional signs in Finnish Sign Language will be considered from an articulatory perspective (i.e., the production of signs). Such cross-modal iconicity has not been extensively studied previously, so here, with the help of cognitive semiotics, I aim to carefully describe the cross-modal patterns observed across 118 signs, including 60 sensory signs and 58 emotional signs. The (...) analysis is framed within the theoretical model of Semiotic Hierarchy, which entails a non-reductionist view of meaning. In addition, a pheno-methodological triangulation will be applied: phenomenology (first-person method), literature of phenomenological and semiotic descriptions (second-person perspective) and experimental findings (third-person perspective). The results of this analysis show that (a) 71 of the 118 sensory and emotional signs are cross-modally indexical, (b) only 10 of the 71 signs can be regarded as cross-modally iconic, (c) cross-modal iconicity is highly diagrammatic, (d) iconicity and indexicality are highly integrated, and (e) articulatory feedback matters in the formation of semiotic patterns. This study contributes to our understanding of cross-modal iconicity in signed languages, as well as studies in semiotic systems more generally. (shrink)

This paper systematically outlines Wittgenstein's ab-notation. The purpose of this notation is to provide a proof procedure in which ordinary logical formulas are converted into ideal symbols that identify the logical properties of the initial formulas. The general ideas underlying this procedure are in opposition to a traditional conception of axiomatic proof and are related to Peirce's iconic logic. Based on Wittgenstein's scanty remarks concerning his ab-notation, which almost all apply to propositional logic, this paper explains how to extend (...) his method to a subset of first-order formulas, namely, formulas that do not contain dyadic sentential connectives within the scope of any quantifier. (shrink)

In the ancient Russian art of the XV–XVI centuries, there are often works with the image of St. St. Nicholas of Myra, represented in various iconographic types and accompanied by images of holy wives. These monuments have a similar compositional structure. Among them, the most significant are those icons where the image of the Myrlician saint is placed in the centerpiece, and the figures of selected saints are represented in the margins. The subject of the study in this work is (...) the corpus of monuments with the central image of St. Nicholas as well as the figures of the chosen saints in the fields and the images of female holiness in the margins. The purpose of this article is to determine the role of the figures of the holy women in these icon compositions by the example of monuments of a certain iconographic origin and to offer an interpretation of this previously insufficiently studied plot. To do this, we will resort to the iconographic method of research, which allows us to identify certain nuances of compositional construction, to reveal the spiritual content of the image. The method of comparative analysis is no less important in this work. The works of interest to us are united by the composition of the figures of the few holy women in the lower field, which are associated with evangelical events and the theme of steadfastness in faith (st. Paraskeva, st. Varvara or st. Ulyana), or have pronounced motives for appearing at the Last Judgment (St. Catherine). The stable tradition of depicting these holy women in the iconographic composition of these monuments suggests their correlation with the central image. We believe that they were designed to emphasize the idea of the intercession of the female saints and were organically into iconographic system. (shrink)

There are three ways in which bridges may be built between science and theology: spirituality, methodology, and content. Spirituality is the power which drives each to address reality and the expectations with which each approaches the pursuit of truth. The methodology of science is summarized in terms of three activities: taxonomy; the hypothetico‐deductive cycle; derivative technology. The content of science, especially with respect to the phenomena of givenness, connectedness and openness in the life sciences, is correlated with theological constructs. Attention (...) is drawn to the role of the double helix in biology and a possible parallel is proposed to the function of the icon in religion and theology. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Plato's Timaeus as Cultural IconGerard NaddafGretchen J. Reydams-Schils, editor. Plato's Timaeus as Cultural Icon. Notre Dame, IN.: University of Notre Dame Press, 2003. Pp. xiv + 334. Cloth, $59.95. Paper, $29.95.This volume emanates from an international conference entitled "Plato's Timaeus as Cultural Icon" held at the University of Notre Dame in 2000. In the introduction, the editor and organizer, Gretchen Reydams-Schils (GRS), contends that the title is meant (...) to communicate the considerable influence of Plato's Timaeus on so many different intellectual traditions and asks "What could account for this philosophical and cultural status?" (1).There are thirteen essays by distinguished specialists in the field. For some reason, a number of the essays do not focus on the general theme of the volume and the question GRS raises, "what could account for this philosophical and cultural status?" is never directly, or even indirectly, addressed. In this short review, I will examine the essays in their order of appearance and make some general comments at the end.Mitchell Miller, in the opening essay, argues that the Timaeus must be understood as addressed to a nonphilosophical audience, although he endeavors to show how the philosophically minded could interpret the Timaeus in light of the god-given method, the longer way, of the Philebus (16c-17a). With this in mind, Miller shows that the constitution of the elements and animals in the Timaeus was in fact determined in light of this method. From this perspective, the Timaeus is addressed not only to a nonphilosophical audience—albeit chiefly to these—but also to a philosophical audience.Kenneth Sayre discusses a number of inconsistencies and incoherences in Plato's description/analysis of the Receptacle and concludes that it is nothing short of a "failed experiment." Personally, I find Plato's analysis rather helpful in a manner analogous to the famous similes he employs in the Republic to help us grasp the Form of the Good. Meanwhile, there is nothing in the essay, as with Miller's essay, to indicate why the Timaeus would constitute a cultural icon (unless as a paradigm for opacity and thus as a catalyst for allegorical interpretation, but again this is not Sayre's intent). [End Page 335]John Dillon, with whom the notion of the Timaeus as a cultural icon begins to emerge, emphasizes that most of the members of the Old Academy, including Speusippus, Xenocrates, and Cantor, maintained (contra Aristotle) that Plato did not hold that the universe was created. While it is true, as he notes, that they were in a better position to interpret the master, the fact remains that they all had different interpretations. There is thus a sense in which Dillon's analysis confirms Miller's position that Plato meant the Timaeus for two very different audiences.Carlos Lévy focuses on the difficulty that Cicero had in translating the Timaeus without reverting to Stoic concepts. He argues that a Latin reader, unfamiliar with the Greek, would assume that transcendence is nonexistent and that mind and matter, as with the Stoics, are one. However, Lévy remains silent on why Cicero would not allow Plato to speak for himself, given that this appears to be the norm with many of his other interlocutors. Moreover, it is difficult again to see why the Timaeus would constitute a "cultural icon."Luc Brisson presents the Timaeus in a radical new light. He shows the extent to which the Timaeus, or more precisely the highly exegetical Middle Platonist interpretation of the work, was the primary reference text for the influential Chaldean Oracles. This is an excellent example of the iconic status of the Timaeus, but it is worth noting that the Chaldean Oracles themselves and their doctrine of salvation may have been historically more influential than the Timaeus itself.David Runia's essay is also an excellent example of the iconic influence of Plato's Timaeus, but unlike Brisson, he focuses on a particular feature of the cosmogonical account rather than the entire treatise: how the Timaeus influenced the debate, including with regard to the opening verses of Genesis, on first principles and the doctrine of creation. Runia... (shrink)

This book collects a renowned scholar's essays from the past five decades and reflects two main concerns: an approach to logic that stresses argumentation, reasoning, and critical thinking and that is informal, empirical, naturalistic, practical, applied, concrete, and historical; and an interest in Galileo’s life and thought—his scientific achievements, Inquisition trial, and methodological lessons in light of his iconic status as “father of modern science.” These republished essays include many hard to find articles, out of print works, and chapters (...) which are not available online. The collection provides an excellent resource of the author's lifelong dedication to the subject. Thus, the book contains critical analyses of some key Galilean arguments about the laws of falling bodies and the Copernican hypothesis of the earth’s motion. There is also a group of chapters in which Galileo’s argumentation is compared and contrasted with that of other figures such as Socrates, Karl Marx, Giordano Bruno, and his musicologist father Vincenzo Galilei. The chapters on Galileo’s trial illustrate an approach to the science-vs-religion issue which Finocchiaro labels “para-clerical” and conceptualizes in terms of a judicious consideration of arguments for and against Galileo and the Church. Other essays examine argumentation about Galileo’s life and thought by the major Galilean scholars of recent decades. The book will be of interest to scholars in philosophy, logic, philosophy of science, history of science, history of religion, philosophy of religion, argumentation, rhetoric, and communication studies. (shrink)

The dynamic development of the city has brought about significant physical and environmental changes in Malang City, impacting the increasingly blurred identity of heritage areas. One such area is Idjen Boulevard, representing an icon of the heritage road corridor in Malang City. To comprehend the evolving nature of these heritage areas, it is essential to conduct studies documenting their past conditions and dynamics across various historical periods: the Colonial period, the Old Order period (the beginning of Indonesian independence), the New (...) Order period, and the Reformation period. This comprehensive approach aims to understand the changes that occurred in each time periodization within each zone/road segment. These insights are crucial for determining future development control steps through targeted regulations. The research employs the Interpretive Historical Urban Landscape method, focusing on thirteen components that constitute the Cultural Landscape. This method involves analyzing the results of observations, both from literature and field sources, supported by tools such as CAD Mapper, Google Earth, Google Street View, GISTARU (an interactive urban spatial detail plan), and SketchUp. These tools are instrumental in obtaining findings about the hierarchy of changes in cultural landscape components and the dynamics within each zone of the specified observation unit. (shrink)

We examine Paul Halmos’ comments on category theory, Dedekind cuts, devil worship, logic, and Robinson’s infinitesimals. Halmos’ scepticism about category theory derives from his philosophical position of naive set-theoretic realism. In the words of an MAA biography, Halmos thought that mathematics is “certainty” and “architecture” yet 20th century logic teaches us is that mathematics is full of uncertainty or more precisely incompleteness. If the term architecture meant to imply that mathematics is one great solid castle, then modern logic tends to (...) teach us the opposite lesson, namely that the castle is floating in midair. Halmos’ realism tends to color his judgment of purely scientific aspects of logic and the way it is practiced and applied. He often expressed distaste for nonstandard models, and made a sustained effort to eliminate first-order logic, the logicians’ concept of interpretation, and the syntactic vs semantic distinction. He felt that these were vague, and sought to replace them all by his polyadic algebra. Halmos claimed that Robinson’s framework is “unnecessary” but Henson and Keisler argue that Robinson’s framework allows one to dig deeper into set-theoretic resources than is common in Archimedean mathematics. This can potentially prove theorems not accessible by standard methods, undermining Halmos’ criticisms. (shrink)

One of the hardest questions to answer for a (Neo)platonist is to what extent and how the changing and unreliable world of sense perception can itself be an object of scientific knowledge. My dissertation is a study of the answer given to that question by the Neoplatonist Proclus (Athens, 411-485) in his Commentary on Plato’s Timaeus. I present a new explanation of Proclus’ concept of nature and show that philosophy of nature consists of several related subdisciplines matching the ontological stratification (...) of nature. Moreover, I demonstrate that for Proclus philosophy of nature is a science, albeit a hypothetical one, which takes geometry as its methodological paradigm. I also offer an explanation of Proclus’ view of what is later called the mathematization of physics, i.e. the role of the substance of mathematics, as opposed to its method, in explaining the natural world. Finally, I discuss Proclus’ views of the discourse of philosophy of nature and its iconic character. (shrink)

ABSTRACT During the first half of the nineteenth century, while Georges Cuvier ruled over natural history and the Muséum d’Histoire Naturelle (MHN) was at its institutional acme, a French banker and industrialist with a Swiss family background, Benjamin Delessert, was developing an important botanical museum in Paris. His private collection included both a rich botanical library and a massive herbarium: the close integration of these two dimensions, together with the magnanimity of Delessert’s patronage, contributed to making this private institution a (...) worthy rival to the powerful and state-funded MHN. Delessert’s museum had the favor of both professional and amateur naturalists. Knowledgeable and dedicated assistants (Antoine Guillemin and Antoine Lasègue) curated the collections. Moreover, Delessert was an intimate friend of the Genevan botanist Augustin-Pyramus de Candolle. Although Delessert’s herbarium followed the Linnaean order, the Delessert Botanical Museum (DBM) contributed to the development of Candolle’s natural system, especially through the publication of costly volumes of engravings, the Icones selectae plantarum rariorum. This essay draws together the main steps in the evolution of Delessert’s collections, stressing the interdependency between books and dried plants. It focuses on the DBM as a case of cooperation between institutional and amateur expertise, private and public collections, and field collectors and cabinet naturalists. (shrink)

Posthumously published by Gottfried Boehm, Iconic may well be considered as a concise summa of Max Imdahl’s theories and methods. Referring to Panofsky and to his idea of an art-historical understanding on three levels («pre-iconographic», «iconographic» and «iconological»), Imdahl highlights the limits of such interpretation, suggesting the necessity of overcoming it and outlining a fourth level which he calls «iconic». Basing on this approach, it becomes possible to look at images as self-referential systems, as autonomous domains endowed with (...) a constitutive and productive power irreducible to verbal explanation. (shrink)

We propose a new relational direction in higher education that acknowledges external and internal images as integrated in thinking and learning. We expand educational theory and practice that commonly rely on discrete conceptual developments that exclude images. Our argument epistemologically relies on certain semiotic views that consider the role of iconic signs and iconicity (meaning making by the virtue of similarity) as significant in relation to knowledge and learning. The analogical and imaginative work required to discover similarity between external (...) pictures and any educational concept is a form of iconic mind work that opens a space for transformational thinking and creative solutions. The novelty of our argument lies in the schematic philosophy of mind by C.S. Peirce, and specifically, an adaptation of Peirce’s triadic sign diagram for learning, exemplified via an ‘inquiry graphic’ sign and reflective method. This outlook seeks connections in diversity, arguing for an education that acknowledges and teaches intrinsic human relatedness to other humans, beings and things in the environment, thus challenging any notions of anthropocentrism and superiority. It calls for a reaction in international higher education to acknowledge the iconicity of concepts and thinking and embrace integrated image-concept signs for deep and critical teaching-learning, towards a modest educational contribution to counteracting social and environmental crises. (shrink)

Iconicity is a fundamental property of spoken and signed languages. However, quantitative analysis of sound-meaning association in Chinese has not been extensively developed, and little is known about the impact of sound symbolism in children’s literature. As sound symbolism is supposed to be a universal cognitive phenomenon, this research seeks to investigate whether iconic structures of Mandarin are embodied in native Chinese speakers’ language experience. The paper describes a case study of Chinese storybooks with the goal of testing whether (...) phonosemantic association is prominent between name sounds and character features. A quantitative method was used to investigate the distribution of different phonological units in character denomination depending on their physical and emotional traits. The results show that phonemes and syllable combination patterns are closely related to perceivable character features. By comparing schematic mapping in Chinese with other languages, the study illuminates a cross-linguistic tendency in addition to a Chinese-specific iconic relation between sound and meaning. (shrink)

Catherine Rowett presents an in depth study of Plato's Meno, Republic and Theaetetus and offers both a coherent argument that the project in which Plato was engaging has been widely misunderstood and misrepresented, and detailed new readings of particular thorny issues in the interpretation of these classic texts.

This article argues that environmental ethics can deemphasize environmental problem-solving in preference for a more exemplarist mode. This mode will renarrate what we admire in those we have long admired, in order to make them resonate with contemporary ethical needs. First, I outline a method problem that arose for me in ethnographic fieldwork, a problem that I call, far too reductively, “solution thinking.” Second, I relate that method problem to movements against “quandary ethics” in ethical theory more broadly. (...) Third, I discuss some interpretive work I am engaged in about Henry David Thoreau and how it bears on the methodological issues my fieldwork raised. I argue that some of the most important icons of right relation to environment, especially Francis of Assisi and Thoreau, should be envisioned as far more politically invested than they usually are. They demonstrate to scholars of religious ethics that an exemplarist ethic focused on character need not neglect politics. (shrink)

In his lifelong effort to overcome the limits of Panofsky’s iconological method, Max Imdahl tried to sketch out an «iconic understanding» which is pre-reflexive, performed below the level of conceptual and verbal explication. Under the auspices of Konrad Fiedler’s theoretical position, Imdahl opposed the Panofskian «recognizing view» with a more formalistic «seeing view», in order to gain access to a third form of vision which he called «knowing view». After outlining Imdahl’s critic of the reduced and unilateral significance (...) of «form» and «formal composition» in Panofsky’s approach, I will clarify how far Imdahl has gone in the analysis of what should be properly defined as an authentic logic of images . Then, focusing on a paradigmatic case study, I will show the importance of the syntax of an image (i.e. the positioning of its elements on the left or on the right, underneath or above, in the back or in the front) for its semantic meaning. (shrink)

Considered an iconic symbol of indigenous legal heritage, Islamic law is adopted nowadays in whole or in part in the legal systems of the Muslim world and is also of significance in Muslim-minority European countries, where it typically finds its niche in civil and financial domains. This article sets out to investigate the norms of translating Islamic family law discourse using a mixed methods approach based on ‘qualitising’ quantitative data, i.e., an approach in which quantitative data are interpreted qualitatively. (...) Drawing on a self-built monolingual English corpus of over three million words covering diverse genres, the analysis will harness the power of corpus processing to enable the study of ten iconic lexical profiles (individual concepts/conceptual systems and their corresponding Arabic and English terms) that are specific to Islamic family law. Profile-based correspondence is also employed to investigate the probability of lexical variation in expressing a conceptual category—a profile refers to a set of synonymous variants or linguistic labels that can be used to designate the same concept. The corpus analysis seeks to identify the key loanwords that represent cultural icons featured in the English-language discourse of Islamic family law and to explore the different mechanisms used to render shariʿa-based concepts. The aim is to investigate concomitant translation norms based on linguistic frequency in the corpus and to interpret ideological implications with reference to the theory of translation norms, which postulates that translation decision making is subject to norms dictated by extralinguistic factors (e.g., socio-political or ideological). The study finds that Islamic family law relies significantly on Arabic loanwords (constructing an ‘Islamgish’ discourse) to maintain shariʿa-based linguistic heritage, which can be seen as a kind of ‘working for one’s own good’. Thus, what is at play here is the ethics of self-interest, which is very typical of postcolonial agendas. (shrink)

As part of a recent attempt to extend the methods of formal semantics beyond language, it has been claimed that music has an abstract truth-conditional semantics, albeit one that has more in common with iconic semantics than with standard compositional semantics. After summarizing this approach and addressing a common objection, we argue that music semantics should be enriched in three directions by incorporating insights of other areas of Super Semantics. First, it has been claimed by Abusch 2013 that visual (...) narratives make use of discourse referents akin to those we find in language. We argue that a similar conclusion extends to music, and we highlight it by investigating ways in which orchestration and dance may make cross-referential dependencies more explicit. Second, we show that by bringing music semantics closer to the semantics of visual narratives, we can give an account of the semantics of mixed visual and musical sequences. Third, it has been claimed that co-speech gestures trigger characteristic conditionalized presuppositions, called ‘cosuppositions’, and that their semantic status derives from their parasitic character relative to words. We argue that the same conclusion extends to some instances of film and cartoon music: it may trigger cosuppositions that can be revealed by embedding film excerpts or gifs in sentences so as to test presupposition projection. We further argue that under special discourse conditions, pro-speech gestures and pro-speech music alike can trigger cosuppositions as well. These results suggest that new insights can be gained not just by extending the methods of semantics to new objects, but also by drawing new connections among them. (shrink)

This article introduces a novel use of technologies to visualize space and temporary structures in public space as a critical and speculative method for artistic research. Imitation and iconification have been vital in visual culture since civilization began. Science has become proficient in picturing invisible matter and numerical data. However, we are limited to visualizing these data in an iconic, ‘understandable’ way, that is, to some extent, reductionist. A non-naturalistic artistic visualization (NNAVi) method is proposed to discover (...) and present the underlying context of objects and space. First, this article discusses the representational function of artistic images and the artistic use of emerging technologies to represent invisible information. Following the discussion, the case study of the virtual reality (VR) artwork The Last Recreational Land shows how NNAVi can be applied. The case study starts with an exploration of the pandemic’s context and nature and then moves to an explanation of the multisensory and immersive setting of the artwork. Interweaving case studies and theoretical references, the article elaborates on how the VR experience is used as a device to respond to the pandemic. By deconstructing the relationship between visualization, imitation and iconification, the article theorizes NNAVi as a new methodology for artistic research that provides tangible insights into the nature of the pandemic. (shrink)

The object of this research is the mass culture and art of China in the second half of the XX – early XXI centuries. The subject of the study is the calligraphic graffiti of Tsang Tsou Choi, the so–called "king of Kowloon", as a phenomenon of art and mass culture in modern China. During the consideration of the topic, questions are raised about the degree of study of the issues under consideration, the problems of research are outlined, the stages of (...) formation of Tsang Tsou Choi as an icon of culture and art of Hong Kong are analyzed. The article traces the content of the artist's work, gives an idea of the specifics of the perception of his works in the mass consciousness, in addition, describes the transformation of the perception of his street calligraphic inscriptions in the context of historical and cultural processes that took place in Hong Kong in the second half of the XX – early XXI centuries. The main methods of the study were historical, cultural, systemic and functional analysis, which allowed us to create an idea of the calligraphic graffiti of Tsang Tsou Choi as a phenomenon of art and mass culture in modern China. For the first time in Russian science, the work attempts to highlight the phenomenon of calligraphic graffiti of King Kowloon and trace their influence on the art world and mass consciousness of Hong Kong in the context of historical and cultural processes that took place in Hong Kong in the second half of the XX – early XXI centuries. The study concludes that for Hong Kong residents, Tsang Tsou Choi's street calligraphy has become a discovery and inspiration, inspiring perseverance and determination in the struggle for their ideals in an era of great change. It is also important that his inscriptions embodied a unique collective memory: they touched on topics that traditionally remained unspoken, such as, for example, the history of mass dispossession. They became a statement that nothing is forgotten. Despite being declared an outsider in academic calligraphy circles, his fame only grew on the streets. Obviously, in the years leading up to the handover of Hong Kong to China, his naive activism became an expression of the general mood of the era. Thus, his figure gained importance not so much as a calligrapher, but as a pioneer of political graffiti. (shrink)

Twenty-five commentaries raise questions concerning the origins of knowledge, the interplay of iconic and propositional representations in mental life, the architecture of numerical and social cognition, the sources of uniquely human cognitive capacities, and the borders among core knowledge, perception, and thought. They also propose new methods, drawn from the vibrant, interdisciplinary cognitive sciences, for addressing these questions and deepening understanding of infant minds.

or reasons that seem to transcend cultural peculiarities, and may lie deep within the architecture of the human mind, we construct our descriptive taxonomies and tell our explanatory stories as dichotomies, or contrasts between inherently distinct and logically opposite alternatives. Standard epitomes for the history and social impact of science have consistently followed this preferred scheme, although the chosen names and stated aims of the battling armies have changed with the capricious winds of fashion and the evolving norms of scholarship—as (...) in scientific novelty versus permanent wisdom in the founding 17th-century debate of "moderns" (the empirical method for gaining new knowledge) versus "ancients" (Greek and Roman perfection)[1]; science versus religion in a favorite trope of late 19th-century secularism[2]; and the sciences versus the humanities in the icon for the second half of the 20th century, C. P. Snow's "two cultures"[3]. (shrink)

In the opinion of the art critic Julius Meier-Graefe (1867-1935), pictures have a specific logic which is impossible to translate into spoken language. Given this premise, Meier-Graefe develops a specific theory of how art history constructs itself as an interpictorial, self-regulated reference system. Furthermore, in order to convey works of art, he operates with pictures and images in a remarkable way: on the one hand, he makes specific use of reproductions, on the other hand, he communicates via body language that (...) parallels the iconic deixis: By describing and presenting himself in his texts in the physical act of perception and/or reception, he turns himself into a tableau and makes the effect as well as the potential of the artwork visible. The basis of these ideas and methods seems to be the modern experience of museum presentation and reception. Meier-Graefe develops a kind of “practical aesthetic” which can enrich the current debates on interpictoriality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Jameson on Jameson: Conversations on Cultural MarxismPaul Allen Miller (bio)Jameson, Fredric. Jameson on Jameson: Conversations on Cultural Marxism. Ed. Ian Buchanan. Durham, NC: Duke UP, 2007. 296 pp.Fredric Jameson may well be the greatest intellectual produced by the United States in the last half century. It is difficult to think of anyone else who has made as many, as lasting, and as wide-ranging contributions as Jameson. From his (...) early work on Sartre’s style, passing through the twin opera on dialectical theory (Marxism and Form) and formalism and structuralism (Prisonhouse of Language), and the idiosyncratic appreciation of Wyndham Lewis (Fables of Aggression) to that summa of Marxist hermeneutics, The Political Unconscious, and from his major collection of essays, The Ideologies of Theory, through his books on Adorno (Late Marxism) and film (Signatures of the Visible), to that foundational text on postmodern literature, theory, art, and architecture, Postmodernism or the Cultural Logic of Late Capitalism, and the late work on world cinema (The Geopolitical Aesthetic), utopianism (The Seeds of Time), Brecht (Brecht and Method), modernity (A Singular Modernity), and science fiction (Archaeologies of the Future), Jameson’s career is unparalleled in the American letters. It is perhaps not coincidental, either, that this larger-than-life figure on the intellectual stage ranging easily from Russian formalism to Deleuzean antihumanism, from Balzac to Frank Gehry, and from Hegel to Derrida, is an intellectual dissident. Contemporary American life’s alternation between uncritical consumerism (Marcuse’s one-dimensional man) and nonothing anti-intellectualism (Christian fundamentalism and corporate-fueled jingoism) could only produce such a body of work as an alien presence: its own systemic negation and thus the fullest expression of its deepest internal contradictions. The present collection of interviews from 1981 to the present, then, stands as a welcome commentary on Jameson’s vast work and an important reflection of the changes in American intellectual life in the period from the last days of the Cold War to the end of the second Bush administration.Naturally, as with any collection of interviews, not every thing is new here. Indeed, to the seasoned reader of Jameson, much of this is familiar territory, and there is a fair amount of repetition from one interview to the next (Goethe’s concept of “world literature,” for example, is a recurring motif). Nonetheless, there are many moments of real insight and bold commentary that remind us why Marxism is far from dead and how Jameson has achieved an iconic status rivaling that of Lukacs, Althusser, or Eagleton, as one of the preeminent Marxist thinkers of the last century. Many of these come in the form of vignettes, little snippets of cultural analysis. One such comes in Jameson’s interview with Columbia University Professor of History Anders Stephanson. Here Stephanson asks Jameson to comment on the recent architectural and cultural phenomenon of creating ersatz public spaces. These come in the form of commercial areas that present themselves in guise of “squares,” “plazas,” or “villages.” They make reference to and pastiche traditional forms of life and then re-represent them in the form of a hypercapitalist consumerism. These simulacra of less alienated, precapitalist forms of [End Page 65] life are then presented as depthless surfaces, parodies of authenticity. The archetype of such ersatz public spaces is Disney’s EPCOT:Stephanson: In other words, you are referring to his compressed version of the world; little toy countries where you can orient yourself in no time at all.Jameson: I suppose you can orient yourself because walking paths are available. But where you actually are is a real problem, for you may in fact be in the Florida Everglades, and in this case you are not only in a swamp but also in a simulacrum of a different geographical complex altogether. Disneyland is, on the whole, supremely prophetic and paradigmatic of these multiple shifting and dissolving spatial levels. (49)This is both an insightful observation and a wonderful example of Jameson’s dialectic at work. One moment we’re walking hand in hand with Goofy round the little, fake Eiffel Tower of EPCOT and the next we sink into the morass that paved the Everglades, acquired control... (shrink)

In 1950, Alan Turing proposed his iconic imitation game, calling it a ‘test’, an ‘experiment’, and the ‘the only really satisfactory support’ for his view that machines can think. Following Turing’s rhetoric, the ‘Turing test’ has been widely received as a kind of crucial experiment to determine machine intelligence. In later sources, however, Turing showed a milder attitude towards what he called his ‘imitation tests’. In 1948, Turing referred to the persuasive power of ‘the actual production of machines’ rather (...) than that of a controlled experiment. Observing this, I propose to distinguish the logical structure from the rhetoric of Turing’s argument. I argue that Turing’s proposal of a crucial experiment may have been a concession to meet the standards of his interlocutors more than his own, while his construction of machine intelligence rather reveals a method of successive idealizations and exploratory experiments. I will draw a parallel with Galileo’s construction of idealized fall in a void and the historiographical controversies over the role of experiment in Galilean science. I suggest that Turing, like Galileo, relied on certain kinds of experiment, but also on rhetoric and propaganda to inspire further research that could lead to convincing scientific and technological progress. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Śaṅkara, Tillich, and Abhinavagupta’s Use of “God” as a Peircean Index to the Ground of Being and Depths of NatureGreylyn Robert Hydinger (bio)I. IntroductionThis article argues that the sign “God” can function as a Peircean index to, not an icon of, the ground of being or depth dimension of existence. The ground and any generic traits of existence that the ground grounds would be the content of the symbol, (...) the object to which the indexical symbol points. Paul Tillich argued that (good) theology employs the “method of correlation,” highlighting the “independence and interdependence of existential questions and theological answers.”1 This article presents an answer to two vitally important questions about religious naturalism posed by Dan Ott, LeRon Shults, and Demian Wheeler: (1) must theology be theistic, and (2) what content can the concept of “God” have in naturalism?2 Succinctly, the answers are, “no,” and the content meaning of the sign “God” in a religious naturalism should be the ground of being and the depths of nature.To support these answers, the article builds on a Peircean semiotic theory and compares the theologies of Adi Śaṅkara and Paul Tillich, with a strong appeal to Abhinavagupta; this comparison provides evidence that supports the hypothesis that a determinate symbol like “God” can be used and has been used to refer to an indeterminate, non-personal, naturalistic ground of being. Therefore, theology need not be iconically theistic. In Peircean terms, these philosophical theologians all claim that the sign “God” (Sanskrit: Īśvara, Nārāyaṇa, or Parameśvara; also, Kṛṣṇa or Śiva) stands, in one or perhaps several respects, for the object (“the Ground of Being” or “nirguṇa Brahman”) to an interpreter without implying that the object of interpretation is like the sign that points to it. All three of these philosophical theologies avoid the personal, agential being understanding of [End Page 60] “God” that is so frequently and justly the object of religious naturalist critique. The argument of the article is thus very simple on Peircean grounds, so long as the ground-of-being case studies do in fact illustrate the use of God as an index to the ontological ground of nature. The first part of the article, therefore, provides a semi-detailed discussion of Peirce’s semiotics; the second part demonstrates how Tillich, Śaṅkara, and Abhinavagupta have employed theistic symbols to engage the naturalistic ground of being.Two additional hypotheses undergird this inquiry as “premises.”3 First, naturalism can be a legitimate and important constraint on theological inquiry or a correction to theological hypotheses. Second, at least some ground-of-being theologies find compatibility with religious naturalisms, while iconic theisms do not. Each of these premises requires qualifications.First, as Robert Neville has pointed out, religious naturalism gets several things right as an ideology: (1) it rejects authoritarianism in favor of empirical and experiential inquiry, and (2) it rejects “literal supernaturalism [and supra-naturalism, cf. Tillich] as having explanatory or hermeneutical power.”4 In these respects, naturalism does provide appropriate constraints on theological inquiry. While literal, or iconic, supernaturalism, or theism, lacks explanatory power, part of the argument of this article is that theism can be used indexically to engage the depth dimension of nature, including its ontological ground, which is nothing apart from the things grounded (see the later discussion of Abhinavagupta’s “ābhāsa-vāda” theory).5 This indexical theism provides a pragmatic approach to “effing the ineffable,” as Wesley Wildman would say.6 [End Page 61]However, naturalism also can be “so easily wrong.”7 Alfred North Whitehead argued that philosophy (or theology) has a vital role to play in relation to science: philosophy must both critique science’s abstractions (and reductions) and engage in speculative flights of the imagination.8 While science engages parts of reality with exceptional clarity, it is reductive to the categories of (primarily) mathematics. Moreover, as Neville and Donald Crosby argue, science almost always excludes value from its account of reality.9 Science is thus partially inadequate to experience and, ironically, less empirical than (good) philosophy in this respect. In this regard, philosophy or theology can also be an appropriate constraint... (shrink)

Edited by Daniel Rothbart of George Mason University in Virginia, this book is a collection of Rom Harré's work on modeling in science (particularly physics and psychology). In over 28 authored books and 240 articles and book chapters, Rom Harré of Georgetown University in Washington, DC is a towering figure in philosophy, linguistics, and social psychology. He has inspired a generation of scholars, both for the ways in which his research is carried out and his profound insights. For Harré, the (...) stunning discoveries of research demand a kind of thinking that is found in the construction and control of models. Iconic modeling is pivotal for representing real-world structures, explaining phenomena, manipulating instruments, constructing theories, and acquiring data. This volume in the new Elsevier book series Studies in Multidisciplinarity includes major topics on the structure and function of models, the debates over scientific realism, explanation through analogical modeling, a metaphysics for physics, the rationale for experimentation, and modeling in social encounters. * A multidisciplinary work of sweeping scope about the nature of science * Revolutionary interpretation that challenges conventional wisdom about the character of scientific thinking * Profound insights about fundamental challenges to contemporary physics * Brilliant discoveries into the nature of social interaction and human identity * Presents a rational conception of methods for acquiring knowledge of remote regions of the world * Written by one of the great thinkers of our time. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Incomprehensible Certainty: Metaphysics and Hermeneutics of the Image by Thomas PfauThomas ZingelmannPFAU, Thomas. Incomprehensible Certainty: Metaphysics and Hermeneutics of the Image. Notre Dame, Ind.: University of Notre Dame Press, 2022. xxiii + 785 pp. Cloth, $80.00Thomas Pfau reconstructs one of the most traditional and possibly most decisive philosophical debates, [End Page 559] namely, the one about the form and function of appearance (Schein). This debate is taken up (...) on the basis of the concept of image. This means that Pfau concentrates historically as well as systematically on a specific topic within this debate. The book is divided into two major sections.In the first section, Pfau examines how the history of the metaphysics and theology of the image develops, starting with Plato in the first chapter. The basic idea in this section is that the image has a crucial epistemic role in the metaphysical and theological systems of the authors addressed. Here Pfau shows that Plato, at the latest in the Sophist, develops a theory of images that revalues appearance contrary to the assumptions in the Republic. Chapter 1 is about the mediation of unity and multiplicity, as it is also shown in Plotinus. Chapter 2 attempts to show how the Byzantine icon embodies the conviction that the invisible truth of the visual world can be revealed only through images. Pfau's demonstration of various epistemic dimensions of the image then begins with chapter 3: the eschatological vision from Augustine to Bonaventure to Julian of Norwich. Chapter 4, the last of the first section, reconstructs Nicholas of Cusa's position, which attempts to understand mystical visions mediated by images of Christ.The second section examines how the metaphysics of the image—in the sense of an epistemology, which tries to establish ultimate justifications—nevertheless persists and even evolves despite two crucial switches in philosophy. On the one hand, this concerns philosophy that subordinates the visual to the abstract (for example, Hegel) and, on the other, the supposedly nonmetaphysical status of the image in the developing natural sciences. Chapter 5 then attempts to show, through Goethe's botanical investigations and reflections, how, despite the establishment of the natural sciences, Goethe attempts to defend intuition as a scientific method and appearance as a scientific object of investigation. This position is then pursued historically in chapter 6, through the work of Lyell, Darwin, and Ruskin, where the visible is understood as the connecting point of the sciences in general. Gerard Manley Hopkins is then identified in chapter 7 as representing a position that combines theological with proto-phenomenological arguments to highlight the epistemic value of images. The last chapter then deals with decisive developments at the beginning of the twentieth century. In phenomenology (Husserl), painting (Cézanne), and poetry (Rilke), a conception develops that epistemically valorizes sensual and intuitive experience.Generally speaking, Pfau attempts to trace historically what arguments and positions have been developed on the relationship between image and knowledge. His work is based on the conviction that the image is the basis for human orientation in the world and is therefore of great epistemological value. Of outstanding importance for his question is that the epistemological value of images is not to be located in the properties of images, that is, an ontology of the image; rather, Pfau is interested in those positions that reflect on the relationship between knowledge and [End Page 560] experience of images. While clarifying the ontological status of images remains important, the epistemological status of images—what role the experience and usage of images has for humans—is in the foreground. Pfau reconstructs positions that hold that the pictorial is a medium of knowledge. He puts forward the thesis that there is a tradition that is of the opinion that in and through the medium of the image—and this closes the arc to the Schein-debate—being can be experienced by man. In other words, the invisible is to become recognizable through the visible. Of particular importance is his reading of the late Platonic dialogues: While appearance and being are still thought of as distinct in these dialogues, they are not opposed, in the sense of an epistemic opposition. Plato's... (shrink)

The expression "image" is characterized, starting with the Greek language, by a certain ambiguity, since it can point to an iconic sign or to an allegoric-figurative sign. However it is possible to find out in the history of ancient thought an acceptation of "image" where these features are both present, that is agalma whose first meaning in the lexicon of classic Greek is "sacred image". Neoplatonism particularly uses this expression as one of the key term of its doctrine about (...) the methods through which it is possible to reveal the divine. Agalma in that way was conceived as an iconic sign (a statue or a mimetic figure) whose morphological elements are the vehicle of allegoric meanings; these meanings then are able to refer to transcendent realities. So the capacity to reveal the God's nature is attributed to iconic image that becomes a sign no longer bound exclusively to material dimension (as it has been described, for instance, by Augustine and other late ancient and medieval thinkers). (shrink)

Although a number of authors have used diagrams extensively in their studies of Navya-Nyāya, they have done so to explain and illustrate concepts, not with the goal of reasoning with the diagrams themselves. Adherents of diagrammatic reasoning have made claims for its potential by pointing to key structural correspondences between diagrams and logical concepts, arguably lacking in sentential representations, and describing these relations using concepts such as “well matchedness” and “iconicity”. A canonical example of this iconicity is the use of (...) Euler diagrams to depict categorical syllogisms. Since the meaning of expressions in Indian logic differs in so many important ways from logic in the Western tradition, the use or adaptation of diagrams developed in the latter would seem to preclude iconicity. Thus, the development of diagrams which reflect the nature of inference in Navya-Nyāya, which centres on the anumāna inference schema, is motivated. In this paper we extend Ganeri’s method of depicting the Vaiśeṣika ontology with graphs to include syntax intended to expose the nature of anumāna. The diagrams are given a formal basis: i.e. abstract syntax, inference rules defined abstractly and a graph-theoretic semantics. These are the first formalised logical diagrams that aim to reflect the nature of the anumāna inference. This paper lays the way for further work in extending the formalism to cover more of Navya-Nyāya, and in exploring a dialogue between properties of the formalism and of Navya-Nyāya. (shrink)

This study delves into the philosophical dimensions of the art market in the digital age, examining how historical identity intertwines with contemporary value. Using qualitative methods, including semi-structured interviews and case study analysis, the research investigates the strategic invocation of historical identity by artists to enhance the cultural and monetary worth of their digital creations. Findings reveal that established reputations in the traditional art world and the recontextualization of cultural artifacts—such as iconic historical events or artistic movements—significantly influence the (...) perceived value of digital artworks. For instance, algorithmic art and daily creation processes evoke deeper narratives that resonate with historical art traditions. The study also highlights the role of blockchain technology and NFTs in ensuring authenticity, fostering trust, and redefining ownership models. Scarcity, through limited editions or unique variations, further amplifies the perceived value of digital art. Artists like Beeple leverage their pre-digital careers and innovative techniques to command substantial market attention, while works such as Grimes’s "The Persistence of Chaos" illustrate the influence of celebrity on value creation. The research underscores the philosophical and cultural significance of digital art, exploring how historical identity and technological innovation converge to shape contemporary artistic value systems within a globalized digital marketplace. (shrink)

‘‘Post-normal science’’ has received much attention in recent years, but like many iconic concepts, it has attracted differing conceptualizations, applications, and implications, ranging from being a ‘‘cure-all’’ for democratic deficit to the key to achieving more sustainable futures. This editorial article introduces a Special Issue that takes stock of research on PNS and critically explores how such research may develop. Through reviewing the history and evolution of PNS, the authors seek to clarify the extant definitions, conceptualizations, and uses of (...) PNS. The authors identify five broad areas of research on, or using, PNS which have developed over four decades. Their analysis suggests that the 1990s represent a symbolic watershed in the use of PNS terminology, when the concept was further developed and applied to highly complicated issues such as climate change. The authors particularly distinguish between uses of PNS as a normative prescription and as a practical method. Through this classification, they set out gaps and research questions arising. They then briefly summarize the Special Issue articles and consider their relationship to each other and the research questions raised by their analysis. They conclude by considering what the articles in this issue suggest for future theory building in PNS and related scholarship. (shrink)

Playwright, novelist, political theorist, literary critic and philosopher, Jean-Paul Sartre remains an iconic figure. This book examines his philosophical ideas and methods. It is an introductory guide for the student who wishes to understand Sartre's philosophical argumentation. It reconstructs in plain language key instances of Sartre's philosophical reasoning at work and shows how certain questions arise for Sartre and what philosophical tools he uses to address those questions. Each chapter considers a range of issues in the Sartrean corpus including (...) his conception of phenomenology, the question of self-identity, the Sartrean view of conscious beings, his understanding of the self, his theory of value, human action as both the originator and the outcome of social processes, dialectical reason, and his conception of artistic activity. Hatzimoysis uncovers the philosophical argumentation, identifies Sartre's most important philosophical ideas and addresses the arguments in which those ideas are employed. Readers are able to get a real understanding of Sartre's approach to the activity of philosophising and how his method favours certain types of philosophical analysis. (shrink)

At the turn of the twentieth century, French society was shaken by a scandal that affected it at many levels to varying degrees and that is still considered as a symbol of injustice, miscarriage of justice and antisemitism. The Dreyfus Affair started in 1894 when an artillery officer of Jewish descent was convicted and sentenced to life imprisonment for communicating military secrets to the German embassy in Paris. Only years later was Alfred Dreyfus exonerated and rehabilitated, due mainly to the (...) role of the media and the famous article by the novelist Emile Zola, “J’accuse”. The press, in general, played a fundamental role in the narration of the event and in the complex chemistry that led a confidential case of espionage to become a broad public debate, exemplifying the constant struggle against prejudice and irrational impulses that implies democracy. From the impressive volume of publications, I selected two drawings issued when the truth about captain Dreyfus’s innocence began emerging. One is by Félix Vallotton, “That’s why she was not coming out!”, the other by Gustave-Henri Jossot, “She was too naked”, and they both give an interpretation of the truth and of the reasons why it—the truth—came out so late. The semiotic approach of the drawings and of Zola’s pamphlet in terms of visual message leads us to distinguish three aspects. The first is iconic and consists of establishing the links between a signifier, a signified and a referent in order to recognize the immediate message but also the connoted signification; the second is linguistic and consists of the captions; and the third is plastic, focusing on size, colors and shapes. These analyzes of the mode in which visual artefacts produce meaning and provoke an interpretative process are made in terms of rhetoric insofar as rhetoric is considered, not only in terms of figures of speech, but as a method of persuasion and argumentation. (shrink)

Greater and greater attention is being paid to Hannah Arendt’s iconic The Origins of Totalitarianism as a way to understand contemporary politics and particularly the global rise of the Far Right. With this promising resurgence, though, comes a distinct danger that was a central concern of Arendt herself in her post-war writings and the development of the book. Arendt was sharply critical of her contemporaries, particularly the social sciences, for their loose historical methods. An unthinking historical sensibility led, in (...) her view, to the too-easy drawing of analogies between past dominations and totalitarianism. In her pre-Origins talks and writings, Arendt slowly built an entire historiographic methodology around her concern with political judgment, a radical historicism that argued for the preeminence of progenesis and novelty in the politics of history. This paper looks to excavate that historicism and draw out its full implications not only for Arendt’s theoretical orientation, but for the broader praxis she demanded of all those who would be politically minded. Arendt’s radical historicism, which can rightly be called the groundwork for writing Origins and her turn to judgment, represents the beginning of what became her thorough-going practice: an ethics of responsibility, to the past and present. (shrink)

In language evolution research, the use of computational and experimental methods to investigate the emergence of structure in language is exploding. In this review, we look exclusively at work exploring the emergence of structure in speech, on both a categorical level, and a combinatorial level. We show that computational and experimental methods for investigating population-level processes can be effectively used to explore and measure the effects of learning, communication and transmission on the emergence of structure in speech. We also look (...) at work on child language acquisition as a tool for generating and validating hypotheses for the emergence of speech categories. Further, we review the effects of noise, iconicity and production effects. (shrink)

ArgumentThe Greenwich Prime Meridian is one of the iconic features of the Royal Museums Greenwich. Visitors to the Museum even queue up to pose with one leg on either side of the Line. Yet, the Airy Transit Circle, the instrument that defined the meridian, is almost always excluded from these photographs. This paper examines how the instrument has become hidden in plain sight within the stories of Greenwich Time and Greenwich Meridian, as well as within the public imagination, by (...) providing an analysis of the instrument’s transformation from a working astronomical instrument to a museum object. The paper highlights the gradual decoupling of the instrument from narratives of Time and Longitude, which resulted in the Line’s popularity overshadowing the instrument that defined it. By doing so, the paper aims at showing the symbiotic relationship between the materiality of the instrument and the meridian line that it defined. Approaching the instrument through the lenses of object biographies, the paper raises the question of whether the life of the instrument came to an end once operations with it were terminated. The analysis of the Transit Circle’s life reveals that it reached its end multiple times, which shifts the emphasis away from a single and ultimate end of scientific objects to a process of gradual downfall, during which they can “end” several times. In addition, through the object biography approach, the Transit Circle no longer appears as a dead object reaching an afterlife within a museum setting. Instead, the approach demonstrates that, though the instrument can still be restored to an operational order, doubts about its accuracy, and its relevancy to today’s astronomical methods, have led the instrument to be considered obsolete, transforming it into a museum object on display. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Blue Pearl: The Efficacy of Teaching Mindfulness Practices to College StudentsDeborah J. Haynes, Katie Irvine, and Mindy BridgesBetween fall 2003 and spring 2011 I integrated contemplative practices into ten courses with a total of 877 students. Nine of these courses carried credit for the core undergraduate curriculum, either in literature and arts or ideals and values, and students elected my courses from a menu of options. Individual courses (...) ranged from 12 to 409 students. During two of these years, I conducted detailed human subject research using a number of surveys, gathering both quantitative and qualitative data with first-year undergraduates on their experiences with contemplative pedagogy. These courses dealt specifically with art and religion, focusing on traditions where the visual arts are intricately connected to religious practice. I gathered more subjective data in all of the other courses, including large lecture courses on world art from 1500 to the present. In general, my students were not majors in art or religious studies, but came from many disciplines within the arts, social sciences, and sciences, including business and engineering. This essay describes the process and results of the research I conducted with two undergraduate assistants, Katie Irvine and Mindy Bridges. Besides summarizing the findings, I also describe student responses to teaching a specific mindfulness practice—the bow—within a large lecture course with undergraduates. It is notable how little actual data exists about student experiences, and this prompted me to undertake the research that forms the basis for this essay.1I begin with a few comments on my understanding of contemplative or mindfulness practice and my role as researcher. There is no single way to describe or engage in contemplative practice. The Latin contemplari means to observe, consider, or gaze attentively. This definition gives clues about the varied forms of contemplative practice, which include sitting, standing, walking, and lying down; using attitudes of not doing; deep listening, pondering, and radical questioning; guided imagery and active imagination; exercises with the body; focusing techniques such as those developed by Eugene Gendlin; concentrated language experiments with freewriting, poetry, and journals; beholding; and creation of visual images to represent such experiences.2 The [End Page 63] word mindfulness is often used to describe contemplative practice. In its most basic form, it means moment-by-moment present awareness, which is available to everyone, regardless of religious or spiritual orientation.Broadly understood as methods to develop concentration, to deepen understanding and insight, and to cultivate awareness and compassion, these practices can have a profound impact on a student’s experience both in college and beyond. Specifically, teaching students techniques of awareness, concentration, and means of disciplining their attention is absolutely essential in our era of fragmentation, ever-increasing speed, multitasking, and continuously interrupted attention. While contemplative practices are rooted in the world’s religious traditions, I often tell parents and students that the application of these practices in a secular educational context can enhance the educational experience in unique ways. Students develop new techniques of awareness, they learn to refine their perceptual and observational skills, and they are encouraged to take chances and to foster attitudes such as curiosity and wonder rather than cynicism about the world in which we live.Contemplative PedagogyIntroducing contemplative practices into the classroom results in new educational practices and pedagogies. For example, in a course titled The Dialogue of Art and Religion my students learn about Russian Orthodox icons, Himalayan Buddhist thangkas, and Navajo sand paintings through studying cultural and social history, religion, formal visual analysis, and creative processes. I define this interdisciplinary teaching as a form of comparative visual studies. I normally teach this class to eighteen or twenty first-year college students. Students also learn about the practices of prayer and meditation that are central to Christian, Buddhist, and Native American traditions through sustained reading and discussion. They read accessible books about contemplative practice such as Thich Nhat Hanh’s The Miracle of Mindfulness.3 In each class, we practice simple techniques such as bowing, sitting in silence, breath awareness, and daily writing exercises.Over the past decade my students have talked about how these mindfulness exercises help to foster an atmosphere of respect, noting... (shrink)

In modern continental thought, natural science is widely portrayed as an exclusively instrumental mode of reason. The breadth of this consensus has partly preempted the question of how it came to persuade. The process of persuasion, as it played out in Germany, can be explored by reconstructing the intellectual exchanges among three twentieth-century theorists of science, Heidegger, Habermas, and Werner Heisenberg. Taking an iconic Heisenberg as a kind of limiting case of “the scientist,” Heidegger and Habermas each found themselves (...) driven to place new constraints on their previously more capacious assessments of science, especially its capacity to reflect on its method. Tracing how that happened, through archival and historical contextualization and close readings of their texts, lets us make visible Heidegger and Habermas’s intellectual affinities and argumentative parallels, which derived not only from their shared grounding in earlier reactions against positivism, but also from confrontation with contemporary events. The latter included, for Heidegger, the rise of a technically powerful science exemplified by nuclear physics, and for Habermas, post-World War II controversies over science, technology, and their socially critical possibilities. (shrink)

ArgumentHeidegger's philosophy of science is notable for the prominence it gives to visuals and visualization. This is because for Heidegger, truth – including scientific truth – is the consequence of unconcealment, the lifting of a veil. But as scientific truth is a special kind, its visualization is also special: scientific truth reveals itself to us as, in Heidegger's words, “a calculable nexus of forces.” This nexus unconceals itself largely by means of instrumentation: it is this process of revelation that turns (...) objects into objects of science. Despite its focus on visualization, however, Heidegger's philosophy of science cannot be applied directly to scientific visuals. His categories are not designed with visual exegesis in mind. For that purpose, semiotics, the science of meaning as defined by Charles Peirce, is a necessary intermediary between the abstract and the concrete, a taxonomy of icon, index, and symbol that can be employed as a set of hermeneutic probes that permit the exploration of scientific visuals as embodiments and carriers of scientific meaning. But not their sole embodiments and carriers. In achieving scientific semiosis, the verbal and visual must combine their particular strengths. This is also in accord with a Heideggerian view: science moves methodically from the visual to the propositional, though it never leaves the visual behind. (shrink)

Postnational, or after or more than national, is a world that connects the international with the local. Technollaboration, is how creative digital communities use technology to improve methods and environments for collaboration. Postbiotanical, after or more than biotanical, represents the future of human-centric collectives around farming and urban living and sustainability. Village, is ambiguous and raises the question how large is local, and how does a village-centric view impact the way we treat each other? Art traditionally functions as an environment (...) for philosophical and creative activity that works to secure its borders from intruding dictatorial ethics, ideology, politics or dogma that might sully its aim to maintain its open arduous exploration of the clash between image and meaning, icon and significance, or perception and identity in reference to culture and history. Integrating technology into this discourse introduces a milieu of associations, expectations and conclusions about how technological innovation, practices and products should be steered, which can also influence what we both make and teach. The web has since evolved into a pervasively instantaneous space for more involved forms of communication (Google hangout), content sharing (SVN), publishing (blogs), community building (messageboards, Facebook), creative performance (Isadora) and more. Now creative interactive initiatives are not limited to merely making a statement or triggering a semiotic synapse, but rather can have a social impact, enacting, mobilizing and serving as a resource for the public. Telematic Art that includes the activities surrounding Digital Communities and their behaviour, does not merely provide an environment to discuss social issues, but embodies social interaction in ways in which new forms of collective expression can be realized. The development of telematics tools is empowering for the public while serving as a medium that influences how individuals interact. Between DIY/DIWO models, open source hardware, software, and creation initiatives, practivist initiatives, creative hacking ideologies, immersion, and web-based communication tools to localize the international collaborative workshop, I believe our formats for education and exchange are becoming more collective and empowering, and with the inclusion of digital social collaboration initiatives seen in myriad examples of Telematic Art, there exists the potential to motivate a mindset desiring new shifts in perception and making with the goals of serving the global community in significant and direct ways. (shrink)

The need for a comprehensive semiotic understanding of poetic translation is at the heart of the present paper. This task is framed in terms of a multidisciplinary theoretical framework termed semiosic translation that I apply in this article to the translation of Holocaust poetry. This type of poetry is characterized as a distinct sign system that poses a number of challenges to both translators and semioticians. One of the most conspicuous problems is the ineffability of nothingness, which is particularly evident (...) in the poetry of Paul Celan. Building on the notions of abductive inference (Charles S. Peirce) and rule-following (Ludwig Wittgenstein), I introduce a method for the translation of two key poems Schwarze Flocken (‘Black Snowflakes’), corresponding to Celan’s early period, and Weggebeizt (‘Worn down,’ a poem written in 1963). The semiotic method applied shows that the underlying Firstness of Holocaust art (an anti-semiotic sign system) is the driving force behind Celan’s poetry. It is also suggested that iconicity and indexicality are not peripheral semiotic processes but central elements to elucidating how the translation across sign systems takes place. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Women in TibetRae Erin DachilleWomen in Tibet. Edited by Janet Gyatso and Hanna Havnevik. New York: Columbia University Press, 2005. 436 pp.Empowerment, transcendence, and the performance of identity are common themes in the study of gender and religion across cultures. As these themes are elucidated across cultures and in different historical moments, they are troubled by a persistent refusal of gender as a category of enduring symbolic and (...) real meaning by both historical and contemporary cultural actors. In the cases of Tibetan and Buddhist studies, the approach to womanhood as a category is repeatedly subsumed by concerns with religious or ethnic and political identity. This trend has forced many scholars to appeal to the symbolic realm of the iconic female or the construction of womanhood from sparse individual accounts as representative of an artificial subcultural entity. In response to the impasse created by these methods, the editors of Women in Tibet have chosen an approach that seeks to level the field. In doing so, they have produced a work that combines textual and anthropological projects aimed at recovering the specificities of lived womanhood across a range of historical moments. Allying themselves with a historical versus a feminist agenda, they succeed in laying the groundwork for a new approach to the study of womanhood.This approach surveys the vast artillery of historically embedded social dynamics available for Tibetan women to emulate, embody, or resist. In the diversity of their selections, Gyatso and Havnevik intentionally leave room for the possibility that women continue to perform as historical actors in spite of as well as because of their association with womanhood and the disempowering social and religious stereotypes attached to it. In leaving this issue open-ended, the editors sustain the tension between approaches that locate "specifically female" elements within traditions and those that posit the category of womanhood to be subservient to other cultural categories and phenomena. Exploring the participation of women in lineages as diverse as the oracular described by Hildegard Diemberger, the medical addressed by Tashi Tsering, and the imperial aristocratic presented by Helga Uebach, the essays in this volume represent an oscillation in the perceived relevance of femaleness. Inconsistency in the priority of the category of womanhood in historical interpretation reflects fluctuating attitudes on the part of Tibetans themselves as well as of European and American scholars as interpreters of the region's religious, social, and political realities.Asceticism in particular has been a highly charged site for the exploration of these themes in both Buddhist and Christian studies, along with determining the specific nature of female monasticism. As an instance of the deliberate embrace of a social category thriving upon the confluence of the ideal and the marginal, asceticism provides a lens for considering the ways in which women exploited opportunities to survive and excel spiritually and socially, often in spite [End Page 172] of female embodiment. Several of the authors in this volume address the tension between the socially sanctioned spaces for female asceticism within the nunnery or hermitage and the identities that individuals and communities of female ascetics strive to inhabit. Kurtis Schaeffer, for example, presents the tensions operating within acts of ascetic self-clarification in the autobiography of the medieval Tibetan hermitess Orgyan Chokyi. This account provides a rare glimpse of a historical woman defining her marginality and femaleness in relationship to Buddhist notions of suffering. Schaeffer reminds the reader that even from the hermetically sealed space of the cave, social, geographic, and historical elements play a fundamental role in constructing an individual's narrative identity and conditioning the terms of her self-realization.Charlene Makley's astute observations on the identity of nuns in contemporary Amdo taps into the various power dynamics at play in the social construction of nuns as parasitic, marginal, and dispensable members of the Labrang community. These acts of identification occur in the enduring and influential discursive field of gossip centered upon the "inappropriate otherness" of female monastics and their rumored failure to perfectly embody what Makley, following Charles Keyes, terms the "third gender" of celibate monasticism. Makley uncovers the powerful signifiers of the body of the nun in this geographical and historical context as... (shrink)

This article explores how the pre-eminent public psychology of the French Revolution – sentimentalism – shaped the necessity, understanding and construction of its most iconic public machine. The guillotine provided a solution to the problem of public executions in an age of both sentiment and reason. It was designed to rationalize punishment and make it more humane; but it was also designed to guard against the psychological effects of older, more variable and unpredictable methods of public execution on a (...) sentimental public. That public, contemporaries argued, required executions performed by an unfailing technology. Rather than focus on the role of the guillotine after 1793, the article explores how the implacable mechanical action that helped produce the Reign of Terror and multiply the cadavers of medical science was demanded by the guillotine’s origins as a sentimental machine. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Spatializing Culture: The Ethnography of Space and Place by Setha LowCarlos J. L. BalsasSpatializing Culture: The Ethnography of Space and Placeby setha low London: Routledge, 2017Spatializing Culture: The Ethnography of Space and Place adds clarity to our understanding of the value of ethnographic scholarship in the study of socio-economic, cultural, and developmental transformations. The book is a thorough review of two established conceptual frames of analysis—the social production (...) of space and the social construction of space—coupled with an in-depth discussion of four newer ways to make sense of the world around us: embodied space, language and discourse, emotion and affect, and translocal space. As the world is transformed by a myriad of forces and events occurring simultaneously, its complexity intensifies insurmountably and we require clear and robust concepts, theories, methods, and tools to not only interpret it, but above all to attempt to change it in ways that are more beneficial to our collective co-existence while enabling the flourishing of those most at risk.Readers of Spatializing Culture will find plentiful theoretical constructs, lineages, diverse viewpoints, examples, and overall opportunities for reflecting on how the (built) environment, spaces, and places have been changing mostly due to our behavior. Inspired by Foucault’s take on genealogy, in chapter 2, Setha Low traces the history of space and place according to distinct interpretative schools of thought ranging from philosophical and mathematical, French social theory, geographical, architectural, environmental psychology, to anthropological, and even archeological. Five Venn diagrams are utilized to illustrate the main conceptual relationships between space and place. Most of the book’s in-depth case studies were researched by the author with only a small number investigated and written up by fellow scholars, which Low utilizes in the book with gratitude. The interrelated thematic and distinct geographical scope of the cases is one of the book’s hallmarks. The illustrative case studies come from such faraway places as Latin America (San José, Costa Rica), Asia (Taipei, Taiwan), North America (New York City; Washington, D.C.; Philadelphia, Pennsylvania; and San [End Page 151] Antonio, Texas), Southern Europe (Smederevska Palanka, Serbia), and the Middle East (Beirut, Lebanon; Cairo, Egypt; and Tel Aviv, Israel).Spatializing Culture was first mentioned to me years ago by a former colleague at the University at Albany, SUNY. His ongoing work in Latin America, coupled with his ethnographic training and prior work in a region of the world also extensively examined by Low in other scholarly works, was likely the reason for bringing it up in a conversation about the latest developments in the field and potential research opportunities. I acquired the book when I was teaching Global Urbanism and Culture and International Urban Planning. I was pleasantly surprised with the book’s thorough conceptual lineage, historic characterizations, attention to detail, comprehensive ethnographic investigations, and implications for transforming reality as well as institutional processes. Spatializing Culture is a welcome addition to urban planning textbooks, which tend to be relatively less critical, are often covered with normative constructs and statistics, and are more institutional in their characterization of problems and recommendations for further action.For the most part, the ethnographic method is qualitative, participa-tory, detailed, and quite comprehensive in characterizing key variables as the researcher found them on the ground. This differs slightly from urban planning’s preoccupation with public policy, policy analysis, rules and regulations, institutionalized procedures, the public good, and overall positivist and rationalist concerns with documenting reality and helping to lead transformative planning processes, whether in the realm of land use, transportation, housing, economic development, infrastructure, or the environment. Although International Urban Planning was to be taught in a rather orthodox manner with recourse to understanding planning cultures, best practices, lessons learned, and implications for similar situations, the Global Urbanism and Culture course was slightly more aligned with the discussions put forward by Low. These included attention to postmodern ideals, the use of creativity in community planning, distinctions between popular and highbrow culture, and the building of iconic structures in contexts of urban regeneration and mega-event planning. As such, my students were somewhat already exposed to issues of embodied spaces and to ideas of... (shrink)

Christopher Norris DERRIDA AT YALE: THE "DECONSTRUCTIVE MOMENT" IN MODERNIST POETICS IN seven types of ambiguity, William Empson breezily remarked of his critical method that it was "either all nonsense or all very startling and new." The reactions went very much as Empson predicted, with a whole new school of criticism eagerly latching on to the idea of multiple meanings in poetry, while the sober-sided scholars indignantly attacked his wayward "misreadings" and flagrant anachronisms. At present, there is a similar (...) controversy raging around the figure of Jacques Derrida, whose influence on literary critics—mainly the Yale school of Geoffrey Hartman, Harold Bloom and J. Hillis Miller— occupies the forefront of debate in current theoretical exchange. Apart from all the sideshow of polemics, this parallel with Empson is a useful jumping-off point for an approach to Derrida and the implications of his writing. Empson opened up the literary text to a practice of reading which released as many ambiguities, overtones, and hints of recondite meaning as the analyst could reasonably claim to find in it. Reason, or commonsense judgment, still played an arbitrating role, since Empson wanted his readings at least to match something in the credible intention—at whatever "unconscious" level—of the author concerned. Subsequently, Empson has taken issue with the American New Critics on precisely this ground of authorial intention. Where they have dismissed all such considerations as outside the critic's proper interest or competence—treating the text as a "verbal icon," detached from any speculative background of motive or intent—Empson has come out in sturdy defense of "intentionalist" readings, based on available evidence of what the poet was trying to express. In other words, Empson, for all his dazzling inventiveness, held to a notion of the author as (implicitly) a self-possessed creator of meanings, one whose intentions demand critical respect, however broadly that requirement is to be interpreted in practice. Anglo-American criticism 242 Christopher Norris243 has lately been much preoccupied with the question of whether—or exactly how far—an author's original "meaning" can be recovered by close attention to his text. E. D. Hirsch's Validity in Interpretation is a classic if long-winded statement of the conservative view: that the critic's obligation is to come as close as possible to establishing what an author most probably meant in using language as. he did.3 The discipline involved is partly a matter of historical semantics (drawing a limit or "horizon" of possible meanings in context), and partly a matter of interpretative tact and sympathy. Hirsch grounds his argument on the Kantian premise that a text is in some sense the surrogate voice of its author, and that texts must therefore be treated, like people, as ends in themselves, and not means toward the critic's display of self-advertising brilliance. All the same, Hirsch has to acknowledge that authorial intention, as such, is beyond the grasp of this reconstructive program, which offers at best a kind of inferential yardstick for narrowing down the range of semantic potential. The problem which Hirsch never quite gets to grips with, despite his elaborate argumentation, is the fact that texts come across to us always from a distance of time, of experience or culture, which makes their meaning more or less opaque and problematic. The author is not simply there in the text, a self-authenticating "voice" of intent, as Hirsch (in his more sanguine moments) would have us believe. One might expect some such assurance from the homely narrative address of a novelist like Fielding, or the intimate soul-baring style of Wordsworth's poetry. Yet Fielding is as cunning a narrative tactician as any, his "voice" a shifting multitude of ironies and ploys; while Wordsworth manages a complex and selective rhetoric of memory which (as recent critics have shown) by no means communicates the "unmediated vision" of purely personal address. Hirsch yields a hostage to the relativist case by proposing a distinction between "meaning" (that which inheres in the text, and which the critic is duty-bound to preserve), and "significance" (the purely associative values which change with the passage of time and make room for rival or updated interpretations... (shrink)