This paper intends to establish which sight metaphors are preferably utilised in parenthood podcast discourse when the division of family responsibilities within heterosexual dual-income couples is discussed. The study examines a sample of podcast episodes about this topic aired during the COVID-19 pandemic and produced in a number of English-speaking countries. Starting from the assumption that work performed within the home is conventionally conceptualised as something heavy (DOMESTIC WORK IS A LOAD), the research relies on Conceptual Metaphor Theory and (...) Critical Metaphor Analysis to explore the ways in which the ‘load’ source domains combines with that of ‘vision’. Results indicate the widespread presence of invisibility metaphors in relation to women's work within their households. The adoption of such rhetorical figures has noteworthy ideological repercussions: labelling mothers’ contributions to their families as ‘invisible’ produces the paradoxical effect of making them very noticeable, thus validating women's efforts and highlighting their crucial importance. The use of metaphorical patterns involving the sense of sight thus represents an instance of counter discourse that spreads awareness about the devaluation of housework and childcare and might ultimately contribute to family and societal transformation. (shrink)

The principal thesis in this review-essay is that the key linguistic terms in Fichte’s Wissenschaftslehre especially have two main meanings that appear at first sight to be almost in contradiction or opposed to each other. The reader of Fichte therefore has to work hard to overcome any apparent conflicts in the “double sense” of his philosophical terminology. Accordingly, I argue that Fichte’s linguistic method and use of language should be seen as part of his chief philosophical method of (...) synthesis, where we have to carry out a similar procedure and attempt to reconcile opposites using the power of the imagination. This thesis is put forward by means of a number of practical examples and in the context of some critical reflections on the recently published Cambridge Companion to Fichte, eds. David James and Günter Zöller. Review essay published in Volume 15 (December, 2017) of the journal Revista de Estud(i)os sobre Fichte (ed. Emiliano Acosta). (shrink)

What might a synaesthetic cinema look like? Or, better, what might it sound, smell, taste and feel like? This essay approaches David Lynch's Mulholland Drive as a means of thinking through conceptual but concrete descriptions of synaesthesia not as an artistic device, a metaphor, an historical trend, or a rare clinical condition, but as a way of being in space and time — and being in cinema — that is simultaneously abstract and very real. Lynch's film becomes, as well, an (...) opportunity to think about cinematic spectacle and ‘excess’ in sensorily specific ways. The hallucinatory sensual disjunctions that occur throughout the film reveal a double system of reference: vision and proprioception mutually informing and interrupting one another, in ways that recall Brian Massumi's discussion of topological architecture. Those moments of cinematic, sensory ‘excess’ are sensual reminders of the degree to which vision is entangled with other senses in the experience of cinema. (shrink)

It might at first seem that the senses (the five traditionally recognized conduits of outer sense) would have very little to contribute to an investigation of Kant's aesthetics. Is not Kant's aesthetic theory based on a relation of the higher cognitive faculties? Much however can be revealed by asking to what degree sight is essential to aesthetic judgment (of beauty and the sublime) as Kant describes it in the 'Critique of Judgment.' Here the sublime receives particular attention.

In recent years scholars from many disciplines have become interested in the "construction" of the human senses -- in how the human environment shapes both how and what we perceive. Taking a very different approach to the question of construction, Sites of Vision turns to language and explores the ways in which the rhetoric of philosophy has formed the nature of vision and how, in turn, the rhetoric of vision has helped to shape philosophical thought. The central role of vision (...) in relation to philosophy is evident in the vocabulary of the discipline -- in words such as "speculation," "observation," "insight," and "reflection"; in metaphors such as "mirroring," "perspective," and "point of view"; and in methodological concepts such as "reflective detachment" and "representation." Because the history of vision is so pervasively reflected in the history of philosophy, it is possible for both vision and thought to achieve a greater awareness of their genealogy through the history of philosophy. The fourteen contributors to _Sites of Vision_ explore the hypothesis that the nature of visual perception about which philosophers talk must be explicitly recognized as a discursive construction, indeed a historical construction, in philosophical discourse. (shrink)

This paper, which has both a historical and a polemical aspect, investigates the view, dominant throughout the eighteenth and nineteenth centuries, that the sense of sight is, originally, not phenomenally three-dimensional in character, and that we must come to interpret its properly two-dimensional data by reference to the sense of 'touch'. The principal argument for this claim, due to Berkeley, is examined and found wanting. The supposedly confirming findings concerning 'Molyneux subjects' are also investigated and are shown (...) to be either irrelevant or disconfirming. Recent investigations on infant and neonatal perception are discussed and are also found to be disconfirming. An innatist version of the theory is then considered and is shown to be undermined by the largely 'Gibsonian' character of early space-perception. Finally three recent arguments in favour of the theory - two from psychologists, one from a philosopher - are considered and answered. (shrink)

This study investigates the meanings of the Japanese low-degree modifiers _kasukani_ ‘faintly’ and _honokani_ ‘approx. faintly’ and the English low-degree modifier _faintly_. I argue that, unlike typical low-degree modifiers such as _sukoshi_ ‘a bit’ in Japanese and _a bit_ in English, they are sense-based in that they not only semantically denote a small degree but also convey that the judge (typically the speaker) measures the degree of predicates based on their own sense (the senses of sight, smell, (...) taste, etc.) at the level of conventional implicature (CI) (e.g., Grice (in: Cole, Morgan (Eds.), Syntax and semantics iii: speech acts, Academic Press, New York, 1975), Potts (The logic of conventional implicatures, Oxford University Press, Oxford, 2005), McCready (Semant Pragmat 3:1–57, 2010. https://doi.org/10.3765/sp.3.8, Sawada (Pragmatic aspects of scalar modifiers. Ph.D. Dissertation, University of Chicago, 2010), Gutzmann (Empir Issues Syntax Semant 8:123–141, 2011)). I will also show that there are variations among the sense-based low-degree modifiers with regard to (i) the kind of sense, (ii) the presence/absence of positive evaluativity, and (iii) the possibility of direct measurement of emotion and will explain the variations in relation to the CI component. A unique feature of sense-based low-degree modifiers is that they can indirectly measure the degree of non-sense-based predicates (e.g., emotion) through sense (e.g., perception). I show that the proposed analysis can also explain the indirect measurement in a unified way. This paper shows that like predicates of personal taste such as _tasty_ (e.g., Pearson (J Semant 30(1):103–154, 2013. https://doi.org/10.1093/jos/ffs001 ), Ninan (Proc Semant Linguist Theory, 24:290–304, 2014. https://doi.org/10.3765/salt.v24i0.2413 ), Willer & Kennedy (Inquiry, 1–37, 2020. https://doi.org/10.1080/0020174X.2020.1850338 )), sense-based low-degree modifiers trigger acquaintance inference. The difference between them is that, unlike predicates of personal taste, sense-based low-degree modifiers co-occur with gradable predicates and their experiential components signal the manner/way in which the degree of the predicate in question is measured. (shrink)

The transmission, emergence, and dissemination of features of racial differentiation are based on the interplay of different sensory perceptions, as this contribution will illustrate. For this purpose, examples from ethnographic travelogues from German East Africa and from the time of German colonial rule were selected to examine the functioning of tactile perception by means of the descriptions of skin colors and skin decorations. The source material reveals multisensuality in the form of synesthesia of the sense of sight with (...) the sense of touch, in that the perception of tactile stimuli is determined less by direct touch and more by the visual representation of haptic properties. (shrink)

This is a full length review in which I discuss the strengths and weaknesses of Jane Geaney's On the Epistemology of the Senses in Early Chinese Thought. Geaney's strengths lie in her refusal to import Western epistemological presuppositions into depictions of Early Chinese philosophy, her meticulous canvassing of key Warring States texts, and her insightful reconstruction of Early Chinese epistemology as based on perception rather than abstract concepts. Her weaknesses are the limited range of her representative texts and her occasional (...) overgeneralizations. In the first half of the review, I summarize Geaney's solid conclusions: knowledge in Warring States texts was stated in terms of, and even constituted by, seeing and hearing (as opposed to the primacy of sight in the West); seeing and hearing were referred to in paired tropes; the epistemology of seeing and hearing generally involved moral evaluation; and the heartmind had a triple role in this process as verifier, as ruler, and as a sense in its own right. In the second half of the review, I demonstrate the limitations of Geaney's methodology, using her example of the relationship of qi and wind. (shrink)

The aim of this paper is to show how a sensory approach to visual arts can be relevant for philosophy and how this prism, once brought to philosophy, can give insights on art in return. I will try to demonstrate that the difference between modernity’s two main schools of thought (namely, materialism and idealism) can be understood – thanks to the model of painting as an allegory of the world – as an exclusive preference for one sense: touch for (...) materialism and sight for idealism. Much as the two schools differ, both consider the painting (or the world) a finite picture, whose elements can be juxtaposed in a single homogeneous plane of knowledge devoid of any opacity. This leads to separate both vision and the mind from the body and from the world. As a result, sight and touch end up dissociated. That is why, to challenge this modern paradigm and renew with a holistic relationship to the world and to ourselves, philosophers and artists propose a shift towards a synaesthetic approach to painting. Such an approach will uncover a modality of being where the body, the subject, and the world, as well as sight and touch, can be reunited. Thus, I will show that Merleau-Ponty’s ontology of the flesh – that echoes through the paintings of artists who attempt to break free from the frame and engage the observer with all his senses and being, such as Racławice Panorama, Malevich, El Lissitzky, Cézanne or the Navajos’ sand paintings – can offer, thanks to a synaesthetic approach, both a new framework for philosophy and a new understanding of visual arts. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Adoro Te Devote of St. Thomas AquinasSr. Lucia Marie of the Visitation Langford O.P.The Adoro te devote is perhaps the most well-beloved Eucharistic hymn of our time, popularly attributed to St. Thomas Aquinas, the medieval Dominican friar known for his theological treatises as well as his Eucharistic hymnography. Unlike most of Aquinas's work, the poem reveals the intensely personal side of his faith. Rich in theological content and (...) inspiring deep Eucharistic devotion, this poem amply repays a closer investigation. We will look first at the questions of authorship, background, and structure before moving on to a discussion of the text itself.The "Disputed Question" of AuthorshipWhile the Adoro te has traditionally been attributed to St. Thomas Aquinas, the Thomistic authorship of the text was contested in the twentieth century, with two main objections being raised. The first claims that the content of the poem contradicts Thomas's own teachings and cannot have flowed from the same pen. The second objection is historical, claiming that a lack of evidence makes Thomistic authorship improbable.The first objection, claiming that the content of the poem is irreconcilable with Thomistic authorship, takes objection to a line in the poem which seems to claim that sense perception is unreliable and inaccurate, at least with regard to the Eucharist. The text of the Adoro te uses the word fallitur (deceived) with reference to the senses: "Visus, tactus, gustus in te fallitur"—"Sight, touch, taste in you are deceived." Some scholars have claimed that this line contradicts the teaching of Aquinas that the senses are [End Page 365] infallible in regard to their proper sensibles.1 Robert Wielockx addresses this charge in his study of the Adoro te, arguing that "the text does not contradict the continuous teaching of Thomas according to which the senses are not wrong when they judge their proper object, which as far as the Eucharist is concerned, is only the sacramental species."2 The substantial presence of Christ in the Eucharist is a mystery which is not knowable by the senses, and as Paul Murray, O.P., observes: "That's surely the point St. Thomas is making."3 However, the Thomistic insistence that all knowledge comes through our senses is not missing even here. While sight, touch, and taste fall short of comprehending the truth before them, the Adoro te itself proclaims that it is another sense—hearing—which reveals the mystery: "sed auditu solo tute creditur"—"but by hearing alone it is safely believed."4Thus there is no solid objection to Thomistic authorship based on the poem's content. But what about the historical evidence? Dom André Wilmart published a comprehensive study of the manuscript tradition in 1929. Noting that there were no extant copies of the text dating to Aquinas's lifetime and that the biography of Aquinas written by his own Dominican confrere and contemporary, William of Tocco, made no mention of the Adoro te, he considered it most probable that the poem was authored at a later date and ascribed to Aquinas.5However, Dom Wilmart did not know that he was not working with William of Tocco's final version of his work. The publication of a critical edition of William of Tocco's Ystoria Sancti Thome de Aquino in 1996 demonstrated that Tocco published his work in four successive redactions. The fourth and final version of his text (unknown to Dom Wilmart) was finished just before his death in 1323, and in this final version, Tocco includes the text of the Adoro te, attributing its authorship to St. Thomas.6 [End Page 366] Furthermore, Wielockx published a study of the Adoro te in 1998; his investigation of the manuscript tradition found that, of fifty-one sources, forty-four explicitly cite St. Thomas as their author. The remaining sources simply lacked any attribution. We may thus conclude with Wielockx: "External evidence, which must be given priority in sound criticism, wholly favors Thomas Aquinas's authorship of the poem."7BackgroundWith the attribution of the poem to St. Thomas Aquinas on secure footing, we now move to the background of the poem. Unlike Aquinas's Eucharistic hymns such as... (shrink)

Is security seen? Is security seen in images of peace and safety, or is it perceived in the troubled images of the horrors of violence and suffering? Vision has played a crucial role in shaping the modern Western preoccupation with, and prioritisation of security. Historically, security has been visually represented in a variety of ways, typically involving the depiction of its absence. In Medieval and Early Modern Europe especially, security and insecurity were presented as coterminous insofar as each represented separate (...) conditions – their shared boundary envisioned in representations of the temporal threshold separating human mortality from divine salvation. This ocular demonstration of thresholds has been heightened by the ‘war on terror’ conducted by neo-liberal states since 2003. Neoliberalism operates as a discourse of constant global circulations premised on a perpetual anticipation and pre-emption of insecurity. In the neoliberal scheme, security and insecurity are no longer coterminous, but mutually sustaining in perpetuity. In that sense, neoliberal security is ‘sight unseen’ - an uncanny presence that is not there. In the reiterated troubled images of horror amplified by the seemingly endless 'war on terror', neoliberal security operates as a terrifying visual reflex: we cannot see it but in new horrors. (shrink)

Vision, more than any other sense, dominates our mental life. Our visual experience is just so rich, so detailed, that we can hardly distinguish that experience from the world itself. Even when we just think about the world and don't look at it directly, we can't help but 'imagine' what it looks like. We think of 'seeing' as being a conscious activity--we direct our eyes, we choose what we look at, we register what we are seeing. The series of (...) events described in this book radically altered this attitude towards vision. This book describes one of the most extraordinary neurological cases of recent years--one that profoundly changed scientific views on consciousness. It is the story of Dee Fletcher--a woman recently blinded--who became the subject of a series of scientific studies. As events unfolded, Milner and Goodale found that Dee wasn't in fact blind--she just didn't know that she could see. Taking us on a journey into the unconscious brain, the two scientists who made this incredible discovery tell the amazing story of their work, and the surprising conclusion they were forced to reach. Written to be accessible to students and popular science readers, this book is a fascinating illustration of the power of the 'unconscious' mind. (shrink)

This book presents a critical analysis of sense-making practices through an exploration of acoustic, creative, and artistic spaces. It studies how local cultures of sight, hearing, smell, taste, and touch are impacted by global discourses and media, such as television, popular music, digital media, and literature. The authors look at sense-making practices and spatial discourses through an interconnected discussion on thought and experience that seeks to present a multidimensional cartography of the global, the local, and the glocal, (...) to closely analyze the phenomenon of globalization. The volume is an investigation of the possibilities of alternate, sustainable modes of being and existing in a world which requires a unified, ethical, biopolitical worldview that challenges the disparity of its fragments while speculating on their synesthetic conditionality. A unique contribution, the book will be of interest to scholars and researchers of English literature, media studies, cultural studies, literary cultures, post-colonial studies, globalization studies, philosophy, critical theory, sociology, and social anthropology. (shrink)

The present paper suggests how, from a scientific perspective, the senses establish a link between mind and matter. Ongoing research in sensory science and data analysis is related to the ongoing debate about a non-reductive theory of consciousness based on psychophysical principles. Sensory science is interdisciplinary and deals with the human perception of objects by the senses of sight, smell, taste, touch, hearing etc. Perception as information pro- cessing is here understood in terms of interactions between external physical stimuli (...) and internal mental states resulting in behavioral responses. To deal with the complex and dynamic transformation between external physical energies and internal psychological experiences multivariate methods of data analysis are shown to be useful Examples will be given from food science where cognition and emotion, activated by sense perception are vital for the survival health and well-being of humans. These approaches may contribute to bridging the explanatory gap between the subjectively experienced and the objectively observed world. Future challenges towards deeper interdisciplinary discourses addressing mind-matter research in real-world situations are at stake. (shrink)

How many senses do humans possess? Five external senses, as most cultures have it—sight, hearing, touch, smell, and taste? Should proprioception, kinaesthesia, thirst, and pain be included, under the rubric bodily sense? What about the perception of time and the sense of number? Such questions reduce to two. 1. How do we distinguish a sense from other sorts of information-receiving faculties? 2. By what principle do we distinguish the senses? Aristotle discussed these questions in the De (...) Anima. H. P. Grice revived them in 1967. More recently, they have taken on fresh interest as a result of a collection of essays edited by Fiona Macpherson. This entry reviews some approaches to these questions and advances some new ideas for the reader’s consideration. It proposes that the senses constitute an integrated learning system, membership in which answers question 1. It also proposes that the modalities can be distinguished from one another in two ways, by the means of information pick-up and by the kinds of activity that a perceiver undertakes to make use of them. (shrink)

Canʹt touch this -- How sight is not touch -- The medium of sight -- The problem of tactility -- The commonalities of the senses -- Photios and the unfolding of perception -- Has the mind seen?: the language of effluxes -- Has it grasped?: apprehending the object -- Has it visualized?, I: the grasp of the imagination -- Has it visualized?, II: the problem of fantasy -- Then it has effortlessly...: judgment and assent -- Mediation, veneration, remediation (...) -- Medium and mediation -- Tactility and veneration -- Synaesthesia and remediation -- Tempted to touch. (shrink)

It is no surprise that the phenomenal qualities of our sensory experience pose recalcitrant philosophical problems for a physical materialist metaphysics. The colors of flowers as we experience them by sight, the taste of a ripe peach, and the smell of fresh-cut grass are undeniably part of the experienced world; yet in their phenomenal mode, they do not seem well-placed in the physicist's world of particles and energy fields. It seems, prima facie, that the metaphysical programs found in earlier (...) science and philosophy were better suited to accommodate these qualities: in the hylomorphic world of the Aristotelians, colors were "real qualities" existing as such in flowers; in the dualistic world of Descartes, colors were displaced from things like flowers to the immaterial mind of the perceiver. The dissertation argues that this intuition about our philosophical heritage is both philosophically confused and historically inaccurate. It betrays a misconception about phenomenal qualities and the problems they pose which results from a failure to distinguish phenomenal qualities from a special subset of sensible qualities that we have come to call "secondary" qualities. Disentangled from the primary-secondary quality distinction, phenomenal qualities include all sensible qualities insofar as they form the experiential contents of our sensory perceptions. So considered, phenomenal qualities invite difficult questions about the representational nature and ontological status of our sensory experience even within the Aristotelian and Cartesian metaphysics. By examining Descartes' and the Aristotelians' theories of sense perception with a focus on these questions we achieve a better understanding of "the problem" of phenomenal qualities, better interpretations of these historical theories of sense perception, and suggestions for reshaping the problem space within which we think philosophically about phenomenal qualities today. (shrink)

Ancient Chinese thought inquired primarily into how the achievement of things is possible rather than into what a thing as a thing is. It held that man should participate in the achieving or generation of things in order to realize his self-achievement. A thing is understood as an event. Because all things and man are united as one, it is possible for man to enter into things by tasting and feeling rather than by relying on the sense of (...) class='Hi'>sight. This may provide a possible new means of rescuing things from the numericalization and phenomenalization that sweep over the world today. (shrink)

The Poet's "Caressive Sight": Denise Levertov's Transactions with Nature The scientific consciousness which broke with the holistic perception of life is credited with "unweaving the rainbow," or disenchanting the world. No longer perceived as sacred, the non-human world of plants and animals became a site of struggle for domination and mastery in implementing humankind's supposedly divine mandate to subdue the earth. The nature poetry of Denise Levertov is an attempt to reverse this trend, reaffirm the sense of wonder (...) inherent in the world around us, and reclaim some "holy presence" for the modern sensibility. Her exploratory poetics witnesses to a sense of relationship existing between all creatures, both human and non-human. This article traces Levertov's "transactions with nature" and her evolving spirituality, inscribing her poetry within the space of alternative—or romantic—modernity, one that dismantles the separation paradigm. My intention throughout was to trace the way to a religiously defined faith of a person raised in the modernist climate of suspicion, but keenly attentive to spiritual implications of beauty and open to the epiphanies of everyday. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The 2005 Meeting of the Society for Buddhist-Christian StudiesFrances S. Adeney, SecretaryThe annual meeting of the Society for Buddhist-Christian Studies was held in Philadelphia on November 18, 2005. The theme of the program was visual and aural expressions in Christianity and Buddhism and their relationship to religious practice.The focus of the first session was visual images of sacred art. Victoria Scarlett presented the paper "The Iconography of Compassion: Visualizing (...) Guanyin and the Virgin Mary." She noted that meditation exercises that explore visual imagery can mediate the experience of the holy in both Buddhism and Christianity. By comparing and contrasting the images of Guanyin and the Virgin Mary through both commentary and slides, she pointed toward the qualities of compassion, healing, empathy, generosity, and selfless love presented in both Buddhism and Christianity. Scarlett stressed the role of visualization in generating compassion and taking responsibility for cultivating and living the devotional life. Engaging the religious imagination in those visual ways, she said, can help us generate compassion in our world today.Alice Keefe presented the second paper, "The Visual Dimension of Religion in Comparative Perspective." She challenged the assumption that visual experience is a derived or secondary aspect of religious life. As Tibetan Buddhism clearly shows, through its depiction of Buddhas, lamas, bodisattvas, and deities, the divine is form as well as formless. In Christian Orthodox traditions, the icon is viewed as material and glory, the transcendent visible to the human eye. Visual images in both Buddhist and Christian traditions indicate the possibility of transformation as one imagines one's own body as a body of light.Keefe challenged us to bring the centrality of the visual in Buddhism and some portions of Christianity into our academic discussion. Western thinkers present the body in opposition to the spiritual, sometimes understanding images as idolatrous. We assume that the generative locus of meaning is in the subjective consciousness and seek out ideas, ignoring the body. However, communicating an idea is not the [End Page 181] object of visual attention to an icon—rather, it involves the constitution of a self in relation to others. Through practices that activate the visual dimension of religions, we come to know ourselves as part of a pantheon of beings.Rita Gross responded to both papers, focusing on the biases of Western religion in the study of Buddhism. The prohibition of idolatry in Western religion has been identified with the sense of sight, rather than hearing or the use of words. Furthermore, idolatry is always a category defined by outsiders, Gross asserted. People who use the sense of sight to reach beyond themselves to the sacred know what they are doing. The papers and visual images presented gave the attendees insight into how that might happen in Buddhism and Christianity.Michael Monhart and Jisho Shizuka opened the second session with their presentation of "Chanting as Practice: Japanese Shingon Buddhist Sutra Chant." After a brief history of the Shingon sect, the presenters focused on a central aspect of Shingon chanting practice: a realization of one's inherent Buddha-nature in this life. Through activating the mysteries of the ritual activities of the body, voice, and mind, chanting develops the specific connection between Buddha-nature and human nature. An explanation of the chanting itself—its modes, patterns, and energies—led to the conclusion that sound and word become reality through their use by the practitioner of ritual, a conclusion that was demonstrated by the chanting of three sutras.Bill McJohn and Joseph Anderson next presented their work, "The Aural Dimension of Religion: Chanting Psalms in Gregorian Chant." McJohn focused on the history of chanting the Psalter, beginning in the monasteries of the fourth century. Singing the Psalms was motivated by a desire to pray constantly, and as the monastic communities developed, a practice of working through the 150 psalms developed. A shorter version, which eventually became the rosary, also developed. Anderson noted that the recitation of the Psalms is the analog to Buddhist chanting of the sutras. One is actually speaking as the Christ in recitation of the Psalms. Both also find a balance between time and timelessness as they are re-created in different ways... (shrink)

It would be an almost comical understatement to say that, throughout my graduate study in philosophy and subsequent years of teaching and writing, I found myself engaging with the works of Jeremy Bentham somewhat infrequently. Beyond flavorful anecdotes about mummified heads and jabs about stilted nonsense in my undergraduate Intro to Ethics courses—as we segued into extended discussion of John Stuart Mill, of course—Bentham’s direct and recognized role in my philosophical activities has been pretty much nonexistent. With all that said: (...) as a sexual- and gender- nonconforming aesthetician and LGBTQIA+ educator and wellness professional living in what is now a post-Roe United States, I found Carrie D. Shanafelt’s Uncommon Sense: Jeremy Bentham, Queer Aesthetics, and the Politics of Taste (2021) to be rich, captivating, and at times, even genuinely comforting. -/- Shanafelt’s short book is equal parts history of philosophy, philosophical history, biography, and queer manifesto, written in an accessible manner that successfully balances scholarship with readability. I could easily see Uncommon Sense engendering rich discussion in graduate seminars as well as undergraduate courses of various sorts—though I can just as easily see portions of the book’s content generating various rumbles of controversy, at least at some of the institutions I’ve taught at before. (See, for example, Chapter Four, titled ‘Bentham’s Queer Christ.’) Any anticipatory worries of short-sighted reactionary takes aside, the book would absolutely serve well as the central focus on an entire course, supplemented by a range of literature and scholarly material from philosophical aesthetics, queer studies, political theory, and more. Honestly, I would love to teach that class. (shrink)

Semantic codes constitute the world, not in a mechanistic “cause-and-effect” sense but through another type of linkage. This article explores some of the semantic code, the “semantic DNA,” of mainstream neoclassical economic development policy thinking and writing and looks at what that mode of thinking incorporates into its discourse as “social.” The various forms of the “social” in economics discourse add up, from a sociologist’s viewpoint, to disappointingly little: they mainly consist of a miscellaneous set of noneconomic aspects that (...) mainstream economic thinking can use to blame for the policy-performance gap between what such thinking promises and what it often actually delivers. (shrink)

La vista rappresenta il nostro legame più importante con il mondo. C’è un chiaro nesso tra questo fatto e l’importanza che nella terminologia filosofica tradizionale hanno da sempre le metafore incentrate sul senso della vista rispetto alla conoscenza. Nel XIX secolo alla grande varietà di concetti ottici come ‘teoria’, ‘evidenza’, ‘intuizione’, ‘illuminismo’ si è aggiunta la nozione di ‘Weltanshauung’ che sta ad indicare una concezione complessiva del mondo, radicata in un determinato punto di vista, individuale o collettivo che sia. Queste (...) ‘Weltanschauungen’, in quanto sistemi metafisici privati, attestano la decadenza della metafisica che ebbe inizio dopo l’idealismo, la cui conseguenza sono il prospettivismo e il relativismo. Nel frattempo anche le ‘Weltanschauungen’ sono andate in rovina; ne è chiaro sintomo il fatto che il termine stesso è diventato obsoleto. Non sembra più possibile per noi tratteggiare una ‘immagine’ del mondo come tutto.Vision is our most important connection to the world. There is an accordance between this fact and the importance of the metaphors about the sense of sight for the traditional philosophical terminology with respect to cognition. During the 19th century the large variety of optical concepts such as ‘theory’, ‘evidence’ ‘intuition’, ‘enlightenment’ etc. was completed by the notion of ‘Weltanschauung’ which means a conception of the world as a whole from a certain point of view in relation to individuals as well as to a collectivity. These ‘Weltanschauungen’ as private metaphysical systems demonstrate the decay of Metaphysics which took place in general after Idealism, followed by the problems of Perspectivism and Relativism. In the meantime even the ‘Weltanschauungen’ fell into ruin; this is indicated by the term itself which came to be obsolete. It seems no longer possible for us to delineate a ‘picture’ of the world as a whole. (shrink)

Ancient Chinese thought inquired primarily into how the achievement of things is possible rather than into what a thing as a thing is. It held that man should participate in the achieving or generation of things in order to realize his self-achievement. A thing is understood as an event. Because all things and man are united as one, it is possible for man to enter into things by tasting and feeling rather than by relying on the sense of (...) class='Hi'>sight. This may provide a possible new means of rescuing things from the numericalization and phenomenalization that sweep over the world today. /// 在中国传统思想世界中，对物首要的态度不是追问 "物之为物" 而是关注如 何 "成物"; 强调以自身参与到物的生成中去，成己以成物，遂使物成为 "事" 使 万物一体; 强调以 "味"、"感" 的方式进入物之中，发展出不同于 "看" 的通达事 物之方法论。进入事物之中而使事物退隐的可能性降低，为克服今日世界的数字化、 表象化提供了一种 "新" 的可能性。. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Aspiration to the Condition of TouchChristopher Perricone"The Dance," written by William Carlos Williams in 1944 is one of my favorite poems: I return to it regularly. Williams gives us a feel for that life of the kermess (a carnival) in his poem through Breughel's picture, as it were three times removed from the event itself. Of course, unlike Plato, I would argue that the vitality of the kermess (...) is not lost in the poem; it is actually enhanced by a subtle sleight of hand. The poem isn't primarily about Breughel's picture. It is about dance, about the dancers who go round, their squeal, the crude music, its rollicking measures, the dancers kicking and rolling and swinging, their hips, bellies, and butts. Reading and re-reading this poem, I "see" those ordinary folk of Breughel's great picture. I "hear" their music. I "move" to their dance. The poem seems a condensation, a summary of the fine arts. Perhaps the poem is about poetry's power to reinvigorate imaginatively what we hear and see. Perhaps I think of festivities at which I have danced, how such festivities are essential to the human experience. Perhaps, William Carlos Williams in 1944, World War II coming to a close, was anticipating similar good times. As always, it's best to let the poem speak for itself:In Breughel's great picture, The Kermess,the dancers go round, they go round and around, the squeal and the blare and the tweedle of bagpipes, a bugle and fiddles tipping their bellies (round as the thick-sided glasses whose wash they impound) their hips and their bellies off balance to turn them. Kicking and rolling about the [End Page 229] Fair Grounds, swinging their butts, those shanks must be sound to bear up under such rollicking measures, prance as they dance In Breughel's great picture, The Kermess.The visual, musical, and literary arts do much to educate our senses, especially our senses of sight and hearing. The well-formed visual and auditory sensations we gain from the arts are, as it were, the melody of those experiences. They are the images we store away, the tunes we whistle. However, here, I want to draw attention to an overlooked, although not entirely disregarded, sense, i.e., touch. I want to argue that touch is the bass line to the melody of sight and hearing in the arts, i.e., that touch keeps the work of art coherent and grounded.This is an old idea. Bernhard Berenson had the idea when he was examining the painters of the Italian renaissance. Berenson argued that great painting stimulates touch, which inspires, our "tactile imagination," which produces our "tactile values." Here lay, according to Berenson the genius of Giotto. Tactile imagination and values enchance the "material significance" of a work; they act as a "test of reality." Berenson was on to something not only about painting but about the arts in general. However, in the late nineteenth and early twentieth centuries he lacked the scientific evidence about touch and its role in human relationships to develop his idea of tactile values to any great extent.1Although Berenson had keen intuitions, he didn't know about the biological/psychological nuts and bolts of touch. Thus, he never knew about the detailed nature and extent of our physical contact with other physical things in the world. He didn't know about Merkel's discs, Ruffini and Pacinian corpuscles. He didn't know about hierarchical and parallel levels of brain processing. Berenson didn't know that more brain space in the somatosensory cortex is given to the hand than to any other part of the body, that your fingers especially have a high density of touch receptors compared to other body areas. Today, all this information is standard textbook fare.2 Many neuroscientific details need to be worked. However, a general picture based on hard evidence has begun to emerge.This information adds significant substance to Berenson's ideas. Berenson's "third dimension" is essentially a sense of temperature, pressure, vibration, and texture. And chances are the tactile imagination is inspired most by what is touched by... (shrink)

As the senses of sight and touch separated with the industrial mapping of the body in the nineteenth century, the visible and the visualized aligned themselves in medical, scientific, and sexological discourses; even history claimed to make the past “visible.” The criteria of the visible came to mark modernity. Cultural studies of visualization technologies help us to understand history itself as sign of the modern and to join its desires for the visible to those desires for spectacle produced among (...) observers of visualizing media in the late nineteenth and early twentieth centuries. (shrink)

Ever since Big Data became a mot du jour across social fields, optical metaphors such as the microscope began to surface in popular discourse to describe and qualify its epistemological impact. While the persistence of optics seems to be at odds with the datafication of vision, this article suggests that the optical metaphor offers an opportunity to reflect about the material consequences of the modes of seeing and knowing that currently shape datafied worlds. Drawing on feminist new materialism, the article (...) investigates the optical metaphor as a material-discursive practice that actively constitutes the world, as metaphors imply modes of thinking, knowing and doing that have material enactions. Expanding visual culture theories, the notion of ‘optical unconscious’ is taken up to discuss the tensions between displacement and persistence of optics within datafied worlds, that is, how optical vision is displaced but also mobilised and repurposed by data-driven knowledge. In dialogue with feminist science and technology studies and speculative ethics, I suggest that the datafication of vision offers a chance to reconceptualize the sense of sight towards a sensorial engagement with Big Data premised on responsibility, care, and an ethics of unknowability. Within this framework, vision may be conceived differently, perhaps not only as enhancement and control, but as generator of new possibilities. Ultimately, the article proposes that the visual theories after which Big Data is being imagined matter not only for our understanding of Big Data's epistemic potential, but also for the possibility of shaping emerging data worlds. (shrink)

Sensorial access to products in shop encounters constitutes a crucial aspect of the appeal to customers. This paper examines sensorial engagements with products in a specific ecology with a focus on the possible opening of a shop encounter. When passers-by stroll from one stand to another, open to local findings, unplanned discoveries, and emergent opportunities to buy, they orient to the sensory appeal of the products, becoming possible customers, stopping in front of a counter and engaging in a social interaction (...) with sellers and other customers. The analysis focuses on multisensoriality in action, studying how customers and sellers treat the sensorial qualities of the products, the relevance of the sensory engagement of the customer with their materiality, and their involvement in the social encounter with the seller, including normative expectations related to sensing and buying. It includes a discussion of how under Covid-19 sensorial access to products was restricted and the sensorial, interactional, normative, and economic consequences of these restrictions. Based on video recordings of market encounters, and on an ethnomethodological and conversation analytic approach of multimodality and multisensoriality, the paper reflects on how appealing to the senses of sight, touch, smell, and taste is methodically orchestrated, and its consequences for the interaction with the seller, the sensorial experience, and the economic transaction. (shrink)

ABSTRACT If phenomenology is a research methodology uniquely positioned to enable us to learn from others, I aim to demonstrate the idea that cinema is a privileged site from which to investigate the notion of virtuality (sight and reality), even in an age where vision’s predominance is waning. In order to do so, I consider the painfully disruptive mother-daughter relationship found cross-culturally and discourse-analytically in contemporary patriarchal societies. This bond is arguably of central concern to feminists (and women in (...) general) since previous research has found that the fractious nature of this dynamic points to a very specific psychological deformation of the female psyche under conditions of sexist oppression. The views of French psychoanalyst and philosopher Julia Kristeva and other feminist contributors to the debate on this psychological construct are considered. The possibility of a cultural remedy inspired by a secularised trend of Chinese Buddhism in post-Maoist China, a society very different from that of the West, is investigated. This will involve the analysis of the film Curse of the Golden Flower (Chinese Mandarin soundtrack and English subtitles). I subsequently explore whether or not a valuable model for the compromised mother/daughter relationship is available within the context of the notion of a “slave economy” in the comparatively healthier mother/son relationship of (contemporary) Han Chinese culture. By means of cross-cultural analysis as research tool, this article finds confirmation for the proposition of a positive mother/daughter dynamic in the French novelist Colette’s relationship with her mother, Sido. In conclusion, I find that cinema (as an art form serving the eye, i.e. virtuality) is particularly well suited as a site to investigate psychological phenomena by way of interpretative phenomenology as a research methodology, even as vision – as the human sense of choice – has begun to wane amid a global crisis in masculinity. (shrink)

An attempt to discover the origin or basis of human speech is considered, by many, to be a fruitless effort, a question that can never be satisfactorily answered. None of the many ideas suggested up until today regarding the origin of language have actually managed to significantly contribute to or advance our understanding of the comprehensive, many?faceted differential structures of today's modern languages. This work is based on ?data? taken from a source which is quite different from that of most (...) accepted scientific works?the literary novel. Within the pages of this novel resides a new perspective regarding the origin of language (that is taken in by the senses, particularly the sense of sight?and then translated into sound?words). Some claim that there is a deep connection between the origin of language and the languages spoken today. It appears too, that many subjects at the forefront of technology, such as artificial intelligence, may be enriched by an understanding the origins of human speech and its presence in the structure of human speech and thought. (shrink)

In Belief, Inference, and the Self-Conscious Mind (BISCM), Eric Marcus analyses and responds to a core set of puzzles concerning belief and inference. Most centrally on offer are: an explanation of non-evidential/non-observational doxastic self-knowledge, an explanation of the unintelligibility of Moore-Paradoxical statements, an account of inference (built on an interpretation of the ‘Taking Condition’) fit to solve the Lewis Carroll regress, and an account of what constitutes the unity of the rational mind. Marcus’ answers depend on viewing beliefs as essentially (...) self-known and expressible (through asserting their contents (“P”), or avowing them in a self-ascription (“I believe that P”)). Beliefs are also held to (metaphysically) necessarily exclude their contradictories, and (metaphysically) necessitate their implications. Or at least they do in their paradigm form; when they are ‘in mind’ (an important theoretical concept Marcus makes much use of throughout the book. In this paradigmatic form, Marcus terms them judgments. A significant achievement of BISCM is in how, despite the strength of these and other core commitments (theses variously acknowledged to be “very strong”, “wildly unpopular”, and “singularly anachronistic”, Marcus remains utterly clear-eyed about the need to pass the plausibility test. Nowhere, for example, does he lose sight of the fact that we are “distinctively liable to irrationality”, including to self-deception (which is analysed in terms of both belief and the doxastic self-knowledge which essentially accompanies it on Marcus’ view, being ‘out of mind’). A second, and related strength is in the connections Marcus traces between both expressive and rational mental capacities. This is relatively rare in many of the literatures Marcus is engaging with, especially in the first half of the book. Marcus (building on earlier work) shows how such a synthesis can bear serious fruit, not least in his excellent analysis of Moore-Paradoxical unintelligibility. There is a lot one could say about what is exciting and valuable about each element of Marcus’ discussion. And inevitably for a book so bold and full of riches, there is also a lot one might question about these elements. But as Marcus emphasises, what is on offer is “… not a collection of discrete solutions to putatively separate problems [but] a unified conception of the mind in its theoretical orientation”. And what I want to press him on is a big-picture question: what are the boundaries, and what is the internal structure, of the mind's ‘theoretical’ orientation? For, for all the important and detailed work throughout the book, in which a general conception of believing is suggested, tested, refined, and applied, I don't yet have a stable sense of Marcus’ answers to these questions. (shrink)

The smallest ambition of this essay is to demonstrate that Rider, the central character in William Faulkner’s short story “Pantaloon in Black,” cannot be understood. This may be of some interest to Faulkner specialists. But the fact that he cannot be understood has ramifications, because “Pantaloon in Black,” seems to be the anomaly of the book Go Down, Moses, which is either a collection of stories or a novel, depending on the success one has in integrating “Pantaloon in Black” into (...) it. If Rider cannot be understood, then Go Down, Moses has an enigma at the center of its mysteries, around which it cannot be made to cohere.More important to nonspecialists is the question of why Rider cannot be understood, and, consequently, why Go Down, Moses disintegrates. To answer this I want to perform the logical operation modus tollens on Stanley Fish’s idea that interpretations are produced by interpretive communities: if interpretations fail, then it must be because interpretive communities fail. Of course, Fish everywhere argues that interpretations must always, on the contrary, succeed; the lesson of Is There a Text in This Class? is that interpretive communities produce texts inexorably and inevitably in their own image. But Fish’s idea of an interpretive community is something like the Modern Language Association, or the set of all English professors, or the Yale school—bigger or smaller machines perfectly programmed for producing texts out of theoretical presuppositions. What is, however, even English professors are members of communities that fit the definition of an interpretive community, by virtue of the fact that they speak through our readings, but which are not chiefly engaged in the manufacture of masterful criticism? Worse: what if these communities speak a different language from those to which we professionally belong? Worse yet: what is they are disintegrating even as the MLA, or the Yale school, endures, or prevails?The point is not that Fish is wrong; it is that he has oversimplified his sense of a text by reducing it to the instrument of communication used by professor speaking to other professors. But in “Pantaloon in Black,” Faulkner has formed a text in the image of a Southern Negro and invited us to join an interpretive community on the model of Yoknapatawpha County. Insofar as we take up that invitation, we fail to understand his story; insofar as we reject it, we also fail to understand his story. The paradox is the result of our being forced to join a community which does not cohere; to the degree that that community fails to cohere, so does our reading. What Faulkner says to Fish is that the American belief in the power of interpretive communities is akin to an idealist’s dream of an integrated South. John Limon is assistant professor of English at Williams College. He is currently working on a book, Half-Sight of Science, on the history of the American novel in relation to the history of science and science philosophy. (shrink)

From its beginnings the phenomenological conception of intentionality has been marked by a fecund tension between the simile of directedness to an object and the image of a network of time-extended references, which are about the object and in their mutual remissions determine the significance the object acquires in our thought and practices. With the predominance of this second aspect we drift apart from a purely object-theoretical stance, in order to connect the presence of objects of all kinds to a (...) history of meaning-giving acts. Historical subjectivity, made by acts in which thought refers to what was already thought, and the renewed display of the world of objects in the present are thus seen as constituting the weave of conscious life. Nonetheless, when it comes to the study of inner time-consciousness which Husserl repeatedly undertakes, the essential coordination of perceptive acts and what happens in the world remains out of sight; without the latter the notion of time, and particularly that of now, are emptied of sense. This inner turn is motivated by the idea of a transcendental reduction. However, the study of subjective meaning of objectivations does not necessarily lead to conferring an ontological priority to interiority. Husserl himself wavers between an ontological and a sense-elucidating understanding of what he calls phenomenological reduction. The illegitimate priority given to inner time-consciousness is paralleled by Heidegger’s considering of intra-mundane time as improper and derivative. Both are pray to the lure of the Augustinian Noli foras ire: Don’t go out. (shrink)

It will be obvious to anyone with a slight knowledge of twentieth-century analytic philosophy that one of the central themes of this kind of philosophy is the nature of perception: the awareness of the world through the five senses of sight, touch, smell, taste, and hearing. Yet it can seem puzzling, from our twenty-first-century perspective, why there is a distinctively philosophical problem of perception at all. For when philosophers ask ‘what is the nature of perception?’, the question can be (...) confused with other, purely empirical, questions. For example: how do our sense-organs actually work? What are the mechanisms of smell and taste? How do vision and touch actually provide us with information about the world around us? There is much general agreement, in its broad outlines, about how to answer such questions empirically; but it is not clear what role, if any, philosophy has to play in answering these empirical questions. So if these were the only questions about the nature of perception, then it would not be clear exactly what the philosophy of perception is supposed to be about. (shrink)

This rich and interesting book tells the story of the development and ultimate disappearance over the course of the eighteenth and nineteenth centuries of a central theme in Scottish philosophy: common sense realism. Taking Thomas Reid's version of common sense realism as the paradigmatic form, McDermid shows how Reid's views had their roots in Lord Kames's account of perceptual realism, how Dugald Stewart and Sir William Hamilton defended and modified Reid's view, and how James Ferrier systematically repudiated both (...) Reid's appeal to common sense and his realism. McDermid succeeds in providing a clear overview of the trajectory, while not losing sight of the details of the individual philosophers' views. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Vanities of the Eye: Vision in Early Modern European CultureDallas G. Denery IIStuart Clark. Vanities of the Eye: Vision in Early Modern European Culture. Oxford-New York: Oxford University Press, 2007. Pp. xi + 415. Cloth, $75.00.A popular and pervasive historical narrative links the Renaissance development of linear perspective with Europe’s transition from a pre-modern to an early modern society. Erwin Panofsky gave this narrative its definitive form early (...) in the twentieth century and William Ivins boiled it down to a simple idea that served as the title of his most famous book. According to Ivins, single-point perspective, the artistic technique championed by Alberti and perfected in the paintings of Masaccio and Piero della Francesca, allowed for “the rationalization of sight.” In other words, it provided a mathematically and geometrically grounded method for accurately representing the external world. It is a powerful and seductive claim, one that has shaped generations of scholarly work. It is also, Stuart Clark contends in this important new book, patently wrong. Far from exhibiting a renewed or reinvigorated confidence in the accuracy and reliability of vision, sixteenth- and seventeenth-century philosophers, artists, theologians, and doctors worried that sight was susceptible, perhaps permanently so, to all sorts of debilitating derangements, displacements, and delusions.Rather than relate a history of progress, Clark offers a history of exhaustion, failure, and, ultimately, of rejection. Early modern intellectuals inherited a comprehensive theory of vision and cognition from their medieval predecessors known as perspectivist optics. This theory sought to secure the accuracy of human sense perception through regularized causal processes that linked things in the world with our various cognitive faculties. While some fourteenth-century intellectuals, most notably Nicolas of Autrecourt and Nicole Oresme, recognized structural deficiencies in this theory, their critiques were mostly ignored or treated as anomalies. Over the course of the next two and a half centuries, Clark argues, the challenges to this theory multiplied until it collapsed under their weight (20).Clark’s argument is straightforward and, as his evidence mounts, thoroughly convincing. Throughout each of the eight engrossing chapters that form the core of the book, Clark outlines a different threat, a different set of challenges that pointed out problems with the assumption that vision is trustworthy. The range and depth of those challenges are truly amazing. Doctors worried that imbalances in our humoral system, and especially in the black bile that causes melancholy, could render our visual perceptions dubious at best (ch. 2). Theologians, wary of the dangers of witchcraft and eager to prosecute its practitioners, obsessed over the cognitive threats that devils and demons posed to good Christians (ch. 4), while Protestant reformers relegated the entire tradition of Catholic miracles to the counterfeit illusions of the antichrist (ch. 5). For their part, artists believed that perspective undermined vision, depending as it does on the assumption that what we see is always relative, dependent upon our point of view (ch. 3).Clark structures much of his argument around George Hakewill’s 1608 book, The vanitie of the eye, an exposition on the natural, artificial, and demonic sources that forever render visual knowledge suspect. He could just as well have organized it around the opening pages of Descartes’s Meditations, and in many ways Clark’s book serves as a superb rumination on the sources of Descartes’s skeptical arguments. Unlike Etienne Gilson and, more recently, Richard Popkin, both of whom have done so much to open up the scholastic and early modern sources of Descartes’s skeptical thought experiments, Clark does not limit himself to philosophical lineages. Rather, he considers sources of visual skepticism that developed across an entire culture—in natural philosophy, medicine, art, religion, and literature (especially in Shakespeare’s Macbeth). Not only does the sheer volume and variety of such [End Page 103] sources help to explain Descartes’s urgent desire to overturn everything he had learned and begin again from the foundations, but it also contextualizes the specific arguments he employs. None of Descartes’s skeptical arguments were new and most were well known in the Middle Ages. What had changed over the intervening centuries, Clark contends, was how these arguments drew from... (shrink)

Wee people at London, are so humbly immersd in slavish business, & taken up wth providing for a wretched Carkasse; yt there's nothing almost, but what is grosse & sensuall to be gotten from us. If a bright thought springs up any time here, ye Mists & Foggs extinguish it again presently, & leaves us no more, yn only ye pain, of seeing it die & perish away from us. Humphrey Ditton to Roger Cotes, ca. 1703THE CALCULUS OF ACCOMPLISHMENTDuring the (...) last decade of his life, Sir Isaac Newton took the measure of achievement. Probably shortly before 1725, Newton scribbled on the undated cover of a letter a brief list of those discoveries he believed belonged entirely ‘to the English’. Included were ‘the variation of the Variation’ ; the circulation of the blood; telescopic sights and the micrometer variously improved by his contemporaries, Robert Hooke and John Flamsteed; and ‘the Libration of the Moon’ likely in reference to Newton's own explanation of lunar eccentricity. Notably, this was not simply a personal calculation. Newton makes no mention of such controversial matters as the fluxional calculus, the refraction of light, or even the measure of universal gravitation, which he otherwise might have claimed as his own efforts. Even the private lights of the solitary genius could still accommodate a distinctly broader sense of the depth of national accomplishment. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Bishop Berkeley Exorcises the Infinite: Fuzzy Consequences of Strict Finitism1 David M. Levy Introduction It all began simply enough when Molyneux asked the wonderful question whether a person born blind, now able to see, would recognize by sight what he knew by touch (Davis 1960). After George Berkeley elaborated an answer, that we learn to perceive by heuristics, the foundations ofcontemporarymathematics wereinruin. Contemporary mathematicians waved their hands and (...) changed the subject.2 Berkeley's answer received a much more positive response from economists. Adam Smith,in particular, seizedupon Berkeley's doctrine that welearn to perceive distance tobuild anelaborate system in which one learns to perceive one's self-interest.3 Perhaps because older histories of mathematics are a positive hindrance in helping us understand the importance of Berkeley's argument against infinitesimals,4 its consequences for economics have passed unnoticed. If infinitesimal numbers are ruled out, and we wish to maintain an algebra, then we rule out infinite numbers. This implication of Berkeley's argumenthas a dramatic implication for our understanding ofthe history ofideas about rule-directed action. Let me motivate this claim with a well-known historical problem. The social doctrine set forth by John Locke outside the Two Treatises depends critically upon individual belief about possible states of infinite pain or pleasure. The critical issue for the intolerance of atheism in Locke's system is his claim that without beUefin the infinite bliss of heaven forgone by a criminal, there is no reason to think a calculating individual will avoid crime.5 Locke's discussion is so different from the discussion of religion by David Hume and Smith. Here, questions of the substance of belief—the infinite worth of Heaven—have largely vanished.6 What happened between Locke and Hume-Smith? One answer is Pierre Bayle and Bernard Mandeville. Berkeley's doctrine that only the finite is perceived is, I think, a better answer. Out of sight, out ofmind. In this paper I propose to give a close look at the content and consequences ofBishop Berkeley's once famous Towards a New Theory ofVision. While there are other aspects ofBerkeley's work that attract Volume XVIII Number 2 511 DAVID M. LEVY attention from historians ofeconomics,7 1 shall claim that Berkeley's insight into human perception in the Theory of Vision is central to Adam Smith's attempt to found economic behaviour on the self-awareness of systematic illusion. There is no doubt that Smith finds that much ofhuman behaviour is characterized by illusion.8 The difficulty arises, or so it seems to me, from modern unwilUngness to beheve that illusion can be systematic. There are four pieces to my argument. First, we consider Berkeley's statementofwhat we shall call his doctrine ofstrict finitism in perception.9 Berkeley puts forward two postulates: 1) there exists some minimum perceptible quantity, and 2) distance is not perceived directly but by experience. Second, we define strict finitism and demonstrate that it translates into the claim that perception is fuzzy in a technical sense. If Berkeleian perception is fuzzy, then some modern criticism of Berkeley's strict finitism is based upon a simple misunderstandingofthe propertiesoffuzzyrelations. Thisis quite easy to set right. (Getting right the doctrine of those who implicitly take perception to be fuzzy—Adam Smith is my prime candidate—will be muchharder.)Third, wereconsiderBerkeley's dispute withMandeville on the role ofinfinite gain in choice. Here, we find Mandeville putting forward the Berkeleian position that if infinite amounts mattered, people would not behave as they do. Berkeley's position against Mandeville, however, seems to depend upon the supposition that infinite distance is sensible.10 Earlier, however, the position that Mandeville argued for was defended by Berkeley. Fourth, we ask why all this isn't well known. The debate between Berkeley and Mandeville has been well studied, as has been the link between Berkeley and the Scots. In fact, our work focuses on one aspect of Berkeley's work that led to his challenge of the contemporary foundations of the calculus. If sense is a matter of perception, and infinitesimals cannot be perceived, then they are quite literally nonsense. Armed with this insight, Berkeley refuted contemporary mathematics. Nevertheless, the calculus was too... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:THE GOD OF LOVE * KENNETH L. SCHMITZ John Paul II Institute Washington, D.C. GOD WITHOUT BEING introduces English readers to a body of work by the French philosopher, Jean-Luc Marion. It has caused no little stir among French philosophers and theologians. For it is a remarkable book, frequently brilliant, sometimes dazzling, often original, more often still, troubling. Troubling, not so much by its conclusions as by the means (...) used to arrive at them, and the implications suggested by those means. The book begins with phenomenology, passes on to ontology in the Heideggerian vein, and culminates in a theology of agapic love. I almost wrote that it passes through Heideggerian ontology to agape, but that is what is most troubling about the book. One puts it down wondering, despite critical reassurances from the author, whether the analysis has ever freed itself from the shaping hand of Heideggerian ontology, or has done so at too high a cost. It is not that the author accepts Heidegger; indeed his critical exegesis is perhaps the most brilliant part of a very striking book. But nonetheless, Heidegger's stamp is so heavy upon the analysis, his presuppositions so ingrained in it, that the conclusions themselves, while expressly "beyond" Heidegger, nevertheless trail his ontology in their train. In a preface written nearly ten years after the French book first appeared, Marion reassures his English readers (perhaps with a touch of unintended condescension) that God exists. In- *Jean-Luc Marion, God Without Being. Hors-Texte, tr. by Thos. A. Carlson. \Vith a foreword by David Tracy. Chicago: University of Chicago Press, 1991; being a translation of Dieu sans l'etre: Hors-Texte, Librairie Artheme Fayard, 1982. 495 496 KENNETH L. SCHMITZ deed, his argument is meant to tell against any ordinary atheism, and his exposition of the Eucharist glows with Catholic piety. There can be no doubt, too, that his exegesis often opens up surprising senses of the Biblical texts, such as those of the Wisdom literature in the Old Testament and the letters of St. Paul in the New. The first chapter carries out a phenomenology of the difference between the idol and the icon. The idol is not false or illusory in any ordinary sense. On the contrary, its luminescence is an actual reflection of the divine. The fulguration catches the human eye, mind and spirit as it gazes at the embodied manifestation in wonder. But, instead of letting the fulguration measure the import of the disclosure, the gaze stops at the luminous idol and freezes the divine light within the scope of the worshipper's merely human gaze, interest and aim. The aim, then, provides the measure and meaning of the light, referring it back to the human intention. And so the idol divides the fulguration, retaining for the gaze what is so extraordinarily visible, while it lets go what is unattainable through its effort and on its own terms. Marion expresses this remainder by the neologism: invisable, from viser: to aim. We have here an initial insistence upon the inability to reduce God to a concept. The analysis exposes the logic of a first level of idolatry, idolatry which takes form as the regionalization of the divine. Thus, to choose a portentous example, Nietzsche unmasks the regional " God of morality" proclaimed by Kant and other modern thinkers. It is quite the reverse with the icon. The luminosity of the icon presents its visage to the believer who receives it as the face that endows the visible with the inexhaustible invisibility of God. It is of signal importance to Marion's thesis, however, that the invisible is not thereby offered to human sight or conception, but rather that the visible features of the icon ask to be transgressed, giving way-neither to the sight of sense or mind-but to veneration ( 19). For the iconic intention is not determined by any human gaze, but rather by the mysterious initiative of the true revealing God. Whereas the idol shines with a radiance bor- THE GOD OF LOVE 497 rowed from the divine but confined within the limits of the human gaze, the icon glows with an alien glance that stems from its divine... (shrink)

Folk psychology is under threat - that is to say - our everyday conception that human beings are agents who experience the world in terms of sights, sounds, tastes, smells and feelings and who deliberate, make plans, and generally execute actions on the basis of their beliefs, needs and wants - is under threat. This threat is evidenced in intellectual circles by the growing attitude amongst some cognitive scientists that our common sense categories are in competition with connectionist theories (...) and modern neuroscience. It is often thought that either folk psychology or modern cognitive science must go. It is in these terms that the battle lines of today’s philosophy of mind are drawn. (shrink)

This article attempts to show that Heidegger’s phenomenology may shed light on political phenomena. It pursues this project by arguing that Heidegger’s phenomenology is an appropriation of Aristotle’s practical philosophy and his conceptualization of phronesis. I argue that, in Being and Time, Heidegger’s ‘circumspection’, which is a capacity for making sense of practical situations, is a translation of phronesis. Heidegger argues, though, that the sight of circumspection is foreshortened by the rules and norms of ‘the one’. In division (...) 2, ‘conscience’ becomes a sharpening of the vision of phronesis, which sees through the one. I then defend Heidegger’s appropriation of phronesis and argue that Heidegger’s concept of conscience, which takes up a critical stance toward plurality, may actually be a proper vision of practical wisdom under modern conditions. I substantiate this claim by turning to an unlikely source to bolster Heidegger’s reading of phronesis and the modern public, Hannah Arendt. (shrink)

A path-breaking collection launching a new series of books on the senses in antiquity. Synaesthesia and the Ancient Senses presents a radical reappraisal of antiquity's textures, flavours, and aromas, sounds and sights. It offers both a fresh look at society in the ancient world and an opportunity to deepen the reading of classical literature. The book will appeal to readers in classical society and literature, philosophy and cultural history. All Greek and Latin is translated and technical matters are explained for (...) the non-specialist. The introduction sets the ancient senses within the history of aesthetics and the subsequent essays explore the senses throughout the classical period and on to the modern reception of classical literature. (shrink)

The construction and analysis of arguments supposedly are a philosopher's main business, the demonstration of truth or refutation of falsehood his principal aim. In Sense and Sensibilia, J.L. Austin does something entirely different: He discusses the sense-datum doctrine of perception, with the aim not of refuting it but of 'dissolving' the 'philosophical worry' it induces in its champions. To this end, he 'exposes' their 'concealed motives', without addressing their stated reasons. The paper explains where and why this at (...) first sight outrageous aim and approach are perfectly sensible, how exactly Austin proceeds, and how his approach can be taken further. This shows Austin to be a pioneer of the currently much discussed notion of philosophy as therapy, reveals a subtle and unfamiliar use of linguistic analysis that is not open to the standard objections to ordinary language philosophy, and yields a novel and forceful treatment of the sense-datum doctrine. (shrink)

This essay focuses on the early phases of romantic love and investigates the phenomenon that is often referred to as ‘Love at First Sight’, where typically very little information about the other is available, yet intensely felt causal processes are at work. It argues that the phenomenon called ‘Love at First Sight’ is not love in a proper sense, even if it may resemble love in certain aspects, and even if, under certain conditions, it may lead into (...) love proper. The discussion touches on questions regarding depth, vulnerability and personal history, regarding the object of love at first sight and its attractive features, the role of perception or sight, and the phenomenon’s relation to infatuation, crystallisation and the erotic. (shrink)

Machine generated contents note: Chapter One: Wrong Question, Right Answer -- Exercise 1: Getting right into it -- Exercise 2: Watching your hand -- Exercise 3: Marking practice -- Chapter Two: Realistic Drawing -- Exercise 4: Picking an object to draw -- Exercise 5: Attentive looking -- Exercise 6: Noticing awareness -- Exercise 7: Marking from the sense of sight -- Exercise 8: Simple rendering -- Exercise 9: Try perspective -- Exercise 10: Working inward -- Chapter Three: Systematic (...) Drawing -- Exercise 11: The circular arrow - a visual mantra -- Exercise 12: Improvising between two points and finding the world in between -- Exercise 13: Thought as art -- Exercise 14: All four pixel images -- Exercise 15: Book of compositions -- Chapter Four: Improvisational Drawing -- Exercise 16: Going outside the box -- Exercise 17: Not-breath awareness -- Exercise 18: Growing improvisation -- Exercise 19: Chasing the Coltrane Effect -- Exercise 20: Drawing to reveal inner conditions -- Exercise 21: Noticing Intuition -- Exercise 22: You are the universe drawing -- Chapter Five: Reading the Drawings -- Exercise 23: An exact physical description -- Exercise 24: Feeling the meaning -- Exercise 25: The story we tell ourselves -- Exercise 26: Connecting our story to a larger story -- Chapter Six: The Search for the Source of Creativity -- Exercise 27: Priming the source -- Exercise 28: Sitting still at the origin -- Exercise 29: Embedded sources -- Exercise 30: Mindful of the path -- Chapter Seven: Meta-Drawing -- Exercise 31: Sharing with yourself -- Exercise 32: Sharing with a trusted friend -- Exercise 33: Sharing with the world. (shrink)

Sense-perception—the awareness or apprehension of things by sight, hearing, touch, smell and taste—has long been a preoccupation of philosophers. One pervasive and traditional problem, sometimes called “the problem of perception”, is created by the phenomena of perceptual illusion and hallucination: if these kinds of error are possible, how can perception be what it intuitively seems to be, a direct and immediate access to reality? The present entry is about how these possibilities of error challenge the intelligibility of the (...) phenomenon of perception, and how the major theories of perception in the last century are best understood as responses to this challenge. (shrink)