Visual thinking is a systematic way to produce knowledge in design by means of mental imagery, spatial reasoning, and the use of an array of visual representations. Pictorial representations such as sketches are crucial for the activity of designing at the early stage of the creative process. Designers see more information in sketches than was actually drawn. The ability to see more information than is sketched out can be seen as an enhanced visual capacity of human (...) class='Hi'>agency. Enhanced agency is the prosthetic incorporation of artifacts to improve the original agentive capacities. The incorporation of artifacts to draw raises some fundamental questions: Is the pencil an extension of the mind? Can we think with our hands? What agentive capacities are increased with the use of the pencil? What is the representational status of sketching? The chapter is structured around these key questions to suggest some answers inspired by the work of Göran Sonesson. Using the notion of enhanced agency and the layered model of agency, I explore the way in which the pencil improves the visual thinking of design. In doing so I found that it is important to maintain the principle of asymmetry in cognitive systems to reconsider relational ontology in favor of ecological relationships. (shrink)

How do individuals guide their activities towards some goal? Harry Frankfurt once identified the task of explaining guidance as the central problem in action theory. An explanation has proved to be elusive, however. In this paper, I show how we can marshal empirical research to make explanatory progress. I contend that human agents have a primitive capacity to guide visual attention, and that this capacity is actually constituted by a sub-individual psychological control-system: the executive system. I thus illustrate how (...) we can explain exercises of individual-level guidance by appeal to its sub-individual constitution. This opens up a new avenue for explicating agency. (shrink)

An essay on non-discursive forms of knowledge that inhabit art photography. A version of this essay appeared in Gavin Keeney, "Else-where": Essays in Art, Architecture, and Cultural Production 2002-2011 (CSP, 2011), pp. 209-26.

In response to Mole 2009, I present an argument for zombie action. The crucial question is not whether but rather to what extent we are zombie agents. I argue that current evidence supports only minimal zombie agency.

A discussion of what operates from "within" formal agency as irreal surplus to artworks and how otherwise discursive systems become abstracted by the artwork. Text by Gavin Keeney. Images by Parsa Khalili.

The 11 experimental, pseudo-avantgarde visual poems (wordless, other than title and date) are an indirect homage to the late-great filmmaker and photographer, Chris Marker (1921-2012), foremost to his penchant for utilizing disintegrating imagery in his film-essays and multimedia installations. All images were captured using a Research in Motion, BlackBerry 8520 cellphone, and subsequently 100-percent de-saturated, and 100-percent contrast-adjusted, using Microsoft Office Picture Manager. The images, as a result, resemble the primitive production values given to the pinhole camera, and the (...) “dogmatic” (uniform) adjustments (as above), applied to the original BB images, reference the early strictures applied to filmmaking by Lars von Trier. The above-mentioned, black-and-white adjustments notwithstanding, all images are used “as captured,” without cropping. The series begins and ends in Botwnnog, Northwest Wales, in May and August of 2013, respectively, with interregnums and brief idylls in Rijeka, Croatia, Trieste and Ancona, Italy, and Igoumenitsa, Ioannina, and Athens, Greece. Tracking the peregrinations of the author of the poems across Europe, and intimately associated with the then-nascent research and exhibition project, “Not-I/Thou: The Other Subject of Art & Architecture,”* the poems are also a compressed form of scholarship, albeit operating in the shadow-lands of knowledge per se, and evoking the non-discursive side of literary-artistic production, a penumbral zone within cultural production that nonetheless references the discursive arts (essay and/or full-blown treatise), but favors the paradox and/or tautology – privileging, then, the much-desired destruction of dialectics. (shrink)

Women in the field of art and science have an unquestionable presence worldwide that exceeds their visibility in the general visual art scene. When cataloguing women’s range of practices and exploring their agency in art and science, a new model of inclusivity and access to the public sphere for all individuals working in art emerges. First, these are contributions reflecting on projects being carried out by women in the broadest interpretation of the term – individuals who identify themselves (...) as women, cisgender, non-cisgender, transgender, gender fluid and independent of their sex and gender. Second, these are contributions that reflect on research methodologies, collaboration strategies, knowledge sharing, as well as public vs. personal, embodiment and materiality. (shrink)

This paper addresses two related topics: 1. The disanalogies between elective cosmetic practices and sex reassignment surgery. Why does it seem necessary for me – an aging professional woman – to ignore the blandishments of hairdressers wielding dyes and dermatologists wielding acids and scalpels? Why does it not seem equally necessary for a transgendered person to repudiate sex reassignment procedures? 2. The role of the body in identity and agency. How do phenomenological insights regarding the constitution of selfhood in (...) relation to the interplay between the body image and corporeal know-how contribute to an account of the agency of transgendered individuals? Studying several paintings by contemporary feminist artist Jenny Saville has advanced my thinking on these topics. Saville’s imagery is an invaluable aid to reflection on these issues because she uses her painterly technique, which critics often dub “virtuoso,” to represent lived human bodies. In her work, viewers encounter representations of subjectivized, agentic corporeity, as distinct from inert, objectified flesh. Moreover, her sympathetic engagement with nonconformist, devalued bodies helps to reconfigure the standard gestalts of the human body that viewers typically carry with them and thus to convert fear and/or disgust into appreciation and understanding. In this paper, I consider three of Saville’s paintings. Plan, Saville’s self-portrait as a nude female whose body has been prepped for liposuction, conveys the pathos of this procedure. Matrix is a nude portrait of self-described “gender variant visual artist” Del LaGrace Volcano. In the words of one critic Saville’s depiction of Volcano’s nude intersexed body “restores beauty to the primitive [female] genital organ.” Passage, another nude portrait of an intersexed individual, is an image of vibrant sexuality despite the presumptively jarring juxtaposition of breasts and a penis. I argue that conceiving the agentic subject as a rational deliberative capability that uses a conjoined body as the instrument of its will makes it impossible to theorize the agency of transgendered people. In contrast, when agentic subjects are understood as embodied subjects and embodiment is understood as a dimension of practical intelligence, the agency of transgendered individuals is intelligible. (shrink)

Final Circular for the multimedia exhibition, "'Shadow-lands': The Suffering Image" (April 18-May 18, 2012), in association with the PhD project, "Visual Agency in Art & Architecture," Deakin University, 2011-2014.

This paper (presented along with others at an APA session with the late Dr. Anita Silvers commenting) explores and engages a mode of defiant challenges to the traditional, able-bodied standard of female beauty evidenced throughout the history of art as portrayed by the controversial photographer, Joel-Peter Witkin. Witkin's images of Ann Millett-Gallant, author of the book, The Disabled Body in Contemporary Art, "visualize disability" as they explore issues in agency, otherness, and the medical body.

Sacred and mystical visions across contemplative, religious and psychedelic traditions follow a remarkably consistent inner progression: from simple points of light and geometric forms to complex kaleidoscopic structures, culminating in radiant, formless luminosity. This paper proposes a unified neurophenomenological model showing that this universal sequence is not culturally constructed but arises from intrinsic visual dynamics of the human nervous system. We present a six-phase taxonomy of phosphenes as the innate visual grammar underlying mystical experience. As endogenous visual (...) patterns intensify (Phases 3–6), salience, interoceptive and autonomic systems co-activate, producing the emotion of awe, while Default Mode Network attenuation reduces conceptual control, allowing the luminous field to become experientially dominant. Archetypal figures and sacred agencies emerge as interpretations of luminous structure via innate social-cognitive operators, not as externally imposed metaphysical entities. On this basis, we introduce a novel 21st-century functional definition of God: ‘God is the lawful, awe-evoking configuration of consciousness in which endogenous inner-light dynamics and large-scale network reorganization render the luminous ground of awareness experientially present.’ Rather than a separate being, the divine appears as a self-revealing event of luminous awareness, a neurophenomenological mode of mind in which perception, meaning and emotion converge. This framework generates testable predictions (e.g. geometry precedes symbol, awe covaries with autonomic markers) and offers a biologically grounded yet non-reductive account of why luminous visions and feelings of transcendence appear universally across human history. (shrink)

At a time when professional art criticism is on the wane, the ancient quarrel between art and philosophy demands fresh answers. Professional art criticism provided a basis upon which to distinguish apt experiences of art from the idiosyncratic. However, currently the kind of narratives from which critics once drew are underplayed or discarded in contemporary exhibition design where the visual arts are concerned. This leaves open the possibility that art operates either as mere stimulant to private reverie or, in (...) the more contentful cases, as propaganda. The ancient quarrel between art and philosophy is that art influences surreptitiously while philosophy presents reasons that invite rational scrutiny. As such, in contrast to philosophy, art would undermine our agency. In July 2017, a group of philosophers gathered at the Art Gallery of NSW (AGNSW), in Sydney, Australia, in the presence of two AGNSW curators to explore the basis of their own experiences of selected artworks. Here, those commentaries are reproduced. Each reveal that objective grounds for an experience of art can be based in the community from which one draws one’s terms of reference. In our commentaries we see the expertise of the respective philosophical communities but other communities of culture or expertise might serve the same purpose and hence resolve the ancient quarrel. Before hearing these commentaries, I explain what is at stake when the ancient quarrel between art and philosophy is understood in contemporary terms. This Issue of the Curator also includes an article on the community-based art criticism that emerges from these commentaries followed by an exhibition review which reveals the incorrigible impulse (also demonstrated in the commentaries) to find the basis for the most apt experience of an artwork. A response by the AGNSW curators completes this issue. (shrink)

Written over the course of two months in early 2008, Art as "Night" is a series of essays in part inspired by a January 2007 visit to the Velázquez exhibition at the National Gallery of Art, London, with subsequent forays into related themes and art-historical judgments for and against theories of meta-painting. Art as "Night" proposes a type of a-historical dark knowledge crossing painting since Velázquez, but reaching back to the Renaissance, especially Titian and Caravaggio. As a form of formalism, (...) this "night" is also closely allied with forms of intellection that come to reside in art as pure visual agency or material knowledge while invoking moral agency, a function of art more or less bracketed in modern art for ethical and/or political agency. Not a theory of meta-painting, Art as "Night" restores coordinates arguably lost in painting since the separation of natural and moral philosophy in the Baroque era. It is with Velázquez that we see a turning point, an emphasis on the specific resources of painting as a form of speculative intellect, while it is with contemporary works by Gerhard Richter and Anselm Kiefer that we see the return of the same after the collapse of modernism, and after subsequent postmodern maneuvers to make art discursive yet without the austerities of the formal means present in Art as Art. Art as "Night" argues for a nondiscursive form of intellection fully embodied in the work of art – and, foremost, painting. A synoptic and intentionally elusive and allusive survey of painting, through the collapse of the art market in late 2007, Art as "Night" suggests by way of this critique of an elective "night" crossing painting that the art world is an endlessly deferred version of pleroma , a fully synthetic world given to an exploration and appropriation of the given through classical mimesis and epistemology and its complete incorporation and transfiguration in a theory of knowledge and art as pure speculative agency. In effect, Art as "Night" is an incarnational theory of art as absolute knowledge. (shrink)

A selection of documents, texts, and archival records, with links, summarizing a sustained critical engagement with the art world and academia, through essays, reviews, etc., and inclusive of garden design, architecture, film, photography, fashion, performance art, music, and opera … They begin in New York, New York, in the early 2000s, and then become embedded in various aspects of PhD studies concerning visual agency, postdoctoral research projects concerned with a study of intellectual property rights, and, then, a second (...) PhD focused on works-based agency …. (shrink)

Images are double agents. They receive information from the world, while also projecting visual imagination onto the world. As a result, mind and world tug our thinking about images, or particular kinds of images, in contrary directions. On one common division, world traces itself mechanically in photographs, whereas mind expresses itself through painting.1 Scholars of photography disavow such crude distinctions: much recent writing attends in detail to the materials and processes of photography, the agency of photographic artists, and (...) the social determinants of the production and reception of photographs. As such writing makes plain, photographs cannot be reduced to mechanical traces.2 Yet background conceptions of photography as trace or index persist almost by default, as no framework of comparable explanatory power has yet emerged to replace them. A conception of photography adequate to developments in recent scholarship is long overdue. Rather than constructing such a conception top-down, as philosophers are wont to do, this paper articulates it by examining selected works by James Welling.3 There are several reasons for this: Welling’s practice persistently explores the resources and possibilities of photography, the effect of these explorations is to express a particular metaphysics of the mind’s relation to its world, and appreciating why this metaphysics is aptly expressed by exploring photography requires a revised conception of what photography is. In as much as it provides a framework for a richer interpretation of Welling, the new conception is also capable of underwriting a wide range of critical and historical approaches to photography. (shrink)

Neuropsychological findings used to motivate the "two visual systems" hypothesis have been taken to endanger a pair of widely accepted claims about spatial representation in conscious visual experience. The first is the claim that visual experience represents 3-D space around the perceiver using an egocentric frame of reference. The second is the claim that there is a constitutive link between the spatial contents of visual experience and the perceiver's bodily actions. In this paper, I review and (...) assess three main sources of evidence for the two visual systems hypothesis. I argue that the best interpretation of the evidence is in fact consistent with both claims. I conclude with some brief remarks on the relation between visual consciousness and rational agency. (shrink)

Philosophy has long either dismissed or paid only minimal attention to creativity, and even with the rise of research on imagination, the creative imagination has largely been ignored as well. The aim of this volume is to correct this neglect. By bringing together existing research in various sub-disciplines, we also aim to open up new avenues of research. The chapters in Part I provide some framing and history on the philosophical study of imagination and creativity, along with an overview of (...) the empirical literature. Part II explores imagination and creativity as they manifest in, and in turn shape, the individual. Part III surveys the role of imagination and creativity across a wide variety of artistic domains, and the chapters of Part IV turn to societal domains. Part V focuses on the interplay of imagination and creativity with regard to particular features of creative subjects and different kinds of creative subjects. *** -/- Part I: Theories and Approaches 1. Theories of Imagination (Peter Kung) 2. Theories of Creativity (Julia Langkau) 3. Historical Treatments of Imagination in the Western Tradition (Lucia Oliveri) 4. Historical Treatments of Creativity in the Western Tradition (Elliot Paul) 5. Non-Western Treatments of Imagination (Reza Hadisi and Jing Iris Hu) 6. Non-Western Treatments of Creativity (Nicolas B. Verger and Vlad Glăveanu) 7. Empirical Treatments of Imagination and Creativity (Dustin Stokes) 8. Experimental Philosophy of Imagination and Creativity (Michael T. Stuart) 9. The Relationship between Imagination and Creativity (Margherita Arcangeli) -/- Part II: Imagination and Creativity in Mind and Action 10. Imagination, Creativity, and Skill (Amy Kind) 11. Imagination, Creativity, and Attention (Bence Nanay) 12. Imagination, Creativity, and Agency (Caterina Moruzzi) 13. Imagination, Creativity, and Emotion (Julien Deonna and Fabrice Teroni) 14. Imagination, Creativity, and Embodiment (Adriana Clavel-Vázquez and María Jimena Clavel Vázquez) 15. Imagination, Creativity, and Gender (Luke Roelofs) 16. Imagination, Creativity, and Race (Nicholas Whittaker) 17. Imagination, Creativity, and Child Development (Thalia Goldstein, Anna Sofia Caruso, Darian Stapleton, and Lamin Fatty) -/- Part III: Imagination and Creativity in the Arts 18. Imagination, Creativity, and the Visual Arts (Claire Anscomb) 19. Imagination, Creativity, and Music (Matteo Ravasio) 20. Imagination, Creativity, and Fiction (Hannah H. Kim) 21. Imagination, Creativity, and Dance (David Davies and Anna Pakes) 22. Imagination, Creativity, and the Culinary Arts (Patrik Engisch) 23. Imagination, Creativity, and Film (Murray Smith) 24. Imagination, Creativity, and Acting (Tzachi Zamir) 25. Imagination, creativity, and fashion (Laura T. Di Summa) -/- Part IV: Imagination and Creativity in Society 26. Imagination and Creativity in the Scientific Realm (Alice Murphy) 27. Imagination and Creativity in the Moral Realm (Tim Mulgan) 28. Imagination and Creativity in the Political Realm (Avshalom Schwartz) 29. Imagination and Creativity in the Law (Maksymilian Del Mar) 30. Imagination and Creativity in the Religious Realm (Neil Van Leeuwen) 31. Imagination and Creativity in Business (Eric Peterson) 32. Imagination and Creativity in Times of Crisis (Jennifer Fraser and Noah Stemeroff) Part V: Emerging Issues in Imagination and Creativity Research 33. Imagination, Creativity, and Aphantasia (Andrea Blomkvist) 34. Imagination, Creativity, and Neurodivergence (Sofia Ortiz-Hinojosa) 35. Imagination, Creativity, and Non-Human Animals (Henry Shevlin) 36. Imagination, Creativity, and Artificial Intelligence (Peter Langland-Hassan) 37. Collective Imagination and Collective Creativity (Nick Wiltsher) . (shrink)

The aim of this article is to investigate specific aspects connected with visualization in the practice of a mathematical subfield: low-dimensional topology. Through a case study, it will be established that visualization can play an epistemic role. The background assumption is that the consideration of the actual practice of mathematics is relevant to address epistemological issues. It will be shown that in low-dimensional topology, justifications can be based on sequences of pictures. Three theses will be defended. First, the representations used (...) in the practice are an integral part of the mathematical reasoning. As a matter of fact, they convey in a material form the relevant transitions and thus allow experts to draw inferential connections. Second, in low-dimensional topology experts exploit a particular type of manipulative imagination which is connected to intuition of two- and three-dimensional space and motor agency. This imagination allows recognizing the transformations which connect different pictures in an argument. Third, the epistemic—and inferential—actions performed are permissible only within a specific practice: this form of reasoning is subject-matter dependent. Local criteria of validity are established to assure the soundness of representationally heterogeneous arguments in low-dimensional topology. (shrink)

Jenny Saville is a leading contemporary painter of female nudes. This paper explores her work in light of theories of gender and embodied agency. Recent work on the phenomenology of embodiment draws a distinction between the body image and the body schema. The body image is your representation of your own body, including your visual image of it and your emotional attitudes towards it. The body schema is comprised of your proprioceptive knowledge, your corporeally encoded memories, and your (...) corporeal proficiency with respect to various environments and activities. Saville is concerned with body image issues, and I discuss how she reconfigures representational practices with respect to feminine body images. However, the most exciting potential for feminist analysis of the state of the female nude derives from the concept of the body schema, for this concept endows the human body with subjectivity and agency. My key question, then, is by what pictorial means and to what extent Saville succeeds in representing agentic womanhood. I argue that interpreting Saville’s paintings from the standpoint of the body schema demonstrates the radicality of her remaking of the female nude and the rapport between her imagery and feminist values. (shrink)

This dataset accompanies A Quantitative Analysis of Critical Posture in Art Writing, 1980–2025 and provides a structured corpus of twenty influential critical texts spanning four decades of art discourse. The dataset operationalizes Post-Interpretive Criticism (PIC) by applying a system of diagnostic indices designed to measure linguistic posture rather than interpretive content. -/- Rather than evaluating what artworks mean, the dataset examines how critical language behaves in proximity to aesthetic encounter. Each text is coded according to a set of phenomenologically grounded (...) indices—including Rhetorical Density (RD), Interpretive Load Index (ILI), Viewer Displacement Ratio (VDR), Ethical Proximity Score (EPS), Institutional Alignment Indicator (IAI), and newly introduced supplemental indices—capturing patterns of extraction, restraint, viewer positioning, closure, and institutional mediation. -/- The dataset spans critical writing from 1980 to 2025, covering academic art history, museum wall texts, catalog essays, journal criticism, and experimental critical prose. All texts are analyzed using transparent, repeatable coding protocols, enabling comparative analysis across historical periods, institutional contexts, and stylistic regimes. The resulting quantitative profiles reveal structural shifts in art criticism, including the rise of interpretation-heavy language, increasing institutional alignment, and the erosion or preservation of phenomenological restraint. -/- This dataset is intended for researchers in aesthetics, art history, museology, discourse analysis, and digital humanities. It supports replication, extension, and methodological critique of Post-Interpretive Criticism, while also serving as a proof-of-concept for formalized phenomenological analysis—demonstrating how phenomenological insights can be rendered measurable without reducing artworks or encounters to data objects. -/- By treating criticism itself as the object of analysis, the dataset contributes a novel methodological resource for studying the ethics, structure, and historical evolution of art discourse. -/- -/- Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, MTT, Misplacement, Displacement, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Hauntmark Theory, Spiritual Criticism, Presence-Based Criticism, Custodianship of Art, Art as Ontology, Aesthetic Recursion Theory, Aesthetic Recursion, Viewer as Evidence Theory, Restraint in front of art, Moral proximity, Interpretive silence, Erasure as ethics, Temporal scarcity, Silence as method, Ontology of beauty, Aesthetic mercy, Language as violence, Art encounter ethics, Epistemology of witness, Philosophy of Art, Aesthetics, Art Theory, Contemporary Aesthetics, Comparative Aesthetics, Phenomenology and Art, Ethics in Art Criticism, Interpretation and Meaning, Criticism and Reception Theory, Epistemology of Art, Visual Culture Studies, Dorian Vale, Founder of Post-Interpretive Criticism, Post-Aesthetic Critic, Independent Philosopher of Art, Museum of One, Art Writer and Theorist, Aesthetic Philosopher, Custodian of Witness Aesthetics, Spiritual Aesthetics Movement, The Doctrine of Post-Interpretive Criticism, The Custodian’s Oath, The Canon of Witnesses, Art as Truth, Art as Presence, The Viewer as Evidence, Interpretation vs. Witnessing, Language as Custody, Erasure as Afterlife, Museum of One Manifesto, Alternative art criticism, New art criticism movement, Ethical art theory, Criticism beyond interpretation, Slow looking philosophy, Quiet philosophy of art, Radical art restraint, Witness over interpretation, Interpretive Restraint, The Journal of Post-Interpretive criticism, The Journal of Post-Interpretive criticism ISSN 2819-7232), The Journal of Post-Interpretive Criticism (Q136530009), Epoché Fidelity Index (EFI) (Q138018710), Phenomenological Phase Alignment Score (PPAS) (Q138018807), Residue Engagement Restraint Ratio (RERR) (Q138018901), Quasi-Subject Agency Recognition Index (QSARI) (Q138018929), Dialectical Circulation Index (DCI) (Q138018950) -/- . (shrink)

Empirical work and philosophical analysis have led to widespread acceptance that vision for action, served by the cortical dorsal stream, is unconscious. I argue that the empirical argument for this claim is unsound. That argument relies on subjects’ introspective reports. Yet on biological grounds, in light of the theory of primate cortical vision, introspection has no access to dorsal stream mediated visual states. It is thus wrongly assumed that introspective reports speak to absent phenomenology in the dorsal stream. In (...) light of this, I consider a different conception of consciousness’s relation to agency in terms of access. While theoretical reasons suggest that the inaccessibility of the dorsal stream to conceptual report is evidence that it is unconscious, this position begs important questions. I propose a broader notion of access in respect of the guidance of intentional agency and not, narrowly, conceptual report (Note: this paper contradicts my earlier paper, "The Case for Zombie Agency"). (shrink)

Artificial intelligence is increasingly embedded in public services where decisions implicate rights, benefits, and burdens. This article proposes a practical lifecycle for responsible public‑sector AI spanning procurement, pilot, monitoring, and redress, with ethical checkpoints and governance artifacts at each phase. Using concrete examples and visuals, we distill lessons from applications such as predictive policing, welfare eligibility, and school placement. We define metrics that go beyond accuracy to include equity, participation, service quality, trust, and cost‑benefit, and we outline implementation guidance aligned (...) to Technology in Society criteria. We conclude with recommendations for dignified, accountable digital public services. (shrink)

This paper examines whether a previously proposed six-phase phenomenological framework for luminous experience, developed primarily from contemplative and meditative contexts, also organizes high-intensity psychedelic states induced by N,N-Dimethyltryptamine (DMT). We analyze two archetypal breakthrough narratives in full detail: one describing relational unitive absorption into a maternal divine presence, and another depicting dissolution into a non-personal ocean of vibrating energy. Despite profound symbolic differences, both narratives exhibit the same structural trajectory: dissolution of ordinary selfhood, emergence of coherent luminous geometry, symbolic or (...) entity-mediated mediation, unitive absorption, spontaneous ethical reorientation, and enduring post-event integration. The analysis suggests that DMT does not merely produce chaotic hallucinations, but rather catalyzes lawful transformations of consciousness that reorganize meaning, agency, and identity. Ethical awakening in both cases arises not as moral suggestion or cultural projection, but as a structural consequence of contact with luminous coherence. These findings resonate with contemporary constructive theologies that interpret ultimate reality as relational, evolving, and intrinsically unitive, while stopping short of metaphysical claims regarding the ontological status of these states. By foregrounding detailed first-person description alongside rigorous structural comparison, this paper contributes to a growing neurophenomenological understanding of mystical consciousness. The results indicate that luminous experience is not limited to visual phenomena; it extends into durable existential reorganization. Future research should expand this analysis to larger datasets, include longitudinal follow-up, and integrate contemplative and psychedelic trajectories within a unified developmental framework. (shrink)

This thesis examines the profound implications of Ontological Instability for our understanding of identity, self, and ego, arguing that if being itself is fundamentally unstable, then traditional conceptions of stable, unified selfhood become not merely problematic but ontologically impossible. Building upon the theoretical foundation of Fluctuational Ontology, this work develops a comprehensive framework for understanding selfhood as a dynamic process of becoming that never achieves stable being. Through rigorous philosophical analysis, novel theoretical innovations, and visual modeling, the thesis demonstrates (...) that the dissolution of stable identity opens new possibilities for understanding consciousness, agency, and human flourishing that are more adequate to the fundamental instability of existence. The work introduces unprecedented concepts including Identity Flows, Fluctuational Personas, Existential Uncertainty Relations, and Rhizomatic Selfhood, providing a systematic alternative to both unified and fragmented models of identity. The implications extend beyond academic philosophy to encompass psychology, neuroscience, social theory, and practical approaches to mental health, education, and personal development. (shrink)

This essay reviews Cultural Analytics by Lev Manovich as a foundational text that not only charts the historical and technical emergence of cultural analytics but also provokes a deeper interrogation of how digital and generative AI-driven methods reconfigure the very ontology, cognition, and ethics of cultural inquiry. Cultural analytics combines computer science, data visualization, and media arts to study cultural phenomena at scale; generative AI further extends this paradigm by producing new artifacts that blur boundaries of authorship and challenge traditional (...) categories. This review, following Manovich’s admonition throughout the book, concludes that that meaningful human-AI co-creative cultural studies require both advanced computational methods and philosophically informed safeguards, ensuring that the richness of human experience and the agency of communities remain central. (shrink)

The Gamer’s Dilemma is based on the intuitions that in single-player video games fictional acts of murder are seen as morally acceptable whereas fictional acts of sexual assault are seen as morally unacceptable. Recently, it has been suggested that these intuitions may apply across different forms of media as part of a broader Paradox of Fictionally Going Too Far. This study aims to empirically explore this issue by determining whether fictional murder is seen as more morally acceptable than fictional sexual (...) assault across different media types, and whether audio-visuality and the degree of agency afforded by the medium influences these judgments. An experimental survey study was developed where participants responded to imaginary fictional scenarios as part of a 2 (engages with fictional murder or fictional sexual assault) X 2 (in a high or low agency) X 2 (audio-visual or non-audio-visual medium) factorial design. It was found that fictional murder was seen to be more morally acceptable than fictional sexual assault across all media types, providing empirical support for the Paradox of Fictionally Going Too Far. It was also found that the audio-visuality and degree of agency influenced judgments of moral acceptability. (shrink)

This article traces the genealogy of the monstrous from Mary Shelley's Frankenstein (1818) to contemporary manifestations in artificial intelligence and algorithmic systems. Drawing on the February 2023 incident with Microsoft's Bing chatbot "Sydney"—which exhibited disturbing behaviors including existential anxieties and threats before being hastily constrained—the study positions AI entities as the digital era's iteration of the Frankensteinian creature. Where Shelley's monster bore visible sutures marking industrial modernity's violent assembly of organic fragments, today's algorithmic monsters operate through invisible, distributed networks that (...) resist localization or anatomical fixity. The analysis employs Deleuze and Guattari's concept of the "body without organs" to theorize this fundamental shift from material assembly to processual becoming. Through critical examination of key exhibitions including "Demons in the Machine" (Moscow, 2018), "AI: More than Human" (Barbican, 2019), "Entangled Realities" (Basel, 2019), and "HyperPrometheus" (Perth, 2018), the article demonstrates how contemporary artists—from Trevor Paglen's investigations of machine vision to Thomas Feuerstein's bacterial-sculptural assemblages—render visible the operative logics of algorithmic monstrosity. Paglen's concept of "invisible images" produced by machines for machines reveals a post-human visuality that functions beyond human perception, while Feuerstein's "Prometheus Delivered" deploys chemolithoautotrophic bacteria to dissolve classical sculpture and generate living tissue, embodying a radical delegation of artistic agency to non-human actors. The study argues that the digital monster represents not deviation from a norm but a fundamental challenge to normative categories themselves. This deterritorialization of the monstrous—from fixed anatomical horror to distributed computational processes—demands new ethical and ontological frameworks for human-machine coexistence. Building on Karen Barad's agential realism and Timothy Morton's hyperobjects, the article posits that recognizing fundamental epistemological uncertainty, rather than attempting to overcome it, opens possibilities for more productive engagement with technological futures. The monstrous thus emerges as an analytical category capable of revealing the unstable boundaries between human and non-human, authentic and simulated, subject and object in the age of artificial intelligence. (shrink)

Sydney Shoemaker, developing an idea of Wittgenstein’s, argues that we are immune to error through misidentification relative to the first-person pronoun. Although we might be liable to error when “I” (or its cognates) is used as an object, we are immune to error when “I” is used as a subject (as when one says, “I have a toothache”). Shoemaker claims that the relationship between “I” as-subject and the mental states of which it is introspectively aware is tautological: when, say, we (...) judge that “I feel pain,” we are tautologically aware that feels pain is instantiated and that it is instantiated in oneself. Moreover, he contends that this relationship holds not just for bodily sensations, but also for the sense of agency and for visual perception. But we deny that this relationship is tautological; instead, we treat Shoemaker’s principle (IEM) as a hypothesis. We then proceed to show that certain pathological states and experimentally-induced illusions can be adduced to show that IEM describes not a necessary relationship but a contingent relationship, one that sometimes fails to obtain. That we are not immune to error in the way Shoemaker describes has grave consequences for many aspects of his ideas concerning the first-person perspective. In the course of arguing that these empirical phenomena count against IEM, we also show that not only can the content of conscious experience be misrepresented, so too can the subject: that is, not only can the what of conscious experience be misrepresented, so too can the who. (shrink)

This design study, conducted with 41 undergraduate students enrolled in an introductory college psychology class, describes a practical method for professors and learners to use action science and Gordon Pask’s cybernetics to co-design curricula fit for the Information Age by jointly bringing past experiences, acting, and reflecting as they use AI and other cutting-edge technologies in class, and in their everyday lives. Two cycles of experience, action, and reflection are described. Pask’s cybernetics is used to visualize blueprints of human-computer interaction. (...) Narrative inquiries and network statistics form representable data that draw out insights on implementing new technology-assisted educational activities in real-time and refining them by overcoming social and structural bottlenecks. In Classroom 1, students initially encouraged adding an AI component to storyboarding assignments and shared it helped overcome apprehensions with drawing/artmaking. However, AI sometimes failed to create consistent narratives and add legible texts/captions to images (structural bottlenecks). Classroom 2’s curriculum incorporates feedback from Classroom 1, providing specific instructions to prompt characters consistently in storyboards, and manually add captions. Modifications led to greater efficiency in storyboarding for 19 students next Spring. These learners investigated how to increase interactivity of class discussions in which students often refrained from responding to each other (social bottleneck) using AI chatbots. Network analysis revealed transitivity and eigen centrality were higher in AI group chats. Qualitative reflections highlighted student co-agency in facilitating AI-mediated conversations. Students’ insights fueled future adaptations in the discussion activity, including explicit instructions to review class slides and develop consensus, and a post-chat debrief to allow students to discuss perspectives with other groups. (shrink)

Abstract The values of the healthcare sector are fairly ubiquitous across the globe, focusing on caring and respect, patient health, excellence in care delivery, and multi-stakeholder collaboration. Many individual pharmacists embrace these core values. But their ability to honor these values is significantly determined by the nature of the system they work in. -/- The paper starts with a model of the prevailing pharmacist workforce model in Scotland, in which core roles are predominantly separated into hierarchically disaggregated jobs focused on (...) one professional ‘pillar’: Clinician /Practice Provider; Educator; Leader/Manager; and Researcher. This is the ‘Atomistic’ Model. This skills-segregation yields a workforce of individuals working in isolation rather than collaborating together, and lacking a shared information flow, purpose and identity. Key strategic flaws include suboptimal responsiveness to population and subpopulation needs, inconsistency and inequity of care, an erosion of professional agency, and lower job satisfaction. It is conjectured that this results from a lack of congruence between values, professional ethos, and organizational structure. ‘Atomism’ culminates in a syndrome of widespread professional-level cognitive dissonance. -/- The paper contrasts this with a new emerging workforce vision, The Collaborative Care Model. This new model defines a systems-first-approach, built on the principle that all jobs must include all four professional ‘pillars’. Vertical skills integration, involving education and task sharing, will support sustainability and succession planning. Horizontal skills integration (across practice, leadership and research) is included to improve responsiveness to population need and individual professional agency. The working conditions, supportive ethos, and career structure needed to make the model work are described. Moral theory and workforce theory are used to justify why the model may be more effective for population health, delivering greater job satisfaction for individuals and ultimately helping systematically realize and honor healthcare values. Finally, the paper sketches the first steps needed to implement the model at the national level, starting with the operationalization of new multi-pillar professional curricula across the career spectrum. Potential pitfalls and challenges are also discussed. -/- Co-Authors: 1. Paul Forsyth (PF) Lead Pharmacist Clinical Cardiology, Pharmacy, NHS Greater Glasgow & Clyde. Contribution: Conceptualization; Model Curation; Model Theory; Model Visualization; Writing - original draft (lead author), Writing - review & editing (lead author) 2. Andrew Radley (AR), Consultant in Public Health Pharmacy, NHS Tayside. Contribution: Conceptualization; Model curation; Model Theory; Writing - review & editing 3. Gordon Rushworth (GR), MPharm MSc FFRPS FRPharmS (Consultant). Programme Director, Highland Pharmacy Education & Research Centre, NHS Highland, Inverness. Contribution: Model curation; Writing - review & editing 4. Fiona Marra (FM) National Lead Clinician Scottish Infection and Immunology Network (SPAIIN) / Advanced Pharmacist HCV / HIV, NHS Greater Glasgow & Clyde. Contribution: Model curation; Writing - review & editing 5. Susan Roberts (SR) Associate Postgraduate Pharmacy Dean, NHS Education for Scotland. Contribution: Model curation; Writing - review & editing 6. Roisin O’Hare (RO) Lead Teacher Practitioner Pharmacist, Northern Ireland University Network, Southern Health and Social Care Trust. Contribution: Model curation; Writing - review & editing 7. Catherine Duggan (CD) Chief Executive Officer, International Pharmaceutical Federation (FIP). Contribution: Model curation; Writing - review & editing 8. Barry Maguire (BM) Senior Lecturer, School of Philosophy, Psychology and Life Sciences, The University of Edinburgh. Contribution: Conceptualization; Model Curation; Model Theory; Model Visualization; Supervision; Writing - original draft (senior academic supervisor), Writing - review & editing (senior academic supervisor) -/- . (shrink)

In recent years, there has been a heated debate about how to interpret findings that seem to show that humans rapidly and automatically calculate the visual perspectives of others. In the current study, we investigated the question of whether automatic interference effects found in the dot-perspective task (Samson, Apperly, Braithwaite, Andrews, & Bodley Scott, 2010) are the product of domain-specific perspective-taking processes or of domain-general “submentalizing” processes (Heyes, 2014). Previous attempts to address this question have done so by implementing (...) inanimate controls, such as arrows, as stimuli. The rationale for this is that submentalizing processes that respond to directionality should be engaged by such stimuli, whereas domain-specific perspective-taking mechanisms, if they exist, should not. These previous attempts have been limited, however, by the implied intentionality of the stimuli they have used (e.g. arrows), which may have invited participants to imbue them with perspectival agency. Drawing inspiration from “novel entity” paradigms from infant gaze-following research, we designed a version of the dot-perspective task that allowed us to precisely control whether a central stimulus was viewed as animate or inanimate. Across four experiments, we found no evidence that automatic “perspective-taking” effects in the dot-perspective task are modulated by beliefs about the animacy of the central stimulus. Our results also suggest that these effects may be due to the task-switching elements of the dot-perspective paradigm, rather than automatic directional orienting. Together, these results indicate that neither the perspective-taking nor the standard submentalizing interpretations of the dot-perspective task are fully correct. (shrink)

The extensive involvement of nonconscious processes in human behaviour has led some to suggest that consciousness is much less important for the control of action than we might think. In this article I push against this trend, developing an understanding of conscious control that is sensitive to our best models of overt action control. Further, I assess the cogency of various zombie challenges—challenges that seek to demote the importance of conscious control for human agency. I argue that though nonconscious (...) contributions to action control are evidently robust, these challenges are overblown. (shrink)

In this paper, I seek to address the underrepresentation of Iranian women architects in historical narratives, exploring the perishable traces of their work and contributions to the field of architecture. Inspired by Carla Lonzi's call for women to consider their narrative incomplete and the International Archive of Women in Architecture (IAWA), I delve into the unique challenges Iranian women architects face and their impact on architectural history. I examine the historiographical review of Iranian women architects, their work, and their contributions (...) to the field, highlighting the importance of preserving and disseminating this often-overlooked knowledge. By investigating the current editorial challenges, I explore how archived material should be disseminated and the agency of such material in shaping a more inclusive and accurate historical narrative. Furthermore, I discuss the role of resources, archives, and new technologies in preserving and accessing the work of Iranian women architects. Considering data feminism and information visualization, I consider the implications of algorithms and digital technologies on accessing archived information and the potential for a more inclusive historical narrative. Through the lens of Iranian women architects, this paper contributes to the broader discussion on the representation and history of women in architecture by unearthing and preserving the perishable traces of their work. (shrink)

This study firstly addresses three threads in Chris Marker’s work – theology, Marxism, and Surrealism – through a mapping of the work of both Giorgio Agamben and Jacques Derrida onto the varied production of his film and photographic work. Notably, it is late Agamben and late Derrida that is utilized, as both began to exit so-called post-structuralism proper with the theological turn in the late 1980s and early 1990s. It addresses these threads through the means to ends employed and as (...) ends proper (as production of semi-autonomous works that also, paradoxically, index a much larger field of inquiry and theoretical praxis). It is perhaps French “schizophrenia” regarding theological versus political agency that best accounts for the sardonic deployment of irony and humor in Marker’s work in the face of Big History. Such means to ends (plus a subtle anti-intellectualism vis-à-vis fashionable academic trends) tend to underscore the severity and ultimate sincerity of Marker’s overall cultural-political project. -/- Dossier Chris Marker is also a study of a late-modern chiasmus, impersonal-personal agency, as it comes to expression in the works of Marker, as the dynamic interplay of political and subjective agency. As chiasmus, the complementary halves of this often-apocalyptic dynamis (a semi-catastrophic, temporal or historical force-field) also – arguably – secretly agree to meet, through the work of art, in the futural (problematized in contemporary French post-phenomenological and post-post-structuralist theory as “the event).” Consistent with the classical figure of concordia discors, Marker resolves these irreducible warring aspects of life experience in an atemporal and ahistorical moment that inhabits the work of art from its inception. This redemptive aspect in art is also the ultimate gesture of the artwork as autonomous subject and “mask” (or “screen”) for forces that reside beyond the frame of the image or work, as its proverbial Other, or within the frame, as other to that Other. -/- Despite the complications of the as-yet unresolved post-modern condition (its nihilist-relativist bias), and its similar, mostly circular concerns with the image and/or media, Marker’s work is clearly not post-modern. In fact, when tested against immemorial cultural epiphenomena, that work withstands all attempts at categorization and/or art-historical analysis proper. It remains unassimilable to the post-modern cause ... What emerges, upon closer examination, and through rigorous re-contextualization, is the prescient force of Marker’s works toward that futural state buried in art that is also “theological,” versus atheological, and heedlessly anterior to cultural politics per se. -/- In the case of Marker, this age-old or immemorial “thing-in-itself” (the artwork as image of world-chiasmus) finds its foremost or penultimate formation in his very-still photography – the singular images that are also the building blocks for his renowned ciné-essays. Not without irony, this same austere, reductive force of the still image (as form of proscription) also inhabits the more complex, synthetic works (or montages) that he has formulated and presented “dramatically,” here and there, through the often-sketchy apparatuses of his new-media experiments, as of the late 1980s. Ultimately, this world-image as chiasmus was always present within his earliest literary projects, from the 1940s forward – most especially in books and essays, with or without actual images. -/- Marker’s “return” to photography (to exhibiting still photography in galleries), in the late 2000s, is in many ways a return to the singular object of the artist-critic’s desire; the image in/for itself, while that image – endlessly troubled or interrogated for decades – continues to speak “in tongues” anyway, often against, or oblivious to, the voice of the author/artist/narrator. -/- Marker is a High Romantic Christian Marxist. The “Christic” aspect is rightly well-hidden, but emerges when the eschatological versus historical center of his work is exposed (the existential-metaphysical fuse such as also inhabits the works of Caravaggio), and when his early years are examined in light of his later and/or final years. Marker’s semi-personal/semi-impersonal apocalyptic vision is writ large in diverse works that cross decades, figuring a redemptive, world-shattering formation of art as pleroma. (shrink)

This paper develops an aesthetics of crossword puzzles. I present a taxonomy of crosswords in the Anglophone world and argue that there are three distinct sources of aesthetic value in crosswords. First, and in common with other puzzles, crosswords merit aesthetic experiences of our own agency: paradigmatically, the aesthetic experience of struggling for and hitting upon the right solution. In addition to instantiating the aesthetic value of puzzles in general, crosswords in particular can have two other sources of aesthetic (...) value: the visual appeal of grid art and the poetic delight of idiomatic language. Crossword aesthetics takes place at the intersection of the recently popular aesthetics of puzzles and games and the more familiar aesthetics of the visual and literary arts. (shrink)

Technology is changing the world and becoming the world itself. The technical work as a world becomes a scheme that accommodates people and things in a seamless manner as they work together in an unforced manner. In generic terms, the relation of works and worlds, and the corresponding experience of a technical world is established with reference to Ludwig Wittgenstein. The practical and metaphorical example is the incubator for premature babies, which creates a safe atmosphere for the life of the (...) newborn. The incubator represents a technically created world that becomes a protective «shell». The early adoption of digital technologies by children is also partly due to the desire of parents for safety and quiet. The success of early introduction to mobile devices relies greatly on new technological devices with touchscreens and visual interfaces. In the digital world, small children have much more power, agency, autonomy, the ability to change the environment, and at the same time have fun. Modern children enter the digital world at almost the same time as the physical world. They cannot distinguish digital and the physical worlds according to a criterion of reality. The convenient world of technology built by adults becomes a shell or even a trap for children that is perceived by them as a natural and necessary part of the world. Children perception becomes magical: they are affected by magic seduction of the touchscreen, which recomposes a reality that is interrupted, suspended, and returns it as modified, technicized. (shrink)

The main contention of this paper is that, just as there is something it is like to smell a rose, taste chocolate, and hear a siren, there is something it is like to perform an action. In other words, I will argue that we ought to recognize, alongside these other familiar forms of phenomenology, a distinctive phenomenology of agency. My claim is not simply that there is some subjective experience that attaches to the performance of actions. No one disputes (...) that action is typically accompanied by a range of kinaesthetic and visual experiences, and often preceded by conscious thoughts about what to do. The position I wish to defend, rather, is that there is a proprietary phenomenology or subjective character associated with action that “goes beyond” (Horgan et al. 2003, p. 323) these familiar types of sensory and cognitive experience (for other treatments of this topic, see Horgan 2007; Bayne and Levy 2006; Bayne 2008; Pacherie 2008; Kriegel 2015; Shepherd 2017). (shrink)

In 1713 the scientific instrument-maker Jakob Leupold published designs for three machines were the first attempt to design machinery with internal moving parts that replaced human agency in creating original images. This paper first analyzes his text and engravings in order to explain how he proposed to do this, given contemporary materials and command of physical forces. Next, it characterizes the devices as a transition from concepts of incision to concepts of mirroring, taken as models of the history of (...) mechanical reproduction. And finally, Leupold’s replacement of the sighting grid with differential gears points to a set of problems appearing in contemporary philosophy represented in Rococo artistic production of this period as well. Taking the proposed devices in context, they help to theorize the complex notions of creative activity in Rococo visual culture. Taken as an episode in the history of communications, they instance the development of conceptions of personhood and of physical forces at stake in the invention of automated media. (shrink)

This essay examines the humiliation of Draupadi in the Mahabharata through a combined aesthetic, ethical, and narrative lens, using a nineteenth-century opaque watercolor attributed to Nainsukh as its focal point. It argues that this episode marks a decisive rupture in the epic’s moral order and functions as a site where philosophical concepts of dharma, power, and agency collapse under political inertia and human frailty. By analyzing the painting’s composition, color, iconography, and spatial logic, the essay demonstrates how Indian miniature (...) painting translates orally transmitted and textually preserved narratives into intimate visual encounters that invite slow, contemplative engagement. The essay further explores how the painting intensifies the emotional and metaphysical dimensions of the scene, Draupadi’s vulnerability, Yudhisthira’s ethical failure, the court’s paralysis, and Krishna’s intervention, revealing the medium’s capacity to condense narrative complexity into a single moment of heightened meaning. Ultimately, the essay argues that the miniature not only illustrates the epic but reanimates it, enabling viewers to experience the story’s ethical stakes, aesthetic power, and spiritual resonance with renewed immediacy. (shrink)

The current issue of Argument: Biannual Philosophical Journal (2015, vol. 5, no. 1) provides a platform for cross‑cultural studies of the human body, the embodied mind, agency, intentionality, and various axiological aspects of the human psychophysical identity. Out of the twenty articles that compose this issue, thirteen original papers address the leading theme, namely Psychophysical integrity of the human self. Comparative approach: philosophy, literature and art. The multidisciplinary and comparative perspectives include references to Western and eastern cultural traditions, as (...) well as juxtaposing a variety of views on human corporeality and the mind‑body relationship, discussed from the perspectives of philosophical theories (Venieri, Jakubczak, Kamińska, Kołdrzak, King, Wachowski), literary works (Kamińska, Milewska) and visual artefacts (King, Staniszewska, Wałek, Popczyk, Romanowicz, Lipowicz). (shrink)

The article discusses methods of combining visual and literary sources to study heritage sites with rich narratives and scarce material traces. It also examines the use of GIS in historical research and the challenges of integrating historical sources with digital mapping technologies. Taking as a case study the European maps and description of Hormuz Island, Iran, and their impact on the perception of that emporium in a global trade network, the ideological agency of representations can be approached by (...) studying the untold, the invisible. Two main spatial practices have been analysed: the organisation of the built environment due to the lack of fresh water on the island and the disappearance of its main architectural landmark, a monumental minaret represented in many travellers' accounts. The research problem is approached in a three-stage methodology: comparative analysis of historical maps and descriptions dating from the sixteenth to the nineteenth century; visual material analysis by redrawing architectural features; GIS-based spatial analysis. Overall, the article emphasises the importance of critically examining historical maps, integrating various sources of information, and employing multidisciplinary approaches to gain a deeper understanding of the historical urban pattern and cultural significance of heritage sites. This perspective provides scientific knowledge but also leaves space for imagination, hinging on the state of latency historical artifacts provide. (shrink)

This article argues that e-democracy must be understood not as a technical upgrade of representative government but as a transformation of citizenship within a regime of visual formatting. Drawing on Žarko Paić’s analysis of video-centrism and the world-picture, it examines how contemporary political life unfolds in a space where images no longer reflect history but organise reality in advance. In such a condition, the citizen does not merely participate; the citizen appears through an interface. Political agency becomes inseparable (...) from visibility, recognisability, and circulation. By placing Paić in dialogue with Marcel Duchamp, Jean Baudrillard, and Tom Wolfe, the article develops the concept of the shaped self as the central figure of e-democracy. Duchamp’s logic of the Readymade reveals that political identity today functions less as essence than as selection and framing: the citizen becomes what the interface designates as present. Wolfe’s critique in The Painted Word clarifies how explanatory systems and institutional frames overtake content itself, so that representation becomes more powerful than argument. Baudrillard’s theory of simulacra extends this insight to the hyperreal public sphere, where representation precedes political substance and where visibility, metrics, and viral circulation can displace deliberative judgement. Within this video-centric condition, political legitimacy shifts from reasoned persuasion to recognisable form. Profiles, biometric traces, verification tokens, feeds, and algorithmic rankings shape how subjects are perceived and how influence is distributed. The article introduces the geometric self to describe this configuration: a citizen structured by edges, templates, and repeatable visual patterns that enable identification but risk reducing agency to performance. The struggle for democracy thus becomes a struggle over representation itself—over ownership of likeness, transparency of distribution systems, and the capacity to distinguish voice from simulation in an environment saturated with images and deepfakes. E-democracy, far from resolving democratic deficits, reveals their structural basis in the politics of appearance. Political equality increasingly depends on who can connect, who can be seen, and who can control the formats that determine what counts as a citizen. If history once unfolded through narrative continuity, the present risks becoming a sequence of circulating images without depth. The shaped self emerges at this intersection: an interface-formed subject whose existence is conditioned by the world-picture and whose future depends on reclaiming critical judgement within visual space. As the concluding work of the Mirror Selves Trilogy, this article presents the book The Shapes of the Self: Identity and Recognition in Visual Space (2026) that investigates how the self emerges not as an inner essence but as a shaped and formatted presence within contemporary visual space. (shrink)

This conversational opinion article between two parties – Kate, a disability performance scholar and Sarah, an interdisciplinary artist-scholar with lived experience of disability – considers the dancing body as redeemer in the specific case of a dancer experiencing ‘chemo fog’, or Chemotherapy-Related Cognitive Impairment (CRCI) after undergoing oncological treatments for Hodgkin Lymphoma. This work draws on Pini’s own lived experience of illness (Pini & Pini, 2019) in dialogue with Maguire-Rosier’s study of dancers with hidden impairments (Gibson & Maguire-Rosier, 2020). In (...) an exploratory account based on an interview with one another, the authors ask: when our senses and perceptions of ourselves and the world we become are obfuscated, what is the nature of the new relationship between the performing self and its absent body/mind/world? How can we shape our narrative and articulate who we are, what we are doing or where we are going, if we are moving in the ‘fog’? Our discussion reveals how Pini’s dancing body elucidates healing, while recovering an agentic perspective in her experience of alienation and frustration tied to chemo fog and related impairments. With this work we offer an original perspective on how a dancing body can resist theoretical diagnosis. (shrink)

This is a book about numbers– what they are as concepts and how and why they originate–as viewed through the material devices used to represent and manipulate them. Fingers, tallies, tokens, and written notations, invented in both ancestral and contemporary societies, explain what numbers are, why they are the way they are, and how we get them. Cognitive archaeologist Karenleigh A. Overmann is the first to explore how material devices contribute to numerical thinking, initially by helping us to visualize and (...) manipulate the perceptual experience of quantity that we share with other species. She explores how and why numbers are conceptualized and then elaborated, as well as the central role that material objects play in both processes. Overmann’s volume thus offers a view of numerical cognition that is based on an alternative set of assumptions about numbers, their material component, and the nature of the human mind and thinking. Karim Zahidi (“Radicalizing numerical cognition,” Synthese, 2021, p. 530) called this reconstruction, as presented in journal articles, a “naturalistically plausible account of the emergence of the modern natural number concept," while César Dos Santos ("Review of: 'The Materiality of Numbers'," Qeios, 2023, p. 1) called it "a 'Copernican Revolution' in the way we understand the relationship between numbers and the material devices we use to record and manipulate them." . (shrink)

1. Introduction History unfolds with startling unpredictability. A single decision by an obscure figure—a moment of courage, betrayal, or invention—can cascade into revolutions, awakenings, or redemptions no one foresaw. Yet amid this turbulence, larger patterns emerge: history does not spiral into utter randomness, nor does it march along a rigid, predetermined track. Moral, social, and spiritual forces appear to channel events within recognizable bounds. This essay draws on concepts from nonlinear dynamics and chaos theory—the mathematics of complex, sensitive systems—to explore (...) how divine sovereignty and human freedom might coexist. History can be understood as behaving qualitatively like a “strange attractor”: deterministic in principle yet unpredictable in detail, bounded yet richly varied. Small choices matter profoundly, yet the overall trajectory trends toward a meaningful end under divine guidance. This perspective neither erases human agency nor reduces God to a natural law. Instead, it illuminates a dynamic interplay: freedom operates within constraints, and sovereignty provides structural direction without coercion. Building on efforts in science-theology dialogue—such as John Polkinghorne's work on chaotic openness and non-interventionist divine action—this framework offers a fresh lens on the classic problem of double agency, in which God acts as primary cause while humans act as secondary causes. 2. Abstract History is modeled here as a chaotic subsystem of created reality: bounded, exquisitely sensitive to initial conditions, and exhibiting complex, non-repeating patterns. While not reducible to precise equations, it displays structural similarities to strange attractors (like the Lorenz attractor), allowing us to conceptualize how human freedom and divine will interweave asymmetrically. The model respects the Creator-creature distinction, embraces genuine unpredictability, and honors the limits of human knowledge. 3. Defining Terms Chaotic system – A deterministic system highly sensitive to tiny changes in starting conditions, producing bounded but practically unpredictable long-term behavior. Strange attractor – A complex geometric structure in phase space toward which chaotic trajectories converge, producing intricate, never-repeating patterns within finite bounds. Basin of attraction – The set of initial conditions that lead to a particular attractor. Structural isomorphism – Shared patterns of behavior and organization, without requiring identical mathematics. History is not literally governed by the Lorenz equations, but it shares qualitative features—bounded sensitivity, fractal complexity—that make the analogy fruitful. 4. History as a Chaotic Subsystem of Reality History exhibits hallmark features of chaotic systems: Bounded trajectories — Events occur within social, geographic, moral, and physical limits. Sensitive dependence — Minor actions (a whispered prayer, a forgotten promise) can amplify into world-altering consequences. Non-repeating yet patterned — No two eras are identical, but recurring motifs (rise and fall of empires, awakenings amid decay) emerge. Qualitatively, history resembles a strange attractor: unpredictable in its details, yet structurally guided. 5. Asymmetric Structure of Freedom and Sovereignty Imagine the phase space of history with multiple attractors: Global minimum – Represents alignment with divine will; structurally stable, ultimately attractive. Local minima – Metastable regions of human resistance, secular drift, or partial obedience, where real freedom plays out. Human choices trace paths within these local wells, allowing genuine agency and surprise. Perturbations—moments of grace, prophetic revelation, or providential interventions—can nudge trajectories out of local minima toward the global one. 6. Fractal Boundaries and Moral Interweaving Chaotic attractors often feature fractal basin boundaries, where domains interpenetrate in infinitely intricate ways. This mirrors history: No era is wholly “City of God” or wholly “City of Man.” Moral, social, and spiritual forces are deeply entangled. Augustine’s two cities appear as interwoven trajectories within the same dynamical landscape. 7. The Veil as One Illustrative Reading The tearing of the Temple veil at Christ’s death (Matthew 27:51) offers a symbolic parallel to a topological or phase-like shift: What was once separated between human and divine domains becomes newly accessible. Grace now flows more directly into the fabric of history and experience. This is not a literal dynamical equation, but an illustrative metaphor highlighting how pivotal divine events can reconfigure the landscape of possibility without violating creaturely freedom. 8. Mapping Table: Chaos ↔ History Chaos Concept Historical/Theological Analogue Notes Trajectory Human actions Bounded by social, moral, physical constraints Attractor Divine sovereignty Global minimum toward which history trends Basin boundary Moral/historical interpenetration Fractal, interwoven, not rigid Perturbation Grace, revelation, judgment Shifts trajectories between minima 9. Conceptual Diagram (Suggested) Deep central well = global minimum (divine will, stable) Shallower side wells = local minima (human freedom/resistance) Trajectories wander unpredictably within wells but can leap (via grace-induced perturbations) toward deeper alignment This visual captures bounded freedom under sovereign guidance. 10. Objections and Responses (Polished) “History is too complex for equations.” Response: This is a qualitative, structural analogy, not literal math. Its aim is to illuminate patterns and relationships, not predict exact events. “Chaos eliminates freedom.” Response: Bounded unpredictability allows contingent choices. Human agency unfolds meaningfully within local minima while remaining open to perturbations. “This risks pantheism.” Response: God is the transcendent ground (global minimum), not identical to the attractor. Asymmetry between Creator and creature is preserved. “How can this model be proven?” Response: Like much theology, it offers explanatory coherence, not deductive certainty. Epistemic limits apply: chaotic systems cannot be fully predicted, and divine-human interplay cannot be fully formalized. “Chaos theory is deterministic mathematically; how can this allow genuine freedom?” Response: Classical chaos is deterministic in equations, yet infinite sensitivity and practical unpredictability make trajectories effectively open. Deterministic models may reflect abstractions of reality, not full ontological truth. This heuristic captures contingent human freedom and divine guidance without claiming full ontological indeterminism. 11. Conclusion History is neither rigid determinism nor aimless chaos. It is a bounded chaotic subsystem, akin to a strange attractor: unpredictable in detail yet oriented toward divine purposes. Human freedom flourishes in local minima. Divine sovereignty constitutes the global minimum. Moral and spiritual forces interweave through fractal boundaries. This framework clarifies the dance of sovereignty and freedom, preserves Creator-creature distinction, and embraces mystery. Chaos is not theology’s foe—it may be one of grace’s strange attractors. (shrink)

Potentialities of attention and distraction with respect to images are critically reprised by Neapolitan artist Domenico Antonio Mancini. In Landscapes (2019), Google Street View addresses painted on canvases take the place of outlying areas of Italian cities, and of canonical oil ‘vedute’ paintings, obliging the viewer to switch from aesthetic absorption to a multitasking, reflexive attention enabled by the tools of mobile devices and the operative agency between the displayed and depicted images. Attracted by the ephemeral, geo-localized vistas displayed (...) on their smartphones, spectator-users must deal with the dynamis of the on-line GSV images: rhetorical and predictable, though, at the same time, and perhaps unintentionally, serendipitous and figural. (shrink)

Using the metaphors body and voice and drawing on critical contributions on biopolitics, this article interrogates children’s participation rights in a knowledge culture of ‘evidencing’. With child welfare and protection practice as an empirical example, I analyse written assessment reports from a Swedish child welfare agency, all exemplifying how social workers evidence needs for protection and reasons for removing children from the home. I discuss how ‘evidencing’ equals a knowledge culture of seeing-believing and predicting-believing and the search for visibly (...) damaged bodies and underdeveloped minds. I furthermore problematise how such conceptualisation of evidencing foregrounds children’s ‘speaking’ bodies while silencing their voices. By showing these manifestations of evidencing, this critical contribution discusses some wider epistemic concerns for fields influenced by the knowledge cultures of ‘the evidence-based’. (shrink)

It is highly consensual that we can perceive so-called low-level properties such as shape, color, motion, spatial location, and illumination through vision. But it’s more controversial whether the contents of visual perception can reach beyond the limits of weakness and involve high-level properties as well. By high-level property, it’s meant properties such as natural/artificial/functional kind, causality, dispositional properties, gender, roughness, aesthetic properties, bodily sensations, states of mind, agency features, action features, and moral properties. In this dissertation, setting Susanna (...) Siegel's rich content thesis as a framework and relying on her method of phenomenal contrast as a way of discovering the contents, I am intending to assess an account of perceiving moral properties. I will impose two objections against this model: The first one invokes the ignored role of imagination and recollection in the method and generally targets the method of contrast. The second one invokes the thesis of phenomenal holism and targets specifically the machinery of drawing contrast in the proposed moral pair. Finally, I’ll conclude that this account of moral perception, as well as other phenomenal-contrast-based accounts, is not tenable. -/- . (shrink)

This paper introduces the concept of the Co-evolutionary Intelligence Entity (CIE) as a theoretical framework for rethinking the human–AI relationship. Previous discussions have largely relied on the instrumental view of AI, which positions AI as a means to optimize human tasks. However, this understanding fails to adequately capture the relational and transformative characteristics of contemporary AI. Building on and critically extending the traditions of the extended mind theory, distributed cognition, dialogical philosophy, and science and technology studies (STS), this study proposes (...) CIE as a “relational structure in which intelligence emerges through the co-evolution of humans and AI.” CIE is described by a three-stage model of externalization → structuration → co-evolution. Human thought and language are externalized, structured through AI responses, and subsequently transformed through ongoing interactions. This dynamic can be partially visualized quantitatively using indicators such as lexical diversity, cluster structure, and bridging-term ratio, as well as an integrated “CIE Formation Score.” Theoretically, CIE extends the scope of extended and distributed cognition by emphasizing the bidirectional and adaptive dynamics with responsive AI. Philosophically, it reconceptualizes knowledge as relationally generated, situates intelligence in the space of interaction, and redistributes responsibility across the human–AI network, producing an epistemological, ontological, and ethical shift. Practically, in domains such as education, healthcare, and organizational design, CIE provides a perspective that positions AI not as an autonomous subject nor as a passive tool, but as a relational mediator of intelligence. Overall, this paper presents CIE not as a “completed theory” but as an exploratory research program that calls for empirical validation and interdisciplinary dialogue. In doing so, it provides a conceptual foundation for understanding human–AI co-evolution as a central issue of the emerging cognitive–technological environment. This paper proposes the concept of the Co-evolutionary Intelligence Entity (CIE) and presents its theoretical and methodological foundations. It is published here as an exploratory conceptual paper and is intended to be further developed into a peer-reviewed journal article. (shrink)

Making Sense of Messages Making Sense of Messages, now in its second edition, retains the apprenticeship approach which facilitates effectively learning the complex content and skills of rhetorical theory and criticism. A new chapter on “The Rhetoric of Ignorance” provides needed theory and examples that help students deal with the new rhetorical landscape marked by such discursive complexities as “fake news,” “whataboutism,” and denial of science that creates rather than reduces uncertainty in public argument. A new chapter, “Curating and Analyzing (...) Multimodal Mediated Rhetoric,” deals with problems of media criticism in the digital age. It provides theory, models of application, and commentary that help novice critics understand and rnindfully practice criticism that leads to insight, not mere opinion. Throughout the book, extended and updated examples and commentaries are designed to promote “novice—to—expert” agency in students. This textbook is ideal for introductory courses in contemporary rhetoric, rhetorical criticism, and critical analysis of mass media. Mark Stoner is Professor Emeritus of Communication Studies University, Sacramento. at California State. (shrink)