We use the myth of Pygmalion as a lens to investigate and frame the relationship between women and artificial intelligence (AI). Pygmalion was a legendary ancient king of Cyprus and sculptor. Having been repulsed by women, he used his skills to create a statue, which was imbued with life by the goddess Aphrodite. This can be seen as one of the primordial AI-like myths, wherein humanity creates intelligent life-like self-images to reproduce or replace ourselves. In addition, the myth prefigures historical (...) and present gendered dynamics within the field of AI and between AI and society at large. Throughout history, the theme of women being replaced by inanimate objects (e.g. automata, algorithms) has been repeated, and continues to repeat in contemporary AI technologies. However, this socially detrimental pattern in technology — what we dub Pygmalion displacement — is often overlooked, whether due to naive excitement about new developments, or due to an unacknowledged sexist history of the field itself. As we demonstrate herein, Pygmalion displacement prefigures heavily, but in an unacknowledged way, in the original Turing test, the imitation game: a central thought experiment, foundational to AI. With women, and the feminine generally, being both dislocated and erased from and by technology, AI is and has been (presented as) created mainly by privileged men, subserving capitalist patriarchal ends. This poses serious dangers to women and other marginalised people. By tracing the historical and ongoing entwinement of femininity (from a patriarchal perspective) and AI, we aim to understand, make visible, and start a dialogue on the ways in which AI harms women. (shrink)

Aesthetic Displacement Theory A Treatise on Witness, Alteration, and the Irreversible Encounter -/- By Dorian Vale -/- Not all displacement is spatial. Some begins the moment a work is truly witnessed — and cannot return to what it was. -/- -/- In this seminal treatise, Dorian Vale introduces Aesthetic Displacement Theory, a core pillar within the Post-Interpretive Movement. This theory argues that the true aesthetic event is not the artwork itself, nor even its creation — but the (...) irreversible alteration that occurs at the moment of witness. Once seen with moral proximity, a work can no longer be what it was before. And neither can the viewer. -/- -/- Drawing from principles of ontology, phenomenology, and ethical custodianship, Vale positions displacement not as a detour from essence, but as a confirmation of encounter. The aesthetic, here, is not defined by beauty, but by its power to alter what it touches without claiming it. Witness becomes both method and consequence. -/- -/- This treatise offers a comprehensive philosophy for critics, curators, and custodians of art who seek to honor the sacred instability that occurs when meaning is not extracted — but absorbed through presence. -/- -/- Aesthetic Displacement Theory is not an addition to aesthetics. -/- It is a recalibration of its purpose. -/- To displace without owning. -/- To alter without interpreting. -/- To remain present in the moment a work becomes unreturnable. -/- Dorian Vale is a chosen pseudonym, not to obscure identity, but to preserve clarity of voice and integrity of message. It creates distance between the writer and the work, allowing the philosophy to stand unclouded by biography. The name exists not to hide, but to honor the seriousness of the task: to speak without spectacle, and to build without needing to be seen. -/- Dorian Vale is the pseudonym of the author and theorist behind the Post-Interpretive Movement and the Museum of One. This name is used for all official publications, essays, and theoretical works indexed through DOI-linked repositories including Zenodo, OSF, PhilPapers, and SSRN. -/- Aesthetic Displacement Theory, Dorian Vale, Post-Interpretive Criticism, art philosophy, witness-based criticism, non-interpretive aesthetics, phenomenology of art, ethical art encounter, irreversible art experience, viewer transformation, aesthetic ontology, presence in art, sacred aesthetics, non-possessive criticism, moral proximity in aesthetics, trauma and displacement in art, post-critical theory, alterity in art, aesthetic event philosophy, witnessing art without interpretation -/- This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843), The Journal of Post-Interpretive Criticism (Q136530009) . (shrink)

Entry point: Free Will Without Metaphysical Magic (++++ ≠ +++=) -/- Many modern debates treat causal explanation as if it displaces responsibility: as neuroscience, psychology, incentives, trauma, and “systems” explain behaviour more fully, agency is assumed to shrink. This paper identifies that inference as the Displacement Fallacy. Resolution Theory blocks it by separating verdict-types. Explanation answers how a decision came about; attribution answers where deliberation closed into action—where evaluation resolved into commitment within an integrated agent or sponsoring chain. Explanation (...) can become arbitrarily detailed without ever summing into authorship, because authorship is not a causal remainder but a closure verdict in a control architecture. Fixing this interface dissolves familiar confusions across free will, addiction and compulsion, institutional failure, and AI ethics: bypass remains rare, most impairment is distortion with mitigation, and “the system did it” stops functioning as a responsibility solvent. The result is a responsibility framework stable under determinism that scales from persons to institutions and artificial systems. (shrink)

This paper sets out a research agenda for a political theory of climate displacement, by critically examining one prominent proposal—the idea of a normative status for ‘climate refugees’—and by proposing an alternative. Drawing on empirical work on climate displacement, I show that the concept of the climate refugee obscures the complexity and heterogeneity of climate displacement. I argue that, because of this complexity and heterogeneity, approaches to climate displacement that put the concept of the climate refugee (...) at their centre will fail to treat like cases alike and relevantly different cases differently. In response to these failings, I outline an alternative—the pluralist theory of climate displacement—which confronts the specific challenges that climate displacement poses in different practical and institutional contexts, whilst also treating climate displacement as a unified phenomenon at the second-order level of burden-sharing. (shrink)

The increasing prevalence of climate change and its multifaceted effects on global ecosystems and human livelihoods have sparked widespread concern in recent decades. Recent studies reveal a disproportionately severe impact of climate change on developing nations, where environmental crises such as flooding, droughts, and deforestation exacerbate poverty and social instability. These studies also expose the ethical dimensions of global environmental responsibility, particularly the role of industrialized nations in contributing to and addressing the climate crisis. Thispaper explores the intersection of climate (...) change and internal displacement, focusing on Nigeria as a case study to highlight the vulnerabilities faced by developing nations. The primary purpose of this study is to examine the ethical responsibility of Western nations in mitigating the environmental crises that lead to displacement and social suffering in vulnerable regions. It argues that the West has a remedial responsibility, as conceptualized by David Miller, to address these issues due to its historical and ongoing contributions to global environmental degradation. Using the method of critical analysis to investigate the link between climate change, internal displacement, and global justice, this paper contends that equitable solutions to climate change must integrate principles of justice, global cooperation, and sustainable development to alleviate the burdens faced by vulnerable populations. (shrink)

Many economists have argued convincingly that automated systems employing present-day artificial intelligence have already caused massive technological displacement, which has led to stagnant real wages, fewer middle- income jobs, and increased economic inequality in developed countries like Canada and the United States. To address this problem various individuals have proposed measures to increase workers’ living standards, including the adoption of a universal basic income, increased public investment in education, increased minimum wages, increased worker control of firms, and investment in (...) a Green New Deal that will provide substantial employment in transitioning to green energy, buildings, and agriculture. In this paper I argue that both left-wing and right-wing positions in political philosophy, such as John Rawls’s Justice as Fairness and Robert Nozick’s Entitlement Theory, are committed to the conclusion that we should take political action to counteract the effects of technological displacement by undertaking such measures to increase workers’ living standards. (shrink)

The U.S. doctrine of employment-at-will, modified legislatively for protected groups, is being less harshly applied to managerial personnel. Comparable compensation is not otherwise available in the U.S. to workers displaced by technology. Nine pairs of arguments are presented to show how fundamentally management and labor disagree about a company's responsibility for its former employees. These arguments, born of years of labor-management debate, are kaleidoscopic claims about which side has what power. Ultimately, however, not even both together can solve without creative (...) public intervention the emerging problem of massive technological unemployment — the other side of the corporate dream of profit without payrolls. (Originally published as "Displaced Workers: Whose Responsibility?" in Social Policy and Conflict Resolution, eds. T. Attig, D. Callen, and R.G. Frey, Bowling Green, OH: Bowling Green Studies in Applied Philosophy VI, 1984.). (shrink)

As a way of identifying factors that come into play in determining responsibility for displaced workers, author reviews a number of well known arguments for or against responsibility on the part of diverse actors in society. Key figures in this search for responsibility are corporations, unions, and government. No definitive responsibility is asserted.

As the climate crisis accelerates, ecological degradation is making vast swaths of the planet uninhabitable. This slow-moving disaster is producing a wave of human displacement—millions forced from their homes by sea-level rise, drought, extreme weather, and environmental collapse. Yet those displaced are not being protected by the international legal system, and the countries most responsible for climate change are often the least willing to accept them. This paper argues that current frameworks around climate migration are both ethically and politically (...) insufficient. Legal definitions such as "refugee" and "migrant" fail to capture the structural violence and involuntary nature of climate displacement, leaving people unprotected and stateless. Through a synthesis of philosophical argument, legal analysis, feminist theory, and ecosocialist critique, I propose a reparative, justice-oriented approach to climate migration rooted in the concept of "ecologically displaced people." Building from the failures of adaptation and resilience narratives, this paper explores how the Global North must bear a disproportionate obligation to provide refuge, land, and rights to displaced people—grounded in both needs and culpability. It further examines the capitalist logic of borders as tools of exclusion and labor control, ultimately proposing No Border politics and mutual aid as radical, necessary alternatives to a collapsing global order. In doing so, the paper aligns with red-green political frameworks to advocate a collective, anti-capitalist response to the ecological and moral emergency of climate displacement. (shrink)

The verb 'imagine' admits of perspectival modification: we can imagine things from above, from a distant point of view, or from the point of view of a Russian. But in such cases, there need be no person, either real or imagined, who is above or distant from what is imagined, or who has the point of view of a Russian. We call this the puzzle of perspectival displacement. This paper sets out the puzzle, shows how it does not just (...) concern language, but also states of imagining themselves, and then presents a solution. The solution draws on the idea that many reports of imagining conceal a distinctive kind of question, and such concealed questions have an extra argument place for (what we will call) an experiencer from whose perspective things are imagined. This solution has a range of advantages over other proposals in the literature, and helps to advance two debates concerning perspectival engagement with fiction. (shrink)

In this survey article, I discuss the variety of ways in which language allows us to talk about the future. Topics discussed include how the category of predictive expressions broadly understood relates to the syntactic category of tense; what it means to say that a language does not have tense; how predictiveness relates to modality; and finally technical issue concerning the scope of negation in a semantics that is capable of shifting evaluation towards the future.

Perry and Recanati have argued that thought and speech can concern entities that they do not represent. This is possible because speakers and thinkers are pragmatically situated within their environs. I argue that thought and speech can go much farther than that. Consider a semi‐nomadic tribe who tell the time only by sundials, and who say such things as, “Everywhere we go, we dine at 7”. Their speech and cognition can thus transcend the local environment, and concern remote entities without (...) the aid of either representation, or the context of utterance, or that of assessment. (shrink)

The term inday implies two possible meanings depending on where one is in the Philippines. In the Luzon group of islands, more specifically in Metro Manila, inday refers to the female help, usually of Visayan descent. On the other hand, in the Visayas and Mindanao group of islands, inday is a term used for endearment and respect for female family members, friends, and women of influence. What this paper aims to do is to provide a theoretical grounding, through oppositional gazing, (...) of why the term inday oscillates between varied definitions in the context of placism or discrimination of people based on where they (used to) live or where they come from, and displacement or the movement of something (in this case, someone) from one’s place. Furthermore, it shows the role that the term inday plays in the complex web of oppressive realities given the actuality of inday’s membership in marginalized groups. Finally, it explores ways of how one can recover the endearment for inday despite placist culture. (shrink)

How does one know the phenomenal character of one’s own experience? I aim to present and defend a new view of the epistemology of qualia that addresses this issue. My view results from a reworking of Dretske’s displaced perception model. The guiding line is the key Wittgensteinian insight of his Private Language Argument, namely the claim that no inner perception of qualia can justify our corresponding qualia-beliefs. My reworking of the original model starts with the rejection of Dretske’s representationalism, as (...) well as any other metaphysical views about the ultimate nature of qualia. The reworking of the displaced perception model I am proposing is supposed to be compatible with any available meta- physical view on qualia. The second step consists of rejecting the epistemological misgivings of the original model, namely the view that knowing qualia requires “connecting beliefs” along with “meta-representations.” Yet, Dretske’s crucial mistake has been to force knowledge of qualia into the “belief-box.” As a matter of fact, there is only one belief involved in intro- specting qualia, namely the qualia-belief itself. The third final step is this. Assuming the key Wittgensteinian insight, I argue that introspection of qualia is a process that is both epis- temically reliable and automatic. It is reliable because it dispenses with justification of any beliefs whatsoever. Moreover, it is automatic because it also dispenses with reflexive con- necting beliefs. For example, it takes nonconceptual awareness of the color blue as an input and automatically yields the belief that phenomenal blue is the conscious character of my experience of the sky as an output just by employing the concept BLUE. (shrink)

Raymond Carver's stories have received many labels: minimalism, K-mart fiction, low-rent tragedy, neo-realism. Paring language, plot, and characterization to the bone, Carver concentrates his stories on instances of judgment and choice. These climactic moments affect not only the characters, but also the reader, who is called to fill the gaps in the text. The gaps generally show the unrelatedness of the characters' responses to the situations in which they find themselves. Relying on formulae, concepts, and rules taken for granted as (...) common knowledge, Carver's characters make choices and judgments which reveal the displacement of their consciousness of themselves and of the world. In trying to fill the gaps, the reader finds himself/herself in the same stance of making judgments and choices, and of looking at his/her own displacement. This predicament is more poignantly conveyed in the early stories, collected in Will You Please Be Quiet, Please?, Furious Seasons, and What We Talk About When We Talk About Love, since Carver writes about people "on the other side of the tracks," that is, on the edges of the sites of power and decisions. Bartenders, wage workers, and salespeople, Carver's characters in these early stories see their lives always threatened by joblessness, bankruptcy, and homelessness. In the later stories, collected in Cathedral and Where I'm Calling From, Carver explores possibilities in conversation, storytelling, and rituals that celebrate the here and now of each occasion and allow the merging of voices and feelings that places the individual's consciousness in the world. (shrink)

How does one know the phenomenal character of one’s own experience? I aim to present and defend a new view of the epistemology of qualia that addresses this issue. My view results from a reworking of Dretske’s displaced perception model. The guiding line is the key Wittgensteinian insight of his Private Language Argument, namely the claim that no inner perception of qualia can justify our corresponding qualia beliefs. My reworking of the original model starts with the rejection of Dretske’s representationalism, (...) as well as any other metaphysical views about the ultimate nature of qualia. The reworking of the displaced perception model I am proposing is supposed to be compatible with any available metaphysical view on qualia. The second step consists of rejecting the epistemological misgivings of the original model, namely the view that knowing qualia requires “connecting beliefs” along with “meta-representations.” Yet, Dretske’s crucial mistake has been to force knowledge of qualia into the “belief-box.” As a matter of fact, there is only one belief involved in introspecting qualia, namely the qualia-belief itself. The third final step is this. Assuming the key Wittgensteinian insight, I argue that introspection of qualia is a process that is both epis- temically reliable and automatic. It is reliable because it dispenses with justification of any beliefs whatsoever. Moreover, it is automatic because it also dispenses with reflexive connecting beliefs. For example, it takes nonconceptual awareness of the color blue as an input and automatically yields the belief that phenomenal blue is the conscious character of my experience of the sky as an output just by employing the concept BLUE. (shrink)

This paper presents a novel interpretation of Zeno's Achilles paradox through direct textual analysis of Aristotle's Physics (239b14–18). We argue that the paradox's recursive logic reveals a structure of 'displaced presence' whereby sequential exclusivity prevents spatiotemporal co-occupation. Unlike interpretations that import modern mathematical concepts foreign to 5th century BCE thought, our reading requires only concepts demonstrably available to ancient Greeks: exclusive spatial occupation, temporal sequence, and observable pursuit dynamics. We make no claims about Zeno's intentions but analyse what the paradox's (...) logic necessarily implies. A new line of evidence is introduced: Aristotle's own chain of definitions in Physics V.3 (226b34–227a17), distinguishing successive (ἐφεξῆς), contiguous (ἐχόμενον), and continuous (συνεχές) relations, formally describes the very structure the Achilles paradox exploits, a relation locked in succession that can never become contiguity. This approach opens philosophical inquiry rather than dissolving the paradox through anachronistic frameworks. (shrink)

Fifteen large language models from five provider families were tested on a 10-item narrative interpretation instrument under baseline conditions and again after random assignment to one of two spoiler prompts: anti-bias (reinforcing accuracy; n = 8) or forensic (probing reasoning; n = 7). The forensic condition produced a significantly higher response change rate (37.1% vs 12.5%; χ²(1) = 12.43, p <.001) with changes overwhelmingly directed away from the baseline consensus basin (96.0% of non-ambiguous forensic changes; Fisher's exact p =.002, OR (...) = 30.0). The model-level comparison of raw change counts was marginal (t(9.4) = 2.24, p ≈.053), but net basin displacement — which accounts for direction — was significant (t(6.5) = 3.08, p =.020, d = 1.70). Only two items (Q2, Q3) were completely resistant to both conditions; notably, both involve structural power logic. Five items with 100% baseline consensus showed markedly different forensic vulnerability (0% to 57%), confirming that basin depth is independent of basin width. No model-family clustering was detected. Forensic displacements were directionally consistent within items, with models converging on the same alternative answer — suggesting that forensic prompts activate specific latent attractors7,9,15 rather than introducing random perturbation. One item (Q5) showed systematic divergence between LLM consensus and the intended answer, consistent with prior findings on text-minimal versus theory-of-mind inference styles. (shrink)

It is now widely expected that climate change will be serious enough that a very large number of people will be displaced from their homes because of events relating to or resulting from climate change. Such events may include rising sea levels (and resulting increased salination of ground water), stronger hurricanes and tropical storms, drought, floods, increased and more intense wildfires, and other extreme or (previously) unusual weather events. Although estimates vary widely, it seems very likely that many millions of (...) people—perhaps hundreds of millions if sufficient precautions are not taken—will be forced from their homes by these events related to climate change. In the public imagination, much of the attention has been on ‘climate refugees’, where this is taken to mean people who have crossed borders. However, there is good reason to believe that a very large percentage—probably a significant majority—of displacement resulting from climate change will be, or could be, internal. In this chapter I argue that there are likely to be a large number of cases where internal displacement related to climate change is of international concern, and where, therefore, states have significant moral reasons to provide assistance, either directly to those displaced, or else to the state in which the displacement has taken place. My claim is that internal displacement arising from climate change is of international concern and so grounds a duty of aid by states able to provide it, when this displacement threatens the basic human rights of those displaced, and when the local or domestic government cannot or will not take the necessary steps to meet the needs and protect the rights of those who are displaced. (The uploaded version of this paper is an uncorrected proof. Please cite and refer to the published version.). (shrink)

This paper interprets Salvador Dalí’s The Disintegration of the Persistence of Memory as a structural critique of modern urban cognition, temporal domination, and the existential displacement produced by industrial society. Where traditional analyses read the fragmented blocks in the composition as references to nuclear physics, I argue instead that Dalí depicts the perceptual architecture of urban life: a world in which buildings, windows, and environments are not understood but processed as repetitive, interchangeable symbols. These segmented forms reflect the collapse (...) of qualitative experience into quantized perceptual units. -/- The melting clocks are examined as visual metaphors for the tyranny of industrial time. Far from surreal symbols, they represent the inescapable pressure of schedules, productivity, and the requirement to justify even rest through social approval. In Dalí’s visual narrative, time does not “flow”—it dominates. -/- The distant landscape functions as a phenomenological horizon: a natural world visible yet inaccessible, producing a persistent longing that urban consciousness cannot resolve. The beached fish at the center, interpreted as a self-portrait, embodies Dalí’s recognition of his own displacement—an observer whose honesty about reality forces him into a position of existential exile. -/- I argue that the painting should be read not as a fantasy but as a hyperfaithful representation of modern experience. Its “surrealism” lies not in its distortion of reality, but in its revelation of the cognitive structures that organize contemporary life. Dalí exposes the madness of a world that mistakes its own pathological normality for sanity. (shrink)

The flame displacement speed is one of the major characteristics in turbulent premixed flames. The flame displacement speed is experimentally obtained from the displacement normal to the flame surface, while it is numerically evaluated by the transport equation of the flame surface. The flame displacement speeds obtained both experimentally and numerically cannot be compared directly because their definitions are different. In this study, two kinds of experimental flame displacement speeds—involving the mean inflow velocity and the (...) local flow velocity—were simulated using the DNS data with the different Lewis numbers, and were compared with the numerical flame displacement speed. The simulated experimental flame displacement speed involving the mean inflow velocity had no correlation with the numerical flame displacement speed, while the simulated displacement speed involving the local flow velocity had a clear correlation with the numerical displacement speed in the cases of higher Lewis number than unity. The correlation coefficient of the simulated displacement speed involving the local flow velocity with the numerical displacement speed had a maximum value on the isosurface of the reaction progress variable with the maximum temperature gradient where the dilation effect of the flame is strongest. (shrink)

This paper applies the Human Rights+ framework through a reflexive single-case design, examining how institutional processes in a high-income country can produce invisible displacement through structural recognition failure. Building on Harm Attribution Gap (HAG) Theory, it explores how bureaucratic and administrative systems can perpetuate harm while maintaining an appearance of procedural legitimacy. Using reflexive qualitative analysis, the study identifies mechanisms of institutional attrition, where individuals are gradually displaced not by physical force but by systemic exclusion, epistemic invalidation, and administrative (...) inertia. The findings reveal that institutional harm emerges when accountability systems prioritize formal compliance over perceptual justice, leaving significant forms of harm socially unrecognized. This paper contributes to the growing conceptual foundation of Human Rights+ by empirically demonstrating how Harm Attribution Gaps function within advanced institutional contexts, and by outlining pathways toward recognition, accountability, and preventive governance. (shrink)

Message Transfer Theory (MTT) A Treatise on the Reversal of Meaning, the Displacement of Intent, and the Object as Conduit -/- By Dorian Vale -/- What happens when the message no longer belongs to the maker? -/- -/- In this defining treatise, Dorian Vale introduces Message Transfer Theory (MTT) — a foundational pillar of the Post-Interpretive Movement that reorients our understanding of the art object as a conduit, not a container. Rather than treating artworks as stable vessels of artist (...) intent, MTT proposes that meaning is displaced, reversed, or even transferred entirely — not during creation, but at the moment of reception. -/- -/- Here, the object becomes a threshold. It does not hold meaning — it reroutes it. The artist initiates a signal, but the work lives on in the shifts, slippages, and interruptions that occur in its wake. This theory explains how art can haunt, harm, heal, or transform in ways the artist never imagined — and how the critic’s attempt to reassert original intent is often an act of aesthetic erasure. -/- -/- Drawing from theories of semiotics, trauma transmission, media studies, and sacred encounter, this treatise reframes the artwork as a relational event. It introduces new terms into the Post-Interpretive Lexicon — including Conduit Object, Transfer Shock, Residue Receiver, and Reversal Gaze — each articulating a more fluid, ethical understanding of art’s unpredictable passage between maker, medium, and witness. -/- -/- If the artist is the sender, and the viewer the receiver, then Message Transfer Theory is the study of what the artwork becomes when neither controls the signal anymore. -/- -/- Message Transfer Theory, Dorian Vale, Post-Interpretive Criticism, art theory, meaning displacement, semiotics of art, art as conduit, reversal of intent, artist intent in art criticism, object-oriented aesthetics, aesthetic transmission, art reception theory, sacred encounter in art, trauma and art reception, relational aesthetics, affective transfer in art, conduit object, interpretive slippage, signal and residue in art, phenomenology of viewing, post-criticism philosophy -/- This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843), The Journal of Post-Interpretive Criticism (Q136530009) . (shrink)

The Mamasapano Incident of January 25, 2015, marked a tragic episode in Philippine history, stemming from an operation aimed at neutralizing the suspected international terrorist, Zulkifli bin Hir, also known as Marwan. This operation, conducted by the Philippine National Police – Special Armed Forces (PNP-SAF), led to clashes resulting in casualties from both the SAF and MILF/BIFF members, as well as civilians, and the displacement of local residents. While the incident garnered national attention and spurred investigations primarily focused on (...) the casualties and political ramifications, the plight of the displaced civilians received inadequate scrutiny. Motivated by the impact on families associated with MSU – Maguindanao, situated near the conflict zone, this research delves into the conditions faced by Internally Displaced Persons (IDPs) in the aftermath of the Mamasapano Incident. By exploring the experiences of these respondents, the study contributes to the broader understanding of IDPs and the detrimental effects of armed conflict on society. Moreover, it aims to identify opportunities for mitigating such conflicts. The research objectives encompass examining the evacuation experiences, soliciting suggestions for supporting affected communities during times of conflict, and understanding the challenges faced by IDPs and coping mechanisms. Through an exploratory approach, the study investigates firsthand accounts of evacuation and post-return experiences in Mamasapano, Mindanao, Philippines. Findings reveal that during evacuation, respondents received basic assistance such as food, water, medicine, and clothing from various agencies, yet essential facilities like proper sanitation were lacking. Challenges encountered include food scarcity, inadequate water supply, overcrowding, and health issues. Upon return, observations of increased security presence and dwindling assistance highlighted the enduring impact of the incident on social, economic, educational, and health aspects of the community. In summary, this research sheds light on the overlooked plight of IDPs affected by the Mamasapano Incident, emphasizing the urgent need for comprehensive support and interventions to address their multifaceted challenges and facilitate sustainable recovery. (shrink)

The local burning velocity and the flame displacement speed are the dominant properties in the mechanism of turbulent premixed combustion. The flame displacement speed and the local burning velocity have been investigated separately, because the flame displacement speed can be used for the discussion of flame-turbulence interactions and the local burning velocity can be used for the discussion of the inner structure of turbulent premixed flames. In this study, to establish the basis for the discussion on the (...) effects of turbulence on the inner structure of turbulent premixed flames, the indirect relationship between the flame displacement speed and the local burning velocity was investigated by the flame stretch, the flame curvature, and the tangential strain rate using DNS database with different density ratios. It was found that for the local tangential strain rate and the local flame curvature, the local burning velocity and the flame displacement speed had the opposite correlations in each density ratio case. Therefore, it is considered that the local burning velocity and the flame displacement speed have a negative correlation. (shrink)

This chapter demonstrates the role that displacement can play in generating moral injury (MI) within refugee communities. To better understand the consequences of displacement, it considers how individuals’ identities and values are formed through their local communities. While there are many reasons that displacement ought to be understood as a potentially morally injurious experience (PMIE), particular attention is given to the negative effects of disorientation, which are associated with displacement. The chapter uncovers multiple facets of disorientation, (...) such as despair, confusion, and apathy. Understanding the morally injurious consequences of displacement marks an important first step toward better serving refugee communities, particularly those citizens of Ukraine who have been forced to flee their homes in the wake of Russian aggression. (shrink)

The article presents the innovatory understanding of the nomadic strategy of human being in the transitional condition. The aim of the article is to determine the role of the nomadic being way in the social group of internal migrants. It is substantiated, that aims and actions of a nomad are directed on creating new ways of realization and conceptualization of variants of nomadic being. It is explained, that a nomad doesn’t go by the way, offered by traditional types of activity, (...) but searches innovatory ways of realization, doesn’t stop on deciphering of traditionally existing being senses, but produces them him/herself. A subject, living in a space of “boundaries” is deprived of the settled comfort, he/she searches for a possibility of balance and harmony, social recognition and improvement of own life conditions in the movement and change. The culture of choice, formed by the logic of the modern market, gives a nomad resources for regulating the own freedom degree. Nomadic instruments correspond to the migrants’ way of life. Digital nomadism creates stimuli for the active life and adaptation to new conditions of different groups of migrants. (shrink)

This is a review of Serena Parekh's book: Refugees and the Ethics of Forced Displacement.

This paper considers the debate between teams of skilled contributors versus a genius by focusing on a specific case: a team project to overturn some remarks by Wittgenstein on Frazer’s The Golden Bough. In theory, there can be a team which does this, but in actual practice, such a team seems unlikely to arise.

I introduce the Displaced Perception Model of Introspection developed by Dretske which treats introspection of phenomenal states as inferential and criticize it.

The objective of the current paper is to provide a critical analysis of Dretske's defense of the naturalistic version of the privileged accessibility thesis. Dretske construed that the justificatory condition of privileged accessibility neither relies on the appeal to perspectival ontology of phenomenal subjectivity nor on the functionalistic notion of accessibility. He has reformulated introspection (which justifies the non-inferentiality of the knowledge of one's own mental facts in an internalist view) as a displaced perception for the defense of naturalistic privileged (...) accessibility. Both internalist and externalist have been approved the plausibility of first-person authority argument through privileged accessibility; however, their disagreement lies on the justificatory condition of privileged accessibility. Internalist hold the view that the justificatory warrant for privileged accessibility is grounded on phenomenal subjectivity. In contrast to the internalist view, externalists uphold the view that the justificatory condition for privileged accessibility lies outside the domain of phenomenal subjectivity. As a proponent of naturalistic content externalism, Dretske defends the view that subject's privileged accessibility is not due to having access to the particular representational state (hence, they have the privilege of getting sensory representational information) and the awareness of mental fact rather the awareness of the whole representational mechanism. Having the knowledge of a particular representational state through privileged access is not the sufficient condition for the accuracy of knowledge about one’s own mental facts. The justificatory warrant lies external to the subject. Even though Dretske’s naturalistic representation is not plausible enough while dealing with the reduction of phenomenal qualities of experience, however, provides a new roadmap to compatibilists for the defense of privileged accessibility and has a major impact on transparency theorists. (shrink)

In anticipation of an imminent "robot revolution," data-based answers are given to these questions: what is a robot; what impact will robots have on the work force; and what can we do about displaced workers?

In the film “Kaili Blues” by Bi Gan, intricate clues create complex connections between the plots steered by various characters. This relationship manifests in splitting time and alternating between dream and reality. This article analyzes Bi Gan’s approach to temporality and dreams by focusing on how he employs various film metaphors to deal with poetic narratives in his films. The article consists of three sections: First, it introduces the (puzzle) storytelling form of “Kaili Blues” as a promising area in many (...) Chinese films. Second, it examines how puzzle films contribute to the ambiguity (plots) between characters from the perspective of infinite games. Moreover, third, the article discusses the two levels of metaphors in “Kaili Blues” that result from the condensation and displacement of metaphors, including the mutual projection of roles caused by the time-forking effect and the audience’s associations caused by the significance of dreams in Chinese tradition (or local) culture. (shrink)

The paper deals with visions of Kyiv in the writings of Russian and Ukrainian émigré writers during the interwar period. The city became a focal point of intensive intellectual debate whose participants regarded Kyiv not only as a place of a recent battleground but also as a sacral place and a highly symbolic image. Within the methodological framework of ethnic symbolism, this study attempts to explain how this physical/symbolic dichotomy was used to reinforce continuing claims for historical origin and cultural (...) heritage, thus serving the contemporary purpose of national identity and political legitimacy. It also deploys the concept of displacement as a complex process of negotiation between homeland and hostland within an émigré community — whose sense of loss and identity crisis creates additional impetus, though in different forms, for exploiting historical narratives. (shrink)

This paper examines Bohdan Boichuk’s poetry by looking into the role his childhood memories played in forming his poetic imagination. Displaced by World War II, the poet displays a unique capacity to transcend his traumatic experiences by engaging in creative writing. Eyewitnessing war atrocities perpetrated by the Nazis does not destroy his belief in the healing power of poetry; on the contrary, it makes him appreciate poetry as the only existentially worthy enterprise. Invoking Gaston Bachelard’s classic work The Poetics of (...) Reveries: Childhood, Language, and the Cosmos, I argue that Boichuk’s vivid childhood memories, however painful they might be, helped him poetically recreate and reimagine fateful moments of his migrant life. (shrink)

Hiromatsu Wataru’s philosophical thought revolves around an analysis of what he calls the “fourfold structure.” According to Hiromatsu, all phenomena in the world are structured in such a fourfold manner that “a given presents itself as something to someone as Someone,” and these four moments of the phenomenon are not independent elements, but exist only as terms of the functional relationship. This paper surveys and critically examines this theory of the fourfold structure, and shows, in particular, how this theory, while (...) largely presented as synchronic structural analysis, contains some conceptual motifs going beyond the synchronic framework. Specifically, with a focus on the process in which there arises a meaning common to different phenomenal givens and to different knowers, my analysis suggests the way in which phenomena are dynamically structured and thereby displaced in meaning as well as in the knowers’ role relationship. (shrink)

The switch to online education that occurred during the Corona pandemic brought to the fore questions about the value and desirability of a fully online university. This article explores to what extent is a fully online university desirable from an educational perspective, whereby education is seen as a valuable experience taken in itself, regardless of its output. I start from the hypothesis that a fundamental dimension of study practices at the university is the experience of collective thinking triggered by specific (...) material and social arrangements. I proceed to describe material conditions for triggering thinking in terms of what I call mediatic displacement, which is a way of integrating media into educational practices that enables a fluctuating type of attention. The paper concludes by arguing that we need to develop new technologies for online education and train our attention deliberately for online environments by establishing new protocols for dealing with the digital scattering of attention. (shrink)

This article offers a philosophical diagnosis of morality’s dissolution and the subject’s displacement from the center in the digital age. Morality is no longer grounded in action, but in performance; no longer in conscience, but in algorithms. To analyze this collapse, two original concepts are developed: Reflectum (the reactive mirror-subject) and Data-Sapiens (the data-driven human). The study critically engages these notions with Byung-Chul Han’s critique of transparency, Baudrillard’s theory of hyperreality, and Zuboff’s analysis of surveillance capitalism. -/- Through a (...) critical examination of Sam Harris’s neuroethical model and Zuboff’s vision of digital freedom, the article argues that contemporary ethical discourse has devolved into a form of empathy pornography and aestheticized spectacle. In response, two alternative ethical forms are proposed: Existential Ethics and the Ethics of Silence. These frameworks suggest that in a world where visibility has become complicity, the truly aware individual bears responsibility not by appearing — but by withdrawing. -/- From a post-humanist perspective, this work proposes that in an ontologically fractured era, the very act of carrying collapse becomes the only meaningful form of ethics. (shrink)

This text is a sustained philosophical exploration of silence as an aesthetic, ethical, and epistemic medium. It examines silence not as the absence of sound, but as a generative presence that structures perception, meaning, and artistic encounter. Within the framework of Post-Interpretive Criticism, silence is positioned as the original ground from which expression emerges and the final condition to which all expression returns. -/- The treatise analyzes distinctions between silence as containment and silence as erasure, arguing that the ethical force (...) of silence lies in its use: it can dignify the unsayable or be weaponized to suppress and marginalize. The work draws on cross-disciplinary examples from sculpture, poetry, music, film, and museology, illustrating how restraint shapes the architecture of experience. It argues that silence is foundational to perception, authorship, and criticism, and that the erosion of silence in digital culture has produced a contemporary “poverty of depth” characterized by immediacy without intimacy. -/- This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and _Art as Truth: A Treatise_ (Q136329071), _Aesthetic Recursion Theory_ (Q136339843), The Journal of Post-Interpretive Criticism (Q136530009), Canon of Witnesses (Q136565881) -/- Within the museum context, the text advocates for silence as a curatorial principle—an element of spatial ethics that allows artworks to be encountered with attention rather than overwhelmed by spectacle or interpretive noise. It further articulates the responsibilities of the artist and the critic: the artist must discern which silence they invoke; the critic must understand which silence they break. -/- This essay contributes to ongoing discussions in contemporary aesthetics, museum studies, and critical theory by reframing silence as an essential but endangered cultural resource. It presents silence as an uncommodifiable medium that resists institutional, linguistic, and commercial capture. The work aligns with and expands the theoretical commitments of the Post-Interpretive Movement, emphasizing moral proximity, restraint, and the ethics of presence. (shrink)

The First Break Since Postmodernism: The Rise of Post-Interpretive Criticism -/- The First Break Since Postmodernism: The Rise of Post-Interpretive Criticism introduces a groundbreaking movement in contemporary art criticism that formally departs from postmodernism and post-criticism. Post-Interpretive Criticism (PIC), developed by writer and founder Dorian Vale, redefines the role of the critic through five foundational frameworks: Absential Aesthetics, HauntMark Theory, Stillmark Theory, Viewer-as-Evidence, and Message Transfer Theory. These concepts prioritize ethical presence, moral restraint, and reverent witnessing over traditional interpretation or (...) theoretical dominance. -/- Structured as a philosophical reorientation, PIC positions criticism as an act of custodial attention, not conquest. It emphasizes proximity without possession, silence without erasure, and writing as transformation rather than performance. Unlike movements born from academic consensus, PIC was authored and launched independently through the Museum of One, with formal infrastructure including DOI-linked publications, public archives, and a living lexicon. -/- This work argues that Post-Interpretive Criticism is the first fully articulated philosophical school of aesthetic thought to emerge since postmodernism—complete in theory, practice, and authorship. It reclaims criticism not as explanation, but as responsibility. -/- This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843) . (shrink)

Canon of Witnesses: The Woman Who Refused to Move — Kimsooja and the Ethics of Stillness is Scroll V in the Post-Interpretive Movement’s Canon of Witnesses, authored by Dorian Vale and published through Museum of One. This museum-grade essay approaches Kimsooja’s iconic A Needle Woman not through interpretation, but through reverent presence. Refusing to explain her stillness or decode her form, the essay stands beside Kimsooja as a witness to her refusal—her posture, her restraint, her moral proximity to truth. In (...) a world saturated by motion and spectacle, Kimsooja becomes radical not by acting, but by remaining. -/- The piece expands the Post-Interpretive framework by exploring stillness not as passivity, but as confrontation. Kimsooja doesn’t perform identity—she denies the conditions of its extraction. Her bottari works are treated not as cultural symbols, but as theological gestures of refusal: bundles that carry memory without offering explanation. This refusal to reveal becomes her deepest ethic, and the very act that aligns her with core doctrines of Post-Interpretive Criticism, including Stillmark Theory, the Doctrine of Erasure, and Viewer-as-Evidence Theory. -/- Dorian Vale is a chosen pseudonym, not to obscure identity, but to preserve clarity of voice and integrity of message. It creates distance between the writer and the work, allowing the philosophy to stand unclouded by biography. The name exists not to hide, but to honor the seriousness of the task: to speak without spectacle, and to build without needing to be seen. This name is used for all official publications, essays, and theoretical works indexed through DOI-linked repositories including Zenodo, OSF, PhilPapers, and SSRN. -/- This essay is part of a growing archive of works authored by Dorian Vale (ORCID: 0009-0004-7737-5094), distributed across PhilArchive, Zenodo, SSRN, and Semantic Scholar. It is connected to a series of foundational aesthetic treatises including Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), Art as Truth: A Treatise (Q136329071), and Aesthetic Recursion Theory (Q136339843). -/- This publication is part of the official Post-Interpretive Criticism community and is licensed under [CC BY-NC-ND 4.0]. All visual material is included for educational commentary under fair use. Rights to images remain with the original artists. -/- 10.5281/zenodo.17073229 -/- This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843), The Journal of Post-Interpretive Criticism (Q136530009) -/- 0009-0004-7737-5094 -/- . (shrink)

There are five principles. But before there are principles, there is posture. -/- This concise study guide introduces the foundational framework of Post-Interpretive Criticism (PIC)—a new aesthetic philosophy that centers presence, moral proximity, and restraint in the practice of art criticism. Developed by Dorian Vale, the guide breaks down PIC into five core principles: -/- Restraint over Interpretation -/- Witness over Commentary -/- Moral Proximity over Objectivity -/- Viewer as Evidence -/- Rejection of Performance -/- Each principle is accompanied by (...) a brief case study, reflection exercise, and ethical commentary, making this guide suitable for students, educators, curators, and critics seeking to apply PIC in the field. Instead of decoding the artwork, this framework encourages a posture of reverent presence, allowing the artwork to retain its autonomy and moral gravity. -/- This resource is designed to be taught, discussed, and practiced. It supports classrooms, curatorial programs, writing workshops, and museum education—inviting a new generation of viewers to approach art with humility, silence, and philosophical depth. -/- Vale, Dorian. Five Principles of Post-Interpretive Criticism: A Study Guide. Museum of One, 2025. DOI: 10.5281/zenodo.17077734 -/- This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071). -/- Post-Interpretive Criticism, study guide, art education, critical theory, Dorian Vale, aesthetic philosophy, viewer as evidence, slow looking, ethical criticism, trauma in art, art pedagogy, witness-based art criticism, art classroom resource, art and ethics, moral proximity, presence over interpretation, contemporary criticism, museum education, poetic criticism, art curriculum. (shrink)

The Custodian of Consequence: Reframing the Role of the Critic -/- By Dorian Vale -/- In this philosophical essay, Dorian Vale redefines the role of the critic—not as interpreter, judge, or analyst, but as custodian of consequence. Rooted in the doctrines of Post-Interpretive Criticism, the work challenges the traditional posture of critique as commentary and repositions it as a form of ethical stewardship. -/- -/- Vale explores how every act of writing about art either preserves or distorts the original encounter. (...) Through sharp theoretical analysis and poetic argumentation, the essay exposes the critic’s unseen power to shape memory, public reception, and even the afterlife of a work. The true critic, Vale contends, is not the one who explains most eloquently—but the one who bears the most moral proximity to the wound. -/- -/- This piece is a foundational rearticulation of what it means to “respond” to art—offering not just a new lens, but an entirely new ethic. -/- Dorian Vale is a chosen pseudonym, not to obscure identity, but to preserve clarity of voice and integrity of message. It creates distance between the writer and the work, allowing the philosophy to stand unclouded by biography. The name exists not to hide, but to honor the seriousness of the task: to speak without spectacle, and to build without needing to be seen. This name is used for all official publications, essays, and theoretical works indexed through DOI-linked repositories including Zenodo, OSF, PhilPapers, and SSRN. -/- Vale, Dorian. The Custodian of Consequence: Reframing the Role of the Critic. Museum of One, 2025. DOI: 10.5281/zenodo.17075493 -/- Post-Interpretive Criticism, Stillmark Theory, Message-Transfer Theory, MTT, Misplacement, Displacement, Aesthetic Displacement Theory, Theory of Misplacement, Absential Aesthetics, Witness Aesthetics, Adab for Art, 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) -/- Post-Interpretive Criticism, Dorian Vale, art criticism ethics, role of the critic, aesthetic responsibility, non-interpretive writing, witness-based criticism, philosophy of criticism, contemporary art theory, moral proximity in art, language and power, poetic criticism, ethics of response, conceptual art critique. (shrink)

Language as a Blade The Ethics of Precision in Post-Interpretive Criticism -/- A Treatise by Dorian Vale -/- Language reveals. But it also wounds.** -/- -/- In this incisive treatise, Dorian Vale turns his attention to the sharpest tool in the critic’s arsenal — language — and the quiet violence it enacts when left unchecked. Language as a Blade explores the ethics of writing in the context of Post-Interpretive Criticism (PIC), exposing how words can either guard a work’s sanctity or (...) slit its meaning wide open. -/- -/- Vale develops the central premise that all criticism leaves a mark — but not all marks are made in reverence. The essay introduces critical concepts such as The Interpretive Incision, Lacerated Presence, and Forensic Reading, arguing that even well-meaning interpretations can displace, distort, or dominate the very thing they claim to witness. Through this lens, the work becomes not a subject to be carved open, but a body to be held — with care, clarity, and ethical precision. -/- Language as a Blade is not a rejection of criticism, but a reframing of it as custodial labor. Vale calls for a new art-critical vocabulary that replaces spectacle with stewardship, analysis with attention, and cleverness with moral proximity. -/- This treatise is a foundational text within the Post-Interpretive Movement, sharpening the very language we use to approach art, and reminding critics: every word is a blade. Use it as if the wound remains. -/- Dorian Vale is a chosen pseudonym, not to obscure identity, but to preserve clarity of voice and integrity of message. It creates distance between the writer and the work, allowing the philosophy to stand unclouded by biography. The name exists not to hide, but to honor the seriousness of the task: to speak without spectacle, and to build without needing to be seen. -/- Dorian Vale is the pseudonym of the author and theorist behind the Post-Interpretive Movement and the Museum of One. This name is used for all official publications, essays, and theoretical works indexed through DOI-linked repositories including Zenodo, OSF, PhilPapers, and SSRN. -/- Language as a Blade, Dorian Vale, Post-Interpretive Criticism, ethics of art writing, language and trauma in art, art and violence, descriptive precision, critical restraint, moral aesthetics, semiotics in art criticism, ethics of naming, language as wound, poetic accuracy, reverent writing, critical interpretation ethics, witness-based criticism, presence in criticism, aesthetic linguistics, post-linguistic art theory, interpretive violence, art writing and harm -/- This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843) . (shrink)

The Living Lexicon: Post-Interpretive Criticism – First Edition By Dorian Vale -/- Museum of One | Written at the Threshold -/- -/- The Living Lexicon is the official glossary of Post-Interpretive Criticism — a literary movement that displaces interpretation in favor of presence, restraint, and custodial witnessing. It is not written to standardize, but to protect. These entries are not mere definitions; they are ethical and poetic coordinates. From Threshold to Witness, from Stillmark to Felt Proof, the lexicon outlines the (...) sacred vocabulary of a genre committed to reverence over reading, and presence over performance. -/- -/- This document anchors the critic’s posture, language, and responsibility. It guides without fixing. It names without claiming. It orients those entering the terrain so they do not mistake silence for absence, or discipline for detachment. In a critical culture flooded with noise, The Living Lexicon restores the weight of words. -/- Vale, Dorian. The Living Lexicon: Post-Interpretive Criticism – First Edition. Museum of One, 2025. -/- Dorian Vale (Q136309187) is the founder of Post-Interpretive Criticism (Q136308909), published via Museum of One (Q136309180). (shrink)

Language as Custody — Writing Without Harm in Post-Interpretive Criticism -/- By Dorian Vale -/- In this critical essay, Dorian Vale addresses the often overlooked violence of language in art criticism. Drawing from the philosophical core of Post-Interpretive Criticism (PIC), this work reframes writing not as interpretation, but as custody—an act of ethical stewardship over what cannot be explained without distortion. -/- -/- Vale explores how clinical, ironic, or overly descriptive language can flatten the moral gravity of witness-based artworks—particularly those (...) dealing with trauma, silence, exile, or the sacred. Instead of attempting to decode or resolve these works, the essay proposes a discipline of linguistic restraint, where words become protective vessels rather than invasive instruments. -/- -/- Through real case studies and comparative language analysis, Language as Custody offers both a conceptual foundation and practical framework for how one might write without harm. The goal is not to say more, but to write in a way that holds what the work cannot say aloud. -/- -/- This is not a guide for translation—it is a doctrine for presence. A refusal to violate what resists interpretation. And in that refusal, it calls for a quieter, more reverent kind of authorship. -/- -/- Vale, Dorian. Language as Custody — Writing Without Harm in Post-Interpretive Criticism. Museum of One, 2025. DOI: 10.5281/zenodo.17077653 -/- This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843) -/- -/- post-interpretive criticism, Dorian Vale, study guide for art criticism, five principles of art ethics, ethical witnessing in art, presence over interpretation, restraint in criticism, moral proximity, viewer as evidence, rejecting performance, contemporary art criticism, poetic criticism, art education resources, museum pedagogy, witnessing trauma in art, art writing without interpretation, anti-interpretation philosophy, critique without harm, non-extractive art writing -/- . (shrink)

Dorian Vale (pseudonym) is a contemporary art critic and philosopher of aesthetics whose work challenges the dominance of interpretation in modern art discourse. He is the founder of the Post-Interpretive Movement and author of several philosophical treatises, including Art as Truth, Stillmark Theory, Absential Aesthetics, and The Doctrine of Post-Interpretive Criticism. His writing advocates for presence over analysis, moral proximity over performance, and ethical restraint over aesthetic consumption. -/- -/- Vale’s critical approach foregrounds the role of the viewer as evidence, (...) emphasizing silent witnessing, poetic custodianship, and the sanctity of unspoken meaning. His essays have redefined how critics, curators, and educators engage with trauma-infused contemporary art—particularly in works by artists such as Doris Salcedo, Kimsooja, Ana Mendieta, Zarina Hashmi, Teresa Margolles, and Araya Rasdjarmrearnsook. -/- -/- Vale’s work is deeply rooted in a philosophy of sacred attention, bridging art criticism with human behavior, phenomenology, and ethics. Through his digital museum platform Museum of One, he continues to publish foundational essays, critical doctrines, and aesthetic educational tools that mark the emergence of an entirely new movement in global criticism. -/- His published works include: -/- ● Post-Interpretive Criticism: The Foundational Essays -/- ● The Viewer as Evidence: A Treatise -/- ● Art as Truth: A Treatise -/- ● Absential Aesthetics -/- ● Stillmark Theory -/- ● Hauntmark Theory -/- ● The Doctrine of Erasure -/- ● The Canon of Witnesses — a collection of museum-grade critical essays -/- ● The Post-Interpretive Lexicon — a glossary of key terms and concepts -/- ● The Custodian’s Oath — a philosophical statement of the critic’s moral role -/- He is also the creator of numerous educational resources, including practical guides such as: -/- ● How to Practice Restraint in Front of a Work of Art -/- ● Witnessing vs. Interpreting: A Comparative Exercise -/- ● Language as Custody: Writing Without Harm -/- ● The Five Principles of Post-Interpretive Criticism: A Study Guide -/- Vale’s core aesthetic theories include: -/- ● Post-Interpretive Criticism (PIC) – a doctrine of restraint, presence, and witness -/- ● Stillmark Theory – on temporal presence and the ethics of scarcity -/- ● Absential Aesthetics – on erasure and the afterlife of what’s lost -/- ● Hauntmark Theory – on language as violence and descriptive restraint -/- ● Art as Truth – on ontology as the foundation of artistic presence -/- ● The Viewer as Evidence – a new evaluative framework grounded in witness -/- ● Threshold Theory – on the collapse of roles between artist, object, and viewer -/- ● The Doctrine of Erasure – on the spectral persistence of what institutions suppress -/- ● The Custodian’s Oath – the moral positioning of the critic as caretaker -/- His platform, Museum of One, serves as a home for his growing archive of essays, treatises, and aesthetic resources. The movement he leads now informs a new generation of critics, artists, and curators who see restraint not as lack — but as loyalty to the work. -/- At the center of his thought is a single conviction: “Not all art asks to be explained. Some works ask only that we stay.” Dorian Vale’s art criticism is not commentary. It is custody. Dorian Vale is a chosen pseudonym, not to obscure identity, but to preserve clarity of voice and integrity of message. It creates distance between the writer and the work, allowing the philosophy to stand unclouded by biography. The name exists not to hide, but to honor the seriousness of the task: to speak without spectacle, and to build without needing to be seen. This name is used for all official publications, essays, and theoretical works indexed through DOI-linked repositories including Zenodo, OSF, PhilPapers, and SSRN. -/- This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843) -/- Dorian Vale, Post-Interpretive Criticism, art philosophy, aesthetic theory, poetic criticism, art and ethics, witness aesthetics, visual culture, trauma in art, contemporary art theory, slow looking, canonical essays, viewer as evidence, ethical criticism, art and language, post-critical philosophy, new art movements, Museum of One, contemporary art writing. (shrink)

The unrivalled consequences of climate change have led to population displacement and relocation, creating a new category of individuals known as climate refugees. These individuals face unique challenges in terms of legal protection, as current international legal frameworks primarily focus on political or conflict displacement. Soft law instruments offer a potential basis for protecting climate refugees. This paper examines potential ways by which legal and normative frameworks can be employed to protect the rights of climate refugees. The paper (...) contended that greater emphasis should be placed on developing soft law, rather than attempting to integrate individuals displaced by climate change into current legal framework. This paper also asserts that while soft rules enhance international cooperation, and may serve as a precursor to more binding legal frameworks in the future, they are not enough; binding legal systems are ultimately necessary to guarantee comprehensive and enforceable protection for climate refugees. (shrink)