The article explores visual culture as a conceptual and practical foundation for managerial thinking in the modern restaurant industry. It argues that visual culture, beyond its aesthetic function, serves as a cognitive and organizational framework that shapes strategic, operational, and communicative processes within hospitality enterprises. Drawing on an interdisciplinary methodology that combines visual studies, management theory, and case analysis, the authors examine how visual identity, design, and media integration affect managerial decisions, internal coordination, and customer interaction. (...) The study highlights the phenomenon of the “visual turn,” which redefines managerial cognition through imagery, visual metaphors, and spatial structures. Empirical cases of restaurant brands, such as Taco Love, The Oak Stave, and Chipotle, demonstrate that a consistent visual identity, coherent social media representation, and well-structured spatial aesthetics increase brand recognizability, emotional engagement, and organizational coherence. The research identifies the motivational dimensions of visual thinking, emphasizing how visualization enhances decision clarity, stimulates creativity, and strengthens responsible leadership within service teams. The findings confirm that visual culture serves as both a communicative and motivational mechanism for developing managerial literacy, fostering ethical awareness, and shaping leadership identity in the hospitality sector. The study concludes that visual management tools - dashboards, graphic standards, infographics, and storytelling media—constitute not merely instruments of representation but cognitive architectures that structure thought and behavior in the contemporary restaurant environment. (shrink)

This book offers a new definition of metaphor-as an ontological and visual construction, whose roots are external visual forms, and its motivation is our attachment to forms. This definition, which Michalle Gal names “visualist,” challenges the ruling conceptualist theory of metaphors and places a new emphasis on how we experience rather than understand metaphors. In doing so, she responds to the visual turn that is taking place in literature and the media, demanding that the visual (...) become a site of philosophical analysis. This focus on the external visual world allows Gal to employ visual theories to capture the essence of metaphor. She looks beyond conceptual or semantic mechanism, and returns to theories of Arnheim and Gombrich and the current evolution of ideas about the visual or material and embodied cognition. Proposing to see visual metaphors in their basic form, she uses a new externalist terminology of ontology, visuality, composition, affordance, construction, and emergence. Setting out a new theory that takes into account that humans are visual no less than cognitive creatures, Visual Metaphors and Aesthetics lays the foundation for a new vocabulary to talk about metaphors. (shrink)

This paper proposes to define metaphor as a visual-material structure, the sphere of which is ontological rather than cognitive or conceptual. It argues that the essence of metaphor, as either an aesthetic or a communicative unit or both, resides in the qualitative dimension and appearance, or even materiality, of the metaphorical medium and its form. The paper thus offers a new theory of metaphor, focusing on the medium of metaphor, which composes and transfigures or reconstructs its target anew: a (...) composition that is prior to understanding or conceptualizing the target. In doing so, the paper presents a formalist ontology of metaphors, established via an externalist account of metaphors, as opposed to the prevailing cognitivist-conceptualist account which I characterize as internalist. The various kinds of metaphor – linguistic, poetic, visual or material – are based on their external structure, rather than an internal-conceptual mechanism of understanding, as assumed by a significant segment of the literature. Visual metaphor, therefore, is the paradigmatic kind of metaphor, the analysis of which can be generalized to other kinds of metaphor. Furthermore, the paper tries to overcome the current discrepancy between the formalist character of the metaphorical medium and the dominance of cognitivist and conceptualist theories of metaphor. Challenging these, I claim that if the identity of metaphor is indeed based on its composition, then it is actually based on its aesthetic qualities. That is to say, not only are there autonomous visual or material metaphors, that are not based on linguistic or conceptual ones, but linguistic and conceptual metaphors are based on visuality: they are enabled by the structural possibilities offered by visual media. (shrink)

Visual analytics (VA) combines the strengths of human and machine intelligence to enable the discovery of interesting patterns in challenging datasets. Historically, most attention has been given to developing the machine component—for example, machine learning or the human-computer interface. However, it is also essential to develop the abilities of the analysts themselves, especially at the beginning of their careers. -/- For the past several years, we at the University of British Columbia (UBC)—with the support of The Boeing Company—have experimented (...) with various ways of preparing undergraduate students for VA. Although inspired by the need to prepare students to become visual analysts, the result turned out to be fairly general in scope, applicable to other analytical approaches, as well as more general research. In hindsight, this makes considerable sense. Although the visual component of VA is necessary, it is insufficient; many analytical activities at the human end involve nonvisual skills, such as effective decision-making and the ability to quickly focus on the relevant parts of a problem. -/- The result of this experimentation is a third-year undergraduate course titled Cognitive Systems 303 (COGS 303) that focuses on “VA unplugged”—that is, on developing investigative abilities prior to training on the VA systems themselves. It was felt that if students focused on developing basic analytical habits of thought prior to learning VA systems, these habits would be reinforced by subsequent practice on “live” systems. (shrink)

This book explores environments where art, imagination, and creative practice meet urban spaces at the point where they connect to the digital world. It investigates relationships between urban visualizations, aesthetics, and politics in the context of new technologies, and social and urban challenges toward the Sustainable Development Goals. Responding to questions stemming from critical theory, the book focuses on an interdisciplinary actualization of technological developments and social challenges. It demonstrates how art, architecture, and design can transform culture, society, and nature (...) through artistic and cultural achievements, integration, and new developments. The book begins with the theoretical framework of social aesthetics theories before discussing global contemporary visual culture and technological evolution. Across the 12 chapters, it looks at how architecture and design play significant roles in causing and solving complex environmental transformations in the digital turn. By fostering transdisciplinary encounters between architecture, design, visual arts, and cinematography, this book presents different theoretical approaches to how the arts’ interplay with the environment responds to the logic of the constructions of reality. This book will appeal to scholars, researchers, and upper-level students in aesthetics, philosophy, visual cultural studies, communication studies, and media studies with a particular interest in sociopolitical and environmental discussions. (shrink)

For almost half a century dual-stream advocates have vigorously defended the view that there are two functionally specialized cortical streams of visual processing originating in the primary visual cortex: a ventral, perception-related ‘conscious’ stream and a dorsal, action-related ‘unconscious’ stream. They furthermore maintain that the perceptual and memory systems in the ventral stream are relatively shielded from the action system in the dorsal stream. In recent years, this view has come under scrutiny. Evidence points to two overlapping action (...) pathways: a dorso-dorsal pathway that calculates features of the object to be acted on, and a ventro-dorsal pathway that transmits stored information about skilled object use from the ventral stream to the dorso-dorsal pathway. This evidence suggests that stored information may exert significantly more influence on visually guided action than hitherto assumed. I argue that this, in turn, supports the notion of skilled automatic action that is nonetheless agential. My focus here will be on actions influenced by implicit biases (stereotypes/prejudices). Action that is biased in this way, I argue, is in an important sense intentional and agential. (shrink)

The article considers the problem of images and the role they play in our reflection turning to evidence provided by two seemingly very distant theories of mind together with two sorts of corresponding visions: dreams as analyzed by Freud who claimed that they are pictures of our thoughts, and their mechanical counterparts produced by neural networks designed for object recognition and classification. Freud’s theory of dreams has largely been ignored by philosophers interested in cognition, most of whom focused solely on (...) the linguistic incarnation of thoughts, but even though commonly neglected by respectable theories of thinking, dream images may prove to be the key to the black box of thought. As argued in this article, when seen from the right perspective and approached with the right set of questions, oneiric visions yield groundbreaking insights into the mechanism of how concepts and judgments are formed. Support for this conclusion comes from a tradition seemingly remote, if not opposed to psychoanalysis: the mechanical model of the mind conceived by information sciences and embodied in the form of artificial neural nets which mirror the activity of human visual cortex producing visions strikingly similar to those created by the sleeping mind. These purely mechanical, artificial ‘dreams’ constitute byproducts of algorithms designed for object recognition and classification, which, as I shall argue, reveals the true purpose of our own oneiric visual formations. Just like their mechanical counterparts produced by neural networks, condensations and displacements encountered in dreams are in fact visual universals. (shrink)

Both visual experience and conscious thought represent external objects, but in visual experience these objects seem present before the mind and available for direct access in a way that they don’t in conscious thought. In this paper, I introduce a couple of challenges that this “Scene-Immediacy” of visual experience raises for traditional versions of Representationalism. I then identify a resource to which Representationalists can appeal in addressing these challenges: the low-detail fringe of visual experience. I argue (...) that low-detail contents within visual experience provide the mind with a rich access to additional high-detail information, an access that is not found in conscious thought. This access, in turn, speaks to the challenges raised by the Scene-Immediacy of visual experience. Robert Schroer is an Assistant Professor at the University of Minnesota at Duluth. (shrink)

This research explores the lived experiences of the Grade 11 and 12 students in the Science, Technology, Engineering, and Mathematics (STEM) Pre-Computer Studies strand of Ateneo de Davao Senior High School in differentiating Artificial Intelligence (AI)- generated audio-visual content from real media contents. A qualitative phenomenological research design was employed, where data were gathered through a researcher-made semi-structured interview guide questionnaire through in-depth face-to-face interviews of 10 purposively sampled participants and analyzed thematically. Findings revealed that students saw the ease (...) and efficiency of AI-generated content, but some participants were worried about its unworthiness, particularly the possibility of media manipulation. The majority of the students also viewed AI-generated content as not original and creative, and a number of them viewed human-created work as more original and unique. Despite these problems, participants also acknowledged the practicability of AI in academic work. Their experiences showed extensive and varied exposure to AI-generated content, particularly on social media and educational work, which cast additional doubts on its genuineness. Students used different methods, such as recognizing and applying identification tools, discerning through intuition and observation, and critical thinking to identify AI-generated content. The researchers determined that AI-generated content was helpful to a certain extent. However, it is somewhat of a turn-off for students getting more suspicious of AI's reliability and authenticity. The findings put in perspective the necessity for students to learn the media and critical thinking competencies to enable them to manage AI-produced content. The educational sector must design media literacy programs and promote the ethical use of AI among educators. Future studies will need to determine the value of AI discovery tools to enhance digital trust, media participation, and responsibility of the citizens. (shrink)

Casting a glance at philosophical inquiries of the last decades, with regard to human cognition (in a broad sense), we are witnesses to turns one after the other. The settings were based on the change of scope and perspective of investigations. The so-called linguistic turn refers to “the view that philosophical problems are problems which may be solved (or dissolved) either by reforming language or by understanding more about the language we presently use”. In the 90s, W. J. T. (...) Mitchell coined the phrase pictorial turn, calling attention to the fact that “pictures form a point of peculiar friction and discomfort across a broad range of intellectual inquiry”. In order to eliminate this intellectual discomfort, Mitchell considers exploratory and explicatory approaches that focus on non-linguistic symbol systems and do not consider language as the only source of a significant paradigm regarding meaning. Recently, there has been a shift of emphasis regarding the basis of cognitive skills. This may be the next turn, a sensorimotor or activist one. Although this turn has massive roots in the past, and there is some controversy regarding whether it is fully reconcilable with various findings of cognitive neurology, this view seems to be capable of providing a framework within which the verbalist approach can cease to be the dominant view. (shrink)

Wrote this back in Jan over week and a half, some light editing from one Saturday afternoon, but not much. Was using to visualize CODES and a world of resonance, imagining what a deterministic contradiction free world entails. Since early Jan have been expanding CODES across subjects via logic = primes + chirality = structured resonance driving structured emergence. Echoes of the Turning Key is a speculative fiction novel that encodes a post-probabilistic philosophical framework through narrative form. Set in the (...) colony of Helvetica on Aeterra, it follows Resonance Architect Nemian Kael as he confronts systemic collapse rooted not in resource scarcity, but coherence drift. The book introduces a phase-resonance technology called the Obelisk, a system drawing energy from Mondrian’s Plane—a parallel dimension structured by chaotic–order asymmetry. Through recursive encounters, dimensional interference, and metaphysical dilemmas, the story functions as both narrative and philosophical treatise on CODES (Chirality of Dynamic Emergent Systems), recursion fidelity, and symbolic collapse. This work is meant to initiate a new genre of “resonant fiction,” where the plot, world, and characters phase-lock with core ontological models. It is not an allegory—it is a structural proof, encoded through story. (shrink)

This book has three principle aims: to show that neither vision nor mental imagery involves the creation or inspection of picture-like mental representations; to defend the claim that our visual processes are, in significant part, cognitively impenetrable; and to develop a theory of “visual indexes”. In what follows, I assess Pylyshyn’s success in realising each of these aims in turn. I focus primarily on his arguments against “picture theories” of vision and mental imagery, to which approximately half (...) the book is devoted. I argue that Pylyshyn adopts an unnecessarily restricted interpretation of what it would be for mental representations to be picture-like, and that this leads him prematurely to reject the possibility of explaining the introspective evidence concerning the nature of mental imagery. (shrink)

When viewing a circular coin rotated in depth, it fills an elliptical region of the distal scene. For some, this appears to generate a two-fold experience, in which one sees the coin as simultaneously circular (in light of its 3D shape) and elliptical (in light of its 2D ‘perspectival shape’ or ‘p-shape’). An energetic philosophical debate asks whether the latter p-shapes are genuinely presented in perceptual experience (as ‘perspectivalists’ argue) or if, instead, this appearance is somehow derived or inferred from (...) experience (as ‘anti-perspectivalists’ argue). This debate, however, has largely turned on introspection. In a recent study, Morales, Bax, and Firestone (2020) aim to provide the first empirical test of this question. They asked subjects to find an elliptical coin seen face-on from a search array that also included a circular coin seen either face-on or at an angle. They found that subjects reacted more slowly when the distracting circle was seen at an angle, such that it’s p-shape matched that of the target ellipse. From this, they concluded that the similar p-shape between the ellipse and circle constituted a phenomenal similarity between the two, and thus that perspectivalism is true. We show that these results can also be explained by pre-attentive guidance by unconscious representations (in what follows, just “unconscious pre-attentive guidance”) and that this explanation is at least as plausible as one from phenomenal similarity. Thus, we conclude that the experiment does not support perspectivalism over anti-perspectivalism. (shrink)

The Wheel of Becoming — Vol. 2 Stream Entrance: From Viññāṇa to Vedanā (Present-Effect Literacy in the Mogok Method) -/- Product description Volume 2 is your hands-on guide to reading the present-effect stream in Mogok Sayadaw’s visual system of Paṭicca-samuppāda. Building directly on the Cycle Diagram, this volume trains you to recognize how Link ③ Viññāṇa (consciousness) opens the stream and carries through ④ Nāma-rūpa → ⑤ Saḷāyatana → ⑥ Phassa → ⑦ Vedanā—the everyday flow you meet at the (...) eye, ear, nose, tongue, body, and mind. Clear plates, classroom-ready drills, and short real-life labs turn canonical paccayā lines into practical seeing, moment by moment. -/- Grounded in the Early Buddhist Texts cited throughout (e.g., “saṅkhārā-paccayā viññāṇaṃ; viññāṇa-paccayā nāma-rūpaṃ”; SN 12.1–2), the book keeps Mogok Sayadaw’s distinctive pedagogy front and center: a visual wheel, labeled connections, and simple arrow grammar that you can point-name-move around—until the pattern becomes second nature. By the end, you’ll be ready for Volume 3’s pivotal hand-off at C2 (Vedanā → Taṇhā). -/- What’s inside -/- Plates & Legends: Clean A4 diagrams with labels outside the rim; one overlay per plate for zero-clutter learning. -/- Stream Literacy (③→④→⑤→⑥→⑦): Door maps, contact triads, and feeling orientation tied to daily experience. -/- Guided Drills: “Point-Name-Move” laps, 30–90-second attention sprints, and micro-logs for quick feedback. -/- Assessment Packs: T/F, fill-ins, matching, label-the-diagram, short scenarios, and reflection tickets. -/- QR-Enabled Practice: Short audio prompts and classroom demos aligned to each plate. -/- EBT Anchors: SN-style paccayā captions placed on the rim; references consolidated for quick checking. -/- Who it’s for Beginners who want a reliable on-ramp, teachers who need visual, repeatable lessons, and practitioners aiming to stabilize present-moment literacy before tackling the C2 hinge. -/- Why this book It makes conditionality visible and livable—the Mogok way: precise diagrams, everyday examples, and canonical lines you can trace in real time. -/- . (shrink)

Neuroscience hasn’t shown how quite similar sensory circuits encode quite different colors and other qualia, nor how the unified pictorial form of images is encoded, nor how these codes yield conscious images. Neuroscience’s fixation here on cortical codes may be the culprit. Treating conscious images partly as retinal substances may avoid these problems. The evidence for conscious retinal images is that (a) the cortical codes for images are quite problematic, (b) injecting retinas with certain genes turns dichromats into trichromats without (...) cortical help, (c) retinas can discern colors by themselves without cortex, (d) retinal distortions appear in images but cortical distortions don’t, (e) retinal detectors support finely detailed colors, but V4 detectors don’t, due to their big receptive fields, (f) retinal activity has pictorial form, but viable cortical codes for pictorial form don’t exist. So, the colors and unified pictorial form of images arguably arise mainly across arrays of retinal detectors—not from abstract cortical codes. Images may be hidden in retinal activity beyond what EEGs show of it (cf. Strawson’s monism). Also, cortex refines these retinal images but cortical impairment (anesthesia, lesions, etc.) blocks awareness of them, for they’re no longer accessible to the mind’s subject-centered consciousness, resident in cortex. This proposal is largely testable and based in recent evidence. It avoids neuroscience’s elusive, problematic coded images and enigmatic explanations of how they become conscious. (shrink)

Perception, Action, and Consciousness: Sensorimotor Dynamics and Two Visual Systems is a state-of-the-art collection whose main goal is to explore, from an interdisciplinary perspective, the relationship between action and perception. A second goal of the volume is to investigate how perception and action interact specifically in the production of phenomenal awareness. In presenting and contrasting the major perspectives on the field, this volume marks a good sign of the progress being made on the nature of phenomenally conscious visual (...) experience. By combining theoretical and empirical approaches it also contributes to the debate in key domains of the cognitive sciences .The book contains a useful editorial introduction written by the Editors and six sections further divided into fifteen chapters. In the first part of this review I briefly summarize the content of each section. Having offered an outline of the volume, I then turn my attention to the main theme of the collection, which is the dichotomy between action-oriented theories of perception and the two visual systems hypothesis and look at the dialectic underlying this debate. (shrink)

Abstract -/- This first volume teaches you to see Dependent Origination. Mogok Sayadaw’s Wheel turns a difficult idea into a picture you can read: four sections for past cause, present effect, present cause, and future effect—with simple similes that stick (an axis of taints, a hub of ignorance and craving, pillars of fabrications, and a chain of aging-and-death) . Step by step, you’ll learn where each of the twelve links lives, how the two truths sit over causes and effects, how (...) the three rounds (defilement, action, result) keep life spinning, and where the exit opens. -/- Read it around the rim, practice the point-name-move drills, and let the picture teach your mind what to notice at contact and feeling—so that later, when you learn to stop the spin, the map is already in your hands. As the canon says, “Who sees dependent origination sees the Dhamma.” This book helps you see it clearly, and remember it when it matters. (shrink)

Volume VIII — Sutta-Anchored Context & Toolkit for the Mogok Wheel. This hands-on companion maps SN 12.1–12.2 and DN 15 (Mahānidāna) directly onto the bhava-cakka so you can read the Pāli on the rim and train at the live hinge. The present-arc—saḷāyatana → phassa → vedanā → (mindful space) → no-taṇhā—is printed on every teaching plate; C2 (vedanā→taṇhā) is drawn bold as the primary cut. The Sutta Overlay (Plate 8.3) pins phassapaccayā vedanā; vedanā paccayā taṇhā and badges the DN-15 reeds (...) simile between viññāṇa and nāma-rūpa—all under strict diagram rules: hub clean, labels outside, one overlay, both currents visible. Toolkits include a two-breath window at feeling, micro-logs with Pāli hooks, classroom QR sets, and tables that tie texts, links, and drills. Production follows accessibility specs (A4 landscape; high-contrast; captions ≤10 words). Whether you teach or practice, Volume VIII turns the text → map → drill pathway into a clear, repeatable method: text on the rim, tone in the body, cut at C2. (shrink)

Volume VIII — Sutta-Anchored Context & Toolkit for the Mogok Wheel. This hands-on companion maps SN 12.1–12.2 and DN 15 (Mahānidāna) directly onto the bhava-cakka so you can read the Pāli on the rim and train at the live hinge. The present-arc—saḷāyatana → phassa → vedanā → (mindful space) → no-taṇhā—is printed on every teaching plate; C2 (vedanā→taṇhā) is drawn bold as the primary cut. The Sutta Overlay (Plate 8.3) pins phassapaccayā vedanā; vedanā paccayā taṇhā and badges the DN-15 reeds (...) simile between viññāṇa and nāma-rūpa—all under strict diagram rules: hub clean, labels outside, one overlay, both currents visible. Toolkits include a two-breath window at feeling, micro-logs with Pāli hooks, classroom QR sets, and tables that tie texts, links, and drills. Production follows accessibility specs (A4 landscape; high-contrast; captions ≤10 words). Whether you teach or practice, Volume VIII turns the text → map → drill pathway into a clear, repeatable method: text on the rim, tone in the body, cut at C2. (shrink)

Visual perception is widely taken to present properties such as redness, roundness, and so on. This in turn might be thought to give rise to accuracy conditions for experience, and so content, regardless of which metaphysical view of perception one endorses. An influential version of this argument—Susanna Siegel’s ’Argument from Appearing’—aims to establish the existence of content as common ground between representational and relational views of perception. This goes against proponents of ‘austere’ relationalism who deny that content plays (...) a substantive role in philosophical explanations of conscious perceptual experience. Though Siegel’s argument purports to be neutral with respect to the metaphysics of perception, it relies upon an equivocation between the presentation of property-types and property-instances. Consequently, the argument begs the question against the austere relational view, and so fails to establish the desired conclusion. So while relationalists can and should allow that experiences have accuracy conditions, it does not follow from this that they have contents of any philosophically interesting or significant kind. (shrink)

Large changes that occur in clear view of an observer can become difficult to notice if made during an eye movement, blink, or other such disturbance. This change blindness is consistent with the proposal that focused visual attention is necessary to see change, with a change becoming difficult to notice whenever conditions prevent attention from being automatically drawn to it. -/- It is shown here how the phenomenon of change blindness can provide new results on the nature of (...) class='Hi'>visual attention, including estimates of its capacity and the extent to which it can bind visual properties into coherent descriptions. It is also shown how the resultant characterization of attention can in turn provide new insights into the role that it plays in the perception of scenes and events. (shrink)

“Black Star” music video was released two days before Bowie’s death. It bears various implications of dying and the notion of mortality is both literal and metaphorical. It is highly autobiographical and serves as a theatrical stage for Bowie to act both as a music performer and as a self-conscious human being. In this paper, we discuss the signs of mortality in Bowie’s “Black Star” music video-clip. We focus on video’s cinematic techniques and codes, on its motivic elements and on (...) its narrative in relation with music, lyrics, characters, and gestures. We also discuss the video’s intertextual references and the broader signification of the black star figure. We adopt a quasi-semiotic approach considering “Black Star” music video-clip as a text which can be investigated through its signs, codes, and conventions of the musical, visual, and cinematic languages as well. Our interdisciplinary tools derive from visual semiotics and audiovisual analysis models, without leaving outside Bowie’s musical-artistic and personal history. As it turns out, Bowie created a video clip that is philosophical in nature and poetic in structure, preserving the role of protagonist. With the visuals creating a psychedelic atmosphere, the lyrics often are heard as a personal confession. They both generate cognitive and emotional responses that influence the way the viewers-listeners may experience, decompose, and interpret Bowie’s artistic endeavor bridging life and death. (shrink)

According to the influential thesis of attentional transparency, in having or reflecting on an ordinary visual experience, we can attend only outwards, to qualities the experience represents, never to intrinsic qualities of the experience itself, i.e., to “mental paint.” According to the competing view, attentional semitransparency, although we usually attend outwards, to qualities the experience represents, we can also attend inwards, to mental paint. So far, philosophers have debated this topic in strictly armchair means, especially phenomenological reflection. My aim (...) in this paper is to show how to design an experiment, using the change detection paradigm for studying visual working memory that, if yielding positive results, would support AS. The structure of the argument is as follows. In standard change detection tasks, which involve attention to qualities the experience represents, there exists a known object integration effect (Luck and Vogel in Nature 390(6657):279–281, 1997). I formulate a hypothesis I call “the turn-off hypothesis,” according to which this effect does not exist in change detection tasks where subjects are instructed to attend to mental paint. I argue that, given AS, we have some reason to expect the turn-off hypothesis to be true, but given AT, we do not. Consequently, the truth of the turn-off hypothesis would support AS. I further argue that one can straightforwardly test the turn-off hypothesis, taking the standard change detection paradigm and instructing participants to attend inwards. (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)

Our concern in this paper is to explore the psychosexual logic that supports and constitutes the grammar of racist discourse in early twentieth-century American popular media culture. Images of "grotesque" Black bodies represent the "Otherness" which was excluded in the process of white, middle-class identity formation in this historical period. Through examination of the visual aspects of these ethnic caricatures we display how a re-articulated racist ideology was sustained through specific strategies of iconographic representation. Racialized gender relations were depicted (...) as symbolic inversions of bourgeois sexuality, with African American women masculinized and African American men symbolically castrated. The pervasive "bathroom humor" and sexual jokes of these images portray the Black body as contaminating, dirty, and repulsive. These postcards made use of protuberant and repugnant bodies to transform white fantasies of racial denigration into supposedly benign humor, turn racial panic into perverse pleasure. (shrink)

Introduction 1 Précis 2 Methodology: Introducing digital humanities to the history of philosophy 2.1 Introduction 2.2 Core constructs 2.3 Operationalizing the constructs 2.4 Querying the Nietzsche Source 2.5 Cleaning the data 2.6 Visualizations and preliminary analysis 2.6.1 Visualization of the whole corpus 2.6.2 Book visualizations 2.7 Summary Nietzsche’s Socio-Moral Framework 3 From instincts and drives to types 3.1 Introduction 3.2 The state of the art on drives, instincts, and types 3.2.1 Drives 3.2.2 Instincts 3.2.3 Types 3.3 The semantic neighborhood of (...) drive, instinct, and type 3.4 A theory of (the relations among) instincts, drives, and types 3.4.1 Drives are act-directed rather than outcome-directed dispositions 3.4.2 The reflexive turn in Nietzsche’s drive psychology 3.4.3 Triggers of drive-displacement 3.4.4 Instincts are innate drives 3.4.5 Types are constellations of instincts and other drives 3.4.6 To what extent are types, instincts, and drives fixed? 3.5 Summary 4 From types to virtues 4.1 Introduction 4.2 The state of the art on virtues and values 4.2.1 Virtues 4.2.2 Values 4.3 The semantic neighborhood of virtue and value 4.4 On (the relations among) instincts, drives, types, values, virtues, and values 4.4.1 Virtues are well-calibrated drives 4.4.2 Nietzsche’s type-relative unity of virtue thesis 4.4.3 The type of the criminal 4.4.4 Nietzschean exemplarism and his ad hominem attacks 4.5 Summary 5 Socializing Nietzschean virtues 5.1 Introduction 5.2 Higher-order types 5.2.1 Social character construction 5.2.2 Reflexive character construction 5.3 Eponymous trait terms and Nietzschean summoning 5.3.1 Eponymous trait terms 5.3.2 Nietzschean summoning 5.4 Summary Nietzschean virtues 6 Curiosity 6.1 Introduction 6.2 Curiosity in virtue epistemology 6.3 Curiosity and its affiliated emotions 6.4 Curiosity, perspectivism, and inquiry 6.5 Curiosity as a virtue 6.5.1 A preliminary characterization 6.5.2 Curiosity in the middle through late works 6.6 Summary 7 Courage 7.1 Introduction 7.2 Intellectual courage in contemporary virtue epistemology 7.3 Courage as a virtue 7.3.1 A preliminary characterization 7.3.2 Courage in the middle through late works 7.4 Summary 8 Pathos of distance 8.1 Introduction 8.2 Contempt and disgust in contemporary moral psychology 8.3 The semantic neighborhood of contempt, disgust, and the pathos of distance 8.4 Nietzsche on contempt 8.4.1 Spernere mundum 8.4.2 Spernere neminem 8.4.3 Spernere se ipsum 8.4.4 Spernere se sperni 8.4.5 Nietzsche aims to induce what he considers fitting contempt in receptive readers 8.5 Nietzsche on disgust 8.5.1 The use of disgust: detaching from an ideal 8.5.2 The danger of disgust 8.6 The pathos of distance 8.7 Prospects for a Nietzschean democratic ethos 8.8 Summary 9 Sense of humor 9.1 Introduction 9.2 The semantic neighborhood of laughter, humor, and comedy 9.3 The Nietzschean sense of humor and its functions 9.3.1 From episodic laughter to the sense of humor 9.3.2 Affirmation and inquiry 9.3.3 Negation and inquiry 9.3.4 Affiliation with like-minded inquirers 9.4 Summary 10 Solitude 10.1 Introduction 10.2 Solitude in virtue theory and Nietzsche scholarship 10.3 The semantic neighborhood of solitude 10.4 An account of Nietzschean solitude 10.5 Summary Conclusion 11 Conscience & integrity 11.1 Introduction 11.2 Conscience and integrity in contemporary moral psychology and Nietzsche scholarship 11.2.1 Conscience and integrity in contemporary moral psychology 11.2.2 Conscience and integrity in Nietzsche commentary 11.3 The semantic neighborhood of conscience and integrity 11.4 Distinguishing conscience, good conscience, bad conscience, and intellectual conscience 11.4.1 Conscience 11.4.2 Good conscience 11.4.3 Bad conscience 11.4.4 Intellectual conscience and integrity 11.5 Summary 12 Prospectus 12.1 Future directions in moral psychology 12.2 Future directions in Nietzsche scholarship 12.3 Future directions in digital humanities and the history of philosophy. (shrink)

To what extent do aesthetic taste and our interest in the arts constitute who we are? In this paper, we present a series of empirical findings that suggest anAesthetic Self Effectsupporting the claim that our aesthetic engagements are a central component of our identity. Counterfactual changes in aesthetic preferences, for example, moving from liking classical music to liking pop, are perceived as altering us as a person. The Aesthetic Self Effect is as strong as the impact of moral changes, such (...) as altering political partisanship or religious orientation, and significantly stronger than for other categories of taste, such as food preferences (Study 1). Using a multidimensional scaling technique to map perceived aesthetic similarities among musical genres, we determined that aesthetic distances between genres correlate highly with the perceived difference in identity (Study 2). Further studies generalize the Aesthetic Self Effect beyond the musical domain: general changes in visual art preferences, for example from more traditional to abstract art, also elicited a strong Self Effect (Study 3). Exploring the breadth of this effect we also found anAnaesthetic Self Effect.That is, hypothetical changes from aesthetic indifference to caring about music, art, or beauty are judged to have a significant impact on identity. This effect on identity is stronger for aesthetic fields compared to leisure activities, such as hiking or playing video games (Study 4). Across our studies, the Anaesthetic Self Effect turns out to be stronger than the Aesthetic Self Effect. Taken together, we found evidence for a link between aesthetics and identity: we are aesthetic selves. When our tastes in music and the arts or our aesthetic interests change we take these to be transformative changes. (shrink)

In this paper, I discuss Silva's work on factual awareness. He argues that factual awareness can help us acquire knowledge. This position is appealing to many of us who think of reasons as consisting of facts and think of factual knowledge as being a belief that's based on good reasons. One potential problem for this view, however, is that it's been argued that factual awareness just is knowledge (albeit under a different description). It might seem that there's a potential modal (...) difference between factual awareness and factual knowledge (e.g., it might seem that there's visual awareness of facts and that this kind of factual awareness doesn't require the kinds of modal tie to the facts needed for knowledge) but I shall argue that initial appearances are misleading and that knowledge of and awareness of facts have the same modal requirements. Whilst there are no modal conditions necessary for us to have perceptual awareness of things in our surroundings, there are modal conditions that must be met for factual awareness, so it turns out that factual awareness is quite likely just knowledge and factual awareness does not supervene upon the perceptual relations we bear to things in our surroundings. (shrink)

Eckardt argues against the ontological reduction of events to “little movies in time and space.” In this paper I explore what this means for the representation of events in visual discourse, specifically film. As it turns out, we can build a rather intuitive film semantics on top of the ‘regional event’ ontology that Eckardt rejects. But we can also follow Eckardt’s reasoning and incorporate her participant-based event ontology.

The paper is the final, fifth part of a series of studies introducing the new conceptions of “Hilbert mathematics” and “ontomathematics”. The specific subject of the present investigation is the proper philosophical sense of both, including philosophy of mathematics and philosophy of physics not less than the traditional “first philosophy” (as far as ontomathematics is a conservative generalization of ontology as well as of Heidegger’s “fundamental ontology” though in a sense) and history of philosophy (deepening Heidegger’s destruction of it from (...) the pre-Socratics to the Pythagoreans). Husserl’s phenomenology and Heidegger’s derivative “fundamental ontology” as well as his later doctrine after the “turn” are the starting point of the research as established and well known approaches relative to the newly introduced conception of ontomathematics, even more so that Husserl himself started criticizing his “Philosophy of arithmetic” as too naturalistic and psychological turning to “Logical investigations” and the foundations of phenomenology. Heidegger’s “Aletheia” is also interpreted ontomathematically: as a relation of locality and nonlocality, respectively as a motion from nonlocality to locality if both are physically considered. Aristotle’s ontological revision of Plato’s doctrine is “destructed” further from the pre-Socratics' “Logos” or Heideger’s “Language” (after the “turn”) to the Pythagoreans “Numbers” or “Arithmetics” as an inherent and fundamental philosophical doctrine. Then, a leap to contemporary physics elucidates the essence of ontomathematics overcoming the Cartesian abyss inherited from Plato’s opposition of “ideas” versus “things”, and now unifying physics and mathematics, particularly allowing for the “creation from nothing” instead of the quasi-scientific myth of the “Big Bang”. Furthermore, ontomathematics needs another interpretation of arithmetic, propositional logic and set theory in the foundations of mathematics, where the latter two ones are both identified with Boolean algebra, and the former is considered to be a “half of Boolean algebra” in the exact meaning to be equated to it after doubling by a dual anti-isometric counterpart of Peano arithmetic. That unified algebraic realization of the foundations of mathematics is related to Hilbert mathematics in both “narrow and wide senses” where the latter is isomorphic to the qubit Hilbert space, thus underlying all the physical world by the newly introduced substance of quantum information being physically dimensionless and generalizing classical information measured in bits. The substance of information, whether classical or quantum, visualizes the way of the unification of physics and mathematics by merging their foundations in Hilbert arithmetic and Hilbert mathematics: thus how ontomathetics is a “first philosophy”. The relation of ontomathematics to the Socratic “human problematics”, furthermore being fundamental for Western philosophy in Modernity, is discussed. Ontomathematics implies its “substitution” by abstract information (or by “subjectless choice” relevant to it), thus “obliterating the human outline on the ocean beach sand” (by Michel Foucault’s metaphor). A reflection back from the viewpoint of mathematic to Western philosophy as the philosophy of locality ends the study. (shrink)

Neuroscience investigates how neuronal processing circuits work, but it has problems explaining experiences this way. For example, it hasn’t explained how colour and shape circuits bind together in visual processing, nor why colours and other qualia are experienced so differently yet processed by circuits so similarly, nor how to get from processing circuits to pictorial images spread across inner space. Some theorists turn from these circuits to their electromagnetic fields to deal with such difficulties concerning the mind’s qualia, (...) unity, privacy, and causality. They include Kohler, Libet, Popper, Lindahl, Arhem, Charman, Pockett, John, McFadden, Fingelkurts, Maxwell, and Jones. They’re classifiable as computationalist, reductionist, dualist, realist, interactionist, epiphenomenalist, globalist, and localist. However, they’ve never been analysed together as a whole, which hinders evaluations of them. This article tries to rectify this. It concludes that while field theories face challenges, they aren’t easily dismissed, for they draw on considerable evidence and may avoid serious problems in neuroscience concerning the mind’s qualia, unity, causality, and ontology. (shrink)

There is fast-growing awareness of the role atmospheres play in architecture. Of equal interest to contemporary architectural practice as it is to aesthetic theory, this 'atmospheric turn' owes much to the work of the German philosopher Gernot Böhme. Atmospheric Architectures: The Aesthetics of Felt Spaces brings together Böhme's most seminal writings on the subject, through chapters selected from his classic books and articles, many of which have hitherto only been available in German. This is the only translated version authorised (...) by Böhme himself, and is the first coherent collection deploying a consistent terminology. It is a work which will provide rich references and a theoretical framework for ongoing discussions about atmospheres and their relations to architectural and urban spaces. Combining philosophy with architecture, design, landscape design, scenography, music, art criticism, and visual arts, the essays together provide a key to the concepts that motivate the work of some of the best contemporary architects, artists, and theorists: from Peter Zumthor, Herzog & de Meuron and Juhani Pallasmaa to Olafur Eliasson and James Turrell. With a foreword by Professor Mark Dorrian and an afterword by Professor David Leatherbarrow,, the volume also includes a general introduction to the topic, including coverage of it history, development, areas of application and conceptual apparatus. (shrink)

Our awareness of the boundedness of the spatial sensory field—a paradigmatic structural feature of visual experience—possesses a distinctive epistemic role. Properly understood, this result undermines a widely assumed picture of how visual experience permits us to learn about the world. This paper defends an alternative picture in which visual experience provides at least two kinds of non-inferential justification for beliefs about the external world. Accommodating this justification in turn requires recognising a new way for visual (...) experience to encode information about the world. Reflection upon the epistemic contribution of sensory experience's structural features thus forces us to revise our understanding of how perception, cognition, and the world fit together. (shrink)

Richard Shusterman suggested that Maurice Merleau-Ponty neglected “‘lived somaesthetic reflection,’ that is, concrete but representational and reflective body consciousness.” While unsure about this assessment of Merleau-Ponty, lived somaesthetic reflection, or what the late Sam Mallin called “body phenomenology”—understood as a meditation on the body reflecting on both itself and the world—is my starting point. Another is John Dewey’s bodily theory of perception, augmented somewhat by Merleau-Ponty. With these starting points, I spent roughly 20 hours with St. Benedict Restores Life to (...) a Young Monk (c. 1360), a work of tempera and gold leaf on panel, by Giovanni Del Biondo, active in Italy from 1356 to 1398, on display in the Art Gallery of Ontario’s permanent collection. Following Dewey’s suggestion that “[t]he eye... is only the channel through which a total response takes place,” meaning that motor, emotional, intellectual and non-visual perceptual capacities become active when we encounter paintings, I describe how the work engaged a range of bodily modalities; and how reflecting on these, in turn, supplied phenomenal articulations of life negating, preserving and enhancing forces important in the culture that produced it, and famously discussed by Friedrich Nietzsche. By virtue of the approach adopted, I also demonstrate Dewey’s belief that intimate engagement with art entails a total coordination of one’s capacities around the artwork, while simultaneously reinforcing Merleau-Ponty’s ideas about perception and how we can find phenomenal articulations of concepts such as the Nietzschean ones just mentioned. While focusing on Del Biondo’s painting, my main purpose is to engage in body phenomenology practices, and to show, in the words of Shusterman, how “[w]e might sharpen our appreciation of art through more attention to our somaesthetic feelings involved in perceiving art” and indeed the world. (shrink)

In our previous discussions, we focused primarily on visual intuition, which is, of course, a form of sensuous intuition. In this section, we will turn to non-visual forms of sensuous intuition. In phenomenology, “intuition” (Anschauung) should not be understood as a merely visual activity. The core of intuition does not lie in which sensory organ is employed, but rather in the manner in which an object is given to consciousness in its own way. Wherever an object (...) can present itself to consciousness with a certain originary givenness (originäre Gegebenheit), this presentation may be called intuition. Accordingly, experiences constituted through vision, hearing, touch, smell, and bodily movement all belong to different forms of sensuous intuition. Different sensory organs do not merely provide different channels of information; rather, they correspond to different modes of givenness of the object and thus participate, at the level of meaning-structure, in the constitution of the object. Therefore, through the participation of various sensory organs, we are not only able to obtain the content-meaning of an object, but also to acquire many other sensuous meanings. However, we must recognize that positing (Setzung) itself depends on the cognitive system of the transcendental ego. Consequently, all meaning-constitution depends on the cognitive system of the transcendental ego. Different transcendental egos, by virtue of having different cognitive systems, obtain different object-meanings. Moreover, Husserl does not restrict intuition to the sensuous level. In his phenomenology, there also exist non-sensory forms of intuition, most notably eidetic intuition (Wesensanschauung). Eidetic intuition is not realized through sensory organs but rather through the imaginative activity of free variation, by which the invariant structures of objects are grasped. Thus, the phenomenological call to “return to intuition” does not amount to a return to sensory empiricism, but rather to a return to the domain in which all meanings can receive originary givenness. In this section, however, we confine ourselves to a discussion of sensuous intuition. -/- . (shrink)

If you stare at a purple image that suddenly turns grey, you will experience a repulsive aftereffect: You will not experience grey, but green. If you stare at a waterfall with downward motion and then you stare at something stationary, you will experience another repulsive aftereffect: You will now experience upward movement. According to an orthodox view in vision science, these adaptive aftereffects are not limited to lower-level visual features like color and motion but also proliferate to higher-level features (...) like variance, causality, and number. These instances of high-level adaptation are thereby said to answer deep, otherwise intractable questions about the nature and content of visual processing — but is this true? In the present treatment, we question this orthodoxy. We begin by considering number adaptation as a paradigmatic case of high-level visual adaptation, reiterating recent arguments against the existence of number adaptation and offering additional reasons for skepticism. We then argue that even if number adaptation were to exist, it could not serve the roles expected of it in mainstream philosophy and vision science since adaptation of the proposed sort fails to usefully demarcate perceptual content. Despite these conclusions, we close by suggesting that there may be better reasons to believe that number is represented by the visual system. (shrink)

In the present article, we are faced with two phenomenological philosophers who, in two different intellectual traditions, namely philosophical hermeneutics and moral phenomenology, have referred to the concept of the Other as the fundamental possibility of the individual. The other, as an ontological and common concept in the thought of Gadamer and Levinas, is the turning point of the condition for the possibility of understanding and ethics. Focusing on the concept of the other, while addressing the points of difference and (...) commonality between Gadamer and Levinas, this article will show that Levinas’s preoccupation with the other as a philosopher refers to the foundations of ethics, and the condition for the possibility of foundations of ethics is encountering the other. In Gadamer, the turning point is the determination of the possibilities of understanding in dialectical and dialogue-oriented relationships. Without the other, in Levinas’s thought, ethics, and moral matter, and in Gadamer’s thought, the process of understanding will not occur in the form of a fusion of horizons. Therefore, this article shows that the other is a common concept between these two philosophers, which both of them cannot avoid in their philosophical analyses of ethics or the process of understanding. Introduction The analysis of ethics is one of the important and innovative achievements of Levinas’s philosophical intellectual structure. Levinas’s concern is to refer to the foundations of morality itself, regardless of institutionalizing the moral in the form of law, and the foundation of morality is in face-to-face relationships with others. Regardless of Levinas’s plan about the concept of the other, Gadamer imagines the determination of understanding in a new way in the face of the other. The other is the comprehensible strain in philosophical hermeneutics, in such a way that the process of understanding is formed by the presence of the other and the face-to-face encounter with it. According to Gadamer, the other is the factor of openness in the process of understanding. The fusion of horizons is the product of openness and mutual encounters in dialogue, which is not possible without the other. The other is the condition of determining the possibility of understanding in each of the parties who are allowed to reveal a part of their being and allow the other to open up and talk. In fact, understanding is a kind of event that is revealed in a two-way conversation in an event-like way. This type of understanding depends on the presence of another. The main focus of the research is the analysis of the concept of the other, which has been done with emphasis on two important works: Truth and method, Totality and infinity. Body & discussion In general, the process of understanding is a dialogical process, whether the other side of the conversation is a text or a person, the foundation of understanding is formed in a relationship with the other. Determining the other as an independent personality and a different perspective is an ontological determination. The other thinks and becomes meaningful beyond the subject or object and even beyond my intellectual position, it belongs to its own independent world and its own experience. In conversation, it plays a significant role in the production of truth. Openness provides the possibility of dialogue and mutual agreement. In dialogue, the final product is not reproduced. The other condition for the production of the final product is dialogue According to Gadamer, facing the other is facing his world. At the moment of facing me, the other makes his abstract aspects concrete and opens his lived experience to me. He believes that the question-and-answer process is a kind of encounter with the world of experience and openness toward it. According to Gadamer, the process of understanding is the result of dialectical-hermeneutic relations between me (the interpreter) and you (the other). The dialogical relationships that allow each other to enter the other’s history are relationships that are formed based on questions and answers. From Gadamer’s point of view, questions and answers are the opening of a new horizon based on tradition and contemporary history. Levinas phenomenologically refers to the philosophical tradition of the West to reread the process of the formation of the concept of the other. Many commentators and interpreters of Levinas’s works believe that it is possible to determine the foundations of ethics from Levinas’s point of view from face-to-face relationships. The condition for the possibility of morality is to pay attention to others. To describe another concept, Levinas analyzes the negative and positive aspects of this concept. In a negative way, Levinas first answers what the other is not, and for this reason, he criticizes the history of Western metaphysics and the criticism of Husserl and Heidegger’s phenomenology. Positively, the other is relative to me and different from me. The other is beyond subject and object. The other is not subjugated by any concept and recognizes its independent identity. The other and the encounter with him are the conditions for determining fundamental ethics from Levinas’s point of view. Another condition of concreteness refers to another person. According to Levinas, it is the condition for the formation of moral form. He believes that ethics is a kind of double encounter in the context of bilateral relations. Many moral concepts are formed in relation to a concrete other. In Levinas’s genealogy of ethics, we are faced with the presence of the other in a concrete way and with the subjectivity of the subject in an abstract and a priori way. Levinas specifies two approaches with the description of the other in the form of an infinite idea. First of all, there is an infinite gap between the other and the same. This issue shows its foreignness and otherness, its independence, and being true to its essence towards me. Second, it is the determination of another in a concrete or abstract form, which in both cases evokes an identity independent of me. Conclusion According to the explanations of the concept of the other in the thought of Gadamer and Levinas, we are faced with two phenomenological philosophers who have paid attention to the ontological aspects of the concept of the other in the fields of philosophical hermeneutics and ethics. In Gadamer’s thought, the other is an ontologically dialectical relationship between I-Thou and the starting point of the conversation process. The fusion of horizons is the turning point of the formation of the relation to the other, which is manifested in another area. The other has its own history, world, tradition, and authority, regardless of the formation of dialogical relationships, and has an independent identity. The other is allowed to share his lived experience in the conversation. The other creates new worlds. The other has opened himself and in return can be self-interpreting and self-revealing. Regardless, the other is the consistency of the complex relationship between language and the world. This form of bilateral relations, which is manifested in the presence of another, is a linguistic form that is the cause of a deep connection between language and the world. The other, whether concrete or abstract, is the turning point of our connection with the world in an ontological way. Regardless of Gadamer’s point of view, Levinas returns to another concept in his new thought project entitled “How to determine the possibilities of ethics.” According to Levinas, finding the foundations of ethics and determining the condition of moral possibilities is in facing the other and in face-to-face relationships. The other is concretely a kind of bilateral encounter which is the basis of many moral events and is manifested abstractly in the form of the subject’s subjectivity. This kind of infinite aspect of the other is revealed in subjectivity is implied in sense. Encountering another in an abstract form within itself is the encounter of the subject’s subjectivity with the sense, and the sense is in the encounter with the other. Sense is the basis of the subjectivity of the subject. Sense is a kind of concrete and visual face-to-face encounter that adds to the importance of determining another. Therefore, both Gadamer and Levinas raise many possibilities about the concept of the other, which shows the importance of this concept in the Western philosophical tradition. (shrink)

By looking at it you come to know that a thing is an apple. How? A natural answer is that this is down to how it looks – its superficial visual appearance. Looks Views treat our acquaintance with such looks as accounting for how visual knowledge is secured. Here I argue that for many pairings of properties and perceivers Looks Views will turn out not to work. We can visually track many properties through huge variation in things’ (...) visual appearances. For such properties no kind of look will play the explanatory role Looks Views demanded. Sometimes, then, you might secure visual knowledge that something is an apple but not by way of its superficial visual appearance. That conclusion may seem difficult to swallow. I argue that at least many of our intuitions about the roles of looks can nonetheless be assuaged. (shrink)

In this article, an account of the architecture of the cognitive contamination system is offered, according to which the contamination system can generate contamination represen- tations in circumstances that do not satisfy the norms of contamination, including in cases of mere visual contact with disgusting objects. It is argued that this architecture is important for explaining the content, logic, distribution, and persistence of maternal impression beliefs – according to which fetal defects are caused by the pregnant mother’s experiences and (...) actions – which in turn provide important evidence of the architecture of the cognitive contamination system. (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)

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)

Formal systems are standardly envisaged in terms of a grammar specifying well-formed formulae together with a set of axioms and rules. Derivations are ordered lists of formulae each of which is either an axiom or is generated from earlier items on the list by means of the rules of the system; the theorems of a formal system are simply those formulae for which there are derivations. Here we outline a set of alternative and explicitly visual ways of envisaging and (...) analyzing at least simple formal systems using fractal patterns of infinite depth. Progressively deeper dimensions of such a fractal can be used to map increasingly complex wffs or increasingly complex 'value spaces', with tautologies, contradictions, and various forms of contingency coded in terms of color. This and related approaches, it turns out, offer not only visually immediate and geometrically intriguing representations of formal systems as a whole but also promising formal links (1) between standard systems and classical patterns in fractal geometry, (2) between quite different kinds of value spaces in classical and infinite-valued logics, and (3) between cellular automata and logic. It is hoped that pattern analysis of this kind may open possibilities for a geometrical approach to further questions within logic and metalogic. (shrink)

The theory-ladenness of perception argument is not an argument at all. It is two clusters of arguments. The first cluster is empirical. These arguments typically begin with a discussion of one or more of the following psychological phenomena: (a) the conceptual penetrability of the visual system, (b) voluntary perceptual reversal of ambiguous figures, (c) adaptation to distorting lenses, or (d) expectation effects. From this evidence, proponents of theory-ladenness typically conclude that perception is in some sense "laden" with theory. The (...) second cluster attempts to extract deep epistemological lessons from this putative fact. Some philosophers conclude that science is not (in any traditional sense) a rational activity, while others conclude that we must radically reconceptualize what scientific rationality involves. Once we understand the structure of these arguments, much conventional wisdom about the significance of the psychological data turns out to be false. (shrink)

The paper brings a challenge to Cartesian dualism, while introducing some under-explored manuscript remarks from Wittgenstein’s middle period, which are methodologically and thematically akin to some passages from Merleau-Ponty’s early period. Cartesian dualism relegates pain to mental awareness and location to bodily extension, thus rendering common localizations of pain throughout the body as unintelligible ascriptions. Wittgenstein’s and Merleau-Ponty’s attempts at doing justice to common localizations of pain are mutually illuminating. In their light, Cartesian dualism turns out to involve an objectification (...) and a deappropriation of one’s body. Moreover, Wittgenstein’s unveiling a heterogeneous multiplicity of corporeal spaces (e.g. visual-space, tactile-space, feeling-space) rehabilitates the view, reinforced by Merleau-Ponty, that corporeal pain is intimately related to corporeal localization, while corporeal space is not part of the physical space of things. (shrink)

The current state of philosophy of science is characterized by stasis in the struggle between realism and antirealism. In recent years, a number of authors have come out with a program of scientific perspectivism that claims to sublate this great collision and gain the status of a new epistemological paradigm: “perspectivism, or, better, perspectival realism, is one of the newest attempts to find a middle ground between scientific realism and antirealism” [1. P. 2]. Important milestones of the perspective movement were (...) the works of Ronald Giere, Francois Recanati, Bas van Fraassen, Michela Massimi, and others. The thesis of the article is that perspectivism has not yet realized its claims to autonomy, although it has become an important new arena for discussions between realists and antirealists who try to appropriate perspectivist concepts and arguments. The “middle ground,” when thought out consistently and thoroughly, turns out to lie not “between,” but either in the territory of realism or in the territory of antirealism, depending on the presumptions of the author of a particular perspectivist conception. This is demonstrated by the analysis of the conceptions of Giere, Massimi, and Recanati. Giere’s perspectivism is based on the metaphor of color vision, and for him only some (secondary) qualities of real objects turn out to be perspectival, i.e., subject-dependent. Massimi’s perspectivism attempts, on the basis of a visual arts metaphor, to combine the phenomenon of the plurality of scientific theories (“perspectival disagreement” about what an object is) with the general realist attitude of science (agreement about that there is an object). Recanati’s perspectivism syncretizes realism about ordinary objects and relativism about other things. The first two versions of perspectivism rely on a perceptual metaphor: perspective is conditioned by the perceptual constitution of the observer, that is, it arises at the mental or cognitive level. Recanati’s version attempts to derive perspective from contextuality, that is, it is semantic. However, it does not show exactly how perceptual categories are superimposed on theories or how scientific concepts reveal their perspectival character. The isomorphism of perception and theoretical thinking, sensibility and understanding, remains undemonstrated. On the one hand, perspectivist efforts are motivated by an important concern to account for antirealist critique (lack of access to the “view from nowhere,” factual and semantic underdetermination, difficulties with the idea of approaching the truth, the historicity of knowledge, the activeness of the constructing subject, etc.) while preserving the scientific commitment to universality, validity, and truthfulness. On the other hand, the ontological question remains fundamental and unavoidable, and perspectivism (yet?) fails to circumvent it. As we see, all three versions of perspectivism considered in this article turn out to be varieties of realism: Giere and Massimi recognize this explicitly, while Recanati de facto assumes a quite respectable and conservative position of selective realism with respect to ordinary objects. (shrink)

In the traditional sense, a work of art creates an illustration of the outside world, or of a certain text or doctrine. Sometimes it is considered that such an illustration is not literal, but is an interpretation of what is visible, or an interpretation of a certain literary or ideological message. It can also be assumed that a work of art creates its own visual world, a separate story or a separate philosophical statement. The Parc de La Villette represents (...) the last of these possibilities: it is a philosophical statement that develops the premises derived from poststructuralist philosophies and the philosophy of deconstruction. The uniqueness of its being status, however, is that it does so not only at the level of the theoretical assumptions, but also through its functioning as an active philosophical work. This means that a park is a happening philosophy. Its activity, however, does not refer only to the present tense, but is also an attempt to penetrate the future, all otherness and impossibility. This kind of activity assumes that the work, in a sense, does not yet fully exist, but is also still produced in the processes of its interpretation. The theoretical foundations of the park included texts by Bernard Tschumi, in which he questioned traditional ways of creating a work of architecture, postulating in return the use of a long series of negations, which were comparable to the crisis of metaphysics characteristic of contemporary philosophy. It is therefore no coincidence that the publication containing Tschumi’s theoretical text on Parc de La Villette was accompanied by an essay by Jacques Derrida developing some of the architect’s concepts. The next step in integrating philosophy into the process of park design was a series of discussions between Peter Eisenman and Derrida, who completely moved the creation of the park into the world of thoughts, without accentuating the need for their realization in the material reality. The main topic of these discussions was the problem of the chôra, which was taken up by later commentators and used to interpret the park as a work in which the philosophy of the beginning is manifested relating to issues of politics, morality and religion. The park was therefore interpreted as a space of invention within the scope of creating new rules of functioning of the community and democracy. Thinking about the political future may, however, exceed the horizon of ordinary expectations. Although philosophical thought is always connected with contemporary problems and metaphysics sometimes intertwines with current politics, yet at the same time the customs of philosophy also include crossing horizons and thinking about absolute otherness and impossibility. Initially, the chôra, différance, Absolute Otherness (tout autre) and the Impossibile were concepts of pure philosophy of atheistic character, but with the further development of the discussion, more and more theological motifs began to emerge. One of the reasons for this phenomenon was the fact that radical negations of all being, which were contemplated in contemporary philosophy (by Heidegger and Derrida, among others), had previously been manifested in negative and apophatic theologies (by Master Eckhart, among others). Also the category of the “Other”, taken from Emmanuel Levinas, was clearly connected with the thought about God. A further reason for connecting the chôra with the theological thought was the interest in the philosophy of deconstruction expressed by some theologians. Caputo in particular managed to persuade Derrida to participate in discussions on the current status of religion. In the late period of Derrida’s writing, further statements on religious topics appeared. All these reasons led to posing a question about the identity of the chôra and God. Although there were no satisfactory conclusions on this issue, the discussion was also important to create an interpretation of the park as a place of worship. The chôra, representing, according to Plato, the preoriginal emptiness is the place of every beginning, but it turns out that it is not neutral to the being created in it. The chôra deposits itself in every being as an irremovable beginning that interferes with its stability. The chôra, therefore, forces us into a palintropical movement, but it also turns out to be a pure compulsion, an erring necessity and a fundamental force from which, in the human perception, motifs useful to the individual and to the community are extracted. All definitions of this force, including its anthropomorphisation, are formulated in such a way that they allow for building private and collective morality upon them. Such definitions are changed depending on variable political situations. It is difficult to determine whether in the processes of changes in the formulation of “God’s names” any essential value is retained, which is not subject to change. The current definitions of the chôra (God?), which can be found, for example, in the philosophy of Caputo, stress that she is a combination of various and contradictory forces. This characteristic inherits much of Plato’s concept, reminds us of Master Eckhart’s views on Gottheit and, at the same time, is not unfamiliar to Tschumi, whose essays were an apologia of contradictions. The current concept of chôra, transferred into the sphere of politics, is the praise of social diversity and the protection of the difference from the forces of order. In the Parc de La Villette, the future community and democracy were elevated as a system of safe existence of individuals in all their singularity. The park is a temple of a future community in which individual beings have nothing in common. (shrink)

In current philosophy of mind, there is lively debate over whether emotions, moods, and other affects can extend to comprise elements beyond one’s organismic boundaries. At the same time, there has been growing interest in the nature and significance of so-called existential feelings, which, as the term suggests, are feelings of one’s overall being in the world. In this article, I bring these two strands of investigation together to ask: Can the material underpinnings of existential feelings extend beyond one’s skull (...) and skin? To begin, I introduce and adopt a componential-systemic view of extended affectivity. In doing so, I specify the vehicle externalist criteria for extension employed in my analysis. I then define what existential feelings are and pinpoint several key issues in their potential extension. More specifically, I identify sensorimotor ‘know-how’ as a possibly extending component of existential feeling and posit it as the fulcrum of my argument. Finally, I move on to consider the extension of existential feeling via sensory substitution, especially through so-called Tactile Visual Sensory Substitution (TVSS) devices. Informed by both philosophical and empirical studies, I argue that, under certain conditions, (a) the agent’s implicit sensorimotor processing and a TVSS device can become coupled into a new systemic whole, which in turn (b) reconfigures the material underpinnings of the agent’s pre-intentional world-experience. This, I conclude, counts as a cogent case for extended existential feeling. (shrink)

The problem of colour exclusion is not fatal to Ludwig Wittgenstein’s early philosophy, nor was it the catalyst for his later philosophy. The remarks in the Tractatus about the impossibility of the simultaneous occurrence of two colours at a point in the visual field sit comfortably with the remarks in the rest of the book, the discussion of mathematical physics above all. Furthermore Wittgenstein’s second thoughts about the impossibility were a consequence, not the cause, of the subsequent turn (...) in his philosophy. (shrink)

Current research on the origin of DNA and RNA, viruses, and mobile genetic elements prompts a re-evaluation of the origin and nature of genetic material as the driving force behind evolutionary novelty. While scholars used to think that novel features resulted from random genetic mutations of an individual’s specific genome, today we recognize the important role that acquired viruses and mobile genetic elements have played in introducing evolutionary novelty within the genomes of species. Viral infections and subviral RNAs can enter (...) the host genome and persist as genetic regulatory networks. Persistent viral infections are also important to understand the split between great apes and humans. Nearly all mammals and nonhuman primates rely on olfaction, i.e., chemoreception as the basis of the sense of smell for social recognition, group membership, and the coordination of organized social life. Humans, however, evolved other means to establish social bonding, because several infection waves by endogenous retroviruses caused a loss of odor receptors in human ancestors. The human independence from olfaction for social recognition was in turn one driver of the rather abrupt human transition to dependence on visual information, gesture production, and facial recognition that are at the roots of language-based communication. (shrink)

The concept of quantum information is introduced as both normed superposition of two orthogonal sub-spaces of the separable complex Hilbert space and in-variance of Hamilton and Lagrange representation of any mechanical system. The base is the isomorphism of the standard introduction and the representation of a qubit to a 3D unit ball, in which two points are chosen. The separable complex Hilbert space is considered as the free variable of quantum information and any point in it (a wave function describing (...) a state of a quantum system) as its value as the bound variable. A qubit is equivalent to the generalization of ‘bit’ from the set of two equally probable alternatives to an infinite set of alternatives. Then, that Hilbert space is considered as a generalization of Peano arithmetic where any unit is substituted by a qubit and thus the set of natural number is mappable within any qubit as the complex internal structure of the unit or a different state of it. Thus, any mathematical structure being reducible to set theory is re-presentable as a set of wave functions and a subspace of the separable complex Hilbert space, and it can be identified as the category of all categories for any functor represents an operator transforming a set (or subspace) of the separable complex Hilbert space into another. Thus, category theory is isomorphic to the Hilbert-space representation of set theory & Peano arithmetic as above. Given any value of quantum information, i.e. a point in the separable complex Hilbert space, it always admits two equally acceptable interpretations: the one is physical, the other is mathematical. The former is a wave function as the exhausted description of a certain state of a certain quantum system. The latter chooses a certain mathematical structure among a certain category. Thus there is no way to be distinguished a mathematical structure from a physical state for both are described exhaustedly as a value of quantum information. This statement in turn can be utilized to be defined quantum information by the identity of any mathematical structure to a physical state, and also vice versa. Further, that definition is equivalent to both standard definition as the normed superposition and in-variance of Hamilton and Lagrange interpretation of mechanical motion introduced in the beginning of the paper. Then, the concept of information symmetry can be involved as the symmetry between three elements or two pairs of elements: Lagrange representation and each counterpart of the pair of Hamilton representation. The sense and meaning of information symmetry may be visualized by a single (quantum) bit and its interpretation as both (privileged) reference frame and the symmetries of the Standard model. (shrink)