This paper examines what role the law can and should play with regard to unreliable information available on fast communication networks, such as the Internet. Users of electronic information find it increasingly difficult to assess its reliability. The traditional structures for assessing reliability are lacking or function inadequately. Clear social norms have not yet been developed. As regards the law, traditionally liability law is the first legal guard against undesirable societal developments. We conclude however, that liability law is an inadequate (...) remedy for unreliable information. Self‐regulatory initiatives such as trust mark seals for websites providing reliable information offer a more promising perspective, although these also have their limitations, especially in the sphere of enforcement and legitimacy. In this paper, self‐regulation is nonetheless hailed as an important instrument because it provides an indispensable test‐bed for more concrete legal norms derived from reliability criteria for information. Even if self‐regulation may not completely materialise, discussion about self‐regulation could be a stepping stone to the development of pertinent social norms. (shrink)

Software agents that play a role in E-commerce and E-government applications involving the Internet often contain information about the identity of their human user such as credit cards and bank accounts. This paper discusses whether this is necessary: whether human users and software agents are allowed to be anonymous under the relevant legal regimes and whether an adequate interaction and balance between law and anonymity can be realised from both the perspective of Computer Systems and the perspective of Law.

Software agents extend the current, information-based Internet to include autonomous mobile processing. In most countries such processes, i.e., software agents are, however, without an explicit legal status. Many of the legal implications of their actions (e.g., gathering information, negotiating terms, performing transactions) are not well understood. One important characteristic of mobile software agents is that they roam the Internet: they often run on agent platforms of others. There often is no pre-existing relation between the owner of a running agents process (...) and the owner of the agent platform on which an agent process runs. When conflicts arise, the position of the agent platform administrator is not clear: is he or she allowed to slow down the process or possibly remove it from the system? Can the interests of the user of the agent be protected? This article explores legal and technical perspectives in protecting the integrity and availability of software agents and agent platforms. (shrink)

Martin Buber: The Life of Dialogue , the first study in any language to provide a complete overview of Buber's thought, remains the definitive guide to the full range of his work and the starting point for all modern Buber scholarship. As well as summarizing Buber's early intellectual development and attitudes - his mysticism, his youthful existentialism, his philosophy of Judaism and religious socialism - it focuses on the two crucial issues of his mature thought: his dialogic or I-Thou philosophy, (...) and his probing of the nature and redemption of evil. As a sensitive, intuitive and perennially fascinating account of one of the twentieth century's great spiritual teachers, and as an influential classic in its own right, Martin Buber: The Life of Dialogue reveals the implications of Buber's thought for theory of knowledge, education, philosophy, myth, history and Judaic and Christian belief. This fully revised and expanded 4th edition includes a new preface from the author, an expanded bibliography incorporating new Buber scholarship, and two new appendices in the form of essays on Buber's influence on Emmanuel Levinas and Mikhail Bakhtin. (shrink)

First published in 1945, Maurice Merleau-Ponty’s monumental _Phénoménologie de la perception _signalled the arrival of a major new philosophical and intellectual voice in post-war Europe. Breaking with the prevailing picture of existentialism and phenomenology at the time, it has become one of the landmark works of twentieth-century thought. This new translation, the first for over fifty years, makes this classic work of philosophy available to a new generation of readers. _Phenomenology of Perception _stands in the great phenomenological tradition of (...) Husserl, Heidegger, and Sartre. Yet Merleau-Ponty’s contribution is decisive, as he brings this tradition and other philosophical predecessors, particularly Descartes and Kant, to confront a neglected dimension of our experience: the lived body and the phenomenal world. Charting a bold course between the reductionism of science on the one hand and "intellectualism" on the other, Merleau-Ponty argues that we should regard the body not as a mere biological or physical unit, but as the body which structures one’s situation and experience within the world. Merleau-Ponty enriches his classic work with engaging studies of famous cases in the history of psychology and neurology as well as phenomena that continue to draw our attention, such as phantom limb syndrome, synaesthesia, and hallucination. This new translation includes many helpful features such as the reintroduction of Merleau-Ponty’s discursive Table of Contents as subtitles into the body of the text, a comprehensive Translator’s Introduction to its main themes, essential notes explaining key terms of translation, an extensive Index, and an important updating of Merleau-Ponty’s references to now available English translations. Also included is a new foreword by Taylor Carman and an introduction to Merleau-Ponty_ _by Claude Lefort. Translated by Donald A. Landes. (shrink)

At the time of his death in May 1961, Maurice Merleau-Ponty held the chair of Philosophy at the College de France. Together with Jean-Paul Sartre and Simone de Beauvoir, he was cofounder of the successful and influential review Les Temps Modernes. However, after Merleau-Ponty's two studies of Marxist theory and practice (Humanisme et Terreur and Les Aventures de la Dialectique), he alienated both orthodox Marxists and "mandarins of the left" such as Sartre and de Beauvoir. Perhaps his most lasting (...) contribution to the interpretation of human existence was his formulation of a positive philosophical approach to psychology the foundations of which were clearly outlined in The Structure of Behavior and later more fully developed in Phenomenology of Perception. (shrink)

Book Information Aesthetic Concepts--Essays after Sibley. Edited by Emily Brady and Jerrold Levinson. Clarendon Press. Oxford. 2001. Pp. ix + 239. £35.

What is conceptual art? Is it really a kind of art in its own right? Is it clever – or too clever? Of all the different art forms it is perhaps conceptual art which at once fascinates and infuriates the most. In this much-needed book Peter Goldie and Elisabeth Schellekens demystify conceptual art using the sharp tools of philosophy. They explain how conceptual art is driven by ideas rather than the manipulation of paint and physical materials; how it challenges (...) the very basis of what we can know about art, as well as our received ideas of beauty; and why conceptual art requires us to rethink concepts fundamental to art and aesthetics, such as artistic interpretation and appreciation. Including helpful illustrations of the work of celebrated conceptual artists from Marcel Duchamp, Joseph Kosuth and Piero Manzoni to Dan Perjovschi and Martin Creed, Who’s Afraid of Conceptual Art? is a superb starting point for anyone intrigued but perplexed by conceptual art - and by art in general. It will be particularly helpful to students of philosophy, art and visual studies seeking an introduction not only to conceptual art but fundamental topics in art and aesthetics. (shrink)

This paper is concerned with the possibility of an objectivism for aesthetic judgements capable of incorporating certain ‘subjectivist’ elements of aesthetic experience. The discussion focuses primarily on a desired cognitivism for aesthetic judgements, rather than on any putative realism of aesthetic properties. Two cognitivist theories of aesthetic judgements are discussed, one subjectivist, the other objectivist. It is argued that whilst the subjectivist theory relies too heavily upon analogies with secondary qualities, the objectivist account, which allows for some such analogies at (...) the epistemological level, is too quick to ground aesthetic judgements in perceptual experiences alone. Further, it is held that aesthetic justification can, contra the objectivist theory under scrutiny, be based on an appeal to generally available justifying reasons without overthrowing the non-inferential character of aesthetic judgements. This possibility relies on a clearly established delineation between (i) aesthetic perception and aesthetic judgement, (ii) justifying reasons and explaining reasons, and (iii) judgement-making and judgement-justification. (shrink)

The main aim of this paper is to examine the practice of describing intellectual pursuits in aesthetic terms, and to investigate whether this practice can be accounted for in the framework of a standard conception of aesthetic experience. Following a discussion of some historical approaches, the paper proposes a way of conceiving of aesthetic experience as both epistemically motivating and epistemically inventive. It is argued that the aesthetics of intellectual pursuits should be considered as central rather than marginal to our (...) philosophical accounts of aesthetic experience, and that our views about the relation between the aesthetic and cognitive domains should be reconfigured accordingly. (shrink)

[vol. non numéroté] Notice. 1952. v. 1. Livres petit alif, grand alif ba' gim. 2. éd. 1967. v. 2. Livres dal, he zay, hha', tta' 2. éd. 1967. v. 3. Livres ya' et lam, et index alphabétiques des 3 volumes. 1948.

Can there be a philosophy of taste? This paper opens by raising some metaphilosophical questions about the study of taste – what it consists of and what method we should adopt in pursuing it. It is suggested that the best starting point for philosophising about taste is against the background of 18th-century epistemology and philosophy of mind, and the conceptual tools this new philosophical paradigm entails. The notion of aesthetic taste in particular, which emerges from a growing sense of dissatisfaction (...) with an undifferentiated category of taste, comes to be set apart from gustatory taste on account of its normativity and aspirations to objectivity. The paradox of taste, as found in Hume and Kant, is examined, and shown to be highly relevant to contemporary metaphysical debate within aesthetics. Specifically, this paper argues that both Realists and Anti-Realists rely more heavily than assumed on the idea of taste. (shrink)

A person can appropriately manifest respect toward a world heritage ruin by developing a sensitive understanding of the ruin’s cultural and historical context and significance. In this paper, we link such respectful understanding to the question of the aesthetic appreciation of world heritage ruins. Our claim is that an aesthetic appreciation of a world heritage ruin qua world heritage ruin typically involves two things: first, the responsibility not to neglect the individuality of the object, and, second, a commitment to the (...) idea that it is the object—respectfully conceived—which must be the focus of our appreciation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 36.2 (2003) 119-134 [Access article in PDF] The Constitution of Rhetoric's Tradition Maurice Charland Rhetoric is not a discipline. That is to say, as a domain of theoretical and practical knowledge, rhetoric is weakly institutionalized, lacking a centralized arbiter and standardized set of procedures for establishing truth claims. It also lacks the basic characteristics that Michel Foucault defines as disciplinary, for while we can identify (...) "groups of objects, methods, their corpus of properties considered to be true, the interplay of rules and definitions, of techniques and tools," these are neither universally admitted, nor do they "constitute a sort of anonymous system, freely available to whoever wishes, or whoever is able to make use of them, without their being any question of their meaning" (1972, 222). On the contrary, despite the fact that rhetoric is usually figured as offering practical and, indeed, positive knowledge, the meaning of its terms is always being questioned and at stake. While we might, by considering terms loosely, seek to identify rhetoric in terms of objects such as "persuasion," or "discourse," these are not exclusively its province. Furthermore, the ends of rhetoric are themselves unclear. Is rhetoric really the art of discovering the available means of persuasion? Or is it an art of citizenship? Or a method of enquiry? It has at times been defined as each. Consequently, none of these methods can fix its identity. At most, we can say that "rhetoric," as a domain of knowledge, signals a commitment to the idea of agency in discourse.Rhetoric, while not disciplinary, nevertheless "hangs together" as a domain of knowledge even though it does not cohere conceptually. It is, or comes close to being, a "discursive formation." That is to say, we can identify a field that produces statements concerning discourse and its operations, which is characterized by certain regularities that articulate with the term rhetoric itself. The first such regularity is the gesture of negation. Rhetoric refuses philosophy (or acts out having been refused by philosophy). [End Page 119] Rhetoric further is defined against other intellectual genres: rhetoric is not poetics, is not political science, is not ethics, though it may "speak" to them. Ultimately, though, this tells us very little about the nature of rhetoric's difference, for while refusal is effective in positing the existence of a boundary between rhetoric and other domains, the location of that boundary and what it contains remains unspecified. Rhetoric must also be attributed an at least provisional sense. This is accomplished by rhetoric's second gesture, which initially appears more substantial. Rhetoric is framed in terms of the positivity of a foundational "tradition." Indeed, the gesture toward tradition is ubiquitous. Consider, for example, both the title and principles of organization of Patricia Bizzell and Bruce Herzberg's (1990) anthology, George Kennedy's (1998) recursion to the idea of "tradition" even as he attempts to present rhetoric as a natural and cross-cultural phenomenon, recent feminist works that explicitly address "the tradition," 1 the routine citation of Classical authorities and examples, the recurrence of "new" rhetorics, including Burke's dramatism, Perelman's theory of argumentation, as well as Barthes' semiotics, which are offered as supplements to tradition's lacks, and, finally, the energy devoted to the study of the history of rhetoric. The rhetorical tradition, as something bequeathed or put in play by ancient teachers, appears to offer rhetoric a substance, a literature, and a set of problems, particularly through variants of two other principles of discursive formation identified by Foucault, commentary and the author-function. Even so, the gesture toward tradition does not imply the existence of a historically rooted and fixed corpus or model: "Tradition" is a vague term, there is no unproblematic canon of texts to be commented upon, and tradition itself, rather than Aristotle, Plato, or Cicero, stands as "author." What we debate is the meaning of the "tradition," the uneasy relationship between Socrates and Sophists, Plato and Aristotle, but as positions rather than personae. Furthermore, in the name of rhetoric, ancient and modern texts are often read against the grain, and what is... (shrink)

A symposium on Bence Nanay, Aesthetics as Philosophy of Art and Murray Smith, Film, Art, and the Third Culture. Commentaries on the two books by two critics, followed by responses by the two book authors.

This Book Incorporates Prof. Friedman S Lectures And Discussions That Were A Part Of The Inter-Cultural Dialogue At Many Levels. His Major Contribution Is In Developing An Approach That Is Within The Framework Of The Human Image.

A lonely man at a mysterious sanatorium overlooking the sea is befriended by a young woman with a jealous boyfriend.

This volume is most probably the first collection of papers by analytic Anglo-American philosophers tackling these concerns head-on.

Two common strategies have dominated attempts to account for the nature of taste. On the one side, we have an affectivist understanding of taste where aesthetic attribution has to do with the expression of a subjective response. On the other side, we find a non-affectivist approach according to which to judge something aesthetically is to epistemically track its main aesthetic properties. Our main argument will show that neither emotion nor perception can explain the nature of aesthetic taste single-handedly. In this (...) paper, our principal aim is to examine the relationship between perceptual discernment and emotional sensibility as we find it in the process of ascribing aesthetic qualities. Is it the nature of the specific aesthetic property in question which determines the way in which perception and emotion are balanced in aesthetic attribution, or is it, rather, something about how our sensory skills operate? One of the notions we would like to explore in greater detail in this context is the idea of attunement, or the way in which aesthetic agents can align themselves to the content of an artwork o in order to better grasp its content and significance. According to our proposed picture, the exercise of taste involves an adjustment of one’s emotional sensibility to the aesthetic character of o. From here, we will posit both emotional and perceptual training as part of an agent’s aesthetic education in her use of aesthetic terms. (shrink)

Embodied Care is the first work to argue for the body's centrality to care ethics, doing so by analyzing our corporeality at the phenomenological level.

The experience of grace is currently attracting increased empirical interest. Validated instruments to assess aspects of the experience of grace in a secularized context are scarce which limits current psychological research on grace in other than highly religious populations. We present a bottom-up construction of the Experiencing Grace Scale (EGS) and evidence supporting its reliability and validity. Confirmatory factor analysis showed a good fit for the four subscales: Appraising Grace, Giving Grace, Receiving Grace, and Divine Grace. Reliability analysis showed overall (...) good internal consistency and test–retest stability. Convergent validity was demonstrated by means of expected associations between subscales of the EGS and other relevant measures. Predictive validity was confirmed by associations between subscales of the EGS at measurement Wave 1 with mental well-being scales at Wave 2. The EGS contributes to further research on the experience of grace and its relationship to other psychosocial variables in the field of positive psychology. (shrink)

_Tradition in Social Science _is the social philosophy written early in life by the jurisprudent who became the preeminent public law jurist in France in the first quarter of the twentieth century, Maurice Hauriou. His work remains prominent in theorizing European Community as well as in Latin American jurisprudence. His studies concern three areas of research: legal theory, social science, and philosophy. In this book Hauriou first focuses on the object and method of the social sciences in a preliminary (...) chapter. The main text is devoted first to a philosophy of history that uses the growth objectively in fraternity, liberty and equality as the criterion for progress; and next to the subjective elements of progress, namely, the recognition of a “pessimistic individualism” in which failure in conduct is to be expected, but is rectified by social institutions. This part closes with the dynamizing of his philosophy of history by evolution and alternation between two phases of social development, namely, middle ages and renaissances. The second part is the philosophy of social science built around social matter, where the dynamic of imitation is the motive force, and three social networks—positive, religious, and metaphysical—specify its consequences. The last of these, the political fabric, is provided with a final chapter of its own. The main doctrinal device that Hauriou developed for use in law was his theory of the institution; this is developed for the first time in the present work. (shrink)

In this paper I distinguish between different kinds of failures of aesthetic judgements with a view to exploring a form of failure that involves the outright omission of aesthetic judgement. Such omissions come to pass when an object of attention could or ought to have been experienced and judged aesthetically but where such an experience or judgement simply failed to arise, and can be traced back to at least three kinds of reason: (1) lack of aesthetic quality; (2) lack of (...) appropriate ontological status; and (3) lack of aesthetic prominence. I shall examine some aspects of this kind of failure and argue that a missed opportunity to experience an object of attention’s aesthetic character is a missed opportunity to engage with that object’s aesthetic potential where such potential, although not always accessible to us, can nonetheless retroactively be said to pertain to the object in a meaningful sense also under experientially unfavourable conditions. This warrants talk of rehabilitation to some degree. (shrink)

Recently, cognitivist accounts about art have come under pressure to provide stronger arguments for the view that artworks can yield genuine insight and understanding. In Gregory Currie’s Imagining and Knowing: Learning from Fiction, for example, a convincing case is laid out to the effect that any knowledge gained from engaging with art must “be judged by the very standards that are used in assessing the claim of science to do the same” (Currie 2020: 8) if indeed it is to count (...) as knowledge. Cognitivists must thus rally to provide sturdier grounds for their view. The revived interest in this philosophical discussion targets not only the concept of knowledge at the heart of cognitivist and anti-cognitivist debate, but also highlights a more specific question about how, exactly, some artworks can (arguably) afford cognitive import and change how we think about the world, ourselves and the many events, persons and situations we encounter. This paper seeks to explore some of the ways in which art is capable of altering our epistemic perspectives in ways that might count as knowledge despite circumventing some standards of evidential requirement. In so doing we will contrast two alternative conceptions of how we stand to learn from art. Whereas the former is modelled on the idea that knowledge is something that can be “extracted” from our experience of particular works of art, the latter relies on a notion of such understanding as primarily borne out of a different kind of engagement with art. We shall call this the subtractive conception and cumulative conception respectively. The cumulative conception, we shall argue, better explains why at least some insights and instances of knowledge gained from art seem to elude the evidential standards called for by sceptics of cognitivism. (shrink)

What is the value of art? Standard responses draw on the different kinds of value that we tend to ascribe to individual artworks. In that context, none have been more significant than aesthetic value and moral value. To understand what makes an artwork valuable we then need to examine the interaction between these two kinds of value and how this contributes to the artwork's final value. The main aim of this article is to highlight two areas of concern for interaction (...) theories, in order to improve our understanding of the dynamic relations between kinds of value in art. In the first instance, I shall outline the main tenets of the three leading interaction theories. Next, I shall discuss what it might mean to say that an artwork has moral value, in an attempt to establish on what grounds interaction theories base their central claims. Subsequently, I will look at how our conception of art's moral value affects the possibility of a bona fide form of value interaction, or one capable of shaping a work's final value in conjunction with its aesthetic value. Finally, I shall turn to a discussion of the notion of aesthetic value. (shrink)

In the context of a broad welcome to Bullot & Reber's (B&R's) proposals concerning the incorporation of contextual awareness into the study of the psychology of art appreciation, I raise two concerns. First, the proposal makes no allowance for degrees of relevance of contextual awareness to appreciation. Second, the authors assume that and can be maintained as separate phases or modes, but this may be more problematic than anticipated.

This doctoral thesis is an examination of the possibility of ascribing objectivity to aesthetic judgements. The aesthetic is viewed in terms of its being a certain kind of relation between the mind and the world; a clear understanding of aesthetic judgements will therefore be capable of telling us something important about both subjects and objects, and the ties between them. In view of this, one of the over-riding aims of this thesis is the promotion of an ‘aesthetic psychology’, a philosophical (...) approach, that is to say, which emphasises the importance of the psychological processes involved in the making of aesthetic judgements. One of the aims of this thesis is to develop a revisionary account of the distinction between objectivity and subjectivity in the domain of value. This revision will undertake to dismantle some of the assumptions implicit in a metaphysical framework which traditionally ascribes objectivity only to judgements about facts, and not to judgements about values and other concerns such as norms and emotions. Further, the thesis examines the intricate ways in which aesthetic properties, the focus of aesthetic judgements, depend on the (emotional and other) responses of the subjects of experience. The particular role played by first-hand experience in the making of aesthetic judgements is among the things critically investigated in the interests of reaching a clearer understanding of the manner in which aesthetic judgements may be objective in the sense of being justifiable. Eventually, a defence is outlined of the view that aesthetic judgements can be supported by good reasons, but not in the same way as ordinary cognitive judgements. Finally, I outline the main tenets of a proposed ‘reasonable objectivism’ for aesthetic judgements, an objectivism grounded on justifying reasons. (shrink)

The last decade has seen a significant increase in empirical research into the nature of art and aesthetic experience in the Anglo- American scientific community. Much of the impetus for this came from the publication of three special issues of the present journal on the theme of 'Art and the Brain' . A decade or so later, it seems timely to consider the extent to which these new approaches have filtered through into wider philosophical understanding. Many philosophers express scepticism towards (...) empirical aesthetics. This paper seeks to re-examine the grounds for any such scepticism and proposes a new reading of the explanatory power of scientific approaches. It begins by separating the data provided by such theories into three categories. Having identified a particular conceptual problem, it argues that many empirical accounts fail to distinguish sufficiently between the aesthetic and the artistic, and that this is a source of considerable philosophical concern. It then suggests that empirical aesthetics should be divided into two branches, namely empirical aesthetics and empirical art theory. Although such a division may seem to restrict the explanatory reach of scientific accounts somewhat in philosophy, it highlights the numerous ways in which empirical investigations can nonetheless strengthen and benefit philosophical analyses. (shrink)