This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Errata slip inserted. Bibliography: p. 137-140.

This pioneering work investigates the profound implications of Wittgenstein's philosophy to the practice, theory and criticism of the arts. The essays exemplify Wittgenstein's method of conceptual investigation and highlight his notion of philosophy as a cure.

This book, a member of the Series in Affective Science, is a unique interdisciplinary sequence of articles on the cognitive neuroscience of emotion by some of ...

This essay introduces a running symposium on the work of Richard Rorty and its legacy fifteen years after his passing. The arc of Rorty's thought defines a trajectory through American pragmatism, tracing a variation unimagined until he expressed it. His work raised Anglophone philosophers’ interest in American pragmatism as never before and also focused the interest of the whole world on American pragmatism as never before, even though the result was to define a pragmatism saturated with nominalism and suppressing (...) the most original qualities of the sources that he celebrated. (shrink)

This volume of new essays energizes a growing movement in film theory which questions and seeks to overturn many of the assumptions that have governed film theory for the last twenty years. The book brings together film scholars and philosophers in a united commitment to the standards of argumentation that characterize analytic philosophy rather than a single doctrinal approach. The essays address such topics as authorship, emotion, ideology, representation, and expression in film.

Projecting Illusion offers a systematic analysis of the impression of reality in the cinema and the pleasure it gives to the film spectator. Film provides a compelling experience that can be considered as a form of illusion akin to the experience of day-dream and dream. Examining the concept of illusion and its relationship to fantasy in the experience of visual representation, Richard Allen situates his explanation within the context of an analytical criticism of contemporary film and critical theory. (...) He argues that many contemporary film theorists correctly identify the significance of the impression of reality, although their explanation of it is incorrect because of an invalid philosophical understanding of the relationship between the mind, representation and reality. Offering a clear presentation and critique of the central arguments of contemporary film and critical theory, Allen also touches on fundamental issues in current discourses of philosophy, art history and feminist theory. (shrink)

Richard Allen; Emotion, Religion and Education, Journal of Philosophy of Education, Volume 7, Issue 2, 30 May 2006, Pages 181–194, https://doi.org/10.1111/j.146.

This comprehensive Gandhi reader provides an essential new reference for scholars and students of his life and thought. It is the only text available that presents Gandhi's own writings, including excerpts from three of his books—An Autobiography: The Story of My Experiments with Truth, Satyagraha in South Africa, Hind Swaraj —a major pamphlet, Constructive Programme: Its Meaning and Place, and many journal articles and letters, along with a biographical sketch of his life in historical context and recent essays by highly (...) regarded scholars. (shrink)

This is the first full exploration of the implications of Wittgenstein's philosophy for understanding the arts and cultural criticism. These original essays by philosophers and critics address key philosophical topics in the study of the arts and culture, such as humanism, criticism, psychology, painting, film and ethics. All exemplify Wittgenstein's method of conceptual investigation and highlight his notion of philosophy as a cure.

On Anthropomorphism concerns itself with performances and artworks that explore the complex of interesting and mutually contradictory ideas located under the umbrella term, ‘anthropomorphism’. On the one hand, it is used to refer to something that resembles a human, and on the other hand it refers to our natural tendency to read human characteristics in the non-human object or animal. Moreover, an interrogation of the concept of anthropomorphism, especially as it is found in contemporary performance, suggests that there is not (...) a singular line dividing the human from the non-human but a vast terrain that houses the comical, the uncanny and the abject. The aim of this issue is to elucidate anthropomorphism in its multitude of aspects, thereby shedding light on discourses around object theatre and ecological performance that attempt to understand the more-than-human world in a way that goes beyond ‘mere’ anthropomorphism. (shrink)

Ethical Studies is one of the most enlightening works of moral philosophy in English. This article surveys the principal structural theme running throughout it, but will concentrate on its more explicit development at the beginning and end of the book, Essays II and VI, and the “Concluding Remarks.” Essay II formulates the formal requirements of morality in terms of self-realization, and the remaining Essays survey possible contents, the valuable elements of which are brought together, with further materials, in Essays VI (...) and VII. But Bradley finds that morality involves a contradiction, and so, in order to resolve that contradiction, it issues into something more than morality, namely, religion. However, this article will show that Bradley’s resolution of this contradiction is not satisfactory and that, once morality is conceived as an ἐνέργεια and not a γένεσις, an activity and not a process, this contradiction vanishes. Yet morality does, nevertheless, on Bradley’s own principles, find its completion in religion when so conceived; and such an argument was developed in detail in the great work of one of Bradley’s pupils, A. E. Taylor’s Faith of a Moralist, Vol. I. (shrink)

Richard Allen; Emotion, Religion and Education, Journal of Philosophy of Education, Volume 7, Issue 2, 30 May 2006, Pages 181–194, https://doi.org/10.1111/j.146.

In this first complete account of Hartley's thought, Richard C. Allen explains Hartley's theories of physiology, perception and action, language and cognition, emotional development and transformation, and spiritual transcendence. By drawing a biographical portrait of its subject, the book explores the relationship of mind and body in Hartley's system, and surveys Hartley's influence upon later scientists and social reformers, particularly Joseph Priestley.

This edited volume of original contributions deals with the economic and political thought of Michael Polanyi. Requiring little prior knowledge of Polanyi, this volume further develops a somewhat neglected side of Polanyi's work. In particular it examines the 'tacit integration', of subsidiary details into focal objects or actions as central to all knowing and action. It traces ontological counterparts in the structures of comprehensive entities and complex actions, and a multi-level universe in which lower levels have their boundary conditions, the (...) extents to which they apply, determined by those of the next higher level, whilst each possessing its own laws or operative principles. This schema of 'dual control' preserves the reality and relative autonomy of each level, and its interactions with others, against the various reductions. The essays in this volume also employ and develop important additional concepts and distinctions such as: 'corporate' and 'spontaneous' order; 'public' and 'private' liberties; 'general' and 'specific authority'; and 'moral inversion'; which, as the essays show, are necessary for understanding and maintaining a free society and the freedom of institutions within it. Among the topics treated with them are: more of the prerequisites of freedom in public liberties dedicated to principles and transcendent values; totalitarianism and society as spontaneous order; the balance of general and specific authority in society and particular institutions; reductionism, totalitarianism and consumption in consumer societies, as moral inversions; the mutual interactions of economics and politics as distinct and autonomous but interacting levels; the sociological aspects of economics; and Polanyi's own contributions to sociology. Although, as indicated, Polanyi has his special terms, the essays in this volume, like his works, give them meaning with concrete examples and so avoid merely shuffling a mass of abstractions. Together the essays show that his work is a rich seam of ideas and inspiration for yet further extension and application--Publisher. (shrink)

The introduction discusses the influence of two kinds of philosophy to film theory. It describes and clarifies the characteristic methods and strategies of analytic philosophy and film theory, and continental philosophy and film theory. It is concerned with the description of methods, debates, and principles of analytic philosophy with reference to the contributions of philosophy to film theory. It informs and provides indication of issues, methods, and doctrines. It examines, criticizes, and defends the use of exponents of analytic and continental (...) philosophy. All throughout the introduction, it is noted that analytic philosophy is conceived as a pedantic, conservative discipline by scholars of film, media, and culture while continental philosophy is seen as having more imaginative richness and being more focused on moral and ideological issues. However, the aim of analysing film theory is not to stop the pursuit of any specific doctrine but to improve the rigor with its pursuit. (shrink)

In this article I introduce the term ‘theatrical latency’ as a pleasurable effect experienced when listening to sound in relation to visual perception. Latency refers to both the phenomena of audio delay and a theatrical sensation that comes from the reanimation of visual environments through aural framing. In this configuration, the notion of latency takes on a double meaning as both a recorded phenomenon and the retrieval of something dormant within physical objects, sites or materials. These ideas will be introduced (...) through my experience of walking Katrina Palmer’s site-specific audio work The Loss Adjusters on the island of Portland. The audio tracks create an extended meditation on Portland, interweaving specific locations and histories with fictional characters and ghosts of the island. (shrink)

The Magician's Apparatus is an essay for the exhibition catalogue of The Collector's Room Exhibition at JGM Gallery in London, curated by Karen David. The Collector’s Room sees JGM Gallery transformed into a parlour room of a collector with a leaning towards illusion, stage magic and the escapologist Harry Houdini. In this room we encounter artworks such as spirit levels, levitations, gospel magic props, tarot cards, portraits of magicians, antique keys, handcuffs, sword boxes, escape trunks, magic wands, smoke, and mirrors. (...) The essay focuses on an encounter I had with a waxwork double of Paul Daniels at Wookey Hole Caves. It considers the central operation of the magicians’ craft: employing a decoy to misdirect, opening up the space between fact and fiction, the real and the made up. When watching a magic trick, the audience is knowingly placed at the centre of a conceit, an illusion that they are both complicit in but also kept separated from. A magician's audience always knows that the trick is not showing us what is actually happening - showing the spectator the mechanism of the illusion - but it is pretending to do that thing. Like the waxwork double, the magic trick is a simulation of reality that is always slightly distorted, always off-centre, always a theatrical manifestation of the real. (shrink)

University of Buffalo New York Department of Art Gallery. The ancient philosopher Protagoras is most famous for his claim: “Of all things the measure is Man” and today, Western societies continue to promote anthropocentrism, an approach to the world that assumes humans are the principal species of the planet. We naturalize a scale of worth, in which beings that most resemble our own forms or benefit us are valued over those that do not. The philosophy of humanism has been trumpeted (...) as the hallmark of a civilized society, founded on the unquestioned value of humankind defining not only our economic, political, religious, and social systems, but also our ethical code. However, artists recently have questioned whether humanism has actually lived up to its promises and made the world a better place for humankind. Are we better off privileging humans above all else or could there be other, preferable, ways to value life? With the continued prevalence of violent crimes, even genocide, in the twentieth and twenty-first centuries, we see the ways in which the discourse of humanism falters, as groups are targeted through rhetoric reducing them to the subhuman, and therefore disposable. But what if the subhuman, nonhuman, and even the non-animal and material, were reconsidered as objects of worth even if far removed from us? (shrink)

This short video essay was presented at Glasgow Buzzcut Symposium 'Side Burns' on Wednesday 5th April 2017. It is called The Weird World of Donald Trump. It argues how America’s current encounter with the world of Donald Trump is akin to the weird realism of H.P Lovecraft, drawing upon Mark Fisher’s account of the weird - defined by Lovecraft’s fiction - as an encounter that can encompass grotesque sensations of fear when experiencing an object or being that shape shifts and (...) transforms itself. The weird, in this sense challenges and creeps into the perceived safety and certainty of everyday life to frightening political effect. The essay presents a short reading of Trump’s world against the philosophy of Lovecraft’s weird as a way of thinking about how the encounter with it might be understood and challenged. If a community can find a language to describe the sensation of what they are experiencing then there is hope that it can be collectively overcome, claiming a space within the weird, facing up to the thing on the doorstep. (shrink)

This essay examines the ways narratives succeed or fail to provide a life with structure and direction, as exemplified in Louisa May Alcott's "Little Women" and George Eliot's "Middlemarch". Whether a narrative can be a moral compass depends on the presence of what Eliot calls "a coherent social faith." The debate between Edmund Burke and Thomas Paine provides a framework for my analysis of the problematic status of such a social faith in the modern world. This analysis in turn sheds (...) light on contemporary work on narrative, community, and ethics by Hans Frei, Stanley Hauerwas, George Lindbeck, and Alasdair MacIntyre. (shrink)

A recent issue of Topics in Cognitive Science featured 11 thoughtful commentaries responding to our article “What happened to cognitive science?” (Núñez et al., 2019). Here, we identify several themes that arose in those commentaries and respond to each. Crucial to understanding our original article is the fundamental distinction between multidisciplinary and interdisciplinary endeavors: Cognitive science began (and has stayed) as multidisciplinary but has failed to move on to form a cohesive interdisciplinary field. We clarify and elaborate our original argument (...) and reiterate the importance of a data‐driven evaluation of the current status of the field, which exhibits a marked disciplinary imbalance, a lack of a coherent conceptual core, and a striking absence of a consistent curriculum in the institutions that grant degrees in this domain. Half a century after the creation of cognitive science, it may now be a good time to revisit goals and visions for how to best approach the ever‐fascinating scientific study of the mind(s). (shrink)