This article is a phenomenological exploration and description of certain selected aspects of living the specificities and conundrums posed by what is usually, if problematically, called a ‘phantom limb’. Using my own body as an ‘intimate laboratory’, I attend to the dynamics and mutability of the supposed ‘phantom’, both during the post-operative period of the above-the-knee amputation of my left leg as well as after I began to use and incorporate my prosthetic leg. Throughout, I explore the reversible aspects of (...) my two legs as ‘phantom’ and ‘real’, present and absent, and visible and invisible — paying attention, as well, to the lived and linguistic sense we make of our bodies in ‘parts’ and our bodies as ‘whole’. (shrink)

The foundational basis of the cinematic moving image is camera movement, which occurs not only in the image but also, and from the first, as the image. This essay approaches off-screen camera movement through phenomenological description of the gestalt structure of its four interrelated onscreen forms: the moving image as an intentional and composite “viewing view/viewed view”; the moving image as “qualified” by optical camera movement through subjective modes of spatiotemporal transcendence; the movement of subjects and objects in the moving (...) image as seen by a world-directed camera; and the spatial movement of the camera, whose perspectival vision affirms its status as an embodied, if anonymous, “quasi-subject,” whose visually perceptive motility responds to its world in visibly expressive mobility. Throughout, the essay develops Maurice Merleau-Ponty’s claim that the cinema is, perhaps, the phenomenological art par excellence, given that its “technical methods” correspond to an “existential” and phenomenological “mode of thought.”. (shrink)

This essay argues that the digitization and proliferation of contemporary screens has moved us from a “screen-scape” to an encompassing “screen-sphere” – a new topologically-bounded and systemically-organized domain that has not only radically changed our lifeworld but also our ontological and epistemological comportment in it. With reference to recent cartoons and other popular discourses as well as to Humberto Maturana and Francesco Varela’s description of, and distinction between, “autonomous” and “autopoietic systems,” the essay speculates on the organizational structure of this (...) new “screen-sphere” and, more significant, our positioning in relation to it. (shrink)

Choreography for One, Two, and Three Legs approaches the intentional formation of bodily movement and expression from the various perspectives of individuals who are differently abled. Exploring what it is for a non-dancer to experience various rhythms and movements and spaces with crutches, prosthetic leg, and cane, the essay interweaves phenomenological description and interpretation of suddenly defamiliarized daily activities with discourse drawn from the experiences of professional dancers who are differently abled. The aim is to foreground the opacities, transparencies, and (...) ambiguities of a more general sense of embodied and expressive movement that subtends the abled and differently abled and the non-dancer and dancer, and to acknowledge the lived and living body as the common ground that enables all of our thoughts, movements, and modes of expression, however differentiated their myriad forms and satisfactions. (shrink)

Using the form of cinematic montage, this essay explores the nature of historical consciousness in a mass-mediated culture where historical discourse takes the form of both showing and saying, moving images and written words. The title draws upon and argues with Roland Barthes's critique of the duplicity of the "insistent fringes" that supposedly reduce and naturalize "Roman-ness" to fringed hair in popular historical film. Barthes presumes a "certainty" in such a cinematic image, and hence deems it mythological-that is, "it goes (...) without saying." Countering Barthes with Walter Benjamin, one might argue that the "insistent fringe" is insistently historical and constitutes, in its insistence, a "dialectical image": a site and sight full of contradictions and open to excavation. That is, it concretizes historiographic saying by showing. Neither historiographic saying nor showing are privileged in medias res-in a culture saturated in images and textuality, in competing modes of expression each of which has its limits. Historical consciousness is sparked and constituted from both showing and saying. Indeed, the "insistent fringe" is precisely not clear-cut-and, if it insists on anything, it is its serrated nature, its articulation as a limit that differs from, but is constituted by, the elements of the two distinct domains which it both separates and connects. Similarly, there is a dynamic, functional, and hardly clear-cut relation that exists between the mythological histories wrought by Hollywood cinema and the academic histories written by scholars. They co-exist, compete, and cooperate in a contingent, heteroglossic, and always shifting ratio-thus constituting the "rationality" of contemporary historical consciousness. (shrink)

Vivian Sobchack _Screening Space: The American Science Fiction Film_ New Brunswick, New Jersey: Rutgers University Press, 1987 ISBN 0-8135-2492-X 345 pp.

This article explores melodrama's capacity to evoke strong emotional responses with a focus on the ending of King Vidor's Stella Dallas. It suggests a consideration of the phenomenological concept of instrument-mediation as coined by Vivian Sobchack as a filmic structure that fosters melodrama's emotional appeal and the spectator's engagement with it. It suggests a self-reflexive element in highly emotional film scenes that inscribes the spectator's subject position into the film, thus enabling the film to impact the spectator's body. (...) This reflection of a spectator's perspective enables and fosters the communication of emotionality. Consequently, instrument-mediation describes one function and strategy of the melodramatic mode. (shrink)

By means of Vivian Sobchack’s semiotic film phenomenology, we may examine our immediate perceptual acts in film experience in order to determine the ways that the primordial language of embodied existence found at this primary level grounds the secondary level of the more explicit interpretations we give to the film’s elements. Although Gilles Deleuze is openly defiant toward the phenomenological tradition, his studies of film experience can serve this purpose as well, because he is interested in the direct (...) and pre-verbal significance of cinematic images. To bring his observations more fruitfully into film phenomenological studies, I will examine his notion of the discordantly operating body and offer a phenomenological interpretation for his notion of cinematic signs. I then apply this Deleuzian semiotic film phenomenology to his analysis of deep focus cinematography in Orson Welles’ Citizen Kane. When watching one particular scene, different layers of our film experience, namely, those of visual and of temporal depth, collide in such a way that they provide the phenomenal basis for us to produce a temporal interpretation of the spatial relations held between the displayed images. (shrink)

Philosophical and technoculture studies surrounding the existential understanding of the human–technology–world experience have seen a slow but steady increase that makes a turn to material hermeneutics in the second decade of the twenty-first century (Ihde in Postphenomenology: essays in the postmodern context. Northwestern University Press, Evanston, 1993; Capurro in AI Soc 25(1):35–42, 2010; Romele in Digital hermeneutics: philosophical investigations in new media and technologies. Routledge, Abingdon, 2020; among others). This renewed focus makes sense because human–technology–world experiences need to be interpreted. (...) And many of these are more complicated to study, precisely because technology is at the root of the experiences. One interesting subset of technologies is media technologies, also called digital media, which intertwines the device and the content to mediate together in the world (Irwin in Digital media: human-technology connection. Lexington Books, Lanham, 2016). Visual media technologies and media content, together, through what is called moving image technologies, create virtual role-playing, virtual and augmented reality, video games, and social media focused worlds that have become central experiences in contemporary culture. Just as image-based scientific instruments read the world in different ways, so to do these visual mediated experiences. How might this comingled “reading” of technology explain the digital film language and experience? I contend that understanding the existential “early” film experience helps understand the new age of cinema, with implications for digital media, digital representation of the visual, and technoscience and technoculture studies. The material hermeneutics perspective called postphenomenology is one way to study these visually focused human–technology–world perceptual and interpretive experiences. Don Ihde’s methodological framework (1990, 1993, 1996, 2002, 2010, 2012, 2016, 2019) is both an idea from technoscience studies and a set of nuanced vocabulary that helps to explore and reveal variations, patterns, and trajectories of the whole-body experience of technology. This use case will first explore traditional cinema and then the “new age” term “moving image”, to learn more about this complicated and radically transforming technological experience. Work by Don Ihde and Vivian Sobchack is considered. (shrink)

In this paper, I argue that the video game Asteroids’ enduring appeal turns on its ability to be read as futurist text. I connect Asteroids’ black and white aesthetic to the phenomenologist Vivian Sobchack’s notion of postfuturism. Central to postfuturism is a change from representations of space as deep to representations of space as surface, incapable of concealment. I consider materials designed to absorb almost all visible light—which I call holoblacks—as pushing past representations of space as surface into (...) a paradigm of non-representation of space or space as non-representation. I argue that this non-representation is what is meant by Martin Heidegger in the concept of a thing. I therefore offer an interpretation of Heidegger’s Lichtung, or clearing, in which holoblacks act as a vehicle for the gathering, disclosure and nearing of world which I call ‘clearance futurism’. I conclude by reading Asteroids as a clearance futurist text. (shrink)

The Gendered Cyborg brings together material from a variety of disciplines that analyze the relationship between gender and technoscience, and the way that this relationship is represented through ideas, language and visual imagery. The book opens with key feminist articles from the history and philosophy of science. They look at the ways that modern scientific thinking has constructed oppositional dualities such as objectivity/subjectivity, human/machine, nature/science, and male/female, and how these have constrained who can engage in science/technology and how they have (...) limited our ideas of the possibilities for both humanity and science. Later sections contain readings that present key feminist theories about representation to examine how gender and technoscience are represented in areas of particular contemporary interest: the new human reproductive technologies, science fiction, film and the Internet. The readings constantly ask "Is this for women, for human beings?" Contributors: Alison Adam, Anne Balsamo, Lynda K. Bundtzen, Barbara Creed, Mary Ann Doane, Dion Farquhar, Jennifer González, Evelynn M. Hammonds, Donna Haraway, Fiona Hovenden, Luce Irigaray, Linda Janes, Gill Kirkup, Nina Lykke, Sadie Plant, Rosalind Pollack Perchesky, Londa Schiebinger, Vivian Sobchack, Deborah Lynn Steinberg, Nancy Leys Stepan, Nina Wakeford, Kathryn Woodward. (shrink)

In contemporary film theory, body and mind have been central to explorations of film form, representation, and spectatorship. While the soul may seem to have no place here, the history of film theory and its legacy to the present suggest otherwise. From the origins of film theory - from Hugo Münsterberg through French Impressionism to writings of the Weimar Republic - to the mid-twentieth century work of Henri Agel and Amédée Ayfre and Henri Agel, as well as Edgar Morin, the (...) soul emerges as a multi-faceted, if contested, concept. By revisiting such key moments in the history of film theory, and tracing the survival of this concept through to a range of cutting-edge debates today, from the work of Vivian Sobchack to Jean-Luc Nancy, Gilles Deleuze to Torben Grodal, The Soul of Film Theory tells the heretofore tacit tale of the relation between cinema and the soul, from classical to contemporary times, in dialogue with philosophy, religion, and science. (shrink)

This chapter surveys foundational concepts in the history of phenomenology for the purpose of highlighting their relevance for key contemporary issues in the philosophy of film. A central argument concerns phenomenology’s capacity for unraveling the ontology of film, given phenomenology’s emphasis on accounting for the ontology of phenomena through description based in first-person experience. On this ground, the chapter defends the claim that film’s ontology stems from the projective intentionality of the film viewer, where the communicative nature of embodied vision (...) also figures into play. The principal phenomenological frameworks taken up are those of Edmund Husserl, Martin Heidegger, and Maurice Merleau-Ponty, as well as the work of contemporary film scholar Vivian Sobchack. (shrink)

This article reassesses the concept of identification in line with the increased importance phenomenology has taken on in film-philosophy of the 1990s and 2000s. In the 1970s and 1980s, a Lacanian psychoanalytic interpretation of identification dominated film theory and criticism, and spectatorial engagement with elements of films was understood as what psychoanalysis calls secondary identification – the identification with stable subject-positions (characters) in the film-text. But non-Lacanian psychoanalysis and Merleau-Ponty’s existential phenomenology offer film-philosophy a very different understanding of identification as (...) a non image-based, ‘blind’, bodily affective tie that is established between spectators and what Vivian Sobchack describes as ‘the sense and sensibility of materiality itself’ (Sobchack 2004, 65). By first exploring how this more bodily (for psychoanalysis, primary ) identification is theorized by psychoanalysts (Freud, Paul Schilder, Henri Wallon) and by film theorists (Kaja Silverman), the article proposes that film criticism make greater use of it in order to engage more meaningfully with the visible cultural specificities – size, skin colour, age, sex – of the images of bodies viewed on cinema screens. It is not just ‘the’ body that needs bringing back into thinking about film spectatorship, but culturally differentiated bodies , both on the screen and in the auditorium. A psychoanalytic and phenomenological film criticism of embodied cultural identity, one that attends to the materiality of the film and of the body-images and objects on the screen, may be the most culturally and politically useful successor to ‘screen’ theory of the 1970s and 1980s. (shrink)

Global changes in capital, power, technology and the media have caused massive shifts in how we define home and community, leaving redrawn territories and globalized contexts. This interdisciplinary study of the media brings together essays by accomplished critics to discuss the way film, television, music, and computer and electronic media are shaping identities and cultures in an increasingly globalized world. Ranging from intensely personal to highly theoretical, the contributors explore our complex negotiation of "home" and homeland" in a postmodern world. (...) Contributors: Homi Bhabha, Thomas Elsaesser, Rosa Linda Fregoso, Teshome H. Gabriel, George Lipsitz, Margaret Morse, David Morley, John Peters, Patricia Seed, Ella Shohat, and Vivian Sobchack. (shrink)

While it is possible, as Vivian Sobchack and others show, to illuminate film through Merleau-Ponty’s philosophy, it is more difficult to find within Merleau-Ponty’s work a coherent and systematic reflection on cinema. This absence is seldom interrogated. This article addresses what this absence might reveal by analyzing the reasons why Merleau-Ponty stopped short of an explicit discussion of film. The argument builds on these analyses to show how what Merleau-Ponty found problematic about cinema might turn out to be (...) one of cinema’s most resourceful features. For Merleau-Ponty, cinema is caught between a deadening exactitude and a disappointing partiality. It is because of these two apparently opposing extremes that Merleau-Ponty sidelines cinema. However, the pairing of exactness and partiality provides an interesting moment for reflection. Intuitively the two should not coexist, since they appear mutually exclusive. Yet their coexistence seems to renew rather than foreclose a thinking of film. Guided by these two terms, Jean-Luc Nancy produces his own thought on cinema. To show how film is apt at capturing the essential excess and ambiguity of the world, the article will turn to the Lebanese film Je Veux Voir, which offers a powerful instance of cinema’s simultaneous exactitude and partiality.Bien qu’il soit possible, comme Vivian Sobchack et d’autres l’ont démontré, d’illuminer le cinéma à partir de la philosophie de Merleau-Ponty, il est beaucoup plus difficile de trouver dans l’oeuvre de Merleau-Ponty une réflexion cohérente et systématique sur le cinéma. Cette absence est rarement interrogée pour elle-même. Cet article considère ce que cette absence peut révéler en analysant les raisons pour lesquelles Merleau-Ponty ne s’est pas engagé dans une réflexion explicite sur le cinéma. En nous appuyant sur ces analyses, nous montrons que ce que Merleau-Ponty trouvait de plus problématique dans le cinéma est peut-être sa ressource la plus précieuse. Pour Merleau-Ponty, le cinéma est pris entre une exactitude abrutissante et une partialité décevante, et c’est pour cette raison que Merleau-Ponty le met sur la touche. Cependant, le jumelage de l’exactitude et de la partialité devrait nous donner matière à réflexion. Intuitivement, les deux ne devraient coexister : ils apparaissent s’exclure l’une l’autre. Pourtant, leur coexistence est en mesure de renouveler plutôt que d’exclure une pensée du cinéma. C’est guidé par ces deux termes que Jean-Luc Nancy produit sa propre pensée du cinéma. Pour montrer comment le cinéma est à même de capturer l’excès et l’ambiguïté essentiels du monde, nous proposons une lecture du film libanais Je Veux Voir, et montrons comment il offre un exemple puissant de la simultanéité de l’exactitude et de la partialité dans le cinéma. Mentre è possibile, come Vivian Sobchack e altri hanno mostrato, comprendere il film attraverso la filosofia di Merleau-Ponty, risulta più difficile rintracciare all’interno del suo lavoro una riflessione coerente e sistematica sul cinema. Se quest’assenza è stata di rado oggetto di discussione, questo articolo propone invece di interrogarsi sul possibile significato di questa assenza analizzando le ragioni per cui Merleau-Ponty non ha sviluppato una riflessione esplicitamente dedicata al cinema. Sulla base di questa analisi, si intende mostrare che ciò che Merleau-Ponty trova problematico riguardo al cinema può invece rivelarsi una delle sue caratteristiche più preziose. Secondo Merleau-Ponty, il cinema si trova costretto tra una monotona esattezza e una deludente parzialità. È a causa di questi due estremi, apparentemente opposti, che Merleau-Ponty accantona il cinema. Tuttavia, la coppia esattezza-parzialità fornisce un interessante spunto di riflessione. Intuitivamente, i due termini non dovrebbero poter coesistere: sarebbero invece reciprocamente esclusivi. Eppure, la loro coesistenza sembra rinnovare piuttosto che precludere una riflessione sul cinema. È sulla scorta di questi due termini che Jean-Luc Nancy sviluppa il proprio pensiero su questo tema. Al fine di mostrare come il cinema sia in grado di catturare l’eccesso e l’ambiguità essenziali del mondo, l’articolo propone una lettura del film libanese Je Veux Voir, che offre un esempio efficace della simultanea esattezza e parzialità del cinema. (shrink)

This article reconsiders some of the arguments that I made in my two phenomenology-inspired books on what I have called the “filmic identification” in the cinema: Les structures de l’expérience filmique and Essai sur l’image et la communication. While the former has received some attention in film studies via Vivian Sobchack’s mediating work in her influential essay “Toward a Phenomenology of Nonfictional Film Experience”, the latter is little known in film studies and phenomenological circles. The two guest editors (...) have therefore asked me to introduce and update my former position and place it in the intellectual climate of French-speaking film studies from the 1950s to the 1980s—that is, from the filmology movement to the dominance of semiology and psychoanalysis. (shrink)

In this essay I engage the perspective of film phenomenology to analyze the black screen as a frame-breaking negative experience, based on an understanding of cinema as event. Relying on Vivian Sobchack’s phenomenological approach and taking inspiration from Cecil M. Hepworth’s How It Feels to Be Run Over, a case in point for a method predicated on the question of “how,” I place emphasis on the “film’s body” and consciousness which, through its own paralysis and impairment, affects the (...) spectator’s lived-body. Following the terminology of sociologist Erving Goffman, I approach both a car accident at the turn of the twentieth century and 9/11 on the cusp of the new millennium as frame-breaking events that generate a profound negative experience. I then describe the black screen in 9/11 films as a frame-breaking occurrence that creates a negative event in its own right. The encounter with the breakage of the conventional mechanisms and modes of the “film’s body” as well as the forced sensory shift lead the spectator to a heightened awareness of his/her own body as a receiving medium that empathetically partakes in the experience of a negative event at the scene of cinema, both perceptually and reflexively. (shrink)

This article sets up a neurophenomenological approach to understanding cinema spectatorship in order to investigate how embodied engagement with technologies of sound and motion can foster a sense of experiential realism. It takes as a starting point the idea that the empirical study of emotive, perceptual, motor, and cognitive processes involved in film spectatorship is impoverished without a phenomenological account of the lived experience under investigation. Correspondingly, engaging with neuroscientific studies enriches the scope of phenomenological inquiry and offers new insights (...) into the film experience. Analysis of diverse films including Interstellar, Leviathan, San Andreas and The Thin Red Line reveals how technological innovations dating from Hale’s Tours to contemporary D-BOX and Dolby Atmos systems have enhanced the audience’s sense of immersion and corporeal investment in the film experience. Building on the research of Vivian Sobchack and Vittorio Gallese, I argue that aesthetic techniques including the use of low frequency sound effects and wearable cameras facilitate shared affective engagement and a form of embodied simulation associated with kinaesthetic empathy and augmented narrative involvement. (shrink)

As an art theoretician, and as a father, I focus on the social and political consequences of Vanderbeeken’s postmodernist negative theology. I express doubts about the relevance of a poetics of catastrophe that conflates any possible alternative to the alleged technocracy under the sign of the simulacrum. To my opinion, the discourse about the virtual and the real are in a deadlock. Following the lead of American novelist Thomas Pynchon, I rephrase these critical doubts in Luddite terms: should we imagine (...) a counterattack as radical as the alleged dystopian nightmare dreamed up and sketched out by Vanderbeeken? I try to show that this line of thinking risks to result in a bold and speculative logic where ethical nuance collapses and, ultimately, the relationship between art, theory and the social culture is reduced to metaphorical analogy. To make this point I retake a critical, phenomenologically inspired reaction by Vivian Sobchack to Baudrillard’s account of Crash, J.G. Ballard’s controversial novel on techno-fetishism. My argument is that the scar that marks Sobchack’s ‘technobody’ might here stand for an alternative that approaches our technological condition not as a discursive machine but as a social pragmatics with deep ethical implications. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Materialities of CommunicationEric DeanThe Materialities of Communication, edited by Hans Ulrich Gumbrecht and K. Ludwig Pfeiffer; xvi & 447pp. Stanford: Stanford University Press, 1994, $52.50 cloth, $17.95 paper.In closing this collection, Hans Ulrich Gumbrecht outlines the common purpose which makes it more than a random assortment. There has been, as he characterizes it, a theoretical shift in the humanities “from interpretation as identification of given meaning-structures to (...) the reconstruction of those processes through which structures of articulated meaning can at all emerge” (p. 398). He motivates this shift by suggesting that theorists should no longer pursue final and therefore unchanging explanations, but rather should create provocations for changes in perspective. Focusing on the processes through which meaning can emerge—the materialities of communication rather than the insubstantialities of interpretation—stimulates the constant change, the perpetual “renegotiation of self-reference,” which Gumbrecht recommends as the rightful role of theory.The breadth of these ambitions is reflected in the scope of the collection. There are twenty-five essays from twenty-six writers, predominately German, including two from each editor—a context piece and a separate contribution. The range of subjects is enormous. There is one essay on ancient Egyptian signs and another on how the immune system creates the self it both recognizes and preserves. One touches on Nietzsche’s abortive attempt to save his eyesight by using an early version of the typewriter, another interprets the fall of the Roman Empire as the corruption of the postal system (Egyptian in origin) used to deliver the command, imperium, which constituted the Empire in the first place. The scholarly contexts range widely as well—from sociological communication theory to media history to biology to art criticism.There are some delightful curiosities the writers bring to light. For example, at one point in “The Early History of German Television,” the authors, M. Elsner, T. Muller, and P. Spangenberg are describing how fantasies about the new technology outran practicalities. They cite an illustration from a 1928 German magazine in which a man is shown lying in bed, “with a fragmented dashboard in front of him—he seems to steer some technical apparatus and, at the same time, to look at a mountain panorama, which is seen from a bird’s eye view on a kind of projection screen. The caption deciphers the illustration for us: ‘Marvels that we might still experience: viewing the world from bed through [End Page 395] television. The apparatus above the bed serves to operate, by remote control, an airplane that carries the filming apparatus...’” (p. 117).In other places too the writing evades the risk of self-absorption implicit, for all its purportedly exterior focus, in Gumbrecht’s theoretical project. Vivian Sobchack, for instance, closes an interesting meditation on film and electronic technologies this way: “Within the context of this material and technological crisis of the flesh, one can only hope that the hysteria and hyperbole surrounding it is strategic—and that through it the lived-body has, in fact, managed to reclaim its existence and against our attention, to forcefully argue for simulation. For there are other subjects of electronic culture out there who prefer the simulated body and a virtual world...” (pp. 105–6).By the end, though, I found myself wondering whether it was really possible to put this diversity together as a whole, whether the purportedly redeeming concreteness of a program focused on The Materialities of Communication wasn’t at odds with the idea that there is much in common among all these different materials. Coeditor K. Ludwig Pfeiffer, may have inadvertently provided the epigraph for the book. “Iago incites Othello to the greatest nonsense,” he writes, “because Othello no longer differentiates between manipulated sensual certainty and credibility” (p. 59). I wonder about a theoretical perspective that calls Othello’s torment his “nonsense,” and I wonder whether the advocates of such a perspective might not be manipulating sensual certainty to perhaps equally bleak, though in this case unintended, ends.Eric DeanChicago, IllinoisCopyright © 1995 The Johns Hopkins University Press... (shrink)

Race/Class/Gender otherwise known as Intersectionality is one of the most important theoretical precepts developed in the past two decades in women's and gender studies and in the social sciences and humanities. Yet the concept remains elusive and poorly understood. This book seeks to solve these problems by answering the basic questions surrounding intersectionality in prose undergraduate students can understand and appreciate.

This volume brings together a number of papers by Vivian Salmon, previously published in various journals and collections that are unfamiliar, and perhaps even inaccessible, to historians of the study of language. The central theme of the volume is the study of language in England in the 17th century. Papers in the first section treat aspects of the history of language teaching. The second section consists of three articles on the history of grammatical theory. The papers in the third (...) and final section deal with the search for the universal language. (shrink)

Before 1933 commentaries on laws were exclusively juristic texts, written and read only by legal professionals. Beginning in 1934, scholars from different disciplines, especially medical scientists, began writing juristic commentaries. The essay examines the reasons for this development and explores how it changed the genre, using the example of the most important commentary on theBlutschutz-andEhegesundheitsgesetz, which resulted from the collaboration of two medical professionals and a legal professional. The article argues that the recruitment of non-juristic authors and the corresponding methodological (...) changes were caused by a debate on a possible “reform” of juristic commentaries which took place in law journals. From the perspective of the National Socialist regime, the genre in its traditional form was not compatible with the Third Reich’s philosophy of law.In this new genre, commentaries not only referred to legal problems, but also dealt with issues from other disciplines, such as medical questions. The essay modifies Mitchell G. Ash’s theoretical approach regarding the “entanglement” of jurisprudence and other disciplines. Law and other sciences became, according to Ash, “resources for one another”: Legal scholars could claim that legal decisions were based on scientific facts and therefore “unquestionable.” The affected disciplines also gained greater importance as a result of this process in which their findings becoming legally relevant. This transformation also enabled them to acquire resources for new research projects.Moreover, the essay examines the connection between this development and the change of audience within German courts. Not only did the authors of the commentaries change, but also the recipients: Many laws passed after 1933 introduced new courts using lay judges, professionals with a non-law background. These “experts” came from multiple fields connecting them to the new law, such as medical professionals. (shrink)

The current pandemic represents unprecedented times in medical education. In addition to the already strenuous demands of medical school, the SARS-CoVid-2 pandemic introduced a new source of ethical and moral pressure on students. Medical students navigated finishing their didactic years in isolation and initiated their clinical rotations in a pandemic environment. Many medical students found themselves in the frustrating position of being non-essential healthcare workers but still wanting to help. This paper follows the personal and shared experiences of a second-year (...) medical student transitioning to their third year. In particular, this paper examines the author’s personal ties to the disability community through their family, and how this impacted their approach in striving to aid in the pandemic. (shrink)

ZusammenfassungAb 1934 traten vermehrt Wissenschaftler unterschiedlicher Disziplinen, insbesondere Mediziner, als Autoren einer vormals rein rechtswissenschaftlichen Fachtextgattung auf, nämlich des juristischen Kommentars. Der folgende Text geht am Beispiel des maßgeblichen, von zwei Ärzten und einem Juristen verfassten Rechtskommentars zum Blutschutz- und Ehegesundheitsgesetz von 1935 der Frage nach, wie sich dadurch die Gesetzeserläuterung veränderte. Hintergrund ist eine ab 1934 in den juristischen Fachzeitschriften geführte Debatte um eine Reform des Genres Gesetzeskommentar, das in seiner herkömmlichen Anlage als inkompatibel mit dem nationalsozialistischen Rechtsdenken galt.Der (...) Aufsatz versucht diesen Prozess in Ausweitung des Theorieansatzes Mitchell G. Ashs als „Verflechtung“ des Rechts mit anderen Wissenschaften zu begreifen, die zu beiderseitigem „Vorteil“ war: Auf der einen Seite konnte sich die Jurisprudenz auf vorgeblich „wissenschaftlich-objektive“ Befunde berufen, die, anders als juristische Abwägungen – so die Suggestion –, als „nicht hinterfragbar“ angesehen wurden. Andererseits verlieh die unmittelbare Rechtsrelevanz bestimmter Befunde aus den betreffenden Wissenschaften diesen Disziplinen insgesamt einen höheren gesellschaftlichen Stellenwert, der wiederum die Erschließung neuer Forschungsfelder ermöglichte.Geprüft wird außerdem ein möglicher Zusammenhang mit einer partiellen Veränderung der Gerichtslandschaft: Mit der verstärkten Gesetzeskommentierung durch Nicht-Juristen erweiterte sich schließlich auch der Adressatenkreis der betreffenden Schriften. Auf Grundlage vieler ab 1933 geschaffener Gesetze wurden neue Gerichte ins Leben gerufen, an denen sogenannte sachkundige Laienrichter mitentschieden – „Fachleute“ aus den Disziplinen, auf die sich die Gesetzgebung nun berief. (shrink)

As most philosophers recognize, the body’s central role in touch differs from the role it plays in the other sense modalities. Any account of touch must then explain the pivotal nature of the body’s involvement in touch. Unlike most accounts of touch, this paper argues that the body’s centrality in touch is not phenomenological or experiential: the body is not felt in any special way in tactile experiences. Building on Aristotle’s account in De Anima, I argue that the body is (...) central in touch because it is the medium of tactile perception. Touch depends on the body as vision and audition depend on air or any medium that can transmit light or sound waves. I show that it is precisely because the body must be transparent in order to transmit tangible properties that it cannot be perceived or experienced in tactile perception. Although this account conflicts with the widespread view that tactile perception is mediated by bodily sensations, I maintain that it explains how the structure and constitution of the human body contribute directly to what we feel in tactile experiences and that it provides a better understanding of the relation between the sense of touch and our bodily feelings. (shrink)

Most philosophers consider olfactory experiences to be very poor in comparison to other sense modalities. And because olfactory experiences seem to lack the spatial content necessary to object perception, philosophers tend to maintain that smell is purely sensational or abstract. I argue in this paper that the apparent poverty and spatial indeterminateness of odor experiences does not reflect the “subjective” or “abstract” nature of smell, but only that smell is not directed to particular things. According to the view defended in (...) this paper, odors are properties of stuffs. This view, motivated by several arguments grounded in the phenomenology of olfactory experience, explains in particular why odors appear to be located both in the air around our nose and in the objects from which they emanate. It also explains the power of smell in the task of discriminating chemical compounds. (shrink)

Despite the bombardment of AI ethics frameworks (AIEFs) published in the last decade, it is unclear which of the many have been adopted in the industry. What is more, the sheer volume of AIEFs without a clear demonstration of their effectiveness makes it difficult for businesses to select which framework they should adopt. As a first step toward addressing this problem, we employed four different existing frameworks to assess AI ethics concerns of a real-world AI system. We compared the experience (...) of applying the AIEFs from the perspective of (a) a third-party auditor conducting an AI ethics risk assessment for the company, and (b) the company receiving the audit outcomes. Our results suggest that the feel-good factor of doing an assessment is common across the AIEFs that can take anywhere between 1.5 and 20 h to complete. However, each framework provides different benefits (e.g., issue discovery vs. issue monitoring) and is likely best used in conjunction with one another at different stages of an AI development process. As such, we call on the AI ethics community to better specify the suitability and expected benefits of existing frameworks to enable better adoption of AI ethics practice in the industry. (shrink)

The idea that looking at a photograph is akin to face-to-face perception and that photographs provide genuine perceptual access to the objects they depict was notoriously defended by Kendall Walton in “Transparent Pictures.” Walton’s main thesis is that photographs are transparent in the sense that we can see objects through them. The main goal of this article is to support Walton’s view by providing a full account of photographic transparency. I will argue that the transparency that characterizes photography is not (...) metaphorical but in fact exhibits all the essential properties of transparent materials. To understand how a photograph can be transparent, one must understand the special type of causal connection between a photograph and what it shows. Building on Fritz Heider’s work, I will argue that photography is a visual medium, like air, water, glass, or mirrors, capable of transmitting the visual properties of distant objects to the perceiver. (shrink)

Most objectivist and dispositionalist theories of color have tried to resolve the challenge raised by color variations by drawing a distinction between real and apparent colors. This paper considers such a strategy to be fundamentally erroneous. The high degree of variability of colors constitutes a crucial feature of colors and color perception; it cannot be avoided without leaving aside the real nature of color. The objectivist theory of color defended in this paper holds that objects have locally many different objective (...) colors. Most color variations are then real and result from the extreme richness of color properties. (shrink)

The considerable literature discussing Walter Benjamin’s “idea of happiness” points both to the important role it plays in his thought and, in this context, to the diversity of interpretations his elliptic style has generated. The pivotal role played by the term in Benjamin’s oeuvre from his early writings on language to his Passagenwerk originates in what has been regarded as his “dialectics of happiness.” While this is certainly a plausible diagnosis, a closer look at the wording of the relevant passages (...) in Benjamin’s oeuvre reveals more nuanced and numerous manifestations of the indirectness that characterizes his approach to happiness. Benjamin invokes the term “happiness” (Glück) at crucial crossroads in his thought. It oscillates between potentiality and inaccessibility; individual and collective experience; commemoration and utopia, Eros and emancipation, concrete phenomena and abstract ideas, and last but not least between politics and theology. Equally striking are the divergent modes of expression in which Benjamin’s notion of happiness is articulated. They range from the inexpressible (das Ausdruckslose) to the most lyrical effusions. My talk will correlate Benjamin’s seemingly incommensurable invocations of happiness with the very detours, incompletions, and indirections in his writings about this state of being. (shrink)

There are growing bodies of evidence demonstrating the benefits of equity, diversity, and inclusion on academic and organizational excellence. In turn, some editors have stated their desire to improve the EDI of their journals and of the wider scientific community. The Royal Society of Chemistry established a minimum set of requirements aimed at improving EDI in scholarly publishing. Additionally, several resources were reported to have the potential to improve EDI, but their effectiveness and feasibility are yet to be determined. In (...) this commentary we suggest six approaches, based on the Royal Society of Chemistry set of requirements, that journals could implement to improve EDI. They are: adopt a journal EDI statement with clear, actionable steps to achieve it; promote the use of inclusive and bias-free language; appoint a journal’s EDI director or lead; establish a EDI mentoring approach; monitor adherence to EDI principles; and publish reports on EDI actions and achievements. We also provide examples of journals that have implemented some of these strategies, and discuss the roles of peer reviewers, authors, researchers, academic institutes, and funders in improving EDI. (shrink)

The theory of mind (ToM) framework has been criticised by emerging alternative accounts. Each alternative begins with the accusation that ToM's validity as a research paradigm rests on the assumption of the ‘unobservability’ of other minds. We argue that the critics' discussion of the unobservability assumption (UA) targets a straw man. We discuss metaphysical, phenomenological, epistemological, and psychological readings of UA and demonstrate that it is not the case that ToM assumes the metaphysical, phenomenological, or epistemological claims. However, ToM supports (...) the psychological UA as a claim about cognitive processes responsible for mindreading. The latter can be interpreted as a claim that (a) neither the other's ‘mindedness’ in general nor the other's particular mental states are observable (i.e. apprehended perceptually); (b) particular mental states are unobservable, whereas some aspects indicative of ‘mindedness’ are observable; (c) some mental states are unobservable but some are also observable. Whereas the critics tend to attribute (a) to ToM, most ToM accounts actually take positions (b) or (c). We conclude that the allegations against ToM for positing UA are seriously misdirected. We further bring out an important stipulation of any account of observability of mental states: mental states are not observable in the same way as the sensory properties of physical objects. (shrink)

Many authors acknowledge that people share emotions in various social contexts. However, the deeper role of social relationships for shared emotions is poorly understood. I argue that shared emotions are affected by the social relationships in which they emerge. Moreover, shared emotions help people to bond. In order to do so, emotional experiences involve an intentional component that tracks the state of our social relationships. I introduce some new terminology that helps us to clearly distinguish between different kinds of emotional (...) phenomena. I propose to use the term social-relational emotions for emotions the subcomponents of which interact across individuals. I borrow from Helm the distinction between the target, the formal object and the focus of an emotion. By drawing insights from relationship science in general and relational models theory in particular, I elaborate on and explore the idea that shared emotions track social relationships as their foci. Sharing an emotion is experienced as rewarding even when the shared emotion itself is not a pleasant one, because it makes people feel “closer” to one another. (shrink)

Mindreading is often considered to be the most important human social cognitive skill, and over the past three decades, several theories of the cognitive mechanisms for mindreading have been proposed. But why do we read minds? According to the standard view, we attribute mental states to individuals to predict and explain their behavior. I argue that the standard view is too general to capture the distinctive function of mindreading, and that it does not explain what motivates people to read minds. (...) In order to understand why mindreading is evolutionarily adaptive, individually beneficial, and motivationally compelling, we need to include another level of explanation: the level of social relationships. I introduce a theory of the cognitive underpinnings of social relationships—the relational models theory of Alan Fiske. I outline the hypothesis that the function of mindreading is to shape social relations. I further hypothesize that mindreading is often motivated by social emotions. If mindreading serves r.. (shrink)

BackgroundDespite the extensive research on war atrocities and risk factors for psychopathology, there is a paucity of research on the potential mediating and moderating effect of neuroticism in refugee children and adolescents.ObjectiveThis study aimed to analyze whether neuroticism mediated and/or moderated the relationship between war atrocities and different types of psychopathology in Syrian refugee children and adolescents who resettled in Lebanon and Jordan.Participants and SettingParticipants were 1,000 Syrian refugee children and adolescents of both sexes.MethodsQuestionnaires were administered in an interview format (...) with children at school by two trained psychologists. Descriptive statistics and inter-correlations among variables were used Then the mediator and moderator effect of neuroticism in the relationship between war atrocities and posttraumatic stress, emotion regulation and behavioral and emotional disorders were examined.ResultsA partial mediating effect of neuroticism on posttraumatic stress disorder, emotion dysregulation, and emotional and behavioral disorders was revealed. Findings also indicated full moderating effects of neuroticism on PTSD as well as partial moderating effects on emotion dysregulation, and emotional and behavioral.ConclusionsFindings contribute to the neuroticism literature by showing that high-N children develop more problems that are psychopathological and have more severe affective reactions to war atrocities in post- resettlement contexts. Early interventions aimed to reduce neuroticism might contribute to a better prognosis in refugee children at high-risk for psychological disorders. (shrink)