Sensationalistic Phenomenalism and Economy of Thought. On Ernst Mach's Concept of Science. Ernst Mach, natural scientist and major precursor of the Vienna Circle, never wants to be a philosopher. Nevertheless his writings are full of valuable hints for a modern theory of human knowledge – with respect to economical, historical and evolutionary aspects. His kind of phenomenalism is sensationalistic, monistic and instrumentalistic. This article deals with some contributions of his approach to actual debates in the general philosophy of science.

One important concern regarding implantable Brain Computer Interfaces is the fear that the intervention will negatively change a patient’s sense of identity or agency. In particular, there is concern that the user will be psychologically worse-off following treatment despite postoperative functional improvements. Clinical observations from similar implantable brain technologies, such as deep brain stimulation, show a small but significant proportion of patients report feelings of strangeness or difficulty adjusting to a new concept of themselves characterized by a maladaptive je ne (...) sais quoi despite clear motor improvement. Despite the growing number of cases in the DBS literature, there is currently no accepted or standardized tool in neuroethics specifically designed to capture the phenomenological postoperative experience of patients implanted with DBS or BCI devices. Given potential risks of postoperative maladaptation, it is important for the field of neuroethics to develop a qualitative instrument that can serve as a shared method for capturing postoperative variations in patient experience of identity and agency. The goal of this article is to introduce an instrument we have developed for this purpose and call for further neuroethical efforts to assess the phenomenology of implantable brain device use. (shrink)

Report on the symposium “The Conflict of Forms of Life in Wittgenstein's Philosophy of Language”, November 22–25, 1995, Passau, Germany. The main issues were the conflicts between different forms of human life and how Wittgenstein's later philosophy contributes to the problem of understanding of other cultures.

some lighthearted definitions of philosophical terms.

Goering and colleagues (2017) acknowledge closed-loop neural devices have the potential to undermine agency. Indeed, the authors observe that “the agent using the device may . . . sometimes doubt whether she is the author of her action, given that the device may operate in ways that are not transparent to her” (65). Still, the authors ultimately argue that closed-loop neural devices may be construed as supporting agency, especially when we view agency from a relational perspective. The reason? We (...) often manifest our agency in relation with others. For example, family and close friends sometimes step in to support us in setting and achieving our aims. In a similar way, then, the authors argue that “we can imagine [a closed-loop] device stepping in to support the user in achieving her aim” (67). Closed-loop neural devices, in other words, can be construed as supporting one’s agency in much the same way as other people can be seen as supporting one’s agency. The authors thus conclude that when we view agents from a relational perspective, closed-loop neural devices may be viewed as supporting rather than undermining agency. I largely agree with the authors’ conclusion. I also believe, however, that their discussion can be clarified by distinguishing three kinds of agency and viewing closed-loop neural devices from the perspective of each. By thinking carefully about agency, we can see more clearly the ways in which it is undermined by closed-loop neural devices, as well as the way in which these devices may support agency. (shrink)

Peer commentary on: Goering, S., Klein, E., Dougherty, D. D., & Widge, A. S. (2017). Staying in the loop: Relational agency and identity in next-generation DBS for psychiatry. AJOB Neuroscience, 8(2), 59-70.

How do gym-goers who are normally not inclined to resort to appearance- and performance-enhancing drugs (APEDs) progressively normalize their use? Based on data collected through a year and a half of participant observation in a gym and thirty semi-directive interviews with practitioners with varying profiles in French-speaking Switzerland, this article examines the evolution of practitioners’ relations with APED use by articulating various levels of analysis. Associated with social vulnerabilities, the progressive normalization of APED use is concomitant with the “conversion” to (...) bodybuilding. Our results show the extent to which and under what conditions interactions within the layout of gyms can influence practices. From refusal to normalization, our results suggest that APEDs and the associated beliefs coincide with career stages, which we aim to bring to light here. (shrink)

This paper evaluates Sara Goering’s recent attempt to use the Rawlsian notion of the veil of ignorance as a tool for distinguishing permissible from impermissible forms of genetic engineering. I argue that her article fails due to a failure to include vital contextual information in the right way.

What is film? Why are movies important? Why do we care about them in the way we do? How do we think of the connections between the projected image and what it is actually an image of? Most movie-goers assume that they are entitled to make jugments and come to conclusions about the movies they see--to evaluate how "good" they are, or what they "mean." But what do they base, or what should they base, their judgments on? In this thought-provoking (...) new book, Stanley Cavell, a professor of philosophy and aesthetics at Harvard who has long taken a lively interest in movies, looks closely at these and other questions concerning America's most popular art and the perceptions we make of, by, and through it. His answers are surprising and important--not only to our understanding of film and of ourselves, but to our expectations of life and art. Mr. Cavell's explorations of some of Hollywood's stars, directors, and most famous films--as well as his fresh look at Godard, Bergman, and other great European directors--will be of lasting interest to movie-viewers and intelligent people of all ages. (shrink)

In modern, Western societies the purpose of schooling is to ensure that school-goers acquire knowledge of pre-existing practices, events, entities and so on. The knowledge that is learned is then tested to see if the learner has acquired a correct or adequate understanding of it. For this reason, it can be argued that schooling is organised around a representational epistemology: one which holds that knowledge is an accurate representation of something that is separate from knowledge itself. Since the object of (...) knowledge is assumed to exist separately from the knowledge itself, this epistemology can also be considered ‘spatial.’ In this paper we show how ideas from complexity have challenged the spatial epistemology’ of representation and we explore possibilities for an alternative ‘temporal’ understanding of knowledge in its relationship to reality. In addition to complexity, our alternative takes its inspiration from Deweyan ‘transactional realism’ and deconstruction. We suggest that ‘knowledge’ and ‘reality’ should not be understood as separate systems which somehow have to be brought into alignment with each other, but that they are part of the same emerging complex system which is never fully ‘present’ in any (discrete) moment in time. This not only introduces the notion of time into our understanding of the relationship between knowledge and reality, but also points to the importance of acknowledging the role of the ‘unrepresentable’ or ‘incalculable’. With this understanding knowledge reaches us not as something we receive but as a response, which brings forth new worlds because it necessarily adds something (which was not present anywhere before it appeared) to what came before. This understanding of knowledge suggests that the acquisition of curricular content should not be considered an end in itself. Rather, curricular content should be used to bring forth that which is incalculable from the perspective of the present. The epistemology of emergence therefore calls for a switch in focus for curricular thinking, away from questions about presentation and representation and towards questions about engagement and response. (shrink)

The international protest surrounding the Copenhagen Zoo’s recent decision to kill a healthy giraffe in the name of population management reveals a deep moral tension between contemporary zoological display practices—which induce zoo-goers to view certain animals as individuals, quasi-persons, or friends—and the traditional objectives of zoos, which ask us only to view animals as specimens. I argue that these zoological display practices give rise to moral obligations on the part of zoos to their visitors, and thus ground indirect duties on (...) behalf of zoos to their animals. I conclude that zoos might take on interspecies friendship as a new zoological objective. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:SCANDAL AND IMITATION IN MATTHEW, KIERKEGAARD, AND GIRARD David McCracken University ofWashington Charlie Chaplin once entered a Charlie Chaplin look-alike contest, but his resemblance was insufficient for the first- or secondplace prize. He finished third, and thus created a small scandal: the judges—experts on Charlie Chaplin—proved to be so inept that they could not recognize the genuine article1. The simple, mimetic entertainment of a look-alike contest can become more (...) interesting when marked by a spirit of ironic play, which we may plausibly attribute to Charlie Chaplin, and it certainly becomes more interesting when marked by the scandal of inept authorities. Scandals have a way of attracting attention: we take notice, and often pleasure, when experts are shown to be fools. If, on the other hand, we are the experts, then we are likely to take offense and become embarrassed or uncomfortable, defensive or aggressive, humiliated or angry. Either way, we may be scandalized—at the actions of others or at the treatment of ourselves. The Chaplin story suggests three observations about scandal and imitation, which must be understood together because they are necessarily related, one requiring the other. First, models (in this case, Chaplin as the object ofimitation) may be transformed into idols, something fantastic or untrue that we are led to admire, desire, or worship. The movie idol Chaplin was sufficiently far removed from the actual human, Charlie Chaplin, that Charlie Chaplin finished the contest in third place. In the 1 The story, perhaps apocryphal, has been around for some years and reappeared recently in Barash (87), but it is not recorded in Chaplin's autobiography. David McCracken147 Hebrew Bible, idolatry is more extreme: the golden calf is an attractive idol because it can be seen, a fantastic improvement (it would seem) over an invisible God whose mediator has decamped. Instead of worshipping God, the Israelites worship their own desires, which are literally "dungballs " in Ezekiel's graphic vocabulary. Whether the movement is from an invisible God named YHWH toward a golden calf or dung-ball, or from a movie star, who is usually seen as a large image on a silver screen, toward the movie-goer's fond, mental reconstruction ofhim, the process of idolatry leads humans to mistake the false for the real. Second, imitation has different forms: in a look-alike contest, imitation will depend to some extent on the happenstance of physical similarity—the size and face should resemble Chaplin's—but it will also depend on clothing and movement. The entrant Chaplin must have had a significant advantage in size and face, but this advantage was obviously not decisive. Since he failed to win, we begin to wonder: Did he wear the right clothes and hat? Did he, consummate actor that he was, move like Charlie Chaplin or rather more like Buster Keaton? Did he, for the sake of his little scandal, fail to appropriate himself, so to speak; did he misrepresent himself in order not to win? Looking alike is one thing, but appropriating and representing are quite another. Finally, imitation often involves rivalry, which leads to scandal: the Chaplin look-alike contest is a competition, a form ofrivalry that involves winners and losers—that is the point of the contest. By entering the contest, Chaplin made himself an unfair obstacle to the other contestants. But ifhe tried to lose, by not acting like Chaplin, he became an obstacle to thejudges, misleading them into the ludicrous conclusion that someone other-than-Chaplin looked more like Chaplin than Chaplin. The potential scandal is inextricably related to judgment and rivalry, however lighthearted it may be in this case. Like our ordinary contests, New Testament imitation raises the specter of competition: the Pharisee gives thanks that he is not like the poor man (he wins the competition for righteousness hands down, he thinks, and he is fundamentally persuaded that there is a competition); the disciples want to know who among them—the competitors—gets to sit on the right hand; and Peter maintains that, while other disciples may be scandalized, he will not be (he wins, they lose). All ofthese miss the point decisively: New Testament imitation requires the renunciation ofrivalry. The... (shrink)

Neste texto, procuro encontrar as origens de um dos mais importantes conceitos de Gilles Deleuze, o conceito de Imagem-tempo. Este conceito remete-nos para os primeiros textos de Deleuze dedicados à filosofia de Espinosa e ao problema do autómato espiritual e relaciona-se directamente com o problema da passividade/actividade do espectador. Ou seja, o conceito crucial na sua filosofia do cinema, a Imagem-tempo, esconde uma importante reflexão sobre a Imagem cinematográfica como arte de massas, os (im)poderes do pensamento e o modo fascista (...) de se pensar. This text seeks to find the origins of one of the most important of Gilles Deleuze's concepts, the concept of Time-image. This concept leads us to his first texts regarding Spinoza's philosophy and the problem of the spiritual automaton, and concerns directly with the problem of passivity/activity of the film goer. That is to say that the crucial concept of his film philosophy, Time-image, hides a fundamental consideration on the cinematic image as a mass art, the (un)powers of thinking and the fascist way of thought. (shrink)

This article draws on the qualitative research component of a mixed-methods project exploring the Australian news media’s representation of violence against women. This critical discourse analysis is on print and online news reporting of the case of ‘Kings Cross Nightclub Rapist Luke Lazarus’, who in March 2015 was tried and convicted of raping a female club-goer in a laneway behind his father’s nightclub in Sydney, Australia. We explore the journalism discursive practices employed in the production of the news reports about (...) the Lazarus trial. Our analysis shows how some lexical features, quoting strategies and structuring elements serve to minimise the victim’s experience while emphasising the adverse effects of the trial on the accused. Furthermore, we demonstrate how such practices allow for the graphic representation of the attack in a salacious manner while minimising the impact of the crime on the victim by selectively referencing her victim impact statement. We found some differences between print and online news stories about this case, some of which may be attributable to the greater space available to the telling of news stories online. We conclude that in news reporting of the Lazarus case, routine journalism discursive practices, such as the inverted pyramid news-writing structure and decisions about who and what to quote, serve simultaneously to diminish the victim’s experience while objectifying her. These results build on international findings about media reporting practices in relation to violence against women and add substantially to what we know about these practices in Australia. (shrink)

The 'Beethoven syndrome' is the inclination of listeners to hear music as the projection of a composer's inner self. This was a radically new way of listening that emerged after Beethoven's death. Beethoven's music was a catalyst for this change, but only in retrospect, for it was not until after his death that listeners began to hear composers--and not just Beethoven--in their works, particularly in their instrumental music. The Beethoven syndrome: hearing music as autobiography traces the rise, fall, and persistence (...) of this mode of listening from the middle of the eighteenth century to the present. Prior to 1830, composers and audiences alike operated within a framework of rhetoric in which the burden of intelligibility lay squarely on the composer, whose task it was to move listeners in a calculated way. But through a confluence of musical, philosophical, social, and economic changes, the paradigm of expressive objectivity gave way to one of subjectivity in the years around 1830. The framework of rhetoric thus yielded to a framework of hermeneutics: concert-goers no longer perceived composers as orators but as oracles to be deciphered. In the wake of World War I, however, the aesthetics of 'new objectivity' marked a return not only to certain stylistic features of eighteenth-century music but also to the earlier concept of expression itself. Objectivity would become the cornerstone of the high modernist aesthetic that dominated the century's middle decades. Masterfully citing a broad array of source material from composers, critics, theorists, and philosophers, Mark Evan Bonds's engaging study reveals how perceptions of subjective expression have endured, leading to the present era of mixed and often conflicting paradigms of listening"--Dust jacket flap. (shrink)

Dans cette longue lettre à Benoît Peeters, Jean-Pierre Faye revient sur les péripéties de la fondation du Collège international de philosophie, sous l’égide de Jean-Pierre Chevènement alors ministre de la recherche, dans les années 1981-1982. Il laisse entendre quel rôle ambigu – et relativement peu élégant - a joué Derrida dans cette affaire de fondation. Mais la lettre pousse plus loin. Ces circonstances relatives à la création du Collège international de philosophie ne sont qu’un cadre narratif. Il s’agit en fait (...) de questionner l’origine des fameux concepts derridiens de « déconstruction » et de « logocentrisme ». En ce qui concerne « déconstruction », qui traduit l’usage du mot « Abbau » chez Heidegger, Jean-Pierre Faye en montre le contexte inquiétant : la pensée féroce de la « race » sous le Reich nazi. Quant au « logocentrisme », le nom et l’idée d’un combat à mener contre les prétentions de la raison (« logos ») naissent dans les feuilles d’un certain Ludwig Klages, psychiatre désigné par Goering lui-même comme « Reichsführer der Psychotherapie ». Führer de la psychothérapie... (shrink)

Neste texto, procuro encontrar as origens de um dos mais importantes conceitos de Gilles Deleuze, o conceito de Imagem-tempo. Este conceito remete-nos para os primeiros textos de Deleuze dedicados à filosofia de Espinosa e ao problema do autómato espiritual e relaciona-se directamente com o problema da passividade/actividade do espectador. Ou seja, o conceito crucial na sua filosofia do cinema, a Imagem-tempo, esconde uma importante reflexão sobre a Imagem cinematográfica como arte de massas, os (im)poderes do pensamento e o modo fascista (...) de se pensar. This text seeks to find the origins of one of the most important of Gilles Deleuze's concepts, the concept of Time-image. This concept leads us to his first texts regarding Spinoza's philosophy and the problem of the spiritual automaton, and concerns directly with the problem of passivity/activity of the film goer. That is to say that the crucial concept of his film philosophy, Time-image, hides a fundamental consideration on the cinematic image as a mass art, the (un)powers of thinking and the fascist way of thought. (shrink)

The narrative approach to teaching Peace and Justice attempts to address the division between activists and church-goers that is often found on Catholiccampuses. The former, who advocate for social change, tend to regard religious faith as self-serving, while the latter, who emphasize community service, tend toregard activism as “radical.” By studying the life-stories of individuals whose contributions to the struggle for justice reflect the unfolding of a spiritual journey, students come to see that religious faith can be integral to a (...) life dedicated to social change. Barack Obama’s autobiography exemplifies the youth’s journey to self-acceptance which the theologian John Dunne identifies as the second of the four great tasks of an individual’s life. The stages of this journey involve breaking free of narcissism and what theologian Miroslav Volf calls “embracing” the other. (shrink)

"Chris Marker's La Jetee is considered one of the greatest experimental films of all time. This short film - a compelling science-fiction story composed almost entirely of black-and-white photographs - has been praised by cultural theorists, artists and film-goers alike." "Janet Harbord focuses on the film's influential circular treatment of time, the power of its voice-over narration and the qualities of stillness and movement in its images. She examines the pace and shifting rhythm of the various editing techniques employed in (...) the work, the use of sound as a key affective device and the relationship of film to animation - in the sense of things brought to life. Harbord moves deftly from close readings of the film to discussions of broader cultural issues, navigating within La Jetee's prospect of a post-apocalyptic future, where humanity searches to save itself through experiments in time." --Book Jacket. (shrink)