This paper reclaims the idea that human society is a form of life, an idea once vibrant in the work of Toennies, Durkheim, Simmel, Le Bon, Kroeber, Freud, Bion, and Follett but moribund today. Despite current disparagements, this idea remains the only and best answer to our primary experience of society as vital feeling. The main obstacle to conceiving society as a life is linguistic; the logical form of life is incommensurate with the logical form of language. However, it is (...) possible to extend our conceptual reach by appealing to alternative symbolisms more congenial to living form such as, and especially, art. (shrink)

This work argues from a social-theoretical perspective for the view that every concept of 'gender' remains bound to reproduction. As every culture is interested in its continuity, it distinguishes individuals according to their assumed possible contribution to reproduction and so develops a fundamental dual classification. Subsequent gender categories are necessarily derived from this one. The conceptual and empirical arguments for this thesis are illustrated through an imagined dystopia. There I envision under what conditions a complete dissociation of the concepts 'sex' (...) and 'gender' from the old dual distinction would be possible and in what way a multiplicity of genders would be accomplished. (shrink)

Research in animal behavior begins by identifying what animals are doing. In the course of observation, the observer comes to see animals as performing a particular activity. How does this process work? How cn we be certain that behavior is identified correctly? Wittgenstein offers an approach to these questions. looking at the uses of certainly rather than attempting to find rules that guarantee it. Here two stages in research are distinguished: first, watching animals, and second, reporting the results to other (...) scientists. Certainly about what animals are doing, has different uses at each stage. (shrink)

While inanimate objects can neither experience nor express emotions, in principle they can be expressive of emotions. In particular, music is a paradigmatic example of something expressive of emotions that surely cannot feel anything at all. The Contour theory accounts for music expressiveness in terms of those resemblances that hold between its external and perceivable properties and the typical contour of human emotional behavior. Provided that some critical aspects are emended – notably, the stress on the perception of similarity instead (...) of the more plausible hypothesis that the listener perceives manifestations that are similar – we are inclined to endorse contour theory. In particular, we share its basic idea that expressive properties are perceived. Although other kinds of processes – high-level conceptual inferences, imagination – sometimes characterize our encounters with music, still perception constitutes the standard process underlying the detection of expressiveness. Moreover, we propose to extend contour theory to visual arts. Taking into consideration, as a case study, depicted landscapes, we observe that they frequently cannot but express emotions such as joy, sadness, liveliness or melancholy. The fact that pictures, unlike music, lack any temporal dimension is a prima facie reason for doubting the extendibility of contour theory’s conceptual arsenal to them. Nevertheless, while being obviously unable to behave somehow, we claim that depicted landscapes can perfectly convey dynamic information. If this is the case, the extension of the notion of contour to visuals art via the stress on the notion of dynamism would represent a second interesting revision of contour theory. (shrink)