This chapter contains sections titled: Practice in Christianity Discourses (1850, 1851) The “Attack” further reading.

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)

When I reflect on reading Bryan Warnick's Imitation and Education, I am appreciative that I was given the opportunity not only to read it but also to think about its issues as thoroughly as I have in the process of writing this essay. I share Warnick's surprise that, prior to his book, no one had attempted to explore the relationship between imitation and education in a philosophically meaningful manner. Before reading his book, I did not realize that (...) class='Hi'>imitation was such a philosophically rich topic, especially once you consider its educational implications. In particular, I was oblivious to the connection between various conceptions of the self and imitation. I had no idea that different interpretations of the .. (shrink)

I : PETRARCH'S BRITAIN 1: Piero Boitani: Petrarch and the barbari Britanni II: PETRARCH AND THE SELF 2: Jennifer Petrie: Petrarch solitarius 3: Zygmunt G. Baranski: The Ethics of Ignorance: Petrarch's Epicurus and Averroes and the Structures of the De Sui Ipsius et Aliorum Ignorantia 4: Jonathan Usher: Petrarch's Second Death III: PETRARCH IN DIALOGUE 5: Francesca Galligan: Poets and Heroes in Petrarch's Africa: Classical and Medieval Sources 6: Enrico Santangelo: Petrarch reading Dante: the Ascent of Mont Ventoux 7: John (...) Took: Petrarch and Cino da Pistoia: A Moment in the Pre-history of the Canzoniere IV: PETRARCHISM AND ANTIPETRARCHISM IN ITALY 8: Abigail Brundin: Petrarch and the Italian Reformation 9: Hilary Gatti: Petrarch, Sidney, Bruno 10: Diego Zancani: Renaissance Misogyny and the Rejection of Petrarch 11: Letizia Panizza: Impersonations of Laura in Sixteenth and Seventeenth Century Italy V: PETRARCHISM: ENGLISH AND SCOTTISH CONNECTIONS 12: Michael Wyatt: Other Petrarchs in Early Modern England 13: Stephen Clucas: Thomas Watson's Hekatompathia and European Petrarchism 14: John Roe: The Comedy of Astrophil: Petrarchan Motifs in Sidney's Astrophil and Stella 15: Syrithe Pugh: Sidney, Spenser and Political Petrarchism 16: R. D. S. Jack: Petrarch and the Scottish Renaissance Sonnet VI: PETRARCH AND THE MODERNS: ITALY AND BRITAIN 17: Pamela Williams: Leopardi and Petrarch 18: Ela Tandello: Between Tradition and Transgression: Amelia Rosselli's Petrarch 19: Martin McLaughlin: Nineteenth-century British Biographies of Petrarch 20: Peter Hainsworth: Translating Petrarch. (shrink)

The primary goal of this essay is to demonstrate that Leibniz’s objections to theological voluntarism are tightly connected to his overarching metaphysical system; a secondary goal is to show that his objections are not without some merit. Leibniz, it is argued, holds to strong versions of the imago dei doctrine, i.e., creatures are made in the image of God, and imitatio dei doctrine, i.e., creatures ought to imitate God. Consequently, God and creatures must possess similar structures of moral psychology, (...) and must be motivated in similar ways. Yet, Leibniz argues, a thoroughgoing voluntarism would obstruct both doctrines in philosophically unsettling ways, impeding the possibility for creatures to genuinely imitate God. (shrink)

The primary goal of this essay is to demonstrate that Leibniz’s objections to theological voluntarism are tightly connected to his overarching metaphysical system; a secondary goal is to show that his objections are not without some merit. Leibniz, it is argued, holds to strong versions of the imago dei doctrine, i.e., creatures are made in the image of God, and imitatio dei doctrine, i.e., creatures ought to imitate God. Consequently, God and creatures must possess similar structures of moral psychology, (...) and must be motivated in similar ways. Yet, Leibniz argues, a thoroughgoing voluntarism would obstruct both doctrines in philosophically unsettling ways, impeding the possibility for creatures to genuinely imitate God. (shrink)

Imitation, deliberation, and mindreading are characteristically human sociocognitive skills. Research on imitation and its role in social cognition is flourishing across various disciplines; it is here surveyed under headings of behavior, subpersonal mechanisms, and functions of imitation. A model is then advanced within which many of the developments surveyed can be located and explained. The shared circuits model explains how imitation, deliberation, and mindreading can be enabled by subpersonal mechanisms of control, mirroring and simulation. It is (...) cast at a middle, functional level of description, between the level of neural implementation and the level of conscious perceptions and intentional actions. The shared circuits model connects shared informational dynamics for perception and action with shared informational dynamics for self and other, while also showing how the action/perception, self/other and actual/possible distinctions can be overlaid on these shared informational dynamics. It avoids the common conception of perception and action as separate and peripheral to central cognition. Rather, it contributes to the situated cognition movement by showing how mechanisms for perceiving action can be built on those for active perception. (shrink)

Imitation, deliberation, and mindreading are characteristically human sociocognitive skills. Research on imitation and its role in social cognition is flourishing across various disciplines. Imitation is surveyed in this target article under headings of behavior, subpersonal mechanisms, and functions of imitation. A model is then advanced within which many of the developments surveyed can be located and explained. The shared circuits model (SCM) explains how imitation, deliberation, and mindreading can be enabled by subpersonal mechanisms of control, (...) mirroring, and simulation. It is cast at a middle, functional level of description, that is, between the level of neural implementation and the level of conscious perceptions and intentional actions. The SCM connects shared informational dynamics for perception and action with shared informational dynamics for self and other, while also showing how the action/perception, self/other, and actual/possible distinctions can be overlaid on these shared informational dynamics. It avoids the common conception of perception and action as separate and peripheral to central cognition. Rather, it contributes to the situated cognition movement by showing how mechanisms for perceiving action can be built on those for active perception.;>;>The SCM is developed heuristically, in five layers that can be combined in various ways to frame specific ontogenetic or phylogenetic hypotheses. The starting point is dynamic online motor control, whereby an organism is closely attuned to its embedding environment through sensorimotor feedback. Onto this are layered functions of prediction and simulation of feedback, mirroring, simulation of mirroring, monitored inhibition of motor output, and monitored simulation of input. Finally, monitored simulation of input specifying possible actions plus inhibited mirroring of such possible actions can generate information about the possible as opposed to actual instrumental actions of others, and the possible causes and effects of such possible actions, thereby enabling strategic social deliberation. Multiple instances of such shared circuits structures could be linked into a network permitting decomposition and recombination of elements, enabling flexible control, imitative learning, understanding of other agents, and instrumental and strategic deliberation. While more advanced forms of social cognition, which require tracking multiple others and their multiple possible actions, may depend on interpretative theorizing or language, the SCM shows how layered mechanisms of control, mirroring, and simulation can enable distinctively human cognitive capacities for imitation, deliberation, and mindreading. (shrink)

Torture porn has been vilified on grounds that are at best unconvincing and at worst incoherent. The subgenre’s remonstrators too often ignore the content of the films themselves, and fail to make sufficiently detailed connections between the subgenre and the cultural sphere. Reactions to torture porn rarely consider what values the films apparently contravene, and why, if the films are offensive, they are simultaneously so popular. The central derisive mechanism in operation is the ill-conceived combination of ‘torture’ and ‘porn’ itself. (...) The use of ‘porn’ as a label works to illegitimate torture porn and demand that body-horror retreat to its more ‘fitting’ position on the outskirts of the cultural radar. However, this approach is too busy pointing at violence, and fails to deal with the fact that sex is displaced. If violence is now pornographic, it is unclear what position sexual portrayals occupy, or whether they are still perceived as more offensive than violent representations. Furthermore, it is uncertain how we are to describe sexual images if that is the case, since the lexicon of offense has been waylaid. Torture porn’s critics commonly fail to account for the new context of ‘porn plus horror’, and what that combination says about visual representation and its limits. This chapter is a step towards rectifying that oversight. (shrink)

This paper focuses on doctoral research which explored relationships and interpersonal learning through group dramatherapy and creative interviewing with adolescents in special education. A constructivist grounded theory study, positioning adolescents with intellectual/developmental disabilities as experts of their own relational experiences, revealed a tendency to “copy others.” The final grounded theory presented “copying” as a tool which participants consciously employed “to play with,” “learn from,” and “join in with” others. Commonly experiencing social ostracism, participants reflected awareness of their tendency to “copy (...) others” being underpinned by a need to belong. Belonging was therefore expressed as the ultimate therapeutic experience participants wished to have. Participant responses which link dramatic imitation to a self-identified tendency “to copy,” are discussed with regard to how imitation provides an accessible point of dramatic entry from which adolescents in special education begin to explore new ways of being and inter-relating. Recommendations for how dramatherapists might centralize imitative aspects of the dramatic process to achieve therapeutic intent when working alongside adolescents in special education are discussed with specific focus on creating a space of belonging.Note on type: Participant quotes extracted from the data are included throughout this article. In order to highlight participant’s contributions quotes are italicized and presented within speech marks. (shrink)

Although previous studies primarily claim that government-dependent firms can actively engage in compliance activities in order to achieve political legitimacy, access government resources, and build competitive advantages, these studies largely ignore how firms react when firm-dependent governments exert coercive pressures. We thus introduce institutional theory and the behavioral theory of social performance to develop a model of modest imitation, and we propose that the more governments depend on privately owned firms, the more firms demonstrate average social performance in order (...) to balance efficiency concerns with political legitimacy threats. Meanwhile, whether firms imitate peers’ social performance depends on the magnitude of institutional rigidity. In turn, issue salience and spatial proximity undermine modest imitation, and political connections strengthen modest imitation. We study how all listed, privately owned firms react to the Chinese government’s call for social engagement in poverty alleviation initiated in 2015. This study uses a two-stage Heckman selection model to correct for sample-selection bias, and the results provide strong support for our arguments. This research thus extends our understanding of modest imitation in response to coercive pressure from-dependent governments. (shrink)

Over 35 years ago, Meltzoff and Moore (1977) published their famous article ‘Imitation of facial and manual gestures by human neonates’. Their central conclusion, that neonates can imitate, was and continues to be controversial. Here we focus on an often neglected aspect of this debate, namely on neonatal spontaneous behaviors themselves. We present a case study of a paradigmatic orofacial ‘gesture’, namely tongue protrusion and retraction (TP/R). Against the background of new research on mammalian aerodigestive development, we ask: How (...) does the human aerodigestive system develop and what role does TP/R play in the neonate’s emerging system of aerodigestion? We show that mammalian aerodigestion develops in two phases: (1) from the onset of isolated orofacial movements in utero to the post-natal mastery of suckling at 4 months after birth, and; (2) thereafter, from preparation to the mastery of mastication and deglutition of solid foods. Like other orofacial stereotypies, TP/R emerges in the first phase and vanishes prior to the second. Based upon recent advances in activity-driven early neural development, we suggest a sequence of three developmental events in which TP/R might participate: the acquisition of tongue control, the integration of the central pattern generator for TP/R with other aerodigestive CPGs, and the formation of connections within the cortical maps of S1 and M1. If correct, orofacial stereotypies are crucial to the maturation of aerodigestion in the neonatal period but also unlikely to co-occur with imitative behavior. (shrink)

This article discusses Leibniz’s claim that every substance is endowed with the property of perception in connection with Platonism, rationalism and the problem of substance monism. It is argued that Leibniz’s ascription of perception to every substance relies on his Platonic conception of finite things as imitations of God, in whom there is ‘infinite perception’. Leibniz’s Platonism, however, goes beyond the notion of imitation, including also the emanative causal relation and the logical (i.e. definitional) priority of the absolute over (...) the limited. It is proposed that Leibniz’s endorsement of Platonism, in conjunction with some rationalist elements of his philosophy, implies a monistic conception of particulars as modifications of a single substance. Following some scholars and opposing others, the article offers evidence that Leibniz accepted this implication during the last years of his Paris period. However, it is further argued that it was precisely the idea of perception as a property of every substance that allowed Leibniz to find a way out of monism after that period. More specifically, the article defends the view that what made room for ontological pluralism within Leibniz’s rationalist and Platonic outlook was the idea that perception is the property which constitutes the very being of substances: substances are their perceptions. (shrink)

Proposal Information: In this paper it is argued that although Spinoza, unlike other great philosophers of the Enlightenment era, never actually wrote a philosophy of education as such, he did – in his Ethics – write a philosophy of self-improvement that is deeply educational at heart. When looked at against the background of his overall metaphysical system, the educational account that emerges is one that is highly curious and may even, to some extent at least, come across as counter-intuitive in (...) a contemporary setting. This is so because it grounds the greater social and political endeavors of humanity in the individual’s striving for an ever-increasing power of acting. Hence, education, for Spinoza, is a decidedly individualistic affair, but then again, so is the making of society. Since, for Spinoza, every instance of knowledge bears the unique mark of the individual body that expresses it, one might conclude that at the foundation of every social structure is an encounter between concrete bodies; each expressing a particular perspective from where to grasp the world. I would argue, based on this, that one of Spinoza’s main contributions to educational theory is his grounding of larger social endeavors in the striving of the individual. Hinged on the striving to be more rational, as dictated by the doctrine of the conatus, education appears to offer a way of grounding the structure of the human social world in the same principles as those guiding the individual. Spinoza’s doctrine of the imitation of affects thereby offers a way of linking the egoistic striving for power on behalf of the individual with the educational goal of building a sustainable society. It does so as it conditions self-improvement by the human characteristic to imitate what others desire. By being surrounded with people who desire to be more rational, one can utilize this desire for the good and become strengthened in one’s own striving for increasing one’s degree of existence. Consequently, the teaching situation is geared for guiding students towards a more rational life, at the same time as it is geared for the self-improvement of the teacher. This aspect of self-improvement is, ultimately, what will motivate the teacher in striving to enhance the lives of his or her students in the first place. Being unable to self-improve in isolation, the doctrine of the imitation of affects dictates that the rational person will be moved toward a life of generosity, not primarily for altruistic reasons, but out of a desire to become more rational and thus to gain in his or her own power of acting. The question that follows from this, of course, is how does one go about when inculcating a desire to be more rational in one’s students?Education, from a Spinozistic point of view, is ultimately about the cultivation of the potential that lies dormant in each individual, so that a person may live a happier life as a result of understanding, more adequately, their place in the natural world. The challenge, then, becomes one of overcoming the many obstacles that prevent a person from developing their potential. Pedagogy, from this point of view, may be understood in terms of the art of offering the right amount of resistance. This notion is based on the assumption that if a student encounters no resistance – or too much resistance – his or her potential remains just that – a potential. In order to develop this potential the student needs to overcome certain barriers. With regards to this, the role of the teacher may be conceived in terms of the one balancing the amount of resistance so that the student is properly challenged but at the same time not overwhelmed. Methodology or Methods/ Research Instruments or Sources Used: The paper makes for an attempt to outline a Spinozistic philosophy of education based on readings of Spinoza’s texts – primarily the Ethics – and some of the relevant secondary literature such as Della Rocca’s influential reading of Spinoza. As such it is a philosophical inquiry seeking to interconnect some key aspects of Spinoza’s philosophy with some of the major issues of education. Methodologically, this paper argues, in line with Melamed, that rather than turning to the history of philosophy in order to identify ‘precursors to [our] own views’, so as to validate what we already believe we know, it is more fruitful to turn to past philosophers in order to ‘challenge our most basic beliefs and intuitions by studying texts that are both well-argued and strongly opposed to our commonsense’. Accordingly, turning to Spinoza marks an attempt to revisit and reconceptualize some key aspects of educational thought. Conclusions, Expected Outcomes or Findings: A conclusion of this paper is that a Spinozistic philosophy of education would need to focus on resolving the tension between Spinoza’s egoism and education as a social project. To this end it identifies Spinoza’s doctrine of the imitation of affects as a possible link between the individual’s striving for power and the collective agenda of improving human well-being at large. It is also suggested that, in aspiring to inculcate a desire to be more rational in his or her students, the challenge for the Spinozistic teacher is to prompt the students to aspire to reach beyond the temporary satisfactions of the passions so as to acquire a more enduring sense of satisfaction and so that their well-being is more fully under their own command rather than under the command of various external influences. This, in turn, is connected with the notion of resistance in the sense that in experiencing the volatility of fortune – and thereby understanding the instability of relying on one’s passions – a person would appear to be more inclined to strive for a more enduring sense of happiness, even if this would mean giving up on some of the temporary pleasures that one has grown accustomed to. The resistance, then, may be conceived in terms of the overcoming of temporary pleasures that stand in the way of the developing of one’s potential. In this scenario the role of the teacher may be understood in terms of someone offering a well-balanced amount of resistance. This means that to accommodate one’s students – in the sense that one approaches them in terms of prospective customers, aspiring to satisfy their demands – is inimical to education insofar as the wants and desires of students are, generally speaking, caused by passive affects rather than their rational wills. References: Aloni, N.. Spinoza as Educator: From Eudaimonistic Ethics to an Empowering and Liberating Pedagogy. Educational Philosophy and Theory 40, pp. 531–544.Della Rocca, M.. Spinoza. New York: Routledge.Della Rocca, M.. Rationalism, Idealism, Monism, and Beyond. In: E. Förster & Y. Y. Melamed Spinoza and German Idealism. Cambridge: Cambridge University Press, pp. 7–26.Derry, J.. The Unity of Intellect and Will: Vygotsky and Spinoza. Educational Review, 56, pp. 113–120.Lloyd, G.. Spinoza and Educating the Imagination. In: A. O. Rorty Philosophers on Education: Historical Perspectives. London: Routledge, pp. 157–172.Melamed, Y. Y.. Spinoza’s Metaphysics: Substance and Thought. Oxford: Oxford University Press.Nadler, S.. Eternity and Immortality in Spinoza’s Ethics. Midwest Studies in Philosophy 26, pp. 224–244.Poulimatka, T.. Spinoza’s Theory of Teaching and Indoctrination. Educational Philosophy and Theory 33, pp. 397–410.Spinoza, B.. The Ethics. In: E. Curley A Spinoza Reader: The Ethics and Other Works. Princeton: Princeton Unive. (shrink)

The theme for this volume is social cognition, construed from a psychological and collective point of view. From the psychological point of view, the question is to understand how the human mind processes social information; how it encodes, stores and uses it in the social context. From a collective point of view, the question is to understand how individual cognition is influenced (improved, increased or impaired) by social interactions, for instance in communicating and collaborating with intelligent agents. These two dimensions (...) of social cognition are obviously interdependent: the psychological dimension makes the collective dimension possible, which can in return modify the psychological dimension. The book is divided into four parts. The first part is about socio-cognitive skills. Among those, we count face recognition, imitation learning, embodied social interaction, cheater detection and psychological concept acquisition. The second part is about persons and memories: stereotypes, attraction judgements and impression formation are the subjects at hand. The third part is about understanding each other. A key part of that understanding is the motor system (whether or not we see it as a "mirror"), but community membership itself can also contribute to our understanding of others. The fourth and final part is about social cognition in societies. This section is unified by the common goal of understand how social cognition actually influences the structure of different societies, whether whole cultures, specific social networks, rural communities or even groups of caterpillars! (shrink)

General philosophy claims to be the critical subject which lays down for all of us what we may be allowed to think, and yet it has played no part whatever in the great revolutions of human thought of the present century—those connected with relativity and the quantum theory. It might have been expected that the scientists would have been constantly consulting the philosophers as to the legitimacy of their various speculations, but nothing of the kind has happened. Since no (...) one can dispense with some sort of meta-physic, each scientist has made one for himself, and no doubt they contain many crudities, but it would seem that a deep interest in metaphysic is a disadvantage rather than an advantage to the physicist—at least I have the impression that those of my friends who are most inclined to speculate on the ultimate things appear to be the ones whose scientific work is most hampered by doing so. Now I propose to risk a similar indiscretion. I want to embody in it the practical philosophy of a physicist, and I do not mean it as an attack on the pure philosophers, who are very reasonable people, only chargeable with the minor offence of not having made me want to read their books! (shrink)

Urban sprawl and aggressive driving are two problems that afflict many of America’s major cities. The two affect Atlanta to a notoriously high degree. The two problems are connected. Aggressive driving is not so much a symptom of “road rage” as it is an attempt to communicate with slower drivers. The aggressive driver tailgates other drivers with the intention of letting them know that they are impeding the flow of faster traffic. Aggressive drivers are engaged in what “New Chicago (...) School” legal theory calls “norm seeding.” These drivers are trying to get others to conform to a different norm than what the posted speed limit dictates. The posted speed limit, which is the legal norm, reflects legislative judgments based on concerns of safety and fuel economy. The higher, informal, speed limit reflects something else: the impatience many drivers feel as they drive larger distances and spend correspondingly greater amounts of time in traffic. (shrink)

ABSTRACTSeveral times within 1 Corinthians Paul encourages the Corinthians to imitate him. These are found at critical junctures in the epistle in 1 Corinthians 4:16 and 11:1. The meaning of these sections is in question from the perspective of Corinthian scholars. Several believe that Paul is appealing to apostolic power and authority to coerce the Corinthians to obey him, whereas others find him responding to social situations. This is different from the way that imitation and discipleship are presented within (...) the writings of Ignatius of Antioch. Pauline ideas, specifically those from 1 Corinthians, are known to have influenced Ignatius of Antioch’s writing, and thus Ignatius’ ideas about imitation are likely to reflect the meaning that Paul intended. Ignatius specifically speaks about imitation and discipleship in several places: Ign. Eph. 1, 2, 4; 3:1-3, Ign. Magn. 4:1; 5:1-2; 9:1-6, Ign. Rom. 3:1-2; 6, 3, 1. When these passages are considered, imitation involves suffering and possibly martyrdom. Imitation is also connected to the cross of Christ and is not a means to enforce superiority. Ignatius’ view of imitation would contradict the opinions of some scholars who see Paul’s injunction for imitation as a claim for power. It also supplies more information to the idea than those who claim that it is simply a counter example to the social situation. (shrink)

Humans are uncontroversially better than other species at learning from their peers. A key example of this is imitation, the ability to reproduce both the means and ends of others’ behaviours. Imitation is critical to the acquisition of a number of uniquely human cultural and cognitive traits. However, while authors largely agree on the importance of imitation, they disagree about the origins of imitation in humans. Some argue that imitation is an adaptation, connected to (...) the ‘Mirror Neuron System’ that evolved to facilitate action understanding and the learning of social behaviours. Others argue that imitation is a cultural practice learned in childhood, and that there is no evidence that it evolved genetically. We offer a third alternative that is consistent with both data that the human brain is optimised for imitation, and consistent with its being substantially learned. We hypothesise that at some point in human history humans underwent natural selection for two imitation-relevant abilities – specifically, (i) the tendency to be more attentive to our peers, and (ii) fine motor skill in the manual and oro-facial domains. These changes enabled us to excel at both learning to imitate, and learning by imitating. (shrink)

Kineska gimnastika, daoyin xingqi 導引行氣, koju svakodnevno vježbaju milijuni Kineza, potječe iz razdoblja starodrevne Kine i ima korijene u šamanističkim obrednim plesovima. Bazira se na pokretima tijela kojima se oponašaju pokreti životinja. Doslovni prijevod termina daoyin xingqi jest »upravljati, rastezati i gibati qi 氣«, tj. sveprožimajući vitalni dah. Naime, gimnastika u kineskoj tradiciji nije se razumijevala samo kao puka tjelovježba, već kao oblik kultiviranja vitalnog daha, qia. Gimnastika, štoviše, predstavlja važan korak prema harmoniziranju čovjeka s nebom i zemljom . Iščitavanjem (...) isječaka tekstova iz razdoblja Zaraćenih država i razdoblja dinastije Han 漢, kao i analiziranjem najstarijeg pronađenog vizualnog prikaza gimnasticiranja u Kini »Karte upravljanja i povlačenja« , analizirat će se poimanje gimnastike u ranoj kineskoj kulturi. Interpretacija tjelovježbe postavit će se unutar paradigme promjene koja je oblikovala kinesko viđenje kozmosa. Posebno će se naglasiti veza između gimnasticiranja i pojma sheng 生 koji znači život, kao i rađanje, stvaranje, obnavljanje.Chinese gymnastics, daoyin xingqi 導引行氣, practised daily by millions of Chinese people, originates from ancient China and is rooted in shamanistic ritual dances. It is based on body movemements which imitate the movements of animals. Literally translated, daoyin xingqi means “guiding, pulling and moving qi 氣” i.e. the all-permeating vital spirit. Gymnastics in Chinese tradition, therefore, was never considered to be just a body exercise but also a form of cultivating the vital spirit, qi. Gymnastics, however, is the important medium of harmonizing man with heaven and earth . By reading of Warring States and Han 漢 dynasty writings, as well as the the oldest excavated visual representation of gymnastics in China “Daoyin chart” , in this exposure analysis will be on the understanding of gymnastics in the early Chinese culture. The interpretation of Chinese gymnastics will be set forth within the paradigm of change which shaped Chinese vision of cosmos. Special emphasis will be given to the connection between gymnastics and the concept of sheng 生, which means life, as well as birth, creation, renewal. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Aquinas on Imitation of Nature: Source of Principles of Moral Action by Wojciech GolubiewskiAnthony T. FloodGOLUBIEWSKI, Wojciech. Aquinas on Imitation of Nature: Source of Principles of Moral Action. Washington, D.C.: The Catholic University of America Press, 2022. xx + 309 pp. Cloth, $75.00Does Aquinas's ethical account necessarily rely upon his metaphysics of goodness and natural forms, or can we fairly interpret his ethics as merely cursorily (...) connected to these other aspects of his thought? Golubiewski offers a thorough and compelling case that Aquinas indeed bases his ethics on these various broader principles, such that proper practical principles inextricably and fundamentally are an imitation of nature.Golubiewski details the full range of scholarship on Aquinas's natural law theory in order to set up his meticulous and comprehensive analysis. He motivates his interpretation by examining two opposed positions in current discussion. On one side is the view championed by Stephen Brock and others that focuses on Aquinas's metaphysics of the good, along with "the imitation of nature as the 'imitation of the divine mind'" as crucial to an accurate understanding of the natural law. On the other side is Martin Rhonheimer, who maintains, "natural law is not the 'imitative reflex' of the 'natural order'." Rhonheimer wishes to avoid a moral physicalism that succumbs to charges of the naturalistic fallacy. Golubiewski sides with Brock and proceeds to show the extent to which the notion of imitation performs throughout Aquinas's ethical thought.Early in his analysis, Golubiewski notes that we should avoid an overly strict distinction between the two virtues of practical reason, namely, art and prudence. While art does have the specific sense of right reason regarding the making of things, Aquinas also uses it more broadly and analogically as conveying any kind of right reason. Thus, when Aquinas speaks of art, particularly in terms of right reason as an imitation of nature, this includes prudence and all of the moral virtues it directs. Moreover, the notion of art also pertains to God's creative act. Insofar as created natures are the effect of divine art, the parameters of their goodness are already determined. In the case of rational natures, they are not free to determine their own goodness. By imitating nature, a person imitates the mind behind nature.Golubiewski devotes considerable attention to the sources of moral knowledge. For human beings, the imitation of nature pertinent to right moral reasoning begins with the knowledge of sensible things, whereby we grasp the patterns, modes of operations, and inclinations of them. All [End Page 139] beings have a movement toward—a desire for—actuality, which in turn orients them to divine goodness. "In this way things 'desire' the divine goodness, according to their own 'immanent likeness' to it. They desire it insofar as they imitate it." Each kind of thing imitates God's goodness in its own, admittedly very limited way. Human nature has this same relation to God; thereby, proper human action is based on the same sort of imitation.This leads to a relevant analysis of the part/whole notion in Aquinas. Golubiewski remarks that we have an inclination not merely toward our own individual good but also to the good of the whole human community and ultimately God as the ultimate good. "Not only political virtue but all kinds of properly human virtues are intrinsically ordered to the common good. In this way all of them are part of general justice as ordered to reason in its imitation of nature." In light of the recent resurgence of interest in the precise connection between personal rights and the common good, Golubiewski's elaboration on these points might prove especially helpful to anyone desiring to bring Thomistic principles into the debate.Golubiewski proceeds to delve into the precise character of the inclinations of human nature as rational inclinations. The common intelligible structure of goodness entails three elements. One, the mode of each kind of thing's congruent action. Two, the virtuous dispositions as rooted in that nature. Three, the virtuous agency by which the proper good of that nature is obtained. In the case of human beings, the mode of obtaining goodness is... (shrink)

In his 1963 essay ‘Supererogation and Offence: A Conceptual Scheme for Ethics,’ Roderick Chisholm describes a category of human acts which he calls ‘offences’:A system of moral concepts which provides a place for what is good but not obligatory, should also provide a place for what is bad but not forbidden. For if there is such a thing as “non-obligatory well-doing” then it is plausible to suppose that there is also such a thing as “permissive ill-doing.” There is no term (...) in moral literature, so far as I know, which has been used to designate just this latter class of actions; I shall refer to them as “offences.”Some recognize the possibility of acts, commonly called acts of supererogation, which are morally good or praiseworthy but not obligatory to perform. In this passage, as well as in a later article co-authored with Ernest Sosa, Chisholm calls attention to the possibility of acts which are morally bad or blameworthy to perform, but whose performance is nevertheless not forbidden. (shrink)

This chapter contains section titled: Harm, Offence, and Profound Offence Examples of Offensive Cultural Appropriation The Problem and the Key to its Solution Social Value and Offensive Art Freedom of Expression The Sacred and the Offensive Time and Place Restrictions Toleration of Offensive Art Reasonable and Unreasonable Offence.

Evasion of value added tax (VAT) is a pressing criminal justice problem; however, there still are no theoretical studies on the specific nature of this offense and the basis of its legal evaluation. This article is an attempt to explain the preconditions of the origin of this type of fraud and its connection with the Value Added Tax Law, to formulate the conceptual understanding of the offense, to reveal the important aspects of its legal evaluation and to discuss (...) relevant examples from the case-law. The preconditions of VAT fraud lie in the legal nature of tax administration and the particularity of VAT regulation creating opportunities to abuse the right of deducting the overpayment from the budget or reducing the tax payable. The system of tax crimes stipulated in the Criminal Code is not sufficient to properly assess the impact and danger of VAT fraud. The judicial practice considering VAT deception as property fraud is theoretically justified and welcome. (shrink)

I argue that one of the fundamental conflicts between Socrates and his interlocutors in the Gorgias concerns the nature of human freedom. Against the increasingly grandiose and aggressive claims of his interlocutors, Socrates sees true freedom as requiring discipline in speech and deed. Plato has Socrates argue for a concept of human freedom that finds its fulfillment in happiness only by being channeled through the funnels of philosophy and justice. Central to this Platonic understanding of freedom is the role of (...) eros and imitation. Socrates’s love of truth is the foundation for freedom because it motivates the search for a vision of the true good and therefore provides a formation in justice, creating the space for friendship in community life, that is, for civilization. By contrast, Callicles’s love of the dēmos is an extension of disordered self-love, impelling him to seek the means to placate the masses so that he can enlarge his appetites and continually fill them. Such love enslaves Callicles, corrupts political life, and vitiates the possibility of friendship. Finally, I connect these Platonic insights to central themes in Catholic Social Teaching. (shrink)

State agents’ misconduct (SAM), such as the violations carried out by the police or prosecution, may harm an offender’s rights during the criminal process in various ways. What, if anything, can retributivism, as an offense-focused theory that looks to the past, offer in response to SAM? The goal of this essay is to advance a retribution-based framework for responding to SAM within the criminal process. Two retribution-based arguments are provided. First, a retribution-based response to SAM aims to protect the (...) legitimacy of the criminal process. Such an argument is based on how the crime and punishment connect to the moral standing of the state and that connection’s meaning for the legitimacy of the trial (legitimacy-based argument). Second, a retribution-based response to SAM aims to consider the offender’s side of the penal dialogue and promote a more accurate calibration of the penal suffering (compensation-based argument). Based on these arguments, the essay theorizes the legal response for SAM in US and non-US traditions through the retributive lens. The essay concludes with a call for expanding the multiple roles for retributive logic to include the actions of law-enforcement actors and addresses what that expansion means for the justice of the criminal process. (shrink)

This paper sheds light on the role of digital platform labour in the development of today’s artificial intelligence, predicated on data-intensive machine learning algorithms. Focus is on the specific ways in which outsourcing of data tasks to myriad ‘micro-workers’, recruited and managed through specialized platforms, powers virtual assistants, self-driving vehicles and connected objects. Using qualitative data from multiple sources, we show that micro-work performs a variety of functions, between three poles that we label, respectively, ‘artificial intelligence preparation’, ‘artificial intelligence (...) verification’ and ‘artificial intelligence impersonation’. Because of the wide scope of application of micro-work, it is a structural component of contemporary artificial intelligence production processes – not an ephemeral form of support that may vanish once the technology reaches maturity stage. Through the lens of micro-work, we prefigure the policy implications of a future in which data technologies do not replace human workforce but imply its marginalization and precariousness. (shrink)

Machines and Biology have been, since antiquity, closely related. From the zoological figures present in astronomical simulacra, through renaissance mechanical imitations of animals, through Decartes' wind pipe nerves, to present day discussions on the computer and the brain, runs a continuous thread. In fact, the very name of mechanism for an attitude of inquiry throughout the history of Biology reveals this at a philosophical level. More often than not, mechanism is mentioned in opposition to vitalism, as an assertion of the (...) validity of the objectivity principle in biology: there are no purposes in animal nature; its apparent purposefulness is similar to the purposefulness of machines. Yet, the fact that one picks machines as a set of objects comparable to living systems, deserves a closer look. What in machines makes it possible to establish such a connection? (shrink)

In this paper, I explore German playwright Bertolt Brecht’s conception of the art of acting, and his views on the new actor’s conduct towards their craft, as a pedagogical model for Brechts’ broader view on how we should live our lives. Drawing on his key writings – most importantly, his famous street scene essay – I will show that Brecht’s conception of the theory-practice connection in his approach to actor training/acting bears some deeper insight into Brecht’s conception of the art (...) of living a flourishing life. The new actor is called to develop a conduct of careful observation and imitation of human action, one that is marked by the pleasure and lightness of exploring the contradictory workings of the social world. By placing the actor’s craft at the heart of his educational philosophy, Brecht invites us (the audience) into the theatre as a pedagogical space. Here, not unlike Brecht’s actors, we are summoned to hone our ability to boldly engage with a complex world of human actions and ideas. Brecht maintains that there resides an intellectual as well as sensual delight in being challenged to not simply accept theatre’s presentations as ‘truth’; instead, we are to learn to ‘weigh up’, ‘test’, and ‘improvise’ joyfully with theatre’s proposed ideas and practices—so that we may find out if they serve, or hinder, the creation of a larger flourishing life (beyond the theatre): a life in which we can move together, pleasurably. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Understanding the Score: Film Music Communicating to and Influencing the AudienceJessica Green (bio)IntroductionWhen most people sit down to watch a film, their focus usually stays on the very dynamic images that move onscreen. The dialogue, as a form of diegetic sound, is probably the next piece of the film they concentrate on, but this only imitates actual experience, since most people understand communication by both watching and listening. Christian (...) Metz, in his influential text Film Language: A Semiotics of the Cinema, describes film as “Born of the fusion of several pre-existing forms of expression, which retain some of their own laws (image, speech, music, and noise),” to which he later adds “written materials” as a fifth component.1 Of these five channels of information included in film, music is the most artificial because in many films the majority of music is nondiegetic. For the audience, it is also the channel most removed from everyday life. While people do interact with images, the spoken word, text, and sound in the normal course of a day, people do not walk around constantly supported by a sensitive soundtrack that follows their emotions and thoughts.Yet despite the artificiality of the musical score in comparison with everyday life, audiences have come to accept film music as an integral part of what it means to watch a film. Films that fail to use much music or fail to use it well often have a problem involving the audience as completely as films that embrace music as a tool that can expose the inner feelings and thoughts of characters and can shape the way that viewers feel about what’s happening on screen. To understand the importance of film music, Stam, Burgoyne, and Flitterman-Lewis further explain why it is important to examine music as a significant channel through which the audience makes meaning of the film: “Metz’s definition of the cinema’s matter of expression as consisting of five tracks—image, dialogue, noise, music, written materials—served to call attention to the soundtrack and thus to undercut the formulaic view of [End Page 81] the cinema as an ‘essentially visual’ medium which was ‘seen’ (not heard) by ‘spectators’ (not auditors).”2 By distinguishing dialogue, noise, and music—all auditory channels of information—as important pieces of film, Stam, Burgoyne, and Flitterman-Lewis support Metz’s assertion “that the cinema possesses various ‘dialects,’ and that each one of these ‘dialects’ can become the subject of a specific analysis.”3 Once audiences and critics consider music as one of the fundamental “dialects” of film, it then makes sense to understand music as an essential part of communication and argument in film.But is the film score more than just a reflection of a character’s sadness or the exciting chase music that exhilarates audiences? While most audiences would certainly be able to cite numerous instances of music reflecting the feelings of characters or the general mood of the film, some people might be surprised by the extent to which film music shapes and affects meaning in film. Stam, Burgoyne, and Flitterman-Lewis define several types of music that can be used in scores: redundant music, which reinforces the emotional tone; contrapuntal music, which runs counter to the dominant emotion; empathetic music, which conveys the emotions of the characters; a-empathetic music, which seems indifferent to the drama; and didactic contrapuntal music, which uses music to distance the audience “in order to elicit a precise, usually ironic, idea in the spectator’s mind.”4 Though these terms can be limiting because music often fulfills more than just one role in a scene, they do demonstrate that music is making an argument or working to convince or persuade the audience, proving that film music is behaving rhetorically. Though film music does often fulfill the basic roles of conveying emotion and suggesting connections or themes in the film, film music also works in more complex roles to affect the meaning in film. Through music’s development of specific leitmotifs, themes, and cues, the calculated use of film music in conjunction with the other channels of information helps to create the narrative and control the way... (shrink)

The aim of the present paper is to investigate the connection between ancient medicine and sophistry at the end of 5th century B.C. Beginning with analyses of some passages from the De vetere medicina, De natura hominis and De arte, the article identifies many similarities between these treatises, on the one hand, and the sophistic doctrines, on the other: these concern primarily perceptual/intellectual knowledge and the interaction between reality, knowledge and language. Among the Sophists, Gorgias was particularly followed and imitated, (...) as he was admired not only for his tremendous rhetorical skills, but also for his philosophically significant work On not being, which probably influenced various discussions in the Hippocratic treatises. However, if Gorgias argues in favor of language as dynastēs megas, the authors of VM, NH and De arte consider knowledge to be far more relevant and reliable than logos. These Hippocratic treatises criticize the philosophical thesis and the resulting kind of reductionism. Above all they defend the supremacy of medicine over any other art. By using the same argumentative and rhetorical strategies that were employed by Gorgias, these treatises reverse the thought of those Sophists who exalted only the technē tōn logōn. (shrink)

Karl Pfeifer counters the thesis that laughter and pleasure are intimately connected with one another, and addresses the thesis of John Morreall (1982) that a pleasant psyohological shift is a causally necessary condition for laughter. A variety of examples suggesting that laughter does not have to have pleasure as its causal antecedent are presented. Imitative, nervous, hysterical, physiogenic, and acerbic laughter suggest that it is neither incoherent nor implausible to consider laughter as being caused by unpleasant or at least (...) not pleasant psychological states, but also suggest that the phenomenon is actually quite pervasive. An alternative reading of Morreall’s thesis is attempted and also found wanting, although in the end some interesting possibilities for a certain subdomain of laughter are hinted at. (shrink)

“Nature knows best” is reconsidered from an ecological perspective which suggests that we ought to follow nature. The phrase “follow nature” has many meanings. In an absolute law-of-nature sense, persons invariably and necessarily act in accordance with natural laws, and thus cannot but follow nature. In an artifactual sense, all deliberate human conduct is viewed as unnatural, and thus it is impossible to follow nature. As a result, the answer to the question, whether we can and ought to follow nature, (...) must be sought in a relative sense according to which human conduct is sometimes more and sometimes less natural. Four specific relative senses are examined: a homeostatic sense, an imitative ethical sense, an axiological sense, and a tutorial sense. Nature can be followed in a homeostatic sense in which human conduct utilizes naturallaws for our well-being in a stable environment, but this following is nonmoral since the moral elements can be separated from it. Nature cannot be followed in an imitative ethical sense because nature itself is either amoral or, by some accounts, immoral. Guidance for inter-human ethical conduct, therefore, must be sought not in nature, but in human culture. Nevertheless, in an axiological sense, persons can and ought to follow nature by viewing it as an object of orienting interest and value. In this connection, three environments are distinguished for human well-being in whichwe can and ought to participate-the urban, the rural, and the wild. Finally, in a tutorial sense, persons can and ought to follow nature by letting it teach us son1ething of our human role, our place, and our appropriate character in the natural system as a whole. In this last sense, "following nature" is commended to anyone who seeks in his human conduct to maintain a good fit with the natural environment-a sense of following nature involving both efficiency and wisdom. (shrink)

“Nature knows best” is reconsidered from an ecological perspective which suggests that we ought to follow nature. The phrase “follow nature” has many meanings. In an absolute law-of-nature sense, persons invariably and necessarily act in accordance with natural laws, and thus cannot but follow nature. In an artifactual sense, all deliberate human conduct is viewed as unnatural, and thus it is impossible to follow nature. As a result, the answer to the question, whether we can and ought to follow nature, (...) must be sought in a relative sense according to which human conduct is sometimes more and sometimes less natural. Four specific relative senses are examined: a homeostatic sense, an imitative ethical sense, an axiological sense, and a tutorial sense. Nature can be followed in a homeostatic sense in which human conduct utilizes naturallaws for our well-being in a stable environment, but this following is nonmoral since the moral elements can be separated from it. Nature cannot be followed in an imitative ethical sense because nature itself is either amoral or, by some accounts, immoral. Guidance for inter-human ethical conduct, therefore, must be sought not in nature, but in human culture. Nevertheless, in an axiological sense, persons can and ought to follow nature by viewing it as an object of orienting interest and value. In this connection, three environments are distinguished for human well-being in whichwe can and ought to participate-the urban, the rural, and the wild. Finally, in a tutorial sense, persons can and ought to follow nature by letting it teach us son1ething of our human role, our place, and our appropriate character in the natural system as a whole. In this last sense, "following nature" is commended to anyone who seeks in his human conduct to maintain a good fit with the natural environment-a sense of following nature involving both efficiency and wisdom. (shrink)

Language- and music-readiness are demonstrated as related within comparative neuroprimatology by elaborating three hypotheses concerning music-readiness (MR): The (musicological) rhythm-first hypothesis (MR-1), the combinatoriality hypothesis (MR-2), and the socio-affect-cohesion hypothesis (MR-3). MR-1 states that rhythm precedes evolutionarily melody and tonality. MR-2 states that complex imitation and fractionation within the expanding spiral of the mirror system/complex imitation hypothesis (MS/CIH) lead to the combinatorial capacities of rhythm necessary for building up a musical lexicon and complex structures; and rhythm, in connection (...) with repetition and variation, scaffolds both musical form and content. MR-3 states that music’s main evolutionary function is to self-induce affective states in individuals to cope with distress; rhythm, in particular isochrony, provides a temporal framework to support movement synchronization, inducing shared affective states in group members, which in turn enhances group cohesion. This document reviews current behavioural and neurocognitive research relevant to the comparative neuroprimatology of music-readiness. It further proposes to extend MS/CIH through the evolution of the relationship of the language- and music-ready brain, by comparing “affective rhythm” and prosody – i.e. by comparatively approaching the language- and music-emotion link in neuroprimatology. (shrink)

In scientific communications, journal articles, and philosophical aesthetic debates the words “art”, “creativity”, and “machine” are put together more and more frequently. Since some machines are designed to, or happens to, imitate human artistic creativity, it seems natural to use the same words to talk about human artists and machines which imitate them. However, the evolution of language in light of technology may conceal specific features of the phenomena it is supposed to describe. This makes it difficult to understand what (...) machine creativity actually is and how it is connected to human creativity. The aim of the paper is to investigate why, and in what sense, the functioning of some machines may be described in terms of artistic creativity and what is the relation between machine creativity and its human archetype. I start (§1) by introducing some general ideas concerning how language evolves alongside new technologies and focusing on the case of machine creativity. In §2 I review how some creative machines have been presented to the public, thus showing that a linguistic habit which connects machines to artistic creativity has already formed. In §3 I survey the debate on machine aesthetics and I highlight the main traits of the issue. In §4 I submit a primary scheme of machine creativity which draws on the concept of functional autonomy. Finally (§5), I argue that machine creativity cannot be mistaken for a substitute of the human kind, despite the fact that the word is the same. Creative machines are technological mediums by which new forms of human aesthetic experience can be explored. The kind of creativity machines enjoy displays a functional nature. (shrink)

It was once thought that solely humans were capable of complex cognition but research has produced substantial evidence to the contrary. Art and music, however, are largely seen as unique to humans and the evidence seems to be overwhelming, or is it? Art indicates the creation of something novel, not naturallyoccurring in the environment. To prove its presence or absence in animals is difficult. Moreover, connections between music and language at a neuroscientific as well as a behavioural level are not (...) fully explored to date. Even more problematic is the notion of an aesthetic sense. Music, so it is said, can be mimetic, whereas birdsong is not commonly thought of as being mimetic but as either imitation or mimicry and, in the latter case, as a ‘mindless’ act (parrots parroting). This paper will present a number of examples in which animals show signs of responsiveness to music and even engage in musical activity and this will be discussed from an ethological perspective. A growing body of research now reports that auditory memory and auditory mechanisms in animals are not as simplistic as once thought and evidence suggests, in some cases, the presence of musical abilities in animals. (shrink)

It was once thought that solely humans were capable of complex cognition but research has produced substantial evidence to the contrary. Art and music, however, are largely seen as unique to humans and the evidence seems to be overwhelming, or is it? Art indicates the creation of something novel, not naturallyoccurring in the environment. To prove its presence or absence in animals is difficult. Moreover, connections between music and language at a neuroscientific as well as a behavioural level are not (...) fully explored to date. Even more problematic is the notion of an aesthetic sense. Music, so it is said, can be mimetic, whereas birdsong is not commonly thought of as being mimetic but as either imitation or mimicry and, in the latter case, as a ‘mindless’ act (parrots parroting). This paper will present a number of examples in which animals show signs of responsiveness to music and even engage in musical activity and this will be discussed from an ethological perspective. A growing body of research now reports that auditory memory and auditory mechanisms in animals are not as simplistic as once thought and evidence suggests, in some cases, the presence of musical abilities in animals. (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Petrarchan Love and the Pleasures of FrustrationAldo Scaglione—Think you, if Laura had been Petrarch’s wife, He would have written sonnets all his life?Lord Byron, Don Juan, canto III, st. 7As Byron ironically intimated, there is a behavioral connection between much of the literature of love and sexual frustration. What is known as medieval “courtly love” was an epiphany of idealized love. Whether self-imposed or forced restraint, it infused much (...) of Arthurian lore, the troubadours’ and then Petrarch’s lyric, and later partly merged with the Renaissance phenomenon of Platonic love. 1 But we wonder about possible historical derivation both on the cultural (literary) level and on the level of practical behavior. In other words, if taken case by case, is the similarity among cultural patterns and between literary phenomena and behavioral patterns a consequence of: 1) intertextual connections with courtly love and Petrarchism; 2) ideological circumstances similar to those which produced “courtly love”; or, inversely, 3) a broader human need that also lies in the background of courtly love? Where and how did frustration, denial, or sublimation acquire a deeper and greater value than consummation and satisfaction? Was it through religion, myth, morality, psychology, or a combination of these factors? Is this essentially an anthropological or rather a psycho-moral question? Does it originate in our perennial “nature” or in our time-bound mores?It seems safe to assume a combination of these factors. Ideals of psychologically sublimated, hence physiologically frustrated, love have an anthropological foundation and are inherent in any sophisticated cultural form. At the [End Page 557] same time, in the Western tradition they owe much to the persistence of the specific historical phenomena of courtly love and its Petrarchistic variations.Of course the folklore of love includes both satisfied and unfulfilled sorts. Jean Hagstrum’s Esteem Enlivened by Desire (1992) deals with the conjugal sort, implying consummation. He distinguishes his theme from “long-term relations that remain unconsummated, valorizing delayed or obviated climax, prolonged foreplay, ascetic discipline, traditional Platonic or Petrarchan love, or various forms of sublimation.” 2 Yet “this last... is dialectically and psychologically tied to [Hagstrum’s] main theme: it is one kind of long-term love relationship with often more than a tinge of the erotic.” 3 For Hagstrum these behavioral variations are determined by culture, since purely “natural” behavior would be more uniform and “unhistorically” steady. 4The notion that idealized desire is culture-bound finds support in Denis de Rougemont’s well-known thesis, that chivalry and courtesy are inventions of medieval Europe with no equivalent at other times and places except by direct influence or imitation: the behavior of an ancient Greek lover or a modern Japanese lover does not involve “chivalry” toward the woman. 5 For de Rouge-mont, ideal love came under the spell of what he called eros, defined as infatuation with desire itself rather than love for its natural end. Difficulties and obstacles became more meaningful than success, even to the point that, as in the story of Tristan and, differently and uniquely, in Dante’s poetry, the death of the beloved marked the culmination of eros. This eros postulates self-denial and sublimation for the sake of a higher achievement.Regardless of chivalry’s roots in medieval Europe, frustration can be a powerful ideal in non-Western cultures, too. One signal example might suffice. The Chinese literary classic, The Dream of the Red Chamber by Chan T’sao (ca. 1717–63), is the life story or Bildungsroman of a high prince who, after a [End Page 558] life of indulgence, decides to renounce the world and become an ascetic monk. 6 This problematic main character, Pao Yu, moves in the framework of Taoist and Confucian ideals, with the addition of some Buddhist religious traits. His final withdrawal from the world, however, which appears to family and society as a disappointing betrayal, obeys a psychological need for a frustration that represents a nobler achievement than the satisfaction of worldly ambition.The point of this essay is to sample a few cases of literary representations of idealized love while underlining their ideal and, at times, literal interconnections. I also mean to suggest... (shrink)

In 1950 Alan Turing asked whether machines could think. This question has been vigorously debated since, and its relevance for machine intelligence, or even agency, continues to provoke interdisciplinary debate. In fact, Turing’s next step in his paper is to ask a far more nuanced question about imitation, which, we suggest, assumes a number of connections between intelligence, agency and the possibility of imitation. This paper will offer three key arguments against these assumptions, and in so doing make (...) the following claims: (1) that intelligence is not a guarantee of personhood or agency, (2) that Turing’s claims for imitation neither resolve the issue of intelligence, nor of agency, and that (3) recognition between agents (or recognition of agency) centres on the interpersonal relationship between agents, which in turn centres on the possibility for communication with a shared language. Our paper does not seek to argue either for or against the possibility of machine thought. Instead we seek to question whether any such processing would be recognized (by other agents) as thought or agency, and what this recognition might involve. (shrink)

This work discusses the origin of the architect and the architecture presented in the treatise _De Architectura_ by Vitruvius and its association with imitation. It is discussed the Vitruvian notion of the progression of humanity and its connections with the architect and the establishment of Architecture as the science of the architect. The proposal of training for professionals from various areas is analyzed, which would guarantee, according to Vitruvius, a generalist training and at the same time specialized in their (...) field. It also discusses the attributes necessary, according to the author, for a good professional, which would allow him to achieve recognition for his authority. (shrink)

Luxury entails a public differentiating use of objects and commodities, which is grounded on the overlapping of the spending with commodities and the ostentation of perceptible signs stimulating social imitation. In the eighteenth century, the debates on luxury emphasized the importance of the scrutiny of the power of imagination as intimately related to the contagious and mimetic character of the use of luxury objects. Thus, “luxury” represents a conceptual and, more generally, a semantic momentum in the evolution of the (...) description of the society grounded on the influence of imitation. The several textual testimonies of the luxury debates in the eighteenth century, including Bernard de Mandeville’s contribution, attest the epistemological perplexity regarding the status of the psychic side of the definition of commodities, or economic goods, as utilities responding to specific human needs: the escalade of the emulation in the acquisition of luxury objects seems to deny any relevant connection of luxury to basic needs. This justifies the reference to imagination as the psychic source of the needs connected to luxury consumption and the absence of a direct correspondence between luxury goods and needs. B. Mandeville’s views on the theme of luxury and overconsumption in his Fable of the Bees and other writings are a privileged starting point for the explanation of these aspects of the evolution of the modern commercial society. -/- Keywords Luxury • Commercial society • Imitation • Consumption • Utility. (shrink)

The application of λκθος ànd its derivatives and the Latin terms ampullae and ampullari to the turgid or elevated style of poetry or oratory has provoked such a variety of explanations amongst modern and ancient commentators that it would be a tedious business to examine them all in detail. The ancient commentators on Horace, Ars Poetica, 11. 93–7 interdum tamen et vocem comoedia tollit, iratusque Chremes tumido delitigat ore; et tragicus plerumque dolet sermone pedestri Telephus et Peleus, cum pauper et (...) exsul uterque proicit ampullas et sesquipedalia verba… were not even in agreement on the question of the precise correspondence of the two words, for while Porphyrion said that proicit ampullas was imitated directly from the ληκθειος Mοcomflex;σα of Callimachus, Pseudacron's note makes no reference to ληκθζειν at all, but merely connects the metaphor with the inflated appearance of the Roman ampulla. And though modern scholars do not question the fact that the two words do correspond in some degree, there has been a wide divergence of opinion on the derivation and meaning of the metaphor. Ritter and Wilkins, for example, held that the meaning ‘paint-pots’ was indicated by the conjunction of ληκθος with pingere in one of Cicero's letters to Atticus, and that in Horace, Epistles 1. 3. 12–14. (shrink)

The article analyzes the forms of rationalism and fideism proposed by Ukrainian Protestant theologians at the beginning of the XXI century. It turns out that these forms of rationalism and fideism were made possible by overcoming the anti-intellectualism that was characteristic of Protestantism in Soviet times. The opposition of tendencies to rationalism and fideism is connected with the positioning of Ukrainian Protestants in the postmodern times. Proponents of de facto rationalism propose to reconstruct the modern religious worldview, re-synthesizing elements (...) of liberal and fundamentalist concepts. The study shows that hopes for the restoration of the modern worldview in the face of the challenges of the early XXI century contain elements of utopianism. Proponents of Fideism suggest taking full account of the real state of affairs in the postmodern era and recognizing the impossibility for Christians to use modern rationalism in all its forms. At the same time, faith acquires special significance as an expression of the personal relations of the holy people with God. Ukrainian Protestant rationalism in the article is analyzed on the example of the work of Sergei Golovin as the most consistent expression of this worldview. It has been proven that his ideas depend on the concepts of Norman Geisler, a prominent Protestant theologian. Golovin, imitating Geisler, believes that the Christian worldview should be the final superstructure over the foundation of classical logical rationalism and the ontology of being. This logic comes from classical Thomism. Golovin's rationalism is the rationalism of formal logic. Golovin's first controversial proposal is to reduce the paradoxes and contradictions contained in the Bible. Such a reduction contradicts the biblical studies of the beginning of the 21st century, and therefore can no longer be convincing for professional theologians. For ordinary believers, this reduction is an obscure rationalization of the image of God they have in reading the Scriptures. The second controversial proposition is to convert people first to logical rationality as the ideological foundation of humanity, and then to their conversion to Christianity. Such a proposal is largely outdated, because in the twentieth century it became clear that rationality in itself can be an instrument of any worldview and does not ensure the preservation or rehabilitation of humanity. By comparing it with theological practices of restoring humanity through the ethics of accepting another, the author argues that the restoration of humanity is possible through recourse to the potential of existentialist spirituality, theology of interpersonal communication, and other practical strategies of Christian theology. The biggest shortcoming of Sergei Golovin's rationalism is the proposal to build his own "scientific creationism", which denies the basic scientific theories of today. The most successful element of Golovin's system was social ethics, which offers the idea of ​​a modern state governed by the rule of law as one that can be deduced from the spirit and letter of the biblical commandments. The fideism of Ukrainian Protestant theology is born from the understanding that the ethical acceptance of others and love for them is possible only on the basis of personal faith. The challenges of the beginning of the 21st century require the acceptance of another, but individuals and communities lack the natural strength to accept such. And only faith and faith-generated love help to be open to others. Also, the post-capitalist economy of mutual gift, proposed by theologians and Christian communities, is based only on personal faith. It has been proven that the fideism of Ukrainian Protestant theology is closer to the ideas of postconservatism than the concepts of postliberalism. It has been found that radical protection of individual rights and humane treatment of others is common to the rationalism and fideism of modern Ukrainian Protestant theology. It is these ideas that are important for understanding what humanity is, which should be a prerequisite for being a true Christian. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Colin Falck STRUCTURE AND INTUITION I KANT'S ANSWER, in his Critique ofPure Reason, to the Humean problem that there seemed to be no way of explaining the principle of our experiential unity, of what it is that holds us together as experiencing selves or consciousnesses, was to argue that it was language itselfwhich underlay the whole possibility of our self-consciousness and of our consciousness of a world of objects (...) around us. Experience would not be possible without a unified consciousness, and a unified consciousness is only possible for us because of the use which we make of certain concepts of"the objects of experience." ' Kant argues at some length that there can be no perceptual experience without conceptual language, and in particular without our use of what he calls the a priori "categories" or "pure concepts of understanding " (CPR, B. 102 et seq.). (A similar, but more sophisticated, argument about the necessary dependence of perceptual experience on conceptual language was developed later by Wittgenstein.) Saussure, in his Course in General Linguistics,2 though never it seems in a fully aware or explicit way, founds his entire argument on this Kantian conclusion when he remarks that the notion "that ready-made ideas exist before words" is "open to criticism at several points" (p. 65), and goes on to elaborate a view of linguistic meanings as based in the relationships which hold between linguistic terms or units themselves rather than in any kind of "namingprocess " or "correspondence" between individual words and the things that they name (pp. 65, 111-18). A difficulty which faces, and which (unless certain amendments are made) must ultimately invalidate, the account of experience and language which Kant sets out in the Critique of Pure Reason is that the Kantian experiencing self, even though it is a concept-using and therefore perhaps 184 Colin Falck185 logically plausible subject, is at the same time also a disembodied subject. To that extent it is open to some of the same objections that can be brought against Descartes's conception of the thinking subject, or ego, as the foundation of all our experiencing. The problem which Kant did not recognize is that there could be no way for us to know about the existence of other experiencing agents, or therefore to have any awareness of the distinction between ourselves and other selves, if we could not in fact see the putative other person as an experiencing and thinking consciousness. To see another person in this way it must be possible to see him as, and it must be essential to his identity that he should really be, an embodied consciousness, rather than merely a Cartesian disembodied ego or (since the same arguments must apply) a Kantian disembodied concept-using self. (Without being embodied or located, there is no way for the Kantian self to be a perceiving agent with an identity which endures through time: the mere "unity of self-consciousness" which Kant offers us does not in fact give us any solution to Hume's problem at all.) The body, we might say, is that realm in which, or through which, we have our contact with, and therefore our awareness of, other consciousnesses — and at the same time, by contrast, our awareness of our own selfhood or consciousness as well.3 We cannot see another person only as "external" behavior, but must necessarily see his behavior as already inhabited by mind or spirit. Were this not so, there would be no way, to use the Kantian or "transcendental" turn of argument, for us to have the kind of experience which we indisputably do have. Ultimately therefore, if we reflect on the deficiencies of the Kantian position in the "disembodied" form in which Kant himself sets it out, we shall be obliged to recognize that the only kind of concept which will make the required connections between the "inside" and the "outside" of human behavior — a logical gap which seems all too easily to open up beneath us in this area — will be some kind of concept oí sympathy, or of preconscious imitative identification, which, by bridging the divide between "internally experienced" consciousness and "externally observable" movement, makes it... (shrink)

J.S. Mill's deep interest in French intellectual, political, and social affairs began in 1820 when, in his fourteenth year, he went to France to live for a year with the family of Sir Samuel Bentham. French became his second language, and France his second home, where he died and was buried in 1873. His interest in history began even earlier when, as a child of seven, he tried to imitate his father's labours on the History of British India; though he (...) never wrote a history in his maturity, study of the past remained a passion and helped shape the philosophy of history that informed his views of society and ethics. His intense interest in contemporary French politics also led him to seek connections between historical developments and present trends, both seen by his from a Radical perspective approproate to what he believed to be an age of transition. The English historians of France, including Walter Scott and Thomas Carlyle, as well as the French, some of whom were themselves political figures, are judged by their historical methods, but those methods are seen as having practical effects in shaping as well as revealing the mind of the times. This volume brings together for the first time the essays, running from 1826 to 1849, that meld these abiding interests. They give as well insights into Mill's personal aspirations, his developing view of comparative politics and sociology, his concern for freedom, and his feminism. During these years Mill worked on a published his System of Logic, Book VI of which shows in condensed form the results of the speculations here developed; reading these essays with that work, which made his reputation as a philosopher, enables one to see the effects of romanticism on analytic thought in a way not as clearly evident even in Mill's Autobiography. Independently important, then, the essays in this volume also enable us to interpret anew the practical and theoretical concerns fundamental to his formative years and maturity. John C. Cairns' Introduction demonstrates how the essays reveal, through their reactions to the Revolutions of 1789, 1830, and 1848, and to French historiography, politics, and thought, the effect of France on Mill's ideas, and also the way in which his other concerns influenced his reactions to France. The texts, with the variants and notes that are the hallmark of this edition, are described in John M. Robson's Textual Introduction, which explains the editorial principles and methods. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 40.1 (2002) 121-122 [Access article in PDF] Book Review Humanism and Early Modern Philosophy Jill Kraye and M. W. F. Stone, editors. Humanism and Early Modern Philosophy. New York: Routledge, 2000. Pp. xii + 270. Cloth, $75.00 Early-modern philosophy begins in the seventeenth century. This book, based on a colloquium at the Warburg Institute, London in 1997, strives at extending the limits of (...) this period into the sixteenth and fifteenth centuries. Thus "the long-standing exclusion of the Renaissance from the standard philosophical curriculum" (xii) should come to an end by acknowledging its being an integral part of early modern philosophy and its relevance for an understanding of modern thought. The distinctive element of the Renaissance was, according to the editors, humanism, understood as the revival of ancient sources from the fourteenth century on, and its impact on the shaping of modern thought by these sources.One can identify the following types of argument offered in the twelve contributions to this book: (1) Renaissance humanists mediated classical sources into the seventeenth and following centuries either by translating Greek texts into Latin (Lohr on Aristotle commentaries) or by offering new interpretations that were to become standard (Hankins on Ficino and Galileo, and Mercer on the German Platonists). (2) Ancient modes of thought, mediated through the Renaissance, shaped modern philosophy (Stone on Aristotelian and Reformed ethics, Levi on Stoicism in Justus Lipsius, Kraye on Marcus Aurelius editions, and Osler on Gassendi and Aristotle). (3) Humanist literary forms and mentalities survived in modern thought (Bianchi on dialogue, Vickers on rhetoric in Bacon, and James on 'grandeur' and scientific argument).Two papers do not fit into this scheme: in "The Theology of Lorenzo Valla," the only paper dealing directly with a Renaissance humanist, Monfasani wants to prove that "Valla was no theologian." Monfasani does this on the basis of a very narrow concept of dogmatic correctness, blaming Valla continuously for being banal, to the effect that the paper does not contribute to the topic of the book. One could well connect Valla's theological issues (free will, summum bonum, trinity, etc.) with his provocative stirring up of philosophy in general and show his influence on Protestant theology and on modern ethics.The other paper is by J. R. Milton, which is enlightening because it summarizes the prejudices against humanism in modern philosophy ("'Delicate learning,' erudition and the enterprise of philosophy"). He endorses "one of the most familiar narratives in European philosophy" (161), namely that Descartes's breakthrough was due to his total rupture [End Page 121] with the philosophical tradition, especially with contemporary humanist and scholastic thought. Thus Descartes's triumph was that of the myth of the irrelevance of history to philosophy as evident in Galileo, Locke, and even Hume. If antecedents are acknowledged, e.g., in Berkeley, then accepting that they "provide us either with an irreplaceable source of wisdom or with equally irreplaceable models for imitation, or indeed both" (167), still fails to recognize that the history of a philosophical problem is a part of that problem rather than just some general "wisdom" or a model for imitation. Of course, Milton repeats the myth of Bacon's anti-humanism, masterly refuted in this very book by Brian Vickers, and Milton believes that Valla "enthroned" "custom and example" and therefore for him "it would be difficult if not impossible to state Hempel's Raven Paradox" (169). One might wonder whether the conclusion: "All ravens are black --all non-black things are non-ravens," is the paramount of modern philosophy. But a thorough reader of Valla's logic might discover similarities to pragmatism, which are fostered by his deep criticism of language with the tools of Renaissance humanism. However, Descartes's indebtedness to Renaissance method and rhetoric is handbook knowledge today.The audience for this collection of samples are specialists either in seventeenth- or eighteenth-century philosophy, or in Renaissance thought, or even philosophers in the narrow sense of the disciplines. The latter are difficult to convince of the usefulness of historic studies or "erudite activity" (Milton... (shrink)