The aim of this paper is to outline a version of “non-attachment” that is conceptually clear and practically viable. We turn to the Buddhist traditions for their wealth of insights into non-attachment, but our goal is not exegetical. We are not constrained by the Buddhist traditions and turn to Anglophone moral psychology as well to point out a close connection between non-attachment and adaptive preference. We offer the reason for adopting the outlined version of non-attachment and depict what it is (...) like in practice to live with no attachment. (shrink)

In much of modern scholarship, the notion of datong 大通 in Zhuangzi’s famous zuowang 坐忘 (sitting in disregard) passage is often interpreted as either Dao or a mental/spiritual state of an ideal person, a person who has obtained Dao. In either case, however, the association between datong and such interpretation lacks detailed justification resulting from an insufficiently understood relation between datong and its immediately preceding statements. Different from the more common readings, I propose a cognitive approach based on an image (...) schema related to non-obstruction. In order to demonstrate the philosophical importance of this schema, I will first briefly point out the problems of previous scholarship regarding the zuowang passage. Second, I will introduce the image schema related to non-obstruction based on a number of examples taken from the Zhuangzi. Finally, I will apply this methodology and introduce a cognitive experience-based interpretation of the zuowang passage. (shrink)

Vladimir Vladimirovich Nabokov is a distinctive representative of Russian literature in the 20th century. His works are studied by many famous artists in many countries. The conciseness and beauty of his language are unique characteristics of Nabokov’s creation. His works show great philosophical depth, high moral values, and aesthetic accomplishments. His erudition has also attracted the attention of the world. This paper mainly expounds his metaphysical ideas: Nabokov’s metaphysics is mainly expressed in his great understanding of the world and his (...) ability to understand and his longing for something grand and incomparable. His philosophical, ethical and moral ideas have incorporated the views of various literary schools, formalism, and structuralism at home and abroad. In addition, this article analyzes the relationship between philosophy, ethics, linguistics, reality and non-reality, reality and lies through the study of many works of the author; it clearly defines the distinction between “game” and “acting”; explained a series of problems of the author’s creation techniques; summed up the themes such as “time and permanence”, “memory and memories” in Nabokov’s works. These are all reflected frequently in Nabokov’s works. It is precisely because of this that his works have also been studied as metaphysical works for the public. (shrink)

Confucian political authority is often assumed illegitimate and it is regarded as meritocratic rather than democratic. However, I disagree with such an assumption, because from my perspective, Confucian political authority actually has a potential legitimacy which may contribute to establishing a responsive and harmonious state. Doing so, I argue that, since Confucian political authority is derived from the idea of “service” and “reciprocity,” it therefore advocates non-coercive moral persuasion and reciprocal obligations. In the following discussion, I will point out that (...) certain modern democratic theories on political authority, such as those concerning “general acceptability,” “consent,” “autonomy,” and “paternalism,” are inadequate to refute the legitimacy of Confucian political authority. Accordingly, I will propose that our contemplation over whether Confucian political authority is legitimate or not ought to be furthermore widened and deepened. (shrink)

《莊子•天道》中輪扁斲輪故事，看似旨在說明技藝之不可言傳性；若 連結到其他論及技藝與語言之《莊子》篇章來看，如此詮釋誠然有跡可循，而在現代學界也確實傾向以此脈絡來理解或應用輪扁之故事。鑒於《莊子• 天道》中，另有其他段落以「書」為題，本文擬從《莊子•天道》整章的脈 絡來探討輪扁故事之旨趣。本文將根據輪扁故事中有關書的問題，分別探 究：書的功能何在？為何批判書？書中少了什麼？依據《莊子•天道》提供 之線索探討上述諸問題時，可以發現輪扁之故事應視為政治論述之一環；換 言之，技藝與語言等議題，或許無關於其宏旨。.

In this dissertation, I try to answer the following somewhat Kantian question: How is mental causation possible? For the discussion of the nature of mental properties, I accept the two tenets of functionalism: the multiple realizability thesis and the functional conception of mental properties as causal intermediaries between physical causes and effects. I then introduce the following two principles: the principle of physical realization and the principle of causal power identity. It is the principle of physical realization that dictates that (...) every mental property be physically realized for its instantiation. The principle of causal power identity ensures that the causal power of a mental property is identical with those of its physical realizers. I suggest that the realization relation between the mental and the physical be understood in such a way that a mental property has causal powers identical with those of its physical realizers, but that the mental property itself is not reduced to its physical realizers because the two kinds of properties are not identical. Mental properties are realized in physical properties, and the causal powers of mental properties are identical with those of physical properties; therefore, mental properties are as causally efficacious as their physical realizers. Since mental properties are not reducible to physical properties, they enjoy autonomy with the full causal powers of their realizers. To conclude, mental properties do not lose out to epiphenomenalism; and they have their own autonomy. (shrink)

Kripke's argument for the rigid designation of natural kind terms is fallacious because he does not distinguish natural kinds from second-order functional properties; by clarifying the concepts of natural kind and functional property, we can show that natural kind terms do designate their referents rigidly, but that functional property terms are not rigid designators. My discussions of functional property will also help dispel the worry about the alleged cases of contingent identity with regard to theoretical statements in science. There is (...) no contingent identity even in the form of second-order logic: Property identity is also a necessary identity. The principle of necessary identity rules relentlessly. (shrink)

Journal of Chinese Philosophy, EarlyView.

Journal of Chinese Philosophy, EarlyView.

The neural correlates of rapid eye movements (REMs) in sleep are extraordinarily robust; including REM-locked activation in the retrosplenial cortex, the supplementary eye field and areas overlapping cholinergic basal nucleus. The phenomenology of REMs speaks to the notion that perceptual experience in both sleep and wakefulness is a constructive process – in which we generate predictions of sensory inputs and then test those predictions through actively sampling the sensorium with eye movements. On this view, REMs during sleep may index an (...) internalized active sampling or ‘scanning’ of self-generated visual constructs that are not constrained by visual input. If this view is correct, it renders REMs an ideal probe to study consciousness as “an exclusively internal affair” (Metzinger 2009). In other words, REMs offer a probe of active inference – in the sense of predictive coding – when the brain is isolated from the sensorium in virtue of the natural blockade of sensory input during REM sleep. REMs are temporally precise events that enable powerful inferences based on timeseries analyses. As a natural, task-free probe, [REMs] could be used in non-compliant subjects, including infants and animals. In short, REM constitutes a promising probe to study the ontogenetic and phylogenetic development of consciousness and perhaps its abnormal development in schizophrenia and autism, which have been considered in terms of aberrant predictive coding. (shrink)

continent. 2.1 (2012): 2–5 To begin with, as we understand from a remote place like Seoul, there have been two different conceptions of materiality in the Western experimental ?lm history: materiality of cinema and of ?lm. The former has been represented by the practitioners of the so-called the “Expanded Cinema” and the latter by the tradition of the “Hand-made” ?lm. Whereas for the Expanded Cinema, the materiality or the “medium-speci?city” includes not only the ?lm material but also the entire condition (...) and environment in which the cinematic experience is situated (i.e.: screen, projector, audience and theatre); for the Hand-made ?lm, it is the whole ?lmic process prior to the screening in front of the audience (i.e.: hand-processing and optical-printing). The two practices share in the materialist turn that opens up the radical possibilities of aesthetic (and even political) interventions into a process previously considered seamless and transparent. What can be called to attention through the materialist turn includes the aesthetic-institutional process in the projection-spectator relation and the (non-) representational process in ?lm-making. Moreover, these interventions bring their own temporalities back to those processes, and this returning emancipates the temporalities from their subordination to the cinema-as-commodity. Hangjun Lee is a ?lm-based artist whose practice is concerned with Hand-made Film and Experimental Cinema. Given these interests, Lee questions the linkage between materiality and temporality. This was his preoccupation around 2006, the time at which he started to collaborate with Chulki Hong, the noise improviser. The improvisational nature of their audio-visual performances opened means of detouring from the conventional editing techniques. Their collaboration also afforded critical investigations into the performativity of the practices in both the darkroom and the screening room, as well as in the private recording/practicing studio, and public performance spaces for the improvising musician. In fact, it was a kind of common interest shared by both us from the outset. In our collaboration, we avoid sacri?cing/concealing/minimizing one form of performativity (the performative nature and temporality of compositional process) for the sake of the other (i.e. those in improvisational and executional process). In the ?eld of experimental music and sound, this kind of approach has been comprehensively called “cracking” or “hacking”. The concepts are ?nely formulated in the coinage of “Cracked Everyday Electronics” (by Voice Crack) or more generally “Handmade Electronic Music” (by Nicolas Collins). 1 And this was a pure but perhaps necessary coincidence. the original title of the work of our collaboration and, retrospectively, of the set of our working principles at the same time, “The Cracked Share” was named by Lee after Georges Bataille’s masterwork, The Accursed Share , with the substitution of the adjective with “Cracked” as a synonym for ‘reticulated’ in the photographic image. We think the ascetic and subtractive aesthetic turn of the contemporary non-idiomatic improvised (and even somewhat non-improvised) music 2 pushed us further towards more radical dissociation with the empty temporality of commodi?ed audio-visual experience. It can be called the aesthetics of “without,” and exemplars include Yoshihide Otomo’s Turntable Without Records , Sachiko M’s Sampler without Samples . There are also other radical experiments even with the (non-)improvised music without noise and sounds that neatly meet the rules and idioms of the existing/established experimental music. For us, this thread among the experimental music currents weighs in its emphasis on subtractive and dissociational power unique to improvisational action. Surely, the tradition of the Cracked and Handmade improvised music teaches us the crucial lesson that “[m]edia and mediation are never transparent” and that “[m]ediation actively transforms data from one form to another and is never passive.” 3 We couldn’t agree to this statement more. However, without the removal and withdrawal power of improvisation that poses and keeps both subjects (performer and audience) and objects (projector and instrument) in “inferiority,” 4 generalized cracking and hacking practices—or simply “glitch”—in music and visuals would be either sublimated into the mystical and ritualistic forms of “Film Alchemy” and “Noise Music” (to which both of us still strongly feel a belonging but also, more or less, ambivalent sentiments), or else assimilated into the logic of the commodi?ed audio-visual communication. Today in music, this principle of improvisational performativity should be formulated as the dis-organization of sound against the associational de?nition of (electronic) music and it needs to be translated into audio-visual experiences. In other words, cracking practices of free improvisation need not be limited in artistic creativity, in a darkroom, in a studio, or on the stage; the principle of the dis-organization of sound should be the principle of dis-organization (or cracked organization) of audio-visual performance space itself. NOTES 1) Norbert Möslang, “How Does a Bicycle Light Sound?: Cracked Everyday Electronics,” Leonardo Music Journal 14 (2004): 83; Nicolas Collins, Handmade Electronic Music: The Art of Hardware Hacking (New York: Rutledge, 2006). 2) We refer this not to the historical style or genre but rather the idea and practice that ?free improvisation? stands for. On the distinction between idiomatic and non-idiomatic improvisation, see Derek Bailey, Improvisation: Its Nature and Practice in Music (Cambridge, MA: Da Capo, 1993). On radically politico-histrorical interpretations of free improvisation and noise music from various present viewpoints, see Noise and Capitalism , (eds.) Mattin & Anthony Iles (Arteleku Audiolab, 2009). 3) Caleb Kelly, Cracked Media: The Sound of Malfunction (Cambridge: MIT Press, 2009), p. 29. 4) I borrow the term from my long-time collaborator, Choi Joonyong. See Ryu Hankil, Hong Chulki & Choi Joonyong, Inferior Sounds (Balloon and Needle, CD, 2011). (shrink)

***Translated a Korean-language book to English with Dr. Chang-Seong Hong*** Venerable Hyun-Eung's Enlightenment and History is the first book of Buddhist philosophy of history published in South Korea; possibly the first of its kind in the world. In this book of telling points and clear visions, Hyun-Eung discusses East Asian Buddhist traditions in light of Western-philosophical perspectives and presents his views on the theory and praxis in contemporary Buddhism in a way that Western readers can easily understand. East Asian Buddhist (...) philosophy has had little introduction to English-speaking societies compared with the philosophies of other traditions in Buddhism. This book provides penetrating insight into such major issues of East Asian Mahayana Buddhism as enlightenment, compassion, emptiness, and sudden enlightenment in the Zen traditions. Hyun-Eung s approach is creative, clear, logical, and methodologically modernized. Hyun-Eung s Buddhist philosophy of history is not a mere product of armchair philosophy. He wrote most essays in this book during the 1980 s while South Korea was undergoing serious political turmoil as it tried to overthrow a government backed by military generals. This book presents a philosophy that evolved from his contemplations on the real issues of South Korean society. Defining the ideal form of life as the life of bodhisattva in Mahayana Buddhism, Hyun-Eung summarizes the theme of this book as follows: My book Enlightenment and History is a collection of essays that interpret Buddhist doctrines under a new light. In particular, this book interprets bodhisattva as the combination of bodhi (enlightenment) and sattva (life, history), and defines the life of bodhisattva as enlightenment s becoming history and history s becoming enlightenment. This is the representative of all the new interpretations in this book. Also, I classify the issue of fact judgments on how to understand facts and phenomena as the area of bodhi (enlightenment) and the issue of value judgments on how to live life as the area of sattva (history), and thereby I make their logical differences clear. However, at the same time, I claim that harmonizing these two areas into one area of life is the model of a nice and practical life, which is the bodhisattva that Mahayana Buddhism praises. From Introduction. (shrink)

<2020 Buddhist Book Award (2nd place), Korea> <2020 Sejong Book Award, Korea> The book discusses and provides solutions for the philosophical issues of Aristotelian essentialist biology, Darwin’s evolutionary theory, and contemporary molecular biology in light of Buddhist concepts of dependent arising and emptiness. CONTENT 1. Buddhist Teachings from the perspective of Bioscience 2. Bioscience from the Perspective of Buddhist Teachings 3. Enlightenment, Compassion and Bioscientific Phenomena 4. Enlightenment, Revolutionary Change of Worldview 5. The Buddhist Understanding of Development in Biology 1 (...) 6. The Buddhist Understanding of Development in Biology 2 7. The Buddhist Understanding of Development 1 8. The Buddhist Understanding of Development 2 9. The Buddhist Understanding of Aging 10. The Buddhist Understanding of Sickness 11. The Buddhist Understanding of Death 1 12. The Buddhist Understanding of Death 2 13. The Buddhist Understanding of Species 1 14. The Buddhist Understanding of Species 2 15. The Concept of Gene and its History 16. Genetic Dualism and Buddhist Criticism 17. The Buddhist Understanding of the Gene 1 18. The Buddhist Understanding of the Gene 2 19. Evolution is not Progress but Changes 20. Evolution is neither Deterministic nor Indeterministic. It is the Process of Interdependent Arising 21. Reconsidering Chance and Necessity 22. What Darwin Left Us 23. The Evolution of Buddhism 1 24. The Evolution of Buddhism 2 . (shrink)