This article provides a critical survey of the debate on intertheoretic relations, with particular emphasis on the cognitive sciences. I begin by distinguishing two opposing sides, reductionism and antireductionism, and proceed by tracking the changes these positions underwent in the twentieth century. It appears that these changes consist to a significant degree in smoothing out the rough edges of both, so that the original positions can be understood as crude extremes. The monistic accounts of intertheoretic relations were traded in for (...) more tolerant and nuanced approaches, a tendency that is chiefly inspired by an increasing focus on actual scientific practice. (shrink)

"Livre publié à l'occasion de la série d'expositions, Affinités Sélectives, au Paleis voor Schone Kunsten à Bruxelle, organisées par Bernard Marcadé.

The Immersive Experience of Art: Deception or Emancipation? The immersive experience plays an increasingly important role in the contemporary experience of art. Digital and multimedia technologies are used to make works of art accessible to a broad and diverse audience. In popular discourse, this evolution is often framed in a narrative of democratization and social emancipation through the participation in art. In the background of that narrative resounds the Schillerian ideal of aesthetic Bildung, which regards the experience of beauty as (...) a necessary condition for achieving individual and political freedom. The question, however, is whether the contemporary immersive art experience is not fundamentally different from the pre-digital aesthetic experience, and what the repercussions of this would be for its emancipatory potential. This contribution examines the aesthetic characteristics of the immersive experience, including a case study of the work Sleep by the post-classical composer Max Richter, in order to assess the extent to which the contemporary immersive art experience can be understood as a continuation or, on the contrary, a departure from the Schillerian vision of art. (shrink)

Raoul Moati intervenes in the critical debate that divided two prominent philosophers in the mid-twentieth century. In the 1950s, the British philosopher J. L. Austin advanced a theory of speech acts, or the "performative," that Jacques Derrida and John R. Searle interpreted in fundamentally different ways. Their disagreement centered on the issue of intentionality, which Derrida understood phenomenologically and Searle read pragmatically. The controversy had profound implications for the development of contemporary philosophy, which, Moati argues, can profit greatly by (...) returning to this classic debate. In this book, Moati systematically replays the historical encounter between Austin, Derrida, and Searle and the disruption that caused the lasting break between Anglo-American language philosophy and continental traditions of phenomenology and its deconstruction. The key issue, Moati argues, is not whether "intentionality," a concept derived from Husserl's phenomenology, can or cannot be linked to Austin's speech-acts as defined in his groundbreaking _How to Do Things with Words_, but rather the emphasis Searle placed on the performativity and determined pragmatic values of Austin's speech-acts, whereas Derrida insisted on the trace of writing behind every act of speech and the iterability of signs in different contexts. (shrink)

Ein Gemeinplatz der modernen Ästhetik besteht darin, dass sich die Produktivität des Künstlers einem entfesselten Gebrauch seiner Einbildungskraft verdankt. Nach dieser Vorstellung kann der Künstler neue Werke hervorbringen, weil er sich der assoziativen Kraft seiner Einbildungskraft überlässt. Als eine historische Quelle für die Auffassung, dass der Künstler in der Verwendung seiner Einbildungskraft von zwingenden Regeln frei ist, wird dabei oft Kants Genietheorie des Künstlers angesehen. Kant wird damit als Opponent der Regelpoetik Gottscheds und Vorbereiter der Genieauffassung der Romantik wahrgenommen. Tatsächlich (...) stellt die Auffassung, dass das künstlerische Genie seine Einbildungskraft frei von begrifflichen Zwängen ausübt, einen wichtigen Teil von Kants Theorie der schönen Kunst dar. Wie sich jedoch leicht feststellen lässt, schreibt Kant dem schöne Kunst hervorbringenden Genie keine absolute Freiheit im Gebrauch der Einbildungskraft zu. Im Folgenden beschäftige ich mich mit den Beschränkungen, denen die Einbildungskraft des Genies trotz der ihr zugeschriebenen Freiheit laut der Kunsttheorie der Kritik der Urteilskraft unterworfen ist. (shrink)

Two solutions are offered to the problem of distinguishing "historical" from "functional" associations in cross-cultural surveys. The underlying logic of the mathematical model is discussed and three kinds of association distinguished: hyperdiffusional or purely "historical" association, undiffusional or purely "functional" association, and semidiffusional or mixed "historical-functional" association. Two overland diffusion arcs constitute the test sample; the relationship of social stratification to political complexity constitutes the test problem. A sifting test establishes a bimodal distribution of interval lengths between like types and (...) sifts out repetitions with a lesser interval length than the second mode. A cluster test shows that for the test problem, the "hits" cluster more than the "misses". (shrink)

Published posthumously in 1908, Ecce Homo was written in 1888 and completed just a few weeks before Nietzsche’s complete mental collapse. Its outrageously egotistical review of the philosopher’s life and works—featuring chapters called Why I Am So Wise and Why I Write Such Good Books—are redeemed from mere arrogance by masterful language and ever-relevant ideas. In addition to settling scores with his many personal and philosophical enemies, Nietzsche emphasizes the importance of questioning traditional morality, establishing autonomy, and making a commitment (...) to creativity. Essential reading for students of philosophy, this unique memoir is crucial to an understanding of Nietzsche’s other works. (shrink)

A distinguished cross-cultural researcher presents a brave, heartfelt and exciting challenge to the social sciences: the creation of an international, moral order. He advocates the use of cross-cultural research to uncover a common core of values and morality. This research would then be used to ameliorate problems and guide policy in the light of those values. He shows his procedures at work in the study of ten major social and personal ills, such as mental illness, divorce, sex roles, and child (...) abuse. His research leads him inexorably to the concept of the moralnet -- the social group that provides values and support. When these are disrupted, problems are aggravated or even created. 'The work of Naroll fits in well with. (shrink)

This paper provides a relational analysis of James Fowler's Faith Development Theory and Heinz Streib's Religious Styles Perspective in light of a recent study of apostasy from religious fundamentalisms. Empirical support is provided for both theories. RSP is endorsed as a more encompassing theory of religious development which accounts for more contingencies than FDT. However, FDT is subsumed rather than superseded by RSP as a powerful lens through which to observe cognitive dimensions of religious development. The paper introduces an integrative (...) paradigm, phenomenological empiricism, to conceptualise a complementary relationship between FDT and RSP as key theories in the future study of religious development. (shrink)

Traite de la conception philosophique de Jacques Maritain qui a développé tout au long de sa carrière un système de pensée proche de celui de Saint Thomas d'Aquin. Cette étude s'inscrit dans la tentative de mettre en lumière les aspects fondamentaux de la quête de l'homme et de son rapport à la beauté d'après le philosophe Maritain.

Peter Maurin, a French, itinerant immigrant, known, if at all, as co-founder with Dorothy Day of the Catholic Worker movement plies his pedagogy from the margins of society, identifying with the poor of the Depression. He believes his vocation is to awaken the poor and professionals alike to reconstruct a personalist democracy and restore its spiritual foundation, Remarkably resonate with John Dewey’s experiential learning, Jane Addams’ Hull House initiative, and the Brazilian educator and theologian Paulo Freire’s theory of humankind’s vocation (...) to humanize the world, Maurin critiques education as “knowing more and more about less and less” and not relating knowledge to the real world. Today Dewey and Freire influence progressive experiential pedagogy, but most progressive educators are unacquainted with Maurin’s radical vision. Yet, Maurin speaks as trenchantly to our own time of socio-economic, ideological, and moral crisis as he did to the crises of the 1930s. This paper seeks to recover Maurin’s pedagogy for critical theory’s work of educating today’s students—and the world, in general—to a deep consciousness of the workings of society, for restructuring the social order, and for solidarity with those who suffer from structural injustice. For Maurin, solidarity with the impoverished and marginalized is the site of both deep knowing and transformative power. This solidarity is the bedrock of Maurin’s teaching—propagated among the cast-offs at Columbus Circle to academics on Boston Commons, to the storefront and tenement schools he established, to his outdoor university, to forums, symposia, and nightly round-table discussions. With poetic phrasing, he casts his thought as “points” in what becomes known as “easy essays.” While those from the academic mainstream publish in respected journals, Maurin, from the margins, tacks up his essays in public places and even mails them to reluctant listeners. Working out the practical implications of his vision, he offers a particular angle on the world, and a prophetic pedagogy for the gravitas of our time. (shrink)

Although many have identified similarities between the arts, the question as to what principle they would share has proved difficult to answer. This article unfolds three crucial moments in the search for an answer to the question of the singularity and plurality of art: Batteux’s attempt to reduce the arts to one principle in The Fine Arts Reduced to a Single Principle (1746), the early idealist-romantic attempt to synthesize the arts in The Earliest System-Program of German Idealism (1798), and Nancy’s (...) recent attempt, in The Muses (2006), to understand the Hegelian End of Art as a beginning of the arts in plural. (shrink)

In a 2008 paper, Walmsley argued that the explanations employed in the dynamical approach to cognitive science, as exemplified by the Haken, Kelso and Bunz model of rhythmic finger movement, and the model of infant preservative reaching developed by Esther Thelen and her colleagues, conform to Carl Hempel and Paul Oppenheim’s deductive-nomological model of explanation (also known as the covering law model). Although we think Walmsley’s approach is methodologically sound in that it starts with an analysis of scientific practice rather (...) than a general philosophical framework, we nevertheless feel that there are two problems with his paper. First, he focuses only on the deductivenomological model and so neglects the important fact that explanations are causal. Second, the explanations offered by the dynamical approach do not take the deductive-nomological format, because they do not deduce the explananda from exceptionless laws. Because of these two points, Walmsley makes the dynamical explanations in cognitive science appear problematic, while in fact they are not. (shrink)