This paper presents the story of an isiXhosa traditional healer, Nomzi Hlathi, as told to the first author. Nomzi was asked about how she came to be an igqirha and the narrative focuses on those aspects of her life story that she understood as relevant to that developmental process. The material was obtained from a series of semi-structured interviews with Nomzi, with some collateral from her cousin, and synthesised into a chronological narrative presented in Nomzi’s own words. The aim of (...) the study was to examine her account of her unfolding experience within three hermeneutic frames. The first is the isiXhosa traditional account of what it is to become an igqirha, a process initiated by intwaso, an illness understood to be a call from the ancestors, and guided by messages from the ancestors in dreams and other symbolic communications. The second is the perspective of Western Clinical Psychology on the cognitive, emotional and behavioural disturbances that characterise intwaso. The third is the perspective of transpersonal psychology on the nature and development of shamanic healing gifts, as understood from observations of such practices in traditional societies across the world. As the narrative of Nomzi’s story is quite long, this paper presents her narrative as well as the methodology which gave rise to it. The interpretative review of the material from each of the three perspectives is presented in a second paper. (shrink)

Statements such as “X is beautiful but I don’t like how it looks” or “I like how X looks but it is not beautiful” sound contradictory. How contradictory they sound might however depend on the object X and on the aesthetic adjective being used (“beautiful”, “elegant”, “dynamic”, etc.). In our study, the first sentence was estimated to be more contradictory than the latter: If we describe something as beautiful, we often intend to evaluate its appearance, whereas it is less counterintuitive (...) to appreciate an appearance without finding it beautiful. Furthermore, statements including “beautiful” appeared more contradictory than those including “elegant” and “dynamic”, pointing to its greater evaluative component. When related to artworks, sentences could appear less contradictory due to readers’ consideration of the divergence between conventional beauty and art-related sensory pleasures that can even include negative valence. Such ambivalence might be more frequent in art-objects than in other artefacts. Indeed, in our study, sentences referring to artworks were estimated to be less contradictory compared to sentences referring to other artefacts. Meanwhile, an additional small group of graphic design students showed a less clear difference between art-related and non-art-related sentences. We discuss the potential influence of art experience and interest as well as theoretical and methodological challenges like the conceptualization of beauty. (shrink)

Aesthetics is a crucial ecosystem service provided by biodiversity, which is believed to help improve humans’ quality of life and is linked to environmental consciousness and pro-environmental behaviors. However, how aesthetic experience induced by plants/animals influences the belief in the occurrence and significance of biodiversity loss among urban residents remains understudied. Thus, the current study aimed to examine how the diversity of pets and in-house plants affect urban residents’ belief in biodiversity loss in different scenarios of aesthetic experiences (positive and (...) negative aesthetic experiences at home due to plants/animals). Using the Bayesian Mindsponge Framework (BMF) analytics on a dataset of 535 Vietnamese urban residents, we found that the people’s aesthetic feeling about their house induced by plants/animals positively affects their belief in the occurrence and significance of biodiversity loss. The diversity of plants and pets also positively influences the level of biodiversity loss belief, but the effect is conditional on the aesthetic experience of the urban residents. Specifically, the positive impact of species diversity on the belief only exists when urban residents feel that their houses’ aesthetics are negatively affected by plants/animals. Moreover, the effect of pet diversity on biodiversity loss belief is less significant and reliable than that of plant diversity. These findings suggest that raising the houses’ aesthetics through in-house planting or pet ownership can potentially enhance biodiversity loss belief and subsequently build an eco-surplus culture among urban residents. (shrink)

In his 2007 paper “Quantum Sleeping Beauty”, Peter Lewis poses a problem for the supporters’ of the Everett interpretation of quantum mechanics appeal to subjective probability. Lewis’s argument hinges on parallels between the traditional “sleeping beauty” problem in epistemology and a quantum variant. These two cases, Lewis argues, advocate different treatments of credences even though they share important epistemic similarities, leading to a tension between the traditional solution to the sleeping beauty problem (typically called the “thirder” solution) (...) and Everettian quantum mechanics. In this paper I examine the metaphysical and epistemological differences between Lewis’s two cases, and, in particular, I show how diachronic Dutch book arguments support both the thirder solution in the traditional case and the Everettian’s solution in the variant case. These Dutch books, I argue, reveal an important disanalogy between Lewis’s two cases such that Lewis’s argument does not reveal an inconsistency in either the Everettian’s or the thirder’s assignment of credences. (shrink)

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

This paper argues that Kant presents two different accounts of beauty, one that applies properly to art and one that applies properly to nature. The judgment of beauty that applies properly to nature can be free and thus judged without concepts. The work of art, however, is judged beautiful when it expresses aesthetic ideas. This distinction then enables me to explain several problematic passages in Kant's text: those that serve to distinguish these two conceptions of beauty from (...) one another as well as those passages in which Kant views them as overlapping. With respect to the latter, I argue that Kant lays especial significance on cases where we apply the conception of artistic beauty to natural objects, as in doing so we view nature as expressing ideas that step beyond nature. (shrink)

I argue that van Fraassen's Judy Benjamin Problem and Elga's Sleeping Beauty Problem have the same structure.

Aesthetic values give agents reasons to perform not only acts of contemplation, but also acts like editing, collecting, and conserving. Moreover, aesthetic agents rarely operate solo: they conduct their business as integral members of networks of other aesthetic agents. The consensus theory of aesthetic value, namely that an item’s aesthetic value is its power to evoke a finally valuable experience in a suitable spectator, can explain neither the range of acts performed by aesthetic agents nor the social contexts in which (...) they operate. This paper proposes a new theory of aesthetic value specifically to explain facts about the sociality of aesthetic agents. (shrink)

The Sleeping Beauty transposon system is a nonviral DNA transfer tool capable of efficiently mediating transposition‐based, stable integration of DNA sequences of choice into eukaryotic genomes. Continuous refinements of the system, including the emergence of hyperactive transposase mutants and novel approaches in vectorology, greatly improve upon transposition efficiency rivaling viral‐vector‐based methods for stable gene insertion. Current developments, such as reversible transgenesis and proof‐of‐concept RNA‐guided transposition, further expand on possible applications in the future. In addition, innate advantages such as lack (...) of preferential integration into genes reduce insertional mutagenesis‐related safety concerns while comparably low manufacturing costs enable widespread implementation. Accordingly, the system is recognized as a powerful and versatile tool for genetic engineering and is playing a central role in an ever‐expanding number of gene and cell therapy clinical trials with the potential to become a key technology to meet the growing demand for advanced therapy medicinal products. (shrink)

The Sleeping Beauty puzzle provides a nice illustration of the approach to self-locating belief defended by Robert Stalnaker in Our Knowledge of the Internal World (Stalnaker, 2008), as well as a test of the utility of that method. The setup of the Sleeping Beauty puzzle is by now fairly familiar. On Sunday Sleeping Beauty is told the rules of the game, and a (known to be) fair coin is flipped. On Monday, Sleeping Beauty is woken, and (...) then put back to sleep. If, and only if, the coin landed tails, she is woken again on Tuesday after having her memory of the Monday awakening erased.1 On Wednesday she is woken again and the game ends. There are a few questions we can ask about Beauty’s attitudes as the game progresses. We’d like to know what her credence that the coin landed heads should be (a) Before she goes to sleep Sunday; (b) When she wakes on Monday; (c) When she wakes on Tuesday; and (d) When she wakes on Wednesday? Standard treatments of the Sleeping Beauty puzzle ignore (d), run together (b) and (c) into one (somewhat ill-formed) question, and then divide theorists into ‘halfers’ or ‘thirders’ depending on how they answer it. Following Stalnaker, I’m going to focus on (b) here, though I’ll have a little to say about (c) and (d) as well. I’ll be following orthodoxy in taking 1 2 to be the clear answer to (a), and in taking the correct answers to (b) and (c) to be independent of how the coin lands, though I’ll briefly question that assumption at the end. An answer to these four questions should respect two different kinds of constraints. The answer for day n should make sense ‘statically’. It should be a sensible answer to the question of what Beauty should do given what information she then has. And the answer should make sense ‘dynamically’. It should be a sensible answer to the question of how Beauty should have updated her credences from some earlier day, given rational credences on the earlier day. As has been fairly clear since the discussion of the problem in Elga (2000), Sleeping Beauty is puzzling because static and dynamic considerations appear to push in different directions.. (shrink)

In this essay, I investigate Baumgarten’s doctrine of the six perfections of knowledge (wealth, magnitude, truth, clarity, certainty, and life), which is famously one of the most characteristic and enigmatic features of his philosophy. Recent scholarship has almost unanimously stressed the rhetorical background of the categories. Instead, I argue that Baumgarten elaborates his theory in close relationship with coeval philosophy. To support this claim, I examine the position of some Thomasian philosophers, such as Johann Liborius Zimmermann, who had indicated a (...) list of criteria similar to that of Baumgarten. Moreover, I analyse the distinction between formal and material perfections, tracing it back to the Wolffian milieu. On these bases, I propose a new reconstruction of Baumgarten’s doctrine, with particular attention to its aesthetic application. Finally, I outline the reception of the six categories in the late German Enlightenment until Kant. (shrink)

A theory of the neural bases of aesthetic experience across the arts, which draws on the tools of both cognitive neuroscience and traditional humanist inquiry.

Facelifts, tummy tucks and breast enlargements are no longer the privilege of the rich and the famous. Any woman can have all these and many more cosmetic surgical treatments, and an increasing number of women do. Are they having cosmetic surgery because they are duped by a male-dominated beauty system, or do they genuinely choose these operations themselves? Feminists give diametrically opposed answers to this question. At the heart of the controversy, or so I claim in this article, lies (...) a conceptual problem about free choice; therefore, the only thing that can settle it is a conceptual analysis of “freedom”. After having briefly outlined the views of both sides of the debate, I offer such an analysis. (shrink)

Our goal is to prove that the golden section, however important, is not the only key to understand a mathematical-formalizing approach to the idea of beauty. Having developed, from this point of view, reading keys linked to the post-modern, it is necessary to link together the multiple rivulets of knowledge that gather in this direction. Moreover the canons of the approaches presented up to now are very indicative for the understanding of many aspects of beauty, which however depends (...) on the historical moment and the cultures created in the various civilizations. Therefore we can affirm that there is no effective definition of "beauty" that can be codified through fixed canons, but that the concept is expressed by a series of stratifications and interpretations that tend to link several major variations, expressing the various answers given by man to the question: what is the beauty? (shrink)

[opening paragraph]: Drs. Ramachandran and Hirstein break new ground in ‘The Science of Art: A Neurological Theory of Aesthetic Experience', by setting out an unprecedented theory of how the brain processes and responds to art. There is much to be learned here about vision, the act of seeing and its relationship to the body's limbic system.

This paper examined the relationship between coaches and youth athletes in China by comparing data collected before and after the lockdown. A total of 221 youth athletes aged 13-19 years in one professional football school completed coach-athlete relationship questionnaires. The rank-sum test was used to verify the differences in the data. The results of the Mann-Whitney U test showed that the mean value of the three dimensions of the coach-athlete relationship (closeness, commitment, and complementarity) increased after the COVID-19 lockdown. The (...) results also showed that athletes of different age categories showed different changes in the coach-athlete relationship after the lockdown, and the changes were not significantly related to the severity of the COVID-19 epidemic. The theoretical and practical implications are discussed. (shrink)

The Pythagorean tradition dominates the understanding of beauty up until the end of the 18th Century. According to this tradition, the experience of beauty is stimulated by certain relations perceived to be between an object/construct's elements. As such, the object of the experience of beauty is indeterminate: it has neither a determinate perceptual analogue (one cannot simply identify beauty as you can a straight line or a particular shape) nor a determinate concept (there are no necessary (...) and sufficient conditions for beauty at the semantic level). By the 13th Century in the West, the pleasure experienced in beauty is characterized as disinterested. Yet, on the basis that all cultural manifestations of the pythagorean theory of beauty recognize that judgments of beauty are genuine judgments, we would want to say that judgments of beauty are lawful. In addition, from ancient times, up until after Kant, philosophers of beauty within this tradition recognize two kinds of beauty: a universal, unchanging beauty coexisting with a relative, dynamic beauty. These two kinds of beauty and the tensions discussed above, are reconciled and dissolved respectively, according to the metaphysical/religious commitments of the particular author. As yet, however, these features of beauty have not been reconciled within a physicalist worldview. This is what I set out to do. (shrink)

With the rising popularity of South Korean worldwide culture (called hallyu or “the Korean wave”) which presents us with images of beautiful stars and k-beauty products, it is worth exploring the nature and impact of Korean facial beauty standards. The following article analyzes the depiction of South Korean appearance norms in the Korean American novel If I Had Your Face by Frances Cha. In the introduction, I familiarize the reader with the novel’s author and plot. Next I give (...) an overview of what South Korean beauty norms entail and explain whether they are inspired by Caucasian appearance standards. Finally, I analyze the novel in-depth with a focus on two characters who undergo plastic surgery, a popular practice in South Korea. Applying the concepts of beauty work, aesthetic labor and social capital, I argue that to Cha’s characters the striving for fulfilling restrictive facial beauty norms represents: an employee’s duty, a desire to escape stigma and social exclusion, and a hope to improve one’s life circumstances. The article therefore approaches beauty as a specific discourse of inclusion and exclusion. (shrink)