This paper is a background study. It gives an overview of the institutions, decisive trends and major achievements of Hungarian philosophy at the beginning of the 20th century. Thus light is shed on the philosophical scenery which forms the background to the Lukács Circle. The paper discusses the relation of the Lukács Circle at the turn of the century to "official" Hungarian philosophy. First, the introduction portrays the various phases of the evolution of Hungarian institutions of philosophy. Then it (...) sketches the institutional scene at the turn of the century. Thirdly, it attempts to determine the relation of the Lukács Circle to the official academic philosophy, and also sketches some of its aspects after 1919-1920. (shrink)

This paper is a background study. It gives an overview of the institutions, decisive trends and major achievements of Hungarian philosophy at the beginning of the 20th century. Thus light is shed on the philosophical scenery which forms the background to the Lukács Circle. The paper discusses the relation of the Lukács Circle at the turn of the century to "official" Hungarian philosophy. First, the introduction portrays the various phases of the evolution of Hungarian institutions of philosophy. Then it (...) sketches the institutional scene at the turn of the century. Thirdly, it attempts to determine the relation of the Lukács Circle to the official academic philosophy, and also sketches some of its aspects after 1919-1920. (shrink)

In this essay, I discuss the philosophical significance of three features of the Phaedrus’s dramatic scenery: the myth of Boreas, the two trees Socrates singles out upon arriving at the grove, and the grove itself. I argue that attention to these three features of the dramatic scenery helps us better understand the Phaedrus’s account of erōs.

Previous research suggests that exposure to nature may reduce delay discounting and thereby facilitate healthier dietary intake. This pre-registered study examined the impact of online exposure to images of natural scenes on delay discounting and food preferences. It was predicted that exposure to images of natural scenes would be associated with: lower delay discounting; higher desirability for fruits and vegetables ; and delay discounting would mediate the effect of nature-image exposure on food desirability. Adult participants were recruited to an online (...) between-subjects experiment in which they viewed a timed sequence of six images either showing natural landscape scenes or urban scenes. They then completed measures of mood, delay discounting and rated their momentary desire to eat four fruits and vegetables, and four energy-dense foods. There was no statistically significant effect of experimental condition on delay discounting or food desirability. Bayes factors supported the null hypothesis for discounting, and energy-dense food desirability, but provided no strong evidence for either hypothesis for F&V desirability. These findings indicate that brief online exposure to images of nature does not affect momentary impulsivity or energy-dense food preference, whereas for preference for less-energy dense foods, the evidence was inconclusive. (shrink)

Bangladesh emerged as an independent country in the South Asia in 1971 after being separated from Pakistan. In 1971 it was a very poor country. The general people had a hope and dream that the political parties will develop the country and will eradicate poverty gradually, will provide jobs to the 50% unemployed people, will educate the 60% illiterate people; but their holy hope and dream have not been fulfilled due to frequent hostile political culture, beating, killing among the political (...) party members, no patriotism among the political leaders, massive corruption, unnecessary frequent strike, unnecessary opposition to the government policy etc. This paper has narrated the past and current social and political situation in Bangladesh briefly with the help of data collected from newspapers and statements given by intellectuals and political leaders. Descriptive and analytical research methodology has been applied in this paper to narrate the situation. (shrink)

Il segreto della commedia dell’arte è stato nel paradosso di Maschera e Improvvisazione, Tipo Fisso e Testo Variabile, Conservazione e Innovazione. Per questo è stato nei secoli esaltata o denigrata: considerata reazionaria dalla Rivoluzione francese e esaltata come rivoluzionaria dai Romantici. Nel Novecento, Copeau, Mejerchol’d, Mnouchkine e Fo hanno dovuto fare i conti con questa ambivalenza. Dunque ciò che oggi si chiama commedia dell’arte è “reazionario” o “rivoluzionario”? “Popolare”o “populista”?

My paper draws on examples from molecular biology, the details of which I have developed elsewhere (Rheinberger 1992, 1993, 1995, 1997). Here, I can give only a brief outline of my argument. Reduction of complexity is a prerequisite for experimental research. To make sense of the universe of living beings, the modern biologist is bound to divide his world into fragments in which parameters can be defined, quantities measured, qualities identified. Such is the nature of any "experimental system." Ontic complexity (...) has to be reduced in order to make experimental research possible. The complexity of the research object, however, is epistemically retained in the rich context of an experimental landscape, where the eruption of "volcanic systems" can change the scenery dramatically as the result of particular, unprecedented findings. (shrink)

The purpose of this study is to analyse the teachings of religious moderation contained in the Wawacan Babad Walangsungsang script. This research employs a qualitative method with philology as the main analysis of the data, namely manuscript inventory, script description, script transfer, and language translation. The script shows the story of Prince Walangsungsang’s journey in search of spirituality, specifically Islam. Interestingly, he learned his spirituality through many non-Muslim teachers until he finally met Sheik Datuk Kahfi in Bukit Amparan Jati. The (...) result of this study shows that upon his spiritual journey while gaining knowledge he experienced magical scenery. The conclusion is the willingness of prince Walangsungsang to learn knowledge and ajimat from Budhaprawa teachers, the openness and support of Budhaprawa teachers about the Prophet’s shari’a and the explanation of Sheikh Datuk Kahfi (Muslim) for the religious search conducted by Prince Walangsungsang shows the beauty of speech that is rich with nuances of religious moderation. Contribution: This research is important as a basic reference for religious moderation, which is rooted in the local wisdom of the Sundanese culture and tradition and can be adopted to spread those in our interaction with other religions. (shrink)

A reviewer of the original edition in 1970 of "The Perfectibility of Man" well summarizes the scope and significance of this renowned work by one of the leading philosophers of the twentieth century: "Beginning with an analytic discussion of the various ways in which perfectibility has been interpreted, Professor Passmore traces its long history from the Greeks to the present day, by way of Christianity, orthodox and heterodox, the Renaissance, the Enlightenment, anarchism, utopias, communism, psychoanalysis, and evolutionary theories of man (...) and society. Both in its broad sweep and in countless supporting reflections, it is a journey through spiritual scenery of the most majestic and exhilarating kind." Thoroughly and elegantly, Passmore explores the history of the idea of perfectibility--manifest in the ideology of perfectibilism--and its consequences, which have invariably been catastrophic for individual liberty and responsibility in private, social, economic, and political life.John Passmore served for many years as a Professor of Philosophy at Australian National University. (shrink)

When my family discusses how we should spend a summer holiday, we start from certain common understandings about our preferences. We prefer self-catering accommodation to hotels, and hotels to campsites. We prefer walking and looking at scenery and wildlife to big-city sightseeing and shopping. When it comes to walks, we prefer walks of six miles or so to ones which are much shorter or much longer, and prefer well-marked but uncrowded paths to ones which are either more rugged or (...) more popular. And so on. These common understandings greatly simplify the task of choosing between holiday destinations and activities, by allowing us quickly to eliminate many options. But what does it mean to say that we prefer one thing to another? (shrink)

Since aesthetic experience is vital for the protection of nature, I address the relationship between environmental aesthetics and environmentalism. I first review two traditional positions, the picturesque approach and formalism. Some environmentalists fault the modes of aesthetic appreciation associated with these views, charging they are anthropocentric, scenery-obsessed, superficial, subjective, and/or morally vacuous. In light of these apparent failings of traditional aesthetics of nature, I suggest five requirements of environmentalism: that aesthetic appreciation of nature should be acentric, environment-focused, serious, objective (...) and morally engaged. I then examine two contemporary positions concerning appropriate aesthetic appreciation of nature, the aesthetics of engagement and scientific cognitivism, assessing each in terms of the requirements of environmentalism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Tokyo School of Philosophy? A Preliminary ReflectionThomas P. KasulisIntroductionPhilosophical circles worldwide have recognized the so-called Kyoto School for decades. Can we also speak of a modern Tokyo School and, if so, of its distinguishing nature? That question drives most articles in this journal’s special issue. Before beginning my inquiry, however, I have two preliminary questions. First, why is it important to ask whether there is, was, or even ever (...) will be something legitimately considered a Tokyo School? Second, how do the Japanese think in terms of schools, and what words might specifically designate a school of philosophy? I will try to answer these questions, not in an abstract or general way, but one that uses the Japanese cultural context for its point of departure.Japanese Regionalism and Japanese PhilosophyLet us start with the first issue: why ask whether there is a Tokyo School? One possibility, of course, is regional bragging rights between Kansai and Kantō as we find in, for example, sumō rivalries. That may seem like a joke, but we need to go back only a couple of centuries for concrete evidence of just such a competitive spirit. Examine this broadside published in Japan during the height of the Edo period.1 [End Page 5] Click for larger view View full resolutionFigure 2.1.Gakusha kakuryoku shōbu tsuki hyōban (学者角力勝負附評判) (Standings Assigned to a Sumō Match of Scholars).As a sumō program, this banzuke divides the philosophical competitors between those from East Japan (Edo, today’s Tokyo) and West Japan (Kyoto-Osaka).2 Along the top are the typical sumō hierarchies of ranks (ōzeki, sekiwake, komusubi, etc.),3 but here they correspond not to wrestlers but philosophers. In this version, for example, Kumazawa Banzan 熊沢蕃山 is the ōzeki and Ogyū Sorai 荻生徂徠 the sekiwake of the East, while the equivalents in the West are Arai Hakuseki 新井白石 and Itō Jinsai 伊藤仁斎.Such artifacts confirm a long history of East–West philosophical rivalries within Japan, but that hardly justifies our quest for a Tokyo School. Still, let us not too quickly dismiss the banzuke as simply an idiosyncratic curiosity; it has something more to teach us. If nothing else, it shows that at least in the Edo period, some intellectuals assumed a correlation between geographical location and philosophical perspective. That brings to light two common [End Page 6] present-day misconceptions, one about Japanese culture and one about philosophy.The first misconception is that Japanese culture is monolithic, or if it is not, that the Japanese like to think of their identity in that way. That mistaken view overlooks a potent force shaping Japanese identity: regionalism. The Japanese delight in celebrating the distinctive foods, crafts, scenery, dialects, festivals, and social customs of the different locales within the country. Even today, weeklong regional themes play out on morning TV shows as they broadcast on site from different locales throughout Japan. Undoubtedly a marketing ploy to encourage tourism, the shows also reinforce the Japanese sense of regional differences within their country. Grocery or department stores join in with weeklong “matsuri” campaigns dedicated to particular Japanese regions, highlighting sales of specialties in foods and crafts. If you go on a trip within Japan, your family and coworkers expect you to bring back omiyage as gifts—souvenirs or edibles distinctive to the place you visited. As a convenience for the harried traveler, train stations sell the omiyage associated with the specific locale.The recognition of regional differences within a single national identity traces back at least to the Nara period when the newly established central government began regularly compiling Fudoki 風土記 for each of the provinces. Those almanacs or gazetteers included details about the local demography, climate, agriculture, topography, dialects, local customs, festivals, folklore, and so forth. The East vs. West, Kantō vs. Kansai, or Tokyo (Edo) vs. Kyoto-Osaka contrast that interests us here became most prominent in the Edo period as Tokyo vied with Kyoto for prominence as the cultural center of Japan.4Centuries before anyone identified a “Kyoto School” of philosophy, the banzuke suggests that at least some intellectuals assumed that philosophizing in Kyoto-Osaka differed in some respects from philosophizing in Edo. This does not imply... (shrink)

This paper presents a pilot study that explores instances of objectless awareness during sleep: conscious experiences had during sleep that prima facie lack an object of awareness. This state of objectless awareness during sleep has been widely described by Indian contemplative traditions and has been characterised as a state of consciousness-as-such; while in it, there is nothing to be aware of, one is _merely_ conscious (cf. Evans-Wentz, 1960 ; Fremantle, 2001 ; Ponlop, 2006 ). While this phenomenon has received different (...) names in the literature, such as ‘witnessing-sleep’ and ‘clear light sleep’ among others, the specific phenomenological profile of this state has not yet been rigorously studied. This paper aims at presenting a preliminary investigation of objectless consciousness during sleep using a novel tool in qualitative research that can guide future research. Five participants experiencing objectless consciousness during sleep were interviewed following the _Micro-phenomenological Interview_ technique (MPI; Petitmengin, 2005, 2006 ). All participants reported an experience they had during sleep in which there was no scenery and no dream. This period labelled as ‘No Scenery/Void’ was either preceded by the dissolution of a lucid dream or by other forms of conscious mentation. The analysis of the results advances four experiential dimensions during this state of void, namely (1) Perception of absence, (2) Self-perception, (3) Perception of emotions, and (4) Perception of awareness. While the results are primarily explorative, they refer to themes found in the literature to describe objectless sleep and point at potential avenues of research. The results from this study are taken as indications to guide future operationalisations of this phenomenon. (shrink)

The widespread introduction of accreditation procedures contradicts the centrality of freedom in research and teaching which Wilhelm von Humboldt paradigmatically supported. The logic of accreditation propagated during the last decades implies in fact a reversal of Hulmboldt’s perspective: priority is given to standardization and – not necessarily sheer – competition, which shifts the human being into a peripheral position within academic education. With regard to the reductionist anthropology presupposed by accreditation procedures, Humboldt’s Menschenbild manifests a breaking contrastivity. Humboldt in fact (...) intends human beings not as merely biological or psychological subjects, but as spiritual selves capable of a fruitful development with the help of science, whereas science is primarily perceived as spiritual and dialogical activity. This notion of science, which echoes Socrates’ midwifery, could represent a more human alternative to future sceneries in which universities would be exclusively considered as institutions providing services. (shrink)

The chapter details Lewis's ideas on perception, the capacity to see, and hallucinations. The chapter also provides counterarguments and commentaries on identified weaknesses of this work. The concept of hallucinations throws a monkey wrench into the supposedly straightforward definition of seeing, in that the visual experience is markedly different from the actual environment. The chapter then ascribes two conditions—multi-tracking and multi-adherence—to the capacity to see, which distinguishes hallucinations from actual seeing. In the former, a person “sees” if he is capable (...) of tracking various actual scenes with matching visual representations, as opposed to hallucinations, where, even if one changes the scenery, the visual representation remains the same. The chapter refutes the necessity of these conditions for seeing, because of factors unrelated to a person's capacity to see. In the last part of the chapter, an alternative theory is provided, in response to the identified loopholes in the discourse discussed here. (shrink)

This article reviews recent findings indicating some common brain processes during dissociative states and dreaming with the aim to outline a perspective that neural chaotic states during dreaming can be closely related to dissociative states that may manifest in dreams scenery. These data are in agreement with various clinical findings that dissociated states can be projected into the “dream scenery” in REM sleep periods and dreams may represent their specific interactions that may uncover unusual psychological potential of creativity (...) in psychotherapy, art and scientific discoveries. (shrink)

Is cinematicity a virtue in film? Is lack of cinematicity a defect? Berys Gaut thinks so. He claims that cinematicity is a pro tanto virtue in film. I disagree. I argue that the term “cinematic” principally refers to some cluster of characteristics found in films featuring the following: expansive scenery, extreme depth of field, high camera positioning, and elaborate tracking shots. We often use the word as a term of praise. And we are likely right to do so. We (...) are right if we mean that the film does well what movies often do well. We are wrong if we mean that the film is good for doing what is merely distinctive of film. This issue has important implications for understanding the role of the medium in artistic evaluation. I argue that we should reject Gaut’s claim because it entails an implausibly strong medium specificity thesis. (shrink)

PurposeTo investigate how search engine users manipulate the rankings of search results. Search engines employ different ranking methods in order to display the “best” results first. One of the ranking methods is PageRank, where the number of links pointing to the page influences its rank. The “anchor text,” the clickable text of the hypertext link is another “ingredient” in the ranking method. There are a number of cases where the public challenged the Google's ranking, by creating a so‐called “Google bomb” (...) – creating links to pages they wanted to be highly ranked for given query. Google is chosen as the search engine, because it is currently by far the most popular search engine.Design/methodology/approachPageRank, one of the major parameters of Google's ranking algorithm is described, and the author explains how this algorithm is exploited by communities of users to promote a certain web page for a specific query. This process is called “Google bombing.” Recent reaction of Google to this phenomenon is also described.FindingsSpecific examples of “accomplished Google bombs” show that the public is able to manipulate search results.Originality/valueGoogle, instead of being an unobtrusive information retrieval tool has become highly influential in the web scenery. Some users pay for search engine optimization, while others utilize the power of the crowd to influence Google's rankings. This paper supports the claims of Introna and Nissenbaum regarding the power of search engines. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Philosophers' Walks by Bruce BaughTim IngoldBaugh, Bruce. Philosophers' Walks. Routledge, 2022. 252pp.Yesterday evening, much to my satisfaction, I finished reading Bruce Baugh's Philosophers' Walks. The author ends by putting down his pen. It is time, he declares, "to put my boots on and walk out into the world" (236). For me, it was bedtime, but knowing that I was to write this review, I resolved to sleep on (...) it. On waking, I set out, as is my wont, for the short walk I take every morning before breakfast. The walk itself is nothing special: it takes in the streets of my neighborhood and a nearby park. Yet every day is different as the weather changes, trees come in and out of leaf, blooms flourish and wilt in front gardens, children on their way to school throng the streets in term-time only to vanish in vacations. Lately, a nineteenth-century fountain in the park has been lovingly restored, and every morning I am refreshed by its water-jets and tinkly sound. Most days I am writing in my head, on whatever I have on the go at the time. Walking briskly and on my own, I find that words that had tied me in knots the day before miraculously straighten themselves out with a rhythm and fluency matching my pace. I cannot, however, walk and write at the same time. It is physically impossible. So as the words come, I have to keep repeating them to myself, until I make it home. With no time to lose, I seize notebook, pencil, and spectacles to jot them down. Only when I have done so can I finally sit down to breakfast. And that's exactly what happened this morning. With my hastily scribbled notes, some good words, and the odd finished sentence, I am ready to write this review.I am not, of course, the first to have discovered the benefits of thinking-while-walking. Countless predecessors have done so before me, including some of the most celebrated figures of the past four centuries of European intellectual history. And so has Baugh. The idea behind his book is that if by walking, philosophers have arrived at many of their most cherished insights, then perhaps we could better take the measure of these insights not merely by reading their words but by retracing their steps, walking the same paths as they did. And this, precisely, is what [End Page 131] Baugh, often accompanied by his wife Diane Lindsay, set out to do. Each chapter, barring the introduction and conclusion, is devoted to one or sometimes two characters, and each blends reflection on their ideas and life-histories of walking with the author's recollection of attempting to follow in their footsteps, and of the experience and even self-knowledge gained from doing so. Some walks are in verdant countryside, or more spectacular Alpine scenery, others are in big cities like London and Paris. Baugh does not pretend that the walks of his chosen characters can be replicated exactly when so much has changed, in both rural areas and the urban fabric, since their heydays. Nor can we ever know exactly what was going through their heads at the time. It is nevertheless surprising how many echoes you can pick up from the past, so long as you keep your ears to the ground, and Baugh is an astute listener. For us, his readers, the book is an invitation to join in his travels, albeit at a distance, and by doing so, to enrich our understanding not only of his characters and of how they thought, but of ourselves as well.Though the book is called Philosophers' Walks, Baugh has cast his net wide to include characters for whom the epithet "poet," "artist," or "writer" might sooner come to mind than "philosopher." No matter: all such labels are a touch arbitrary, and it's the thought that counts. So here they are, in chronological order (not the order in which they appear in the book): Pierre Grassendi, Jean-Jacques Rousseau, Samuel Taylor Coleridge, Søren Kierkegaard, Friedrich Nietzsche, Virginia Woolf, André Breton, Jean-Paul Sartre, Simone de... (shrink)

Screenwriters and film directors have long been fascinated by the challenges of representing the listening experience on screen. While music has played a central role in film narrative since the conception of moving pictures, the representation of music listening has remained a special occurrence.In Situated Listening: The Sound of Absorption in Classical Cinema, author Giorgio Biancorosso argues for a redefinition of the music listener as represented in film. Rather than construct the listener as a reverential concertgoer, music analyst, or gallery (...) dweller, this book instead shows how films offer a new way of thinking about listening as distributed experience, an activity made public and shareable across vast cultural spaces rather than an insular motion. It shows how cinema functions as not only a reservoir of established modes of listening, but also an agent in the development of new listening practices. As Biancorosso argues, many films have perpetuated a long-existing paradox of music as a means of silencing. Consider an aggressive score overlaying battle scenes or a romantic scene conveying unspoken intimacy. In the place of conversational exchange exists a veil of sound in the form of music, and Situated Listening explains why this function influences both the course of interpretation and empathy experienced by film spectators. By focusing on cinematic, physical, and emotional scenery surrounding a character, viewers can recognize aspects of their own lives, developing a deeper empathy for each fictional character through real and shared listening practices. (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Selected Letters by William, Henry JamesWilliam James EarleWilliam and Henry James. Selected Letters. Edited by Ignas K. Skrupskelis and Elizabeth M. Berkeley. Introduction by John J. McDermott. Charlottesville VA: University Press of Virginia, 1997. Pp. xxxi + 570. $ 39.95.Almost fifty years of letters to and from the very diversely brilliant James brothers: in this volume a generous, and probably ample, selection of 216 from a total of (...) 740 surviving letters or postcards, from an original total, according to the present editors, of twice as many. This volume of correspondence reflects the deep, unquestioned, unshakable familial (and virtually statutory) closeness of William and Henry who happened, as adults, to be seldom in the same place. There is, it must be said, very little explicit philosophy, narrowly or broadly defined, in these letters, but the philosophical reader will—or ought to—find much raw material for philosophical reflection. For example, a reasonable historicist thesis of how brotherhood, or family connection generally, plays itself out is supported by these documents. The nineteenth century is not the same as the twentieth. For example, here is William’s comment on the will of his sister, Alice, who left more to her companion and care-giver, Katherine Loring, a [End Page 479] women of extraordinary virtue and burden, than to her brother Robertson: “I can well sympathize with Alice’s desire to leave her something handsome; but I must say that her own consent (being apparently privy to the will) strikes me as tant soit peu lacking in delicacy. Surely no one of us would like to be in such a position in her family or any other” (271). This would be, in 1998, a rather unenlightened and ungenerous attitude, but is natural enough in 1892, even if not quite inevitable, not being shared by Alice herself. There is, incidentally, much discussion of wills and bequests, for the Jameses were of the genteel class, people with small family money and modest private incomes for whom the wherewithal to maintain homes with servants and to provide themselves with country houses and recuperative European vacations was always a faintly embarrassing, and occasionally a pressing, problem.It is probably also true that the much-discussed question of Henry’s homosexuality has, somehow, to be recast in historically relative terms. Here is an early report—1869—of Henry’s from Oxford: “As I walked along the river I saw hundreds of the mighty lads of England, clad in white flannel & blue, immense, fair-haired, magnificent in their youth, lounging down the stream in their punts or pulling in straining crews & rejoicing in their godlike strength” (41). This could not, the point is, be said by anyone, gay or straight, in 1998. Yet Henry is neither generally naive nor uncritically anglophile. He says of the Warwickshire scenery, which in a way he likes, that it is “too monotonously sweet & smooth—too comfortable, too ovine, too bovine, too English in a word.” And he adds, a little surprisingly: “It seems like a vast show region kept up at the expense of the poor” (41). This is only one of many appealing comments not sparsely scattered, but unpredictably, in letters of more ordinary news. Here’s one I liked occasioned by seeing theater in Paris: “We talk about it & write about it & criticize & dogmatize & analyse to the end of time: but those brave players stand forth & exemplify it & act—create—produce!” (66).Of course the “wit and wisdom” are not the monopoly of Henry. Here is William being wise: “We all learn sooner or later that we must gather ourselves up and more or less arbitrarily concentrate our interests, throw much overboard to save any” (55–56). Again: “It is a sweet world, in the interstices of its bedevilment & brutality” (321). And William being funny: “Boils are surely the most slowly evolving things in nature—Christian doctrine is nothing to them” (393). He is talking about his own boils and was subject, at every period, to ailments and infirmities: “Since writing to you, I have been swimming in deep seas of influenza, gout and Erysipelas of the face” (443). Or as he, in 1900, sums it up: “My... (shrink)

Explore, as few have intimately done, the Big Bend Ranch State Park and the Chinati Mountains State Natural Area. Trust Wyman Meinzer to see as no one ever has the desert sanctuaries of the vast Big Bend and to pay tribute to their best-kept secret, the twin canyons of the Chinati Mountains, San Antonio and Los Pelos. Trust, too, that the images he delivers are as true as his eye, that the light bathing cholla at sunrise, on the eastern rim (...) of San Antonio Canyon, is unfiltered. Meinzer is one photographer who still waits for and catches the light, even if he has only a thirty-second window.?Placing a border around the vastness of the Big Bend is typically an invitation to disappointment. Reducing its depth to a medium of two dimensions tends to flatten a landscape known to be anything but flat. Catching the ever-changing moods of light and color in fractions of a second normally embalms the scene. So how does Wyman give us photos full of expansive depth and color? His skill is his passion for the beauty of Texas and his unwavering will to get to the toughest spots. He is an adventurer first and a photographer second. Wyman feels the land and sky. He becomes a part of the terrain, and his photos make you part of the scenery.” From the Introduction. (shrink)

This book collects sixteen theses written by Professor Tang Yijie, one of the most prominent scholars of traditional Chinese philosophy. He argues that a general understanding of traditional Chinese philosophy can be achieved by a concise elaboration of its truth, goodness and beauty. He also asserts that goodness and beauty in Chinese philosophy, combined with the integration of man and heaven, knowledge and practice, scenery and feeling, reflect a pursuit of an ideal goal in traditional Chinese philosophy characterized by (...) the thought mode uniting man and nature. He also discusses the anti-traditionalism of the May Fourth Movement, explaining that the true value of "sagacity theory" in traditional Chinese philosophy, especially in Neo-Confucianism in the Song and Ming dynasties, lies in its insights into universal life. In addition, he stresses that existing ideas, issues, terminologies, concepts, and logic of Chinese philosophical thought were shaped by Western philosophy. It is necessary to be alienated from traditional status for the creation of a viable "Chinese philosophy." "Modern Chinese philosophy" in the 1930s and 1940s was comprised of scholarly work that characteristically continued rather than followed the traditional discourse of Chinese philosophy. That is to say, in the process of studying and adapting Western philosophy, Chinese philosophers transformed Chinese philosophy from traditional to modern. In Chapter 13, he puts forward the idea of a "New Axial Age." He emphasizes that the rejuvenation of Chinese culture we endeavor to pursue has to be deeply rooted in our mainstream culture with universal values incorporating cultures of other nations, especially the cultural essence of the West. (shrink)

Chapter 1, 2 of the Noctes Atticae reports how the orator and politician Herodes Atticus silences a boastful young Stoic by citing a diatribe of Epictetus. The article shows that Gellius – unlike his own assertion – does not describe a real experience. Instead he dramatizes the text, which is the origin of the citation. Comparing both texts one finds details of the scenery described, the characterizations of the protagonists as well as the themes discussed quite similar in both (...) the non-cited parts of Epictetus and the text of Gellius. Particularly interesting in that respect is how Gellius takes up citing and its various aspects as it can be found in his model. Epictetus deals with this theme in a critical way, because in his opinion citations of authorities say nothing about the philosophical qualities of the person who uses them. While Gellius' praxis of citation is formally modelled very closely on Epictetus' speech, regarding the content he by no means rejects the use of philosophical citations as weapon to beat an opponent in discussion. (shrink)

Much of the critical praise for the film concerns the first of these aims. Bigelow’s use of at least four film crews for every scene affords the sense of being present in the situation, continuously shifting perspective, alert to possible danger. The relative anonymity of the scenery, clearly somewhere in the Middle East but not clearly anywhere in particular, fosters this uneasy sense of immersion in an unfamiliar scenario where the sources of danger are unpredictable. Protracted periods of silence, (...) punctuated by incidental sounds that often turn out to be irrelevant, increase this tension. The occasional quiet ring of tinnitus imparts a sense of the incessant nature of the soldiers’ anxiety. Much of the negative criticism of the film, on the other hand, concerns the psychology of its central characters. Some veterans of the war in Iraq have claimed that it is a wildly inaccurate portrayal of the attitudes and behaviour of professional soldiers. (shrink)

This book is a collection of skeptical social essays in which the author reveals that much of our popular beliefs, psychology and science are defective, because, although we live in the 21st century, our approach to them is deeply rooted in our culture, and biased by history and evolution. These essays help the reader take a step sideways, think independently, and not fall victim to fads, fakes, and frauds. Anyone who values a deeper understanding of contemporary social reality and the (...) changes taking place in it should read this book, from students to scientists and intellectuals. Through these essays we learn to look under the veneer of reality, behind the altars of science, under the scenery of pop-psychology and behind the facade of therapeutic culture. Thanks to essays on suicide, euthanasia and more, we also come close to the edge of life and death. Contrary to many meticulous social critical analyzes, in sharing his thoughts the author takes us on a picturesque journey through bounty hunters, ludicrous machines, compulsive hoarding, Charlie Chaplin, and much more. (shrink)

Olmsted was an influential landscape architect whose works include many parks, recreation grounds and more. Inspired by Romantic and transcendentalist thinkers, he developed ‘pastoral transcendentalism’, a style of designing parks that mimicked natural spaces to reproduce their values within cities. Although environmental justice scholars have pointed out how these designs limit access to parks, I argue that environmental philosophers have not adequately discussed Olmsted, particularly his axiology of nature. Reflecting on it reveals how environmental injustice consists not only of restricting (...) access to nature to protect its essential value – for Olmsted, scenery that could induce a contemplative mindset – but in delimiting nature's value without consideration of how people actually appreciate it. (shrink)

My favourite leading question when teaching Philosophy of Mind is ‘Could a goldfish long for its mother?’ This introduces the philosophical technique of ‘conceptual analysis’, essential for the study of mind (Sloman 1978, ch. 4). By analysing what we mean by ‘A longs for B’, and similar descriptions of emotional states we see that they inv olve rich cognitive structures and processes, i.e. computations. Anything which could long for its mother, would have to hav e some sort of representation of (...) its mother, would have to believe that she is not in the vicinity, would have to be able to represent the _possibility _of being close to her, would have to desire that possibility, and would have to be to some extent pre-occupied or obsessed with that desire. That is, it should intrude into and interfere with other activities, like admiring the scenery, catching smaller fish, etc. If the desire were there, but could be calmly put aside, whilst other interests were pursued, then it would not be truly a state of longing. It might be a state of preferring. Thus longing involves computational interrupts. The same seems to be true of all emotions. (shrink)

Human aesthetic experiences are pervasive; they are triggered by faces, art, natural scenery, foods, ideas, theories, and decision-making situations, among many sources, and seem to be a distinctive trait of our species. Our moral sense, understood as our capacity to judge events, actions, or people as good or bad, appropriate or inappropriate, also seems to be an exclusively human endowment (Ayala 2010). As part of the scientific efforts to characterize the biological foundations of our human uniqueness, recently there has (...) been interest in the brain’s underpinnings of aesthetic reactions to art on the one hand, and in the neural correlates of moral judgment and decision-making on the other (Greene and Paxton .. (shrink)

It is not uncommon to read the Moomin tales through existentialist lenses. Although there might be natural reasons for focusing on and privileging the nine classical Moomin books, it would, however, be a mistake to overlook Jansson’s comic strips. This is so, not only because of the quality of Jansson’s drawings and because of the way she innovatively worked with and developed that graphic medium, but certainly also because of the stories they contain. When read alongside the books, the comic (...) strips add important aspects and nuances to Jansson’s portrayal of human existence. By allowing herself the freedom to radically change the setting and scenery of the stories, Jansson was able to explore quite different topics than was possible in the novels, and in particular to offer a somewhat different account of the role of customs, normality and tradition. (shrink)

Difficulties with periodization are often symptoms of internal diseases affecting the history of philosophy. Renaissance scholars and historians of early modern philosophy represent two scholarly communities that do not communicate with each other, as if an abrupt change of scenery had taken place from the sixteenth to the seventeenth century, from the age of Campanella to the age of Descartes. The assumption of an arbitrary division between these two periods continues to have unfortunate effects on the study of the (...) history of philosophy. This chapter provides a diagnosis of this problem by looking at the way in which periodization crystallized in the history of philosophy. It then lays a foundation for attempting a new approach to this issue, which consists in mapping direct connections and conceptual links of seventeenth-century philosophers with the philosophies of the Renaissance. We intend to shift the weight from the problem of assessing the ‘modernity’ of Renaissance philosophers to the creation of a space of interaction between Renaissance and early modern thinkers in the spirit of ‘conversation’, with special attention to tracing sources, direct allusions, confutations and continuities. (shrink)

This paper presents a pilot study that explores instances of objectless awareness during sleep: conscious experiences had during sleep that prima facie lack an object of awareness. This state of objectless awareness during sleep has been widely described by Indian contemplative traditions and has been characterised as a state of consciousness-as-such; while in it, there is nothing to be aware of, one is merely conscious (cf. Evans-Wentz, 1960; Fremantle, 2001; Ponlop, 2006). While this phenomenon has received diferent names in the (...) literature, such as ‘witnessing-sleep’ and ‘clear light sleep’ among others, the specifc phenomenological profle of this state has not yet been rigorously studied. This paper aims at presenting a preliminary investigation of objectless consciousness during sleep using a novel tool in qualitative research that can guide future research. Five participants experiencing objectless consciousness during sleep were interviewed following the Micro-phenomenological Interview technique (MPI; Petitmengin, 2005, 2006). All participants reported an experience they had during sleep in which there was no scenery and no dream. This period labelled as ‘No Scenery/Void’ was either preceded by the dissolution of a lucid dream or by other forms of conscious mentation. The analysis of the results advances four experiential dimensions during this state of void, namely (1) Perception of absence, (2) Self-perception, (3) Perception of emotions, and (4) Perception of awareness. While the results are primarily explorative, they refer to themes found in the literature to describe objectless sleep and point at potential avenues of research. The results from this study are taken as indications to guide future operationalisations of this phenomenon. (shrink)

The political debate surrounding the English revolution shows how rich and complex is the scenery of the English liberties before “modern Liberty”. The ancient libertates of the Realm, the religious and commercial liberties, the liberty of the free states, and lastly the just freedom of Levellers and Diggers: all these perspectives intersect and conflict without finding any political or juridical synthesis. On the contrary, the gradual affirmation of the liberty of the moderns is accompanied by instances of political and (...) social equality, with which it has to confront. Starting from the dispute on the “Norman Conquest” up to James Harrington’s Oceana, this contribution aims to highlight the extent to which the debate on liberties before “liberalism” was composite, conflictual and characterized by the persistence of instances of equality. (shrink)

Your digital camera is the perfect travel companion. You don't need to pack extra film, worry about airport scanners, budget for processing costs, or wait until you get home to learn whether you got that once-in-a-lifetime shot. Tuck this book in beside your Frommer's travel guide and you'll have everything you need for fantastic photos-how to watch for the right opportunity, compose the picture, work with lighting-even how to edit and upload from the road. * Learn what you must take (...) along and which accessories are nice to have * Capture the soul of a city, its people, and its sights * Include fellow travelers without shooting stereotypes * Take great shots even where flash is prohibited or your light sources are limited * Explore scenarios and expert tips for photographing scenery, wildlife, events, exhibits, and much more * Post your photos on the Web before you get home. (shrink)

In this paper, I am trying to reconstruct Shaftesbury’s views on natural beauty, writing and painting. Thus, the term ‘aesthetics’ I am using refers to both aesthetic experience and artistic creativity, to both natural and artistic beauty. As, however, in Shaftesbury’s work aesthetics cannot be considered irrespective of his overall philosophy, I am obliged to examine in parallel with aesthetics Shaftesbury’s ontology and moral theory. It is the concern for this last one that gave the occasion for the emergence of (...) an aesthetic theory in Shaftesbury’s work. My argument is that Shaftesbury’s view on natural beauty and his deep appreciation of natural scenery opened extremely fertile prospects for aesthetics, prospects that were meant to give their seeds both in enlightenment and in romanticism The concepts of disinterestedness, of natural sublimity and genius, for example, are some of Shaftesbury’s main contributions to the newborn discipline of aesthetics that were to have great future in the relevant conversation. In the case of writing, while the paradigm Shaftesbury uses comes undoubtedly from Horace and his advice to the poets to study philosophy, the place reserved for the true poet, his apotheosis indeed, anticipated the romantic appreciation of artists. The analysis of painting, finally, retains the strong link between art and morality and is based mainly on the Aristotelian concepts of unity and probability. It is thus undoubtedly a typical example of neoclassical analysis. It remains, however, a strong testimony of Shaftesbury’s pertinent commitment to empiric reality against those views that would present him as a high-flown Neoplatonist metaphysician. (shrink)

Everyone knows that Wales is a land of scenery. It is also known to have local customs and usages, and a peculiar language; in fact it has also its own history and historical memories. By virtue of these things Wales is a nation with its own life and culture, which merits study and demands respect.

Lying in an area bounded by the Wabash, Ohio, and Mississippi rivers, the Southern Illinois country is rich in history, folklore, scenery, and natural resources. At about the latitude of southern Virginia, and extending from the flat prairie farmland of central Illinois to the rugged "Illinois Ozarks,” the area is the natural terminal boundary for hundreds of plant species reaching out to all points of the compass. It is also the oldest and most sparsely populated part of Illinois, a (...) region of small towns and independent people, typical of the vast heartland of the U.S.A. Surveying the area in words and pictures the authors sensitively and appreciatively portray the region’s special qualities. An uncommon portrayal of American life in a distinctive region, the book provides a memorable journey both in time and place. (shrink)