Originally published as one of the Four Dissertations and then included in the 1758 edition of the Essays, the 1757 paper “Of the Standard of Taste” qualifies as David Hume’s official contribution to criticism.1 A few exceptions aside, no real or thorough effort has been taken by its critics to place the essay in the overall context of Hume’s science of human nature.2 Hume has certainly his share of responsibility in this: “Most of these essays were wrote with (...) a View of being published as WEEKLY-PAPERS, and were intended to comprehend the Design both of the SPECTATORS & CRAFTSMEN. But having dropped that Undertaking, partly from LAZINESS, partly from WANT OF LEISURE, and being willing to make Trial of my .. (shrink)

A series of recent experimental studies have cast doubt on the existence of a traditional tension that aestheticians have noted in our aesthetic judgments and practices, viz. the problem of taste. The existence of the problem has been acknowledged since Hume and Kant, though not enough has been done to analyse it in depth. In this paper, we remedy this by proposing six possible conceptualizations of it. Drawing on our analysis of the problem of taste, we argue that (...) the experimental results in question are not a real challenge to its existence. By contrast, they provide empirical evidence in its support. (shrink)

Psychopaths are the bugbears of moral philosophy. They are often used as examples of perfectly rational people who are nonetheless willing to do great moral wrong without regret; hence the disorder has received the epithet “moral insanity” (Pritchard 1835). But whereas philosophers have had a great deal to say about psychopaths’ glaring and often horrifying lack of moral conscience, their aesthetic capacities have received hardly any attention, and are generally assumed to be intact or even enhanced. Popular culture often portrays (...) psychopaths in ways that suggest a great gap between their amorality and their aesthetic sensitivity. In The Silence of the Lambs (Jonathan Demme, 1991), Hannibal Lecter appreciates fine art, fashion, and wine, while he eats his way through his enemies. His real-life counterparts, however, do not demonstrate the same sensitivities. There is no evidence that psychopaths are capable of real aesthetic appreciation, and some evidence that they are not. In this paper, we set out the limited evidence for the psychopath’s deficient aesthetic sensitivity. The best explanations of what the psychopath lacks turn out to implicate abilities that are also thought to be central to moral thought and action: an impaired capacity for empathizing with others and deficient ability to take a disinterested attitude towards things (socalled distance). We endorse the latter explanation. Thinking about what underlies the psychopath’s deficient aesthetic understanding turns out to throw light on a difficult problem: the connection between ethics and aesthetics. (shrink)

The thesis provides a new interpretation of Kant's claims for the epistemological significance of aesthetic judgment. I argue that the harmony of the imagination and the understanding in aesthetic judgment consists in a potentially unending activity of mental modeling, or "exhibiting," of figures corresponding to possible conceptual determinations of the perceptual form of a beautiful object. Since Kant holds just this capacity to exhibit concepts as figures in intuition to be a prerequisite to empirical conception, judgments of taste are (...) based on an activity underlying all cognition. ;I then turn to another area in which Kant claims a close connection between reflection and conception--his analysis of empirical concept formation and application. Kant states that we must presuppose a principle of reflective judgment in order to insure the discoverability of natural regularity. Kant recognizes that transcendental under-determines empirical law, but determining the extent to which Kant thinks this is true is of the utmost importance. Untempered, Kant's broad claims that the principle is necessary for the capacity to form and apply empirical concepts commits him to the un-Kantian position that a reflective principle is constitutive and not merely regulative. I find, however, that the principle is not required for the formation and application of any empirical concepts, but rather for those that purport to correspond to empirically real properties of things. ;Last, I place Kant's theory of reflection in a historical context, considering one Idealist criticism of it--that of Hegel in Faith and Knowledge. I argue that Hegel's Kant critique is best understood as an attempt to overturn the delicate balance Kant sought to strike in according a transcendentally necessary principle merely regulative status. (shrink)

Inspired by Voltaire's advice that a text needs to be concise to have real influence, this anthology contains fiery extracts by forty eighteenth-century authors, from the most famous philosophers of the age to those whose brilliant writings are less well-known. These passages are immensely diverse in style and topic, but all have in common a passionate commitment to equality, freedom, and tolerance. Each text resonates powerfully with the issues our world faces today. Tolerance was first published by the Société (...) française d'étude du dix-huitième siècle (the French Society for Eighteenth-Century Studies) in the wake of the Charlie Hebdo assassinations in January 2015 as an act of solidarity and as a response to the surge of interest in Enlightenment values. With the support of the British Society for Eighteenth-Century Studies, it has now been translated by over 100 students and tutors of French at Oxford University."--Publisher's website. (shrink)

Essential for the concept of the law of nature is not only spatio-temporal universality, but also functionality in the sense of the dependency on physical conditions of natural entities. In the following it is explained in detail that just the neglect of this functional property is to be understood as the real reason for the occurrence of the Goodman paradox – with the consequence, that the behavior of things seems to be completely at the mercy of change of unique (...) unrepeatable temporal points. It is exactly this (mis-)understanding that also generated the induction problem. From the intrinsic connection between universality and functionality, however, – that is my claim – the ontological consequence of a nature results, for which lawfulness is coupled to essentially functionally defined time sequences, thereby implying a potentiality dimension of nature, too. (shrink)

Fort Lewis College committed to purchasing 20% real food by 2020 as part of a national campaign called the Real Food Challenge, an initiative on college campuses that aims to shift food procurement toward real food, defined as ecologically sound, humane, fair, or local. Our research explored student preferences regarding food at Fort Lewis College. We analyzed students’ willingness-to-pay for 20% real food and the characteristics that predicted this willingness-to-pay. We also examined food preference parameters outside (...) of the Real Food Challenge categories, considering how factors such as taste, health, price, and convenience influenced students when choosing what to eat. We found that all four Real Food Challenge categories were important to respondents, and two-thirds of respondents were willing to pay more for real food. Yet overall, taste, health, and price were statistically more important than any of the Real Food Challenge categories to respondents. Statistically significant positive parameters driving willingness-to-pay more for real food were that a respondent considered environment an important factor when deciding what to eat, that a respondent agreed with the statement “It is important that my food reflect my values,” that sustainability was a factor for the respondent in deciding what school to attend, and that a respondent was from Colorado. Convenience was a negative parameter. In order to match these student preferences, campus dining services should emphasize benefits to taste and health when creating real food meals and should attempt to meet Real Food Challenge objectives with minimal price increases. (shrink)

The Philosophy of Modern Song: curious title, a curious book. If you bought it, as I did, because you are a devoted Dylan fan, hoping to find new Dylan songs inside, or at least new Dylan prose, you will be disappointed. In the photo of three musicians on the cover, none of them is Dylan. The one on the left is Little Richard. Who are the other two? Nowhere are we told their names, nor the names of the people in (...) any of the other photos, except for the sixty-six featured artists, though we will recognize many. The photo on the back cover might or might not be of the interior of Izzy Young's “Folklore Center,” reminiscent of Dylan's early days in Greenwich Village in the Sixties, when, together with my guitarist husband, I got to hear him perform after hours at the Gaslight and knew him well enough to say Hi when passing on the street.The basis for selecting the sixty-six songs anthologized and commented on is not immediately obvious. This is not a collection of Dylan's underappreciated favorites, though the taste represented is certainly eclectic and the choices are often surprising. The title does not help the reader who has not yet got her bearings... Philosophy? As if to justify his use of the word, Dylan eventually offers a lengthy comment on Albert Camus, but how relevant is that comment to these songs? And the word modern, too, means so many things—a sudden divergence from the past in the arts and literature; up-to-date and therefore good. These songs are not that kind of modern. If anything, the book looks backward, across the years of Dylan's long life to his musical awakening. Because we are almost the same age, I recognize the hodgepodge of styles and influences assembled here as belonging mostly to the early Fifties, when, like Bob, I was entering my teens by listening to, even dancing to, songs on the radio before I fell asleep at night. Enough about me! But no more apt basis for classifying these songs is suggested. They are not arranged alphabetically or chronologically.As for the anthologized songs, each one, once named, receives a commentary, and every commentary is called a chapter, and every chapter is divided into two parts, spelled out in letters as bold as a movie marquee. We are given the title of each song, the date of its release, and the name of the songwriter. The first part of each commentary consists of a paraphrase of “events” in the song, told almost exclusively in the second-person you rather than the more conventional I or the third-person he or she. Here is a passage from Dylan's paraphrase of “Blue Suede Shoes” by Carl Perkins: You get on well with most people, and you put up with a lot, and you hardly get caught off guard, but your shoes are something else. Minor things may annoy you, but you rise above them. Having your teeth kicked in, being pounded senseless, being dumped on and discredited, but you don't put any weight on that, none of it is as real to you as your shoes. They're priceless and beyond monetary worth.The paraphrase goes on for almost six pages, and to what end? The second half of each commentary, indicated by changes in the type, takes a few steps back to consider the sociological implications of the song in the context of its time. For instance, from the second half of the commentary on “Blue Suede Shoes”: “Shoes reveal character, station, and personality.” But Dylan does not use the opportunity to talk about his own character, station, personality. His associations with Carl Perkins and “Blue Suede Shoes” morph into an anecdote about a man called “Iron Felix, trusted consort to Lenin and Stalin.”A lengthy list of all required photo credits fills the two back pages but is printed in type so small it is almost illegible. If you want more information, and more importantly if you want to experience the songs discussed, your best bet is to search for the recordings on YouTube and to follow along, reading Dylan's commentary, one song at a time, while listening. Or, I hear rumors that we will need to purchase another book, the audio version of Philosophy of Modern Song, not yet released.Every song has its commentary, but nothing about this organization is stable, and as soon as the reader/listener thinks she has discovered a rationale for the order of the works selected, she is met with an exception. Basically, these seem to be songs about which Dylan has something anecdotal to say. More usefully, perhaps, they are organized around certain themes—those that have always preoccupied him: man's inhumanity to man, injustice, self-deception, the human situation. The anonymous author of the blurb on the jacket promises a master class in songwriting, but, if it exists at all, that lecture is exhausted in one or two observations, such as: “ ‘El Paso’ is built on five stanzas, each one two verses and a bridge and then returning to the next stanza.... ”It was almost fifty pages into the book that the sense of something missing overcame me. It was not only the words of the songs and the music that were missing; it was the author, the central intelligence that I love, the singer and songwriter whose name is credited on the cover but who never appears in the book, not even in a photograph. What I missed was Dylan. He had removed himself from his book's pages, except perhaps for a single instance: “You're an eighty-year old man, being wheeled around in a home for the elderly, and the nurses are getting on your nerves.... ”Has Bob Dylan grown weary of himself and all of his creations? The commentaries are not about Bob. In the whole book, the line quoted above may be the only exception. Does he refuse the “first person singular in the hopes of transcending ego”? Maybe; but we want to hear our master's voice. As for the philosophy of song? Besides the remarks on Camus, there is only one commentary in which Dylan explicitly states anything like a philosophy, and that is the one on “Willie the Wandering Gypsy and Me,” written and performed by Joe Shaver. The song has a philosophical point of view: “Keep moving, it's better, let the train keep on rolling.”. (shrink)

Reid maintained that the perceptions that we obtain from the senses of smell, taste, hearing, and touch are ‘suggested’ by corresponding sensations. However, he made an exception for the sense of vision. According to Reid, our perceptions of the real figure, position, and magnitude of bodies are suggested by their visible appearances, which are not sensations but objects of perception in their own right. These visible appearances have figure, position, and magnitude, as well as ‘colour,’ and the standard (...) view among Reid scholars has been that Reid maintained that our perceptions of visible figure, position, and magnitude are also not suggested by any sensation. They are instead suggested by the material impression on the retina. Gideon Yaffe challenges the standard interpretation. According to Yaffe, Reid believed that our perceptions of visible figure are suggested by corresponding sensations, by sensations of colour. We defend the standard interpretation of Reid. According to Reid, there is no “local sign” in our sensations of colour. The same colour sensation can be associated with different positions on the visual field, and different colour sensations can be associated to the same position on the visual field. According to Reid, we only have evidence for a correlation between the image on the retina and the perception of visible figure. (shrink)

I will begin by considering some themes from Proust's wonderful essay on Chardin, Chardin and Rembrandt. Proust speaks of the young man ‘of modest means and artistic taste’, his imagination filled with the splendour of museums, of cathedrals, of mountains, of the sea, sitting at table at the end of lunch, nauseated at the ‘traditional mundanity’ of the unaesthetic spectacle before him: the last knife left lying on the half turned-back table cloth, next to the remains of an underdone (...) and tasteless cutlet. He cannot wait to get up and leave, and if he cannot take a train to Holland or Italy, he will at least go to the Louvre to have sight of the palaces of Veronese, the princes of van Dyck and the harbours of Claude. Doing this will, of course, make his return to his home and its familiar surroundings seem yet more drab and exasperating. (shrink)

continent. 2.1 (2012): 22–28. Jeroen Mettes burst onto the Dutch poetry scene twice. First, in 2005, when he became a strong presence on the nascent Dutch poetry blogosphere overnight as he embarked on his critical project Dichtersalfabet (Poet’s Alphabet). And again in 2011, when to great critical acclaim (and some bafflement) his complete writings were published – almost five years after his far too early death. 2005 was the year in which Dutch poetry blogging exploded. That year saw the foundation (...) of the influential, polemical, and populistically inclined weblog De Contrabas (The Double Bass), which became a strong force for internet poetry in Dutch in the years to follow. In the summer of that year, a lively debate raged in the aftermath of Bas Belleman’s article “ Doet poëzie er nu eindelijk toe ?” (“Does poetry finally matter now?”), on a blog specifically devoted to this question. Up to that point, the poetical debate in the Netherlands had largely been confined to literary reviews (which were often subsidized), having become mostly marginalized in more mainstream media, where poetry could be covered by only a small number of so-called authorities. As a result, literary debate had acquired a rather placid quality. Though a variety of camps with different aesthetics could be discerned, most poetical positions shared a general acceptance of poetry as a form of art somewhat apart from fundamental political concerns. Late modernists would pursue subtlety and density of reference. Others would insist poetry was best understood as a form of entertainment that should ideally be accessible and work well on the stage. Still others would insist that poetry is mostly a play with forms. Linguistically disruptive strategies were valued highly by some, but mostly for their aesthetic effect. Values of disinterested playfulness reigned supreme everywhere. Any idea that poetry could be a field in which one confronts politics and the world was decidedly marginal. This led to a climate in which most attempts at polemics were DOA, often based on far too superficial positioning and analysis. The greatest polemical debates were revolving around the question of whether poetry should be difficult or easy, with both camps defining their ideas of difficulty and accessibility in ways that were so utterly shallow as to make the entire point moot. Debates were performed, rather than engaged with. It was a postmodern hell of underarticulated poetics. Half-consciously, people were yearning for new forms of criticism that could put the oomph back into poetry. Weblogs provided for ways to explore debate directly outside of the clotted older channels of the reviews and the newspapers. Belleman’s essay and the resulting online activity had shown that there was a widespread eagerness to take poetry more seriously as a social art form. It was in this environment that Mettes started his remarkable project Dichtersalfabet . At that moment, Mettes was active mostly in academic circles, having become noted at Leiden University as a particularly gifted student of literary theory. Within the Netherlands, the field of literary theory has a very odd relationship to literature as it is practiced in the country. Academic theory tends to have a mostly international view and engage with international debates of cultural criticism, literary theory, and philosophy, with academics often publishing in English and attending conferences around the world. Literature itself however is much more concerned with domestic traditions. Consequently, in the Netherlands, there exists a language gap between academic theoretical practice (as it is studied in the literary theory departments) and literary practice (which, academically, gets studied in specialized departments of Dutch literature). The Dichtersalfabet can be seen as Mettes’s attempt to close this gap. It is also an attempt to bridge the divide between theory and practice, in which he could apply his theoretical knowledge in a very unorthodox and unacademic critical mode that moreover could reach far beyond the domain of conventional criticism. Mettes’s goal was to trace a diagonal through Dutch poetic culture, to “strangle” what he perceived to be its dominant oppressive traditions of agreeable irrelevance, in order to see whatever might be able to survive his critical assaults. But he could only do so by means of a very serious engagement with poetry itself. To this end, he would go systematically through the poetry bookshelf of the Verwijs bookshop (part of a mainstream chain of booksellers) in The Hague, buying one publication per blog item, starting from A and working his way through the alphabet, reading whatever he might encounter that way in the restaurant of the HEMA store (another big commercial chain in the country). He would subsequently write down his reading experiences, refraining however from trying to write a nuanced book review. Rather, he would write about anything that caught his attention and sparked his critical interest. This way of working would yield vast, at times somewhat rambling, dense, lively, and generally brilliant essays, in which he held no punches. He never hesitated to pull out his entire arsenal of concepts from the international theory traditions, while never degenerating into mere academic exercise and pointless intertextualities. The attempt was rather to live the poetry that he read, and to engage it with the full range of political, academic, cultural, and personal references that he had at his disposal—all that composed the individual named Jeroen Mettes as a reader. Often what he wrote would not be according to the standards of what we usually think of as a critical review of a book of poetry. Sometimes he would even be a little sloppy in his judgments of poets or representations of the books he read, for example by basing an entire essay on the blurb of a book rather than its poetry content. But what he did was always brilliant writing nonetheless—virtuoso riffs on poetic fragments randomly found within capitalist society, exposing an incisive and insistent poetical sensibility. Mettes read poetry for political reasons, to see whether poetry could offer him a way to deal with a political world he detested. The right-wing horrors of the Bush years, the Iraq war, and the turn of Dutch public opinion towards ever more conservative, narrow-minded, and xenophobic views alongside a complete failure of the political left to present any credible alternative, were weighing heavily on the times in which Mettes reported on his reading. Poetry was to measure this world, diagram it, to lay bare its inconsistencies and faults, to indicate where lines of flight might be found. Amid the ruins of a world wrecked by imperialist policies, corporate capitalism, and doctrinal neoliberalism it would have to show the possibility of a new community. And it was, through its rhythmical workings, to release the reading subject from his confinement to ideologically conditioned individuality and lead him into the immanent paradise of reading. The stakes were high. Much higher than anything Dutch poetry had seen for many years. Mettes’s blog was widely read from the start. His posts sparked lively debates. Some of these subsequently led to the publication of extensive essays on a few key poets in some literary journals, particularly Parmentier and the Flemish journal yang , for which Mettes would become a member of the editorial board, a few months after starting the Dichtersalfabet . This could have been the start of a brilliant career, but this was not to be. The initial manic energy that fueled the blog gradually subsided. The Alfabet was updated less and less regularly. Mettes sometimes just disappeared for many weeks, then suddenly returning with a brilliant essay. Until, on September 21, 2006, he posted his final blogpost, consisting of no text whatsoever. That night I learned from his mentor at Leiden University that he had committed suicide. Mettes and I had had some fruitful exchanges on poetry, rhythm, music, and form, mostly on the blogs, but also by email. Three weeks before his death was the last time I heard from him: a very sudden, uncharacteristically curt note saying “My old new sentence epic.” Attached to that message I found a DOC-file of a work so major that I felt intimidated. This was N30 , a text he had been working on for over five years. After his death, it took me a long time before I dared to read it in its entirety. In the meantime, the work of preparing the manuscript for publication was entrusted by his relatives to his colleagues at yang magazine. It took them a few years to brush up the text and to edit the Dichtersalfabet -blog (which, apart from the Alphabet project itself, incorporated many other fragments of political, polemical, and theoretical writing) into book form along with the essays. The result of this labor was finally published in 2011 as a two-book set, and Mettes burst onto the Dutch poetry scene for the second time. The work was widely reviewed, on blogs, in journals, magazines, and newspapers. Many critics who had not followed the blogs in 2005 showed themselves surprised, baffled even, by the intensity of Mettes’s critical writing. But for those who had read the blog, the main surprise was in the poetry. During Mettes’s lifetime, some of his poems had already been published in Parmentier . Although these were strong texts by themselves, in no way did they prepare readers for N30 . Nothing like it had been written in Dutch before. Instead, N30 explicitly follows the American tradition of Language Writing, directly referencing Ron Silliman and his concept of The New Sentence. However, it would seem that much of the poetical thinking around his use of this technique puts him closer to a writer such as Bruce Andrews. For Mettes, using non sequiturs as a unit of poetic construction was not only a way of reinventing formal textual construction, but it was another way of finding the fault lines in the social fabric. From the perspective of the Language tradition, one may put N30 somewhere between Silliman and Andrews. N30 shares an autobiographical element with Silliman’s New Sentence projects, and as in Andrews, there is a concern for mapping out social totality within text—what Mettes refers to as a “textual world civil war.” Again this shows a formal textual strategy for allowing the person “Jeroen Mettes” to be absorbed by the world, which here appears as a whirlwind of demotic and demonic chatter, full of violence, humor, intensity, beauty, disgust, sex, commerce, and strife. Influenced as it may by American precursors, Mettes’s tone and form end up quite different from his American counterparts, consistently referencing a world that is Dutch, all too Dutch, taking on the oppressive orderliness of Dutch society with its endemic penchant for consensus by introducing chaos into its daily life and laying bare its implicit aggressions. The work’s 31 chapters each have a different feel and rhythmical outline, but none of them follow a predetermined pattern. Rather, Mettes would consistently edit and reedit the text, randomly rewriting parts of it, as he explains in his poetical creed Politieke Poëzie (Political Poetry). N30 – referring to the 1999 antiglobalist protest in Seattle – was to be the first text of a trilogy. The work itself was written “in the mode of the present.” A second text was to be written in the mode of the future, and a third one, in the mode of the past, was going to be an epic poem about the Paris Commune, and to form an alternative poetic constitution for the European project. I still deeply regret that Jeroen Mettes never got to complete those projects, just as I would be very keen on knowing what he might have had to say about more recent political developments. Instead, in 2006, he remained stuck in the horrors of the present, that ended up consuming him completely. He left Dutch literature with some of its most piercing criticism and its most profoundly moving, exciting and powerful poetry. Excerpts from N30 Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "N30." In N30+ . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. Chapter 1 1999. A day is a space too. And another man, who had chained himself, had his ribs crushed, and a motor has driven over somebody’s legs. Dutch health care system spends ±145 million guilders per year on worriers. A spiderweb vibrates as I pass by. Randstad renovating. She slaps her bag against her ass: “Hurry up!” OPINION IS TRUE FRIENDSHIP Your skin. It doesn’t express anything. “But the use of the sword, that’s what I learned, and you’ll need nothing more for the moment.” Just try to interrogate a guy like that. Gullit in Sierra Leone. Codes silently lying all around. But that’s simply what belongs to “that it’s just allowed”: that sigh of “world” (a word expressing that the trees are now standing along the water like black men with white bags in their hair); that’s nothing else right? And you see how everything has to move, and first of all what cannot do so. Without Elysium and without savings, barbarians lashing out, horny for an enemy, staring across the water, staring into the air—staring to get out of it. “You’ve never showed me more than the mall,” she said. All those “dreams” in the end—and now? It was lying on the stairway, so I picked it up and took it upstairs. Chapter 3 “You know what?” Telecommunication. For love… I don’t really like that cheap cultural pessimism, but… The holy city is on pilgrimage in the earthly bodies of the faithful until the time of the heavenly kingdom has come. The end of an exhausting autumn day behind the computer, my eyes filled with tears of fatigue. KITCHEN / INSTALLATION / SPECIALIST. Network integration. In the sun, stretched out on a sheet. (…) I don’t believe what I’m reading, because I want to believe something else. An illusion? Suits me. There’s a variety of shapes and tastes… “So what?” you may think. 102 dalmatians can’t be wrong. But I want more, dear… A feel good movie. I’m smashing the burned body. So what? We continue to save the European civilization. What’s there to win? Plato with poets = Stalin without gulag? Ball against the crossbar. No wonder. She comes straight to her point. She’s standing in the kitchen eating an apple. (…) The godless Napoleon had used her as a stable and wanted to have her taken down. “Our” Rutger Hauer. Ready or not here I come. Psst… are you also wearing a string? Nobody understands our desire. Cliffs breaking the waves and shattering the sunset. I used to be a real romantic (as a poet). A typical fantasy used to be the one in which I brutally raped mother and daughter Seaver from the sitcom Growing Pains . Nevertheless you only contain bad words. Eyelashes. Automatic or manual? That your skin always in the afternoon. Integration. The air is empty. Too bad! Hand in hand on their lonely way. Alaska! Chapter 12 May 5, 2001 [10:00-10:30] A dust cloud on a hill. Globe. Indian (British) (tie) / pope. Damascus. Rape. We’re carrying the ayatollah’s portrait through the streets. At the moment the girl is mostly suede jacket with white ribbons on her sleeves. A small explosion flares up/impact. Camouflage. Close up. We’re analyzing the situation. He’s dead right? Dead dead. Dead. Everything without, these, and only with the body. Indices signal death. Dollar bills are printed in factories. Holes. Light patch. Globe in a box. Microphone. What’s the situation? Grey impact on a green hill (field?). The water is blue. He has no lips. Interns on the background with skirts that are too long. This is an example of a sonnet. An Islamic woman pushes against the door of an electronics shop. Arrows (percentages (prices)). Is this what awaits the American? Touch screen interface. The word, an island, can only be a sign in that situation. We pull up a chair, join in on the fun. On the shelves only books about computers. One glance in the distance is enough to lighten up a luna park in the distance. She’s really desperate, especially when she laughs. Click. Ah. Next. And now it’s raining, but that’s ok. Yellow stains sliding over the south. Shallow caves light: clothes, boots, electrical equipment. 45. 22:10. Nothing gives you the right to eat more than people starving to death. The Hague. Slam dunk. Traffic light. Two H’s, one L (standing for the L (little prick)). We’re happy to say something. Clouds, small suns, temperatures, cities. The truth is never an excuse. Yellow. Yellow. Green. Yellow. Yellow. Yellow. Yellow. Green. Green. Yellow. Will you email me? Skeleton: “No.” Ex-nerds in brand-new and brightly red sport cars. $$$. I love. Shihab. Hooves in the sand. Skinny senior with over-sized sunglasses; old jockey (cap, trophy) smiling in slow motion. And there I am again, flashback, crying with my head in between my hands. Sometimes I’ve got the feeling that cannibals. Eyes: blue. Cancer. Why would I wait until tomorrow? Golden beams protruding from the lifted/lit earth. May 5, 2001 [11:30-12:45] You’ll remember this for the rest of your life. Graphs, diagrams. Bu$ine$$. Blue shirt, white collar, no neck (porn star). A name lights up. I’m hysteric. Will you join us? Letters falling in their words. Fingers set up a tent and start to dance. Young entrepreneurs from poor neighborhoods (read: black) guided by Microsoft. Kinda makes me happy, that sort of kitsch. A sense of exhaustion/impotence to see anything but the present. (…) Wouldn’t you like to? Orange explosion in an industrial zone. YOU’RE DOING THIS FOR AMNESTY INTERNATIONAL. Would you. A familiar face. Clouds and blossom. Sunflowers. Supermodels. Mountainous area in a rectangle: shades of brown, from dark to beige, more green toward the south. Tents and next to them (it’s all a blur) people. Plane. Stadium. Geometrical block of people. No, I ain’t crying. I don’t speak no more. I just want. Quote + photo. (Positive:) screaming crowd. Three-piece suit, seen from the back, before entering the arena. On the back: “Daddy abused me.” Oh, bummer. State of emergency has been declared and everyone has to cooperate. She’s cut her wrists. What we do know (…) is that there’s never been a unique word, an imperative name, nor will there ever be. [Click here for work that suits you.] Barefooted children are watching it (coherent pieces revelation of what’s lying below). Who knows how she’s changed during those two years. “Everything used to be better” + sigh. And here we are. An empty field of parquet. A city lying behind it. Explosion. Blue. A rain drop falling in my coffee. May 5, 2001 [14:30-15:30] A young Arafat on video speaking with raised finger. “I’m calling from my convertible.” Names on walls, victims, numbers… Tourists. Yellow. Yellow. “Your own child! Really, what kind of human are you?” I don’t want to hear it no more. A woman jumping out of the water in a yellow bikini against a background of fireworks and the Cheops pyramid. Thy sorrow shall become good fortune, thy complaints laudation. All planets will float and wander. Wo die Welt zum Bild wird, kommt das System (…) zur Herrschaft. It is something, but is it? May 5, 2001 [18:30-19:00] Iris. Leaves. NASDAQ. Open / and white and. For the one who’s doing nothing, just waiting. (…) NO DEFEAT is made entirely up of defeat -- since / the world it opens is always a place / formerly / unsuspected. October 2002. “Jeroen, I’m leaving for the cemetery, byeeee.” The rise of the middle class. My entire oeuvre is an ode to the. My entire head is a fight against the. God always demands what you cannot sacrifice. You may take that the easy way, but… “The state hasn’t made us, but we make the state” (Hitler). A stork exits the elevator. Skeletons of. Moscow. Helsinki. Palermo. Paris. Chapter 30 Like your paradises: nothing. United Desire, as only remaining superpower. And even though the sea is now calmer and the wind is blowing pleasantly in my face… Heart! Who determines whether a tradition is “alive”? The yellow leaf or the white branch? Mars. This sentence is a typical example. Most Dutch people are happy. No consolation. When I see a girl sitting at a table with a book, a notepad, a pen, a bottle of mineral water, her hand writing in the light—then I consider that one thing. “Presents,” “poetry,” “classics.” We are what we cannot make from ourselves. “Left”: mendicant orders, missionaries. Saint-Just: “A republic is founded on the destruction of its enemies.” She crosses the street with a banana peel between her fingers. (…) We chose our own wardens, torturers, it was us who called all this insanity upon ourselves, we created this nightmare… But “no”? Girl (just like a beach ball) talking rapid Spanish (Portuguese?) in a mobile phone. Do I have a chance now that her boyfriend is getting bold? CLIO, horny bitch. What else do you want? An old woman, between the doors of the C1000, is suddenly unable to go on; her husband stretches out his hand, speaking a few encouraging words. Selection from. Der Führer schenkt den Jüden ein Stadt. How can it reach us if we haven’t been already reached somehow? It doesn’t “speak.” No problem. Each word she uses is a small miracle, as if she doesn’t belong to it, to language, but wanders around with a pocket light looking for the exit; she’s never desperate (maybe a little nervous), lighting up heavy words from the inside. But indeed, we’re free. But the predicate is not an attribute, but an event, and the subject is not a subject, but a shell. That’s why also samurai, knights, and warriors raised the blossom as emblem: they knew how to die. Locked up in a baby carriage with a McDonald’s balloon. Blue helicopter, the blue sky. Whether you want to refer? The point is. How / Motherfucker can I sing a sad song / When I remember Zion? You’ll feel so miserable and worthless that you think: “If only I were dead!,” or: “Just put an end to it!” “So you’re an economist?” Her card—two little birds building a nest, her handwriting shaking—is still on the mantelpiece. Guevara: “No, a communist.” A straw fire, such was our life: rapidly it flared up, rapidly it passed. I’m fleeing, coming from nowhere. (…) Eazy-E drinking coffee with the American president. If I’d scream, would that be an event? Drown it: the cleaner it will rise up from the depths. No! The night, so fast… As if there’s something opened up in that face. Come on, we may not curse life. He shows me his methadone: “If you drink that all at once, you’ll die instantly.” The last one dictates how we should behave to deserve happiness. One shine / above the earth. “I want to go to Bosnia,” I said bluntly. I don’t even know the name of the current mayor. Let’s despise our success! “There is no future; this is the future. Hope is a weakness that we've overcome. We have found happiness!” Sun. Sushi. Volvo. I feel like a bomb about to explode at any moment. Makes a difference for the reconstruction right? The decor moves forward. Daughter of Nereus, you nymphs of the sea, and you Thetis, you should have kept his tired head above the waves! Alas! This sentence has been written wearing a green cap. I receive my orders from the future. A frog jumps into it. Her husband has turned the Intifada, which he follows daily on CCN, into his hobby, “to forget that he doesn’t have his driver’s license yet." Suddenly the sun slides over the crosswalk. Her (his?) foot is playing with the slipper under the table. Is this how I’m writing this book now? I’m not a fellow man. I hate you and I want to hurt you. These are my people. Their screaming doesn’t rise above the constantly wailing sirens which we've learned to ignore. My whole body became warm and suddenly started to tremble. Unfortunate is he who is standing on the threshold of the most beautiful time, but awaits a better one. Arafat’s “removal” is contrary to American interests. Jeep drives into boy. What you can do alone, you should do alone. A food gift from the people of the United States of America. Two seagulls. [...]. (shrink)

Our experience of the qualities Locke classified as secondary qualities generates a problem, a version of which Aristotle raised. I call this problem “the problem of common sensibles.” The problem, as I discuss it, concerns cross-modal experienced togetherness or unity. On the view that we undergo distinct sense-specific experiences as we hear, smell, taste, see, and touch things, there seems no room for cross-modal unity at the experiential level. But cross-modal unity is real and it necessitates that we (...) give up the usual separatist view of sense experiences. (shrink)

Culture is the bloodline of the nation and the spiritual home of the people. Intangible cultural heritage belongs to the field of culture, and the transmission of ICH is a kind of human-based cultural transmission, which is the shaping of people’s morality, character, sentiment, will, ideals and beliefs, value orientation, humanistic cultivation, artistic taste, way of thinking, wisdom, and ability in the practice of production and life of various ethnic groups. Based on the status acquisition model, this study analyzed (...) the human capital, social capital, and psychological capital of ICH bearers from three perspectives. In addition to the conventional socio-demographic factors such as gender, age, place of residence, and education level as control variables, status attainment was introduced as a dependent variable, and occupational identity, job satisfaction, and entrepreneurial ability were introduced as mediating variables to construct a conceptual model in the hope of exploring the multiple influencing factors of status attainment among ICH bearers. Interviews were used to gain, the feelings and knowledge of experts, scholars, and ICH bearers, to lay a solid qualitative research foundation for this study. A questionnaire survey was also conducted to obtain basic information and professional experiences of ICH bearers to provide real support for the research analysis and discussion. As per the results of this research, all the hypotheses were supported except, HC did not have any significant impact on JS. Furthermore, SC was not in a significant association with career identity. Moreover, career identity and status attainment did not have a significant relationship. (shrink)

I will begin by considering some themes from Proust's wonderful essay on Chardin, Chardin and Rembrandt. Proust speaks of the young man ‘of modest means and artistic taste’, his imagination filled with the splendour of museums, of cathedrals, of mountains, of the sea, sitting at table at the end of lunch, nauseated at the ‘traditional mundanity’ of the unaesthetic spectacle before him: the last knife left lying on the half turned-back table cloth, next to the remains of an underdone (...) and tasteless cutlet. He cannot wait to get up and leave, and if he cannot take a train to Holland or Italy, he will at least go to the Louvre to have sight of the palaces of Veronese, the princes of van Dyck and the harbours of Claude. Doing this will, of course, make his return to his home and its familiar surroundings seem yet more drab and exasperating. (shrink)

The concept of yinyang lies at the heart of Chinese thought and culture. The relationship between these two opposing, yet mutually dependent, forces is symbolized in the familiar black and white symbol that has become an icon in popular culture across the world. The real significance of yinyang is, however, more complex and subtle. This brilliant and comprehensive analysis by one of the leading authorities in the field captures the richness and multiplicity of the meanings and applications of yinyang, (...) including its visual presentations. Through a vast range of historical and textual sources, the book examines the scope and role of yinyang, the philosophical significance of its various layers of meanings and its relation to numerous schools and traditions within Chinese philosophy. By putting yinyang on a secure and clear philosophical footing, the book roots the concept in the original Chinese idiom, distancing it from Western assumptions, frameworks and terms, yet also seeking to connect its analysis to shared cross-cultural philosophical concerns. (shrink)

In Leopardi’s writings the idea of the monster/monstrous means a deviation from nature or a consequence of something that is considered monstrous because it belongs to, or reflects a taste or a set of criteria of evaluation belonging to another time or place. There is therefore both an absolute and a relative meaning of monster/monstrous, according to whether it refers to the real history of mankind, which progressively diverged from nature, or to the imaginary foundation of taste (...) and judgement. Nonetheless, these two moments are intertwined and refer one to the other reciprocally. In fact, the real difference between humanity and nature is the source of every imagination about monstrosity. One might even say that the notion of the monster/monstrous is the chain that links the ‘real’ and the ‘imaginary’ because it is the result of a miscalculation that makes a mere partial viewpoint absolute. (shrink)

Time is woven into the fabric of our lives. Everything we do, we do in and across time. It is not just that our lives are stretched out in time, from the moment of birth to the moment of our death. It is that our lives are stories. We make sense of ourselves, today, by understanding who we were yesterday, and the day before, and the day before that; by understanding what we did and why we did it. Our memories (...) shape our present selves, since we are the product of who we were, and who we remember being. Yet who we are lasts for but a moment. It is who we will be that demands attention. We are forever projecting ourselves into the future. We painstakingly plan for the needs of our future selves, all the while knowing that while what we do will make those future selves who they are, still, our future selves are elusive. So it is not simply that we happen to live our lives in time, the way, say, one might happen to live in Australia, or Singapore. It is hard to fathom how things could be otherwise. What would it be to live a life without time? Yet time itself is intangible. Though we are keenly aware of what has been ‒ of pain and loss, regret and pride ‒ and of what might be ‒ of anticipation, and dread, and longing ‒ time itself seems unaffected by anything we do. Though we can anticipate a future birthday cake, time itself cannot be tasted. Though we can dread a future dentist’s appointment, time itself cannot be touched. Though we remember the crunching of leaves this past autumn, time itself cannot be heard. How can it be that something so central to each of us, to who we are, and what we care about, can be so spectral? What, in the end, is time? Is time real, like a substance in which each of us, like insects in amber, finds ourselves trapped? Is time a dimension through which we can move? Is time not a thing at all, but some connection between events? If time is real, what is it like? Does it flow like a river, taking each of us prisoner in its current, washing us ever closer to the end of our lives? Is time like a cresting wave, coming ever closer to each of us from the future, engulfing us, and then receding into the past? Or is time static? Like a one-way road that each of us might wander, with no chance to turn back? Or perhaps time is like none of these things. Perhaps time is more like space; something we can navigate freely, so that we can visit different times just like we visit different places. Perhaps we can we travel in time the way we can travel in space. These questions, and many more, are the focus of this book. Now, you might wonder what philosophers are doing writing a book about time. Surely that’s a job for physicists! It is true: a great deal of what we know about time stems from our understanding of physics. However, even in physics we find that there are questions about time that go unanswered. Moreover, increasingly, physicists are turning to philosophers for help in understanding the role that time plays in current physical theories. Our goal is to get the reader up to speed on some of the central issues that influence our understanding of time so that they too may play a role in this ongoing discussion between science and philosophy. We hope that in doing so it will become clear what philosophy can bring to the study of time. There is a natural narrative in philosophy regarding the study of time, and we have chosen to organise this book according to that narrative. However, the book may also be approached in a ‘choose-your-own adventure’ spirit. While later chapters build on material introduced in earlier chapters, you can skip around, reading the book in any order you choose. For the instructor, this means that she can design her course around this book in any number of ways, depending on the particular topic she wishes to focus on. (shrink)

What is sensory imagining and what role does it play in our lives? How does visualizing a castle, running through a tune in one's head, or imagining the taste of fish ice cream relate to perceiving such things, or to remembering them? What are the connections between imagining and agency, and how does it relate to emotion and other affect? The Profile of Imagining offers a theory that answers these and many other questions. It argues that sensory imagining involves (...) the redeployment of resources central to perception, though in a radically different context and to very different effect. The result is a view that explains central features of imagining's phenomenology and functional role, including its capacity to capture what it would be like to perceive its objects, while acknowledging the many and striking differences between imagining and sensing. Hopkins shows how the view can be extended to imagining in other forms, especially the imagining of affect; and uses it to argue for some surprising conclusions: that imagining something is not a way to engage with its aesthetic character; and that imagining provokes real feeling much less often than is usually assumed. -/- Table of contents: Introduction; Ch.1 Imagining and agency; Ch.2 To be given as a representation; Ch.3 Knowledge of sensory profiles; Ch.4 Profiles in imagination; Ch.5 Observation, overflow and attention; Ch.6 Episodic memory; Ch.7 Learning from imagining; Ch.8 Aesthetic engagement, imagining and the draw of the real; Ch.9 Reacting to imagining?; Conclusion. (shrink)

This paper explores some connections between flavour perception, emotion, and temporal experience. Focussing on the question, If you like that taste of X and I do not, are we tasting the same thing X?, I will approach it by looking at some differences between how experts and nonexperts ‘taste’. I will eventually answer that if by ‘the same thing’ we mean the overall flavour profile of a complex sensory object, then the answer must be negative. I will argue (...) that there is indeed a relatively trivial sense in which one tastes the same thing, but that this is not an experience of flavour. In the process I will reject the view that there are real emergent flavour properties. (shrink)

Electronic dance music has much about it to interest philosophers. In this article, I explore facets of dance music cultures, using the issue of authenticity as a framing question. The problem of sorting real or authentic dance music from mainstream or commercial clubbing can be treated as a matter of history and genre-definition; as a matter of defining scenes or subcultures; and as a matter of blackness. In each case, electronic dance music, and critical discourse surrounding it, offers fresh (...) illumination of aesthetic questions. I briefly characterise the main genres of dance music, match conversations about the hardcore continuum with philosophers’ accounts of genre, survey sociologists’ ways of thinking about cultures and their connections to taste and personal identity, and link criticisms that dance music now lacks blackness to conceptions of black aesthetics. This article is Part I of two; Part II focusses on dancers, DJs, and the aesthetics and ontology of dance music itself. Video abstract. (shrink)

This paper scrutinizes the topic of meaning manifestation and signification made known by the act of interpretation, which amounts to finding the organising principles of a text and rules of combination. The language of narrativity is a set of generational and transformational instances disguising textual content and initiating interpretation as such. The paper discusses the levels of description which assist in tackling the concept of change, or difference in degrees, as the result of both the artificial operation of rewriting the (...) text on various methodological grounds and real dynamics justified by the obvious layers of the plot. The elementary units of meaning articulation covered by this article run the gamut from Roland Barthes’ distributional and integrational narrative units to Algirdas Julien Greimas’ deep and surface structures with special stress on the narrative programs and narrative analysis, which is of primary interest here. The Greimassian narrative grammar successfully describes what exists and how to capture the process of signification. In the end, analytical instruments elaborated by Greimas are effectively adapted to interpret the case of Edgar Allan Poe’s story William Wilson. The story itself is retold and interpreted through narrative formalisation, which consists in speaking of the plot transformations in terms of utterances of states and utterances of doing. Within the framework of narrative structures that emerge on the way to the formalisation of William Wilson, small changes in narrative trajectories seem to be out of sight, not even readable. Contrariwise, Barthes’ touch on what the text is all about enables the reader to be engaged in looser textual interpretations, to gain more variable, highly detailed experience in noticing the slightest movement and tasting each nuance of the overall setting. This paper first and foremost takes on board the structural narrative analysis as it is set out in Greimas’ narrative grammar leading to a special kind of severe narrative absolutism; on top of that, the paper gives a clue of a couple of alternative views on the problem, views represented by Barthes. (shrink)

Hume famously warned us that the ‘[The] ultimate springs and principles are totally shut up from human curiosity and enquiry’. Or, again, Newton: ‘Hitherto I have not been able to discover the cause of these properties of gravity … and I frame no hypotheses.’ Aristotelian science was concerned with just such questions, the specification of occult qualities, the real essences that answer the question What is matter, etc?, the preoccupation with circular definitions such as dormative virtues, and so on. (...) The rise of modern science is usually seen as a break with the sterility of Aristotelianism, so what exactly is it that modern science does discover, if it is not the essential nature of matter, of force, of energy, of space and time? A famous answer was provided by Poincaré: ‘The true relations between these real objects are the only reality we can attain.’ This is often regarded as the manifesto of so-called structural realism, as espoused in recent years by John Worrall, for example ). In response to the arguments of Larry Laudan against convergent realism, Worrall points to the continuity in the formal relations between elements of reality expressed by mathematical equations, while the intrinsic nature of these elements of reality gets constantly revised. (shrink)

The present investigation brings into view the philosophy of nature of German Idealism, a philosophical movement which emerged around the beginning of the nineteenth century. German Idealism appro- priated certain motivations of the Kantian philosophy and developed them further in a "speculative" manner (Engelhardt 1972, 1976, 2002). This powerful philosophical movement, associated above all with the names of Fichte, Schelling and Hegel - and moreover having nothing whatsoever to do with the "subjective idealism" of George Berkeley - was replaced by (...) philosophical positions designated roughly as metaphysics of the will, Marxism, life-philosophy, phenomenology and existentialism, as well as positivism, empiricism, philosophy of science, the linguistic turn, and analytic philosophy. These philosophical positions more or less still shape us today. German Idealism amounts to a virtual intellectual-historical antithesis to these movements and thus presents itself in retrospect as a striking alternative. The basis of Idealism - in its various respective forms - is the ideal <Ideelle>, and thus the opposite of that which is real. It continually takes as its task explaining the real in terms of the ideal, and this is especially true of the Idealists' philosophy of nature.' Is this a hopeless undertaking? Does Idealism not lack an empirical basis? Can one secure any solid ground whatsoever in the ether of the ideal? In what follows, I explain how, more than anyone else, Schelling and Hegel sought to handle this problem and to cope with it. By way of anticipation, a clear preference for the Hegelian philosophy of nature will emerge in what follows, a preference which may come as some surprise considering how much controversy has surrounded the significance of that view. The project of renewing a thoroughgoing philosophy of nature can meaningfully begin here. (shrink)

In this philosophically sophisticated and historically significant work, John H. Zammito reconstructs Kant's composition of The Critique of Judgment and reveals that it underwent three major transformations before publication. He shows that Kant not only made his "cognitive" turn, expanding the project from a "Critique of Taste" to a Critique of Judgment but he also made an "ethical" turn. This "ethical" turn was provoked by controversies in German philosophical and religious culture, in particular the writings of Johann Herder and (...) the Sturm und Drang movement in art and science, as well as the related pantheism controversy. Such topicality made the Third Critique pivotal in creating a "Kantian" movement in the 1790s, leading directly to German Idealism and Romanticism. The austerity and grandeur of Kant's philosophical writings sometimes make it hard to recognize them as the products of a historical individual situated in the particular constellation of his time and society. Here Kant emerges as a concrete historical figure struggling to preserve the achievements of cosmopolitan Aufkl-rung against challenges in natural science, religion, and politics in the late 1780s. More specifically Zammito suggests that Kant's Third Critique was animated throughout by a fierce personal rivalry with Herder and by a strong commitment to traditional Christian ideas of God and human moral freedom. "A work of extraordinary erudition. Zammito's study is both comprehensive and novel, connecting Kant's work with the aesthetic and religious controversies of the late eighteenth century. He seems to have read everything. I know of no comparable historical study of Kant's Third Critique."-Arnulf Zweig, translator and editor of Kant's ;IPhilosophical Correspondence, 1759-1799;X "An intricate, subtle, and exciting explanation of how Kant's thinking developed and adjusted to new challenges over the decade from the first edition of the Critique of Pure Reason to the appearance of the Critique of Judgment. "--John W. Burbidge, Review of Metaphysics "There has been for a long time a serious gap in English commentary on Kant's Critique of Judgment Zammito's book finally fills it. All students and scholars of Kant will want to consult it."--Frederick Beiser, Times Literary Supplement. (shrink)

Questions concerning perception are as old as the field of philosophy itself. Using the first-person perspective as a starting point and philosophical documents, the study examines the relationship between knowledge and perception. The problem is that of how one knows what one immediately perceives. The everyday belief that an object of perception is known to be a material object on grounds of perception is demonstrated as unreliable. It is possible that directly perceived sensible particulars are mind-internal images, shapes, sounds, touches, (...) tastes and smells. According to the appearance/reality distinction, the world of perception is the apparent realm, not the real external world. However, the distinction does not necessarily refute the existence of the external world. We have a causal connection with the external world via mind-internal particulars, and therefore we have indirect knowledge about the external world through perceptual experience. The research especially concerns the reasons for George Berkeley’s claim that material things are mind-dependent ideas that really are perceived. The necessity of a perceiver’s own qualities for perceptual experience, such as mind, consciousness, and the brain, supports the causal theory of perception. Finally, it is asked why mind-internal entities are present when perceiving an object. Perception would not directly discern material objects without the presupposition of extra entities located between a perceiver and the external world. Nevertheless, the results show that perception is not sufficient to know what a perceptual object is, and that the existence of appearances is necessary to know that the external world is being perceived. However, the impossibility of matter does not follow from Berkeley’s theory. The main result of the research is that singular knowledge claims about the external world never refer directly and immediately to the objects of the external world. A perceiver’s own qualities affect how perceptual objects appear in a perceptual situation. (shrink)

Questions concerning perception are as old as the field of philosophy itself. Using the first-person perspective as a starting point and philosophical documents, the study examines the relationship between knowledge and perception. The problem is that of how one knows what one immediately perceives. The everyday belief that an object of perception is known to be a material object on grounds of perception is demonstrated as unreliable. It is possible that directly perceived sensible particulars are mind-internal images, shapes, sounds, touches, (...) tastes and smells. According to the appearance/reality distinction, the world of perception is the apparent realm, not the real external world. However, the distinction does not necessarily refute the existence of the external world. We have a causal connection with the external world via mind-internal particulars, and therefore we have indirect knowledge about the external world through perceptual experience. The research especially concerns the reasons for George Berkeley’s claim that material things are mind-dependent ideas that really are perceived. The necessity of a perceiver’s own qualities for perceptual experience, such as mind, consciousness, and the brain, supports the causal theory of perception. Finally, it is asked why mind-internal entities are present when perceiving an object. Perception would not directly discern material objects without the presupposition of extra entities located between a perceiver and the external world. Nevertheless, the results show that perception is not sufficient to know what a perceptual object is, and that the existence of appearances is necessary to know that the external world is being perceived. However, the impossibility of matter does not follow from Berkeley’s theory. The main result of the research is that singular knowledge claims about the external world never refer directly and immediately to the objects of the external world. A perceiver’s own qualities affect how perceptual objects appear in a perceptual situation. (shrink)

The study of how languages differ in their portrayal of motion events has received much attention since Talmy provided the first detailed account of the phenomenon. Interest has extended from real, or factive motion, to imagined or fictive motion, and from there to metaphorical motion, in which experience in one sensory domain is understood in terms of motion. Studies of metaphorical motion have, however, concentrated so far on a limited number of sensory domains, principally vision, and drawn data from (...) a limited number of textual genres. The aim of this study is to identify the extent to which motion expressions are employed to express organoleptic sensory experiences, that is experiences of taste and smell. Drawing on analytical categories put forward by Talmy in his treatment of Satellite- and Verb-framed languages and on treatments based on Cognitive Metaphor Theory, and particularly the concept of ‘embodiment’, we investigate the variety and complexity of organoleptic Paths evidenced in two self-built corpora of craft beer reviews, one in Spanish, the other in English. We also compare the level of complexity evident in these sensory Path types with those of another, closely related, sensory domain: vision. The study finds, in line with related studies, that English has greater variety and complexity of sensory Paths than Spanish. A more unexpected result is the finding that organoleptic Paths are more varied and complex than visual Paths. This finding, then, may encourage us to reconsider Path complexity differences in sensory domains as a multifactorial issue and not simply as a cognitive-linguistic phenomenon. It is proposed here that external factors such as genre, or specifically, its communicative functions and linguistic constraints, coupled with the unique ‘perceptual landscapes’ created by each sensory modality, may transcend perceived physical boundaries of a Figure’s trajectory. (shrink)

In the recent literature on the issue, a number of commentators have argued that Kant’s aesthetic theory commits him to the position that nothing is ugly. For instance, in ‘Why Kant finds nothing ugly’, Shier argues that ‘within Kant’s aesthetics, there cannot be any negative judgments of taste’ (Shier (1998): 413). And in ‘Kant’s problems with ugliness’, Thomson claims that ‘Kant’s aesthetic theory precludes […] ugliness’ (Thomson (1992): 107). In other words, as it is presented in some of the (...) literature, Kant’s account of aesthetic judgment seems to preclude him from accounting for the possibility of ugliness. A number of reasons have been put forward to explain why there can be no ugliness for Kant. Some have to do with his account of experience in general. Others have to do with the very nature of the free play between imagination and understanding. Of course, the real source of the problem is that the Critique of Judgment does not actually discuss ugliness, so commentators are left with the task of filling in the gaps. This paper aims to argue that Kant’s account of aesthetic judgment commits him not only to the existence of the ugly, but to the distinction between two kinds of ugliness. To support this claim, I will start from the premise that if there is to be room for ugliness, it should be defined as the contrary of beauty. However, I will suggest that Kant’s account of beauty can be negated in two ways, one that gives rise to impure ugliness and the other to pure ugliness. I will examine them in turn, first by showing that impure ugliness is the contrary of beauty insofar as it contravenes our interests and produces a desire to dispose of it, whereas beauty is necessarily disinterested for Kant. In the second section, I will use Kant’s definition of judgments of pure beauty to carve a space for an account of pure ugliness. For, it should present all the characteristics that make it “pure” whilst replacing the characteristics that make it beautiful with the ones that make it ugly. On this basis, I will define pure ugliness as the disinterested displeasure caused by the experience of what I will call “foul play” between the imagination and the understanding. (shrink)

As humans, we want to live meaningfully, yet we are often driven by impulse. In Religion and the Meaning of Life, Williams investigates this paradox – one with profound implications. Delving into felt realities pertinent to meaning, such as boredom, trauma, suicide, denial of death, and indifference, Williams describes ways to acquire meaning and potential obstacles to its acquisition. This book is unique in its willingness to transcend a more secular stance and explore how one's belief in God may be (...) relevant to life's meaning. Religion and the Meaning of Life's interdisciplinary approach makes it useful to philosophers, religious studies scholars, psychologists, students, and general readers alike. The insights from this book have profound real-world applications – they can transform how readers search for meaning and, consequently, how readers see and exist in the world. (shrink)

In this essay I take the opportunity to recast some insights from my extensive study over the last decade of Wittgenstein’s remarks on music into a coherent and concise portrayal of Wittgenstein’s philosophical underpinning and upshots pertaining to his perception of the modern music scene in interwar Austria. The gist of the present essay is to show that, for better or for worse, Wittgenstein’s personal taste in music was powered by philosophical reasoning, which was organic to his philosophical development, (...) and that ultimately his philosophical attitude to the music scene of interwar Austria manifests a deeply probing gradation. I are argue that we can distinguish between four varieties of the absurd in the music of interwar Austria, according to Wittgenstein. First is the nonsensical absurd of the incapability of seeing that the nonsensicality of the form of progress is incomprehensible. This category pertains to music which straightforwardly tries to emulate the various maxims and formulations derived from the form of progress. Such nonsensically absurd music typifies progressive Romantic composers such as Richard Strauss, Max Reger, and the early Arnold Schoenberg. Second is the vacuous absurd of the incapability of seeing what the form of progress renders incomprehensible. This category pertains to music which denounces the predominantly nonsensical maxims and formulations of modernity, thus destining itself to keeping on groping for something which it cannot express. Such vacuously absurd music is best exemplified, in Wittgenstein’s mind, by Josef Labor. Third is the philosophical absurd of rendering what is incomprehensible (from the perspective of a cultured person) comprehensible within the same purview. For Wittgenstein, Mahler’s music betokens such incommensurability, evoking a relativist philosophical puzzle: whether cultural progress is real, and it is us who have been left behind, or whether culture has really been vanquished, and we are the only ones left to notice it. The very thought of an artwork of “a totally different sort” remains invariably hypothetical. Fourth is the praxeological absurd of giving rise to an auxiliary, praxeologically dislodged musical language, replacing the transparency of human gesture with exact rules of comprehensibility. From Wittgenstein’s perspective, the shunning of the expanse of lived experience in a musical language fit for the meaning-blind would be the inglorious spot assigned to Arnold Schoenberg’s vision of the music of the future. (shrink)

'Place in garden, lawn, to beautify landscape.'When Don Featherstone's plastic pink flamingos were first advertised in the 1957 Sears catalogue, these were the instructions. The flamingos are placed on the cover of this book for another reason: to start us asking questions. That's where philosophy always begins.Introducing Aesthetics and the Philosophy of Art is written to introduce students to a broad array of questions that have occupied philosophers since antiquity, and which continue to bother us today--questions like: - Is there (...) something special about something's being art? Can a mass-produced plastic bird have that special something? - If someone likes plastic pink flamingos, does that mean they have bad taste? Is bad taste a bad thing? - Do Featherstone's pink flamingos mean anything? If so, does that depend on what Featherstone meant in designing them?Each chapter opens using a real world example -- such as Marcel Duchamp's signed urinal, The Exorcist, and the ugliest animal in the world -- to introduce and illustrate the issues under discussion. These case studies serve as touchstones throughout the chapter, keeping the concepts grounded and relatable.With its trademark conversational style, clear explanations, and wealth of supporting features, Introducing Aesthetics and the Philosophy of Art is the ideal introduction to the major problems, issues, and debates in the field. Now expanded and revised for its second edition, Introducing Aesthetics and the Philosophy of Art is designed to give readers the background and the tools necessary to begin asking and answering the most intriguing questions about art and beauty, even when those questions are about pink plastic flamingos. (shrink)

Labor market and real-life studies were not designed to discriminate between evolutionary and taste-based and stereotype explanations for the beauty premium, have too many confounding effects, and lack crucial information. Smaller-stake and experimental studies provide more compelling evidence in favor of mating motives and suggest the direction of future research for the economists' field studies.

In lieu of an abstract, here is a brief excerpt of the content:Proust and the Phenomenology of MemoryThomas M. Lennon"I still believe that anything that I do outside of literature and philosophy will be so much time wasted." Thus did the twenty-two year old Marcel Proust (1871–1922) write to his father, reluctantly agreeing to consider a career in the foreign service as an alternative to the legal profession otherwise being urged upon him. ("I should vastly prefer going to work for (...) a stockbroker," was his comment.)1 Happily for us all, Proust was obliged to do neither, and in fact was able to do both philosophy and literature. As André Maurois puts it, "[Proust's] great novel is philosophy incarnate."2 Certainly, In Search of Lost Time is saturated with philosophy, the appreciation of which cannot help but enhance our understanding of this great work. The thesis here will be that a loosely phenomenological account of the work's central concept of memory gives us the structure of the work as a whole.The biographical facts suggest such an approach. Proust received a license from the Sorbonne in 1895, and, more importantly, had previously been a student of the philosopher Alphonse Darlu at the Lycée Condorcet. Although he published very little, Darlu was a charismatic, inspirational figure for his students—not least of all for Proust himself, who described him as "the great philosopher whose inspired words, more certain to last than any writing would, gave birth in me as in so many others to thought itself."3 A touching artifact of Proust's time with Darlu is his report card, preserved in the Proust Museum at Illiers-Combray. Not incidentally, it shows a concentration on the classical authors who will be deployed here. We also have a wonderful little text that argues a kind of phenomenalism influenced perhaps by Hume, and certainly by Kant.4 The one author important to our account whose name does not figure as such in any of this material is Malebranche; but we know [End Page 52] that Proust was familiar with the great Oratorian since he quotes him.5 In fact, the only author appearing below who could not have been on Proust's shelf is Kundera, the most philosophical and Proustian of all recent novelists.We begin with a text; it is the most famous of all in French literature, the episode of the madeleine from the Search. The text has become so well known—through hearsay more than from having been read, no doubt—that it has invited "kitchification."6 Even so, it is an exquisite piece of writing, which, in any case, is essential to the thesis here.Many years had elapsed during which nothing of Combray... had any existence for me, when one day in winter as I came home, my mother, seeing that I was cold, offered me some tea, a thing that I did not ordinarily take.... She sent out for one of those plump little cakes called 'petites madeleines'.... I raised to my lips a spoonful of the tea in which I had soaked a morsel of the cake. No sooner had the warm liquid, and the crumbs with it, touched my palate than a shudder ran through my whole body.... And suddenly the memory [le souvenir] returns. The taste was that of the little crumb of 'madeleine' which on Sunday mornings at Combray... my Aunt Léonie used to give me, dipping it first in her own cup of real or lime-flower tea.... Immediately the old grey house upon the street rose up like the scenery of a theatre... in a moment all the flowers in our garden and in M. Swann's park, and the water-lilies on the Vivonne and the good folk of the village and their little dwellings and the parish church and the whole of Combray and of its surroundings, taking their proper shapes and growing solid, sprang into being, town and gardens alike, from my cup of tea.7There are other such episodes of the past springing into being, but not many, and they occur but infrequently, until the very end of this vast work, when they come upon the narrator rapidly and almost... (shrink)

It is no surprise that the phenomenal qualities of our sensory experience pose recalcitrant philosophical problems for a physical materialist metaphysics. The colors of flowers as we experience them by sight, the taste of a ripe peach, and the smell of fresh-cut grass are undeniably part of the experienced world; yet in their phenomenal mode, they do not seem well-placed in the physicist's world of particles and energy fields. It seems, prima facie, that the metaphysical programs found in earlier (...) science and philosophy were better suited to accommodate these qualities: in the hylomorphic world of the Aristotelians, colors were "real qualities" existing as such in flowers; in the dualistic world of Descartes, colors were displaced from things like flowers to the immaterial mind of the perceiver. The dissertation argues that this intuition about our philosophical heritage is both philosophically confused and historically inaccurate. It betrays a misconception about phenomenal qualities and the problems they pose which results from a failure to distinguish phenomenal qualities from a special subset of sensible qualities that we have come to call "secondary" qualities. Disentangled from the primary-secondary quality distinction, phenomenal qualities include all sensible qualities insofar as they form the experiential contents of our sensory perceptions. So considered, phenomenal qualities invite difficult questions about the representational nature and ontological status of our sensory experience even within the Aristotelian and Cartesian metaphysics. By examining Descartes' and the Aristotelians' theories of sense perception with a focus on these questions we achieve a better understanding of "the problem" of phenomenal qualities, better interpretations of these historical theories of sense perception, and suggestions for reshaping the problem space within which we think philosophically about phenomenal qualities today. (shrink)

The sociology of science has shown that the scientific quest for truth, framed by the search for objectivity was granting objects of knowledge the form of independent and autonomous things, “data” already given and preexisting their observation. But do “real” objects only fit the form of data or things? If not, to which other form and objectivity do they fit? The author considers the question by examining the dispute between scientists and vintners on the issue of terroir, a complex (...) combination of viticulture and wine-making practices and agro-climactic factors, which gives wines a particular taste, or terroir typicity. For scientists who are unable to reduce it to a stable list of determining factors, terroir is an unfounded notion, an imaginary social construction, and an economic barrier. Producers, on the other hand, along with the wider distribution network of terroir wines, consider terroir as a real object, although one whose manifestations cannot be evaluated using the same procedures as those of scientists. By analyzing how proof of terroir is implemented, the author uncovers a regime of existence of objects different from the scientific regime: a pluralist one governed by critical discussion from which objects emerge as distributed results of a production process. (shrink)

In the opening chapter of this book, Timothy Costelloe develops an interpretation of Hume's doctrines in "Of the Standard of Taste" and then proceeds, in the second chapter, by extending that interpretation to Hume's moral philosophy. According to Costelloe, the "real value" of his attempt to clarify Hume's essay is to be found in the broader application. But since that value will not be real unless the interpretation of the essay has merit, the first chapter is clearly (...) vital to the enterprise, and so deserves particular attention.Costelloe sides with those who emphasize, on Hume's behalf, the rules of art rather than the joint verdict of true judges, and he wants to. (shrink)

This book provides the reader with an analysis of backward causation. The notion of backward causation faces many different paradoxes that threaten to make the notion inconsistent or incoherent. The book denies that these pose a real threat. It developed a theory of causation according to which the orientation of causation is not dependent on the direction of time. In this process it takes issues with David Lewis' contrafactual analysis of causation, and denies that the direction of time is (...) determined by irreversible processes . Likewise the book argues that the conceptual possibility of backward causation requires that the future is just as real as the past and present. Finally the book considers what the physical processes may look like if backward causation not only a a conceptual possibility but also a physical possibility. The conclusion is that no normal matter can possibly participate in backward causal processes. Instead objects moving backwards in time seem to posses negative mass and energy, a kind of objects that would be different from both ordinary objects and hypothetical tachyons. (shrink)

In his lectures on Logic and Metaphysics, Kant distinguishes between logical and real essences. While the former is related to concepts and is knowable, the latter is related to things and is unknowable. In this paper, I argue that the unknowability is explained by the modal characteristic of real essences as a necessitating ground on which a priori knowledge is impossible. I also show how this claim is related to the unknowable necessity of particular laws of nature. Since (...) laws of nature are conceived as grounded in real essences, the unknowability of the latter is equivalent to Kant's other claim that there can be no knowledge of the necessity of particular laws of nature. Necessity can only be known a priori, and therefore, the necessity of particular laws is only assumed and conceived as grounded in something unknowable, a real essence. This conclusion will allow me to attribute to Kant a position I label as “regulative essentialism”, meaning that real essences have an indispensable role in accordance with the rational interest to explain nature as a system of laws and natural kinds, combined with an epistemic humility about the correspondence of our empirical concepts to real essences. (shrink)

This article examines the primacy of real-world bodily experience for understanding the human mind. I defend the idea that the peculiarities of the living human brain and body, and the bodily experiences they sustain, are essential ingredients of human sense-making and conceptual systems. Conceptual systems are created, brought forth, understood and sustained, through very specific cognitive mechanisms ultimately grounded in bodily experience. They don't have a transcendental abstract logic independent of the species-specific bodily features. To defend this position, I (...) focus on a case study: the fundamental concept of time flow. Using tools of cognitive linguistics, I analyse the foundations of this concept, as it is manifested naturally in everyday language. I show that there is a precise conceptual metaphor whose inferential structure gives an account of a huge variety of linguistic expressions, semantic contents, and unconscious spontaneous gestures: Time Events Are Things In Space. I discuss various special cases of this conceptual metaphor. This mapping grounds its source domain in specific spatial bodily experiences and projects its inferential structure onto a target domain making inferences in that domain possible. This mechanism allows us to unconsciously, effortlessly, and precisely understand expressions such as ‘the year 2000 is approaching’ or ‘the days ahead of us’. The general form of the mapping seems to be universal. The analysis raises important issues which demand a deeper and richer understanding of cognition and the mind: a view that sees the mind as fully embodied. In order to avoid misunderstandings with a general notion of ‘embodiment’ which has become fashionable in contemporary cognitive science, I describe what I mean by ‘full embodiment’: an embodied-oriented approach that has an explicit commitment to all of cognition, not just to low-level aspects of cognition such as sensory-motor activity or locomotion . I take embodiment to be a living phenomenon in which the primacy of bodily grounded experience is inherently part of the very subject matter of the study of the mind. (shrink)

The efforts to prove God's existence in the history of thought have been one of the fundamental problems of philosophy and theology, and even the most important one. The evidences put furword to prove the existence of God constitute the center of philosophy of religion’s problems not only philosophy of religion, but also the disciplines such as theology-kalam and Islamic philosophy are also seriously concerned. When we look at the history of philosophy, it is clear that almost all philosophers are (...) interested in the evidence in favour of and against the existence of God. Especially in recent times, religious experience has often been regarded as evidence of the existence of God. Studies in the field of religious and mystical experience have put forward many arguments concerning the use of religious experience as evidence. However, this study has been limited to experience of sense and pure consciousness claims rather than examining all of these arguments. In this study firstly, the analogy between experience of sense and religious experience will be deal with, and then claims that conciousness can be emptied by a number of methods which are defended by mystics. In addition, it will be tried to defend the opinion that the mystical experiences which are the common point of the two approaches are valid. The main emphasis of the article will be that these arguments can be used as evidence for the existence of God.Summary: Religious experience - which has not been considered as one of the classical evidences regarding the existence of God before being popular by recent studies – is started to be called one of the arguments. The most important reason for not arguing religious experience among the evidences of God’s existence is that it is a personal experience and therefore contains subjective perspectives. However, many researchers, who refuse to accept the criticism raised against religious experience with restricting to subjectivity, emphasized the importance of religious experience by highlighting the objective aspects of such experiences. This emphasis was not only on its significance, but also on the fact that it had a cognitive feature and thus it could provide evidence for the existence of God. The argument of religious experience is generally defined as an effort for demonstrating to existence of God with reference to several feelings such as spiritual experiences of human in face of creator and sacred Being, encounter with God, uniting, and annihilating selfness in Him. The emergence of such efforts, especially after the XVIIIth century, indicates that the history of the evidence does not go back much earlier. However, even if notas evidence, it is possible to extend the traces of religious and mystical experience to the history of religions such as Buddhism and Hinduism. Considering a great amount of the previous literature focused on religious experience in the West, It is easily seen that such research is still new. The main purpose in addressing such a controversial issue is to make the argument on the religious experience more current and to show whether the religious experience would be able to use as evidence for the existence of God.First title of this study comprises many different claims such as Walter T. Stace’s The Argument from Unanimity Richard Swinburne’s The Principle of Credulity, William P. Alston’s Perceiving God, John Hick’s Experience-as. However, instead of briefly giving out very different claims, the study chooses to focus on two arguments which are less discussed and can be given in more detail. The first is the argument based on the analogy between the religious experience and the sense experience. The fundamental point of this argument is sense experience. With reference to the similarities between the sense experience and the religious experience, it can be argued that religious experience is also cognitive and may function as an evidence for the existence of God. In other words, being perceptual and noetic, namely cognitive, of sense experience is addressed as a similar side of religious experience. Whether it is imaginary or real, eventually, it is necessary for an experience to have an object and being experience of something. Therefore, the religious experience includes the perception of a Transcendent Being that is beyond and in excess of the individual who experiences. Perception of the sense experience will definitely be different from the perception of religious experience. Researchers who think that the five sense organs do not run the perception of Sacred Beings, identified broader and various meanings for the perception. Thereby, in this approach, where the semantic field of perception is expanded, it was contended that human beings were able to perceive the transcendent, eternal, and unlimited God, and this can be explained in the epistemological sense. In order to use religious experiences as an evidence for the existence of God, it is necessary to determine whether such experiences are caused by God rather than something else. This raises the issue of the validity of religious experience. The researchers in this area have propounded various criteria to identify whether religious experience is existed or not. Experiences, which do not meet the criteria, are not considered existed even if they claim to be religious experience.The second is the argument that discusses whether it is possible to suggest an evidence for the existence of God by utilizing pure consciousness events. In general, this argument claims that the consciousness gets clear, and thus, mystic or Sufi experiences the Divine One with pure consciousness by discharging consciousness from all sensual contents and removing it from secular desire and wishes. The argument, which claims the experience of Divine One is direct, therefore uninterpretable, and experienced by pure consciousness, believes clearing the consciousness of mystics from sensual qualities such as seeing, hearing, and tasting. It is stated that it is possible for mystics to empty their sensory images and get rid of them, and thus, their desires and wishes could be lost. Especially, the thinkers who are connected with the philosophy of perennialism and defend this approach, thought that people, who have distinct religion, culture, and beliefs in different parts of the world and in various time periods, had the same experience and considered such experiences were universal by suggesting that this similarity could be called as common essence.Even though the claim which offers that the events of pure consciousness are the same everywhere have been criticized in many respects, the advocates of this approach have argued that the experience has the common essence, but the interpretation is different. This relationship, which was tried to be established between experience and commentary, caused a lot of work for both the thinkers who put forward the claims of pure consciousness and the researchers who opposed it. However, examining the relationship between experience and interpretation requires serious studies in socio-psychological, cultural and religious fields. Therefore, in order not to exceed the limits of the article, the relationship between experience and interpretation is briefly mentioned.While discussing two arguments, the main claims of the arguments were addressed, and the criticisms directed to this argument were not discussed as much as possible. However, some fundamental criticisms have been mentioned shortly for a better understanding of the discussion. Since such western-oriented claims mostly were deployed in a western context, the study excluded the comparison of the claims across different cultures. (shrink)

Culture has always led a problematic existence. As a result, the diagnosis and treatment of various cultural diseases continue to depend on the embarrassing double identity of culture as both patient and doctor, hence making it difficult for culture to explore its own obscure recesses. The question of whether culture is autonomous and can be itself in its own way should therefore be considered theoretically. Since culture is closely associated with civilization, real culture must be generated from the florescence (...) of a civilization based on a logic of human integrity within a certain historical period of time. In order to illuminate and adhere to this cultural attribute, some cultural truths must be made clear by establishing and maintaining public order and good customs from a properly lofty spiritual view. We must prudently and critically inquire after the ideological promise of culture regarding reasonable existence and the evolution of humans, and present an ideal prophecy in line with the human demand for a good life so as to assure culture’s healthy, benign, and sustainable advancement and stable performance of its function of molding graceful, noble, and tasteful means of life. (shrink)

Quantum mechanics is humanity's finest scientific achievement. It explains why the sun shines and how your eyes can see. It's the theory behind the LEDs in your phone and the nuclear hearts of space probes. Every physicist agrees quantum physics is spectacularly successful. But ask them what quantum physics means, and the result will be a brawl. At stake is the nature of the Universe itself. What does it mean for something to be real? What is the role of (...) consciousness in the Universe? And do quantum rules apply to very small objects like electrons and protons, but not us? In What is Real?, Adam Becker brings to vivid life the brave researchers whose quest for the truth led them to challenge Bohr: David Bohm, who picked up Einstein's mantle and sought to make quantum mechanics deterministic, all while being hounded by the forces of McCarthyism; Hugh Everett, who argued that everything, big and small, must be governed by the same rules; and John Bell, who went to great lengths to eradicate the power of the god-like observer from the core of quantum physics. And they paid dearly, their reputations, careers, and sometimes lives ruined completely. But history has been kinder to them than their contemporaries were. As Becker shows, the brave intellectual giants have inspired a growing army of physicists and philosophers intent both on making a philosophically more satisfying theory of the universe and a more useful one as well. A gripping story of some of humanity's greatest ideas and the high cost with which many have pursued them, What is Real? is intellectual history at its passionate best. (shrink)

The millennial vision quest -- Who are the changers? -- The great name debate -- How to read this book -- Magicians, manipulators, and muses -- The trouble with generalization -- History speaks -- The world of men and everyday affairs -- First things first -- Coming to your senses -- Hearing -- Smell -- Taste -- Sight -- Touch -- Emotion -- What to do with all of this information -- Activities -- Allies -- The importance of support (...) -- The ally relationship -- Who are the allies? -- Who allies are not! -- Ally-inviting conversations -- A note to you allies out there -- Strength : a warning label -- Ambivalence -- The trouble with change -- Safety first -- Building a net -- Walking against traffic -- Among other things -- Confidence and doubt -- A word about cultural ambivalence -- Structure and routine -- Morning, noon, and night -- Realistic routines -- Breaking it down -- When the heart is hurting -- When nothing seems to work -- The forest for the trees -- Living the daily life -- Stages of growth -- The stages of change -- Identifying your stage -- The stuff of myth and legend -- Haunted by the past -- The way-back-when time -- Rituals, ceremonies, and celebrations -- Setting goals -- Rules for successful goals -- Rewarding growth -- Inviting witnesses -- Obstacles to goals and growth -- Failure -- Boredom -- Giving away credit -- Reaffirming vows -- The final chapter. (shrink)

The movie The Matrix and its sequels draw explicitly on imagery from a number of sources, including in particular Buddhism, Christianity, and the writings of Jean Baudrillard. A perspective is offered on the perennial philosophical question ‘What is real?’, using language and symbols drawn from three seemingly incompatible world views. In doing so, these movies provide us with an insight into the way popular culture makes eclectic use of various streams of thought to fashion a new reality that is (...) not unrelated to, and yet is nonetheless distinct from, its religious and philosophical undercurrents and underpinnings. (shrink)

Review of Jaynes, Probability Theory: The Logic of Science; Marrison, The Fundamentals of Risk Management; and Hastie, Tibshirani and Friedman, The Elements of Statistical Learning. A standard view of probability and statistics centers on distributions and hypothesis testing. To solve a real problem, say in the spread of disease, one chooses a “model”, a distribution or process that is believed from tradition or intuition to be appropriate to the class of problems in question. One uses data to estimate the (...) parameters of the model, and then delivers the resulting exactly specified model to the customer for use in prediction and classification. As a gateway to these mysteries, the combinatorics of dice and coins are recommended; the energetic youth who invest heavily in the calculation of relative frequencies will be inclined to protect their investment through faith in the frequentist philosophy that probabilities are all really relative frequencies. Those with a taste for foundational questions are referred to measure theory, an excursion from which few return. That picture, standardised by Fisher and Neyman in the 1930s, has proved in many ways remarkably serviceable. It is especially reasonable where it is known that the data are generated by a physical process that conforms to the model. It is not so useful where the data is a large and little understood mess, as is typical in, for example, insurance data being investigated for fraud. Nor is it suitable where one has several speculations about possible models and wishes to compare them, or.. (shrink)