In lieu of an abstract, here is a brief excerpt of the content:The Image of the Performing BodyEric C. Mullis (bio)Elsewhere I have discussed the principles of embodied expression that are developed in the practice of the performance arts—dance and theatre.1 These principles, it was argued, disclose the work that must be done in order to transform the human body into an aesthetically expressive medium. That is, precarious balance, the interplay of oppositional energies, and the compression of energy must (...) be mastered if a performance artist is to overcome the artifice of the stage and develop scenic presence. However, in that essay I said little regarding the manner in which the body acquires these skills and little about the effects that the transformation has on the artist's experience of embodiment. I would like to continue here by discussing how the body is modified in the process of developing the skill sets necessary for performance as well as how this developmental process affects the performer's corporeal experience. More specifically, I will draw on the notions of the body schema and the body image in order to clarify how the body can be transformed into an aesthetically expressive medium. In the first section I discuss the functions of the body image and body schema as well as the nature of their interaction. In the second section I discuss what relevance these concepts have for our understanding of the skill acquisition process. Finally, since the points made in the first two sections can be applied to non-peformative practices (such as sport, yoga, and martial arts) the last section focuses on the performance arts by discussing how the body schema and body image are developed in order to create a space of effective gesture.Body Image and Body SchemaShaun Gallagher argues that "The body image consists of a complex set of intentional states and dispositions—perceptions, beliefs, and attitudes—in [End Page 62] which the intentional object is one's own body."2 That is, there are three kinds of intentional content that constitute the body image—the body percept, the body concept, and the body affect. The image of my body is rooted in sensorimotor and kinesthetic perceptions, specific beliefs about my body, as well as emotions that often arise in response to such beliefs. Perception gives me a sense of the condition of my body at any point in time, while conceptions build upon perceptual content and allow one to understand the nature of one's embodiment. For example, the belief that the body is akin to a machine that can run well, break down, be diagnosed, and repaired is widespread since it is based in a widely accepted philosophy of medicine. That is, the body is often conceived as a thing that must be fixed by those who have the expertise that allows them to understand its intricate systems and processes. This example not only gives us insight into the perceptual and conceptual content of the body image but also demonstrates that beliefs about the body are conditioned by culture. This latter point is also supported by observations regarding the manner in which the body is invested with emotion. For example, some may feel frustrated with their bodies since they do not meet social standards of beauty, while others experience the joys of physical competition and accomplishment that are brought about by participating in widely practiced games. This brief discussion illustrates that the image that one has of one's body is a synthesis of perceptual experience, beliefs about the nature of one's body, and emotional responses.In 1911 Head and Holmes defined the body schema as the postural model of the body.3 In this account, the body schema functions by continually comparing the body's present posture to those held in the immediate past. That is, at the preconscious level, the schema provides a standard against which changes in posture can be judged. It must be stressed that the body schema functions below the surface of consciousness and, unlike the body image, does not include perceptions, attitudes, or beliefs about the body and is consequently not subject to cultural influence. Gallagher notes that the body schema "is a system of sensory-motor... (shrink)

One of the most famous gods of the pagan pantheon of Ancient Rus is the Thunder Perun. Usually, in the minds of modern humans, the image of Perun is perceived as the embodiment of the terrible and unaffiliated forces of nature, as the personification of thunderstorms, thunder and lightning. Certainly, such a perception came to us from the ancient pagan times as a kind of accumulation inherent in our ancestors ideological paradigm. However, the idea of ​​Perun as the personification (...) of thunder and lightning is confirmed by numerous linguistic intelligence. In particular, at one time, this well-known French researcher L. Lezhe found that the Slavic meaning of the word - lightning. The concept Perun in the Russian, Ukrainian, Byelorussian, Polish and Slovak languages ​​means the same thing. It is lightning. Apparently, in the pagan worldview, this god appears as a symbol of something scary, frightening. The ancient Slavs leaned over to Perun's force, as they generally bowed to any force, considering everything that was stronger than them, "strange", and therefore worthy of respect and worship. (shrink)

This thesis aims to clarify the intrinsic characteristics of ‘image’ of everything for the image in the society of the fourth industrial revolution by the phenomenological dimention based on Merleau-Ponty’s phenomenology, and to clarify the value of image, the intrinsic characteristics of ‘painting-image’, ‘photo-image’ and ‘film-image’. It will reveal that ‘thing-image’, ‘artifact-image’, ‘digital image’, ‘robot-image’ become the images for society of humanities by these clarifications. The image of everything (...) is ‘appearance-image’ to reveal itself, ‘expression-image’ from the phenomenological, ontic point of view, and ‘image-being’ as ‘being as image and being image’ from the phenomenological, ontological point of view. The augmented reality-image is the image of fusion of virtual image+real image+body-subject image. Things-images in the world of Internet of Things(IoT) become things-images of digital communication. Painting-image, photo-image, film-image are text-images. The painting to paint a correspondence of perceptive phenomena and natural affairs themselves means the painting of the image to fuse the diverse images on horizon-image of natural affairs themselves by the multilateral, intentional vision. The sense of the intentional photo-image, the meaning of being of body-subject, and the facticity and singularity of object itself of photo shoot reveal the intrinsic characteristics of photo-image. The film-images in film manifest the intrinsic characteristics of the connective flesh between them mutually. Finally, it is necessary that the value of the intrinsic characteristics of image in the society of the fourth industrial revolution becomes the value for the righteous personality. (shrink)

The development of the times is driving the competition in the market. In the current trend of the brand era, if a brand cannot fully display its own personality, it is difficult to be competitive. With the development of Internet of things (IoT) technology, different enterprise values produce different types of products and affect all aspects of social economy and daily life. This article mainly studies the innovative design of brand image based on 5G IoT era. This article takes (...) the consumer group as the positioning object, is committed to shaping the core value of the brand, and applies the emotional personality psychology of consumers to the rational brand planning. Creating a perfect brand image and an accurate brand development track is an effective guarantee to promote and enhance brand development. The standard font of the logo combination is the combination of Chinese and English. The advantage of the combination of Chinese and English lies in the combination of nationality and cosmopolitanism. It is not only a new cultural phenomenon but also has strong operability, which meets the requirements of logo design internationalization. The explanatory capacity of the model increases with the entry of product image, corporate image, and self-consistency. The combined explanatory capacity of the three variables reaches 42.2%. The significance probability of the F test is p = 0.000, which is significantly less than 0.01, indicating that the regression of the model is significant. Except for “imaginative,” girls’ scores on the other seven brand personality dimensions are equal to or higher than boys’. The results show that the innovative design of brand image has far-reaching significance for the long-term development of the brand. (shrink)

Consider this chess puzzle. White to checkmate in two. It appeared recently in the Boston Globe, and what startled me about it was that I had thought it had been proven that you can’t checkmate with a lone knight (and a king, of course). This is a counterexample, a strange circumstance that can arise in a legal game of chess. This fact is a higher-order truth of chess, namely that the “proof” that you can never checkmate with a lone knight (...) and king is unsound. Now let’s consider chmess (I made up the term); it’s the game that you get by allowing the king to move two spaces, not one, in any direction. I made it up and I don’t know if anybody has ever played it. I have no idea whether it’s worth playing. Probably it isn’t, but it doesn’t matter; it’s not even worth our attention long enough to figure out. But a moment’s reflection reveals that there are exactly as many higher-order a priori truths of chmess as there are of chess, namely, an infinity of them. And no doubt they would be roughly as difficult to discover and to prove as the higherorder truths of chess. There are people who make a living working out the truths of chess and certainly it’s been a big avocation for many other people. But I doubt if anybody yet has spent more than 5 minutes trying to work out the a priori truths, and the higher-order truths, of chmess. (shrink)

In this article, I examine the relation between phenomenology and anthropology by placing Foucault's first published piece, “Introduction to Binswanger's Dream and Existence“ in dialectical tension with The Order of Things. I argue that the early work, which so far hasn't received much critical attention, is of particular interest because, whereas OT is notoriously critical of anthropological confusions in general, and of “Man” as an empirico‐transcendental double in particular, IB views “existential anthropology” as a unique opportunity to establish a new (...) and fruitful relation between transcendental forms and empirical contents. This is because IB focuses on a specific object, “Menschsein”, which is neither the transcendental subject nor an empirical being. Thus for the young Foucault, existential anthropology occupies a fertile methodological middle ground between transcendental approaches and empirical forms of analysis. I first interpret anthropology in the light of phenomenology and defend the view that Menschsein is neither a transcendental structure nor a concrete particular, but the instantiation of the first in the second. I argue that for anthropology to yield the full theoretical benefits Foucault claims for it, the particular cases of Menschsein examined in existential analysis have to be regarded as exemplary. I then read phenomenology back in the light of anthropology and examine how, for Foucault, the analysis of Menschsein in dreams benefits fundamental ontology by affording us a clearer view of some of the main existentiale than the focus on everyday waking experience in Being and Time. Finally, I turn to the limits and difficulties of this early position and my reading of it, and to their consequences for Foucault's later view. (shrink)

In this article, the Bild or image of the sculptor used by Plotinus and adapted by his Christian follower Meister Eckhart forms the basis of a reflection on the religious or otherworldly dimension in ethics and on the relationship of esthetics, morality, and religion. The image of the sculptor who chips away at his sculpture exemplifies the relationship of the individual to its divine archetype. Such knowledge involves transformation of the knower, a turning back of the image (...) to the archetype, a shaping of the self that emerges from recognition of its true identity and vocation. This constitutes the dynamic dimension of Bildung in Eckhart as educere, a leading forth from attachment to particular things and a purification and reformation of the self according to its true image. The turning back is thereby a turning within to the supreme Good, the nobility and the purity of the Divine nature, which is the origin of the true self and its intrinsic dignity as image of its transcendent source. (shrink)

The Zapatista Indigenous Movement from Chiapas, Mexico is an example of the anthropological dynamics between the visible and the invisible in Western culture and the possible revolution of perceiving reality as such since they had to cover their faces with masks in their rebel anti-system movement in order to be considered as having the same dignity as other human beings: they performed a revolutionary act that changed the symbolic order of the visible by the public exhibition of their colonial submission. (...) The mask gave them a face, disrupting the order of the visible with uncanny faces. In this article, a nondual model is proposed to capture the inessential ground of the given composed of endless perspectives in continuous transformation by the generation of ontological novelty: an open cognitive horizon of symbolically empty points of view irreducible to one perspective. For Krishnamurti, the revolutionary act is to see without an image in order to phenomenologically attend to things as they are beyond the known and the unknown such as Stilinovi? and Malevich pursued the dissolution of symbolic representations through art for the transformation of human reality. (shrink)

In our experience, we see more than what we see in a strict sense. We see things as identical through (and despite) multiple spatio‐temporal appearances; we recognize things as something. In this article, I address this issue by asking how temporality allows us to see more in the present than what the present actually contains. I argue that presence and absence are “available,” not just as they are perceived through our senses, but as they are encountered through time, and notably, (...) according to the relations that unify past, present, and future. To support this view, I refer to Heidegger's interpretation of Kant's notion of synthesis. Specifically, I consider Heidegger's reading of the so‐called A‐Deduction, where Kant describes our relation with objects as enabled by three syntheses (i.e., apprehension, reproduction, and recognition). I reconstruct Heidegger's holistic interpretation of the threefold synthesis as an interplay of past, present, and future. I show how in such interplay, temporal dimensions are unified by relations that do not rely on perception; these “time‐relations,” which Heidegger also calls “rules,” allow us to see what we see not just as it is literally perceived, but as part of an “image” of the manifold. (shrink)

Intelligence augmentation was one of the original goals of computing. Artificial Intelligence (AI) inherits this project and is at the leading edge of computing today. Computing can be considered an extension of brain and body, with mathematical prowess and logic fundamental to the infrastructure of computing. Multimedia computing—sensing, analyzing, and translating data to and from visual images, animation, sound and music, touch and haptics, as well as smell—is based on our human senses and is now commonplace. We use data visualization (...) and sonification, as well as data mining and analysis, to sort through the complexity and vast volume of data coming from the world inside and around us. It helps us ‘see’ in new ways. We can think of this capacity as a new kind of “digital glasses”. The Internet of Living Things (IOLT) is potentially an even more profound extension of ourselves to the world: a network of electronic devices embedded into objects, but now with subcutaneous, ingestible devices, and embedded sensors that include people and other living things. Like the Internet of Things (IOT), living things are connected; we call those connections “ecology”. As the IOT becomes increasingly synonymous with the IOLT, the question of ethics that is at the centre of aesthetics and the arts will move to the forefront of our experience of and regard for the world in and around us. (shrink)

“Image metaphor” is defined in Conceptual Metaphor Theory as a mapping of visual structure from one entity onto another based on the mental images they evoke. It is considered an exceptional, one-off phenomenon that can be distinguished clearly from prototypical conceptual metaphors. However, according to Perceptual Simulation Theory, all language, both literal and nonliteral, is understood partially by simulating in our minds what it would be like to actually perceive the things that are being described, which suggests that visualization (...) is not unique to image metaphor. As I argue in this article, the mental imagery invited by image metaphors is nevertheless likely to be particularly vivid, detailed, and complex, as well as involving more conscious and deliberate thought processes. Since it is hard to consider visualization in abstract terms, pictorial equivalents of image metaphors are used to support my claims. (shrink)

Umberto Eco argues that a mirror image is not a sign. At best it is a double, a thing that ceases to be once the reflected object is removed. Harry Mulisch narratively suggests that mirror images function metaphorically as gateways between human suffering and the divine. And interestingly, science employs mirrors and mirror images both to turn our gaze upwards and to show us reflections of our place in the cosmos. Tying together Eco's notion of the double, Mulisch's (...) insistence that mirror images reflect humanity's construction of the divine, and the Giant Magellan Telescope Project's cosmic images, it is my contention that modern, telescopic mirror images are much more than snapshots of the cosmos. They are constructions of human and divine meaning that—signifying—pose the question, what is reflected: the cosmos or humanity? (shrink)

Gadamer claims that an essential form of truth is disclosed in the search for, and discovery of, a shared language in and through which the matter at issue between the participants in a conversation can come to presentation. He maintains in this regard that the thing itself is given in language. This contention is grounded in his account of the “belonging together” of word and thing. To help us understand this idea I turn to his discussion of the (...) image, since—in a comparison that Gadamer explicitly makes—here, too, the image “gives” the thing. (shrink)

Sellars’s views on the Myth of the Given and the ontological status of secondary qualities, one would have thought, are well-known, even if not always well-understood. One would not have expected his Carus Lectures, then, to offer anything radically new and exciting. The ground that they cover is, after all, familiar—from “Empiricism and the Philosophy of Mind”, from “Philosophy and the Scientific Image of Man”, from “The Identity Approach to the Mind-Body Problem”, and from the ensuing debates with Cornman (...) and with Firth. One would not really have anticipated many surprises. But one would have been wrong. (shrink)

Purpose. Based on the study of philosophical anthropological concepts, to highlight the project of personality in different historical periods, to reveal the meaning of humanistic issues in the postmodern epoch, to identify the essential features of the image of human of the second half of the XX the beginning of the XXI century. Theoretical basis. The methodological basis of the article is the principles of historicism, integrity, objectivity regarding the mastery of the issue of person’s image in postmodernism. (...) The research applied comparative-historical, culturological, analytical, axiological approaches to reveal the problem of individuality in the second half of the XX the beginning of the XXI century. The theoretical basis of the article consists of scientific works in the field of philosophical anthropology, history, cultural studies, and aesthetics. Originality. The author revealed the peculiarities of transformation of the personality model from antiquity to postmodernism, specified the image of man of the second half of the XX the beginning of the XXI century. Conclusions. The analysis of anthropological ideas of Western philosophy of different ages shows the variety of views about understanding the nature of the person, its complexity and ambiguity. In the epoch of postmodernism humanistic issues are of particular relevance, which is connected with social and political uncertainty, domination of mass consciousness, loss of national and cultural identity. The image of a person of this period is deprived of a solid foundation, it is blurred and relative. The destruction of faith in the absolute in the context of the second half of the twentieth century contributed to the formation of confidence in the interdependence of all things, raised the problem of the personality image to a new ontological level. Orientation in the achievements of European civilization, perception of its anthropological experience, intercultural dialogue contribute to the productive use of the achievements of mankind in order to understand the modern person and to form its adequate image. In its essence, postmodernism does not set the goal to realize a retrospection of subject type. However, separating from the cultural memory the excerpts of ideas about a person, by certain styles and directions, it builds on their formations its own eclectic image of the individual. (shrink)

The paper aims to give a phenomenological account of the way in which the experience of violence is modified in the aesthetic images. The phenomenological framework in which I place my analysis is primarily given by Edmund Husserl’s conception. The investigation starts from the curious fact that violence cannot be aesthetically experienced when it is presented in person, but it can be aesthetically experienced in images. I claim that the reason for this asymmetry lies in the structure of image-consciousness, (...) that is, in the differences between the physical thing, the depicting object and the depicted subject. Given that the image-consciousness presupposes the background of the physical thing, which is constantly and implicitly aimed by the consciousness, it is possible to focus only on the manner in which the depicted violence appears. In this way, we can aesthetically contemplate a violent scene without being disturbed by it. To show this, I bring forth a brief presentation of the a priori structure of (i) image-consciousness and (ii) aesthetic attitude, as they have been theorised by Husserl. After (iii) providing a minimal concept of violence and explaining some of the modifications that violence undergoes in image-consciousness, (iv) I show how violence is modified in aesthetic images. (shrink)

Sellars’s views on the Myth of the Given and the ontological status of secondary qualities, one would have thought, are well-known, even if not always well-understood. One would not have expected his Carus Lectures, then, to offer anything radically new and exciting. The ground that they cover is, after all, familiar—from “Empiricism and the Philosophy of Mind”, from “Philosophy and the Scientific Image of Man”, from “The Identity Approach to the Mind-Body Problem”, and from the ensuing debates with Cornman (...) and with Firth. One would not really have anticipated many surprises. But one would have been wrong. (shrink)

Focusing on the paradoxes revealed in the multibillion dollar mistake of the Universal Camouflage Pattern and the expansive ambit of a leaked National Security Agency briefing on its approach to “identity intelligence,” this article analyzes security glitches arising from the state’s application of mechanized logics to security and visibility. Presuming that a digital-looking pattern would be more deceptive than designs inspired by natural forms, in 2004, the US Army adopted a pixelated “digital” camouflage pattern, a print that rendered soldiers more, (...) rather than less, visible in the field; it acknowledged this error in 2012. Two years later, “Identity Intelligence: Image Is Everything” visualized the episteme of National Security Agency surveillance with an illustration detailing hundreds of different types of data—biometric, biographic, and contextual—that the agency believes it could exploit to identify and monitor “targets of interest.” These glitches originate in technofetishistic convictions about the nature of digital images and information, limited ways of imagining bodies and lives, and reductive understandings of complex relationships between power and perception. Together, they expose the paradoxes that arise as the state tries to extend its power over the body and the contingency of that power on the smallest of things. (shrink)

My aim in this paper is to analyze the way in which Edmund Husserl deals with the problem of the constitution of image in his writings. The difference between a common thing and a work of art lies in the fact that the ‘thing’ is submitted as an object to perception, while the work of art is the product of the human capacity called imagination or fantasy (Phantasie). Therefore, the difference between perception (which is an objectifying act) (...) and imagination (which refers to a mental representation) is the fundamental difference Husserl operates with in his analysis of the phenomenological problem of the image building. I also want to show that Husserl’s analysis of the constitution of the image is fundamental in the understanding of the work of art (aesthetic phenomena including) and of its difference from a common thing. From the point of view of the History of Philosophy, the Husserlian analysis presupposes the overcoming of the classical opposition between subject and object, and the aesthetic experience is one of the (privileged) ways through which this overcoming can be achieved. (shrink)

Grammatology of Images radically alters how we approach images. Instead of asking for the history, power, or essence of images, Sigrid Weigel addresses imaging as such. The book considers how something a-visible gets transformed into an image. Weigel scrutinizes the moment of mis-en-apparition, of making an appearance, and the process of concealment that accompanies any imaging. Weigel reinterprets Derrida's and Freud's concept of the trace as that which must be thought before something exists. In doing so, she illuminates the (...) threshold between traces and iconic images, between something immaterial and its pictorial representation. Chapters alternate between general accounts of the line, the index, the effigy, and the cult-image, and case studies from the history of science, art, politics, and religion, involving faces as indicators of emotion, caricatures as effigies of defamation, and angels as embodiments of transcendental ideas. Weigel's approach to images illuminates fascinating, unexpected correspondences between premodern and contemporary image-practices, between the history of religion and the modern sciences, and between things that are and are not understood as art. (shrink)

The global ecological crisis is upon us. From global warming to the long-term implications of ocean acidification, air and water pollution, deforestation, and the omnipresent dangers of nuclear technology the future of our planetary home is threatened. Yet in the midst of the unfolding crisis, the conventional ideologies of the twentieth century and their representations of nature remain unchallenged by both the defenders of capitalism and capitalism's most radical critics. The Distortion of Nature's Image illustrates how the anti-naturalism of (...) late capitalist society, in which nature is reified into the emptiness of mere matter, simply a thing to be dominated, is subtly complemented by the failure of the Left to go both beyond the historic limitations of Marx's ninteenth-century viewpoint and beyond anarchism's blind faith in "natural law." However, an alternative for comprehending nature and the ecological crisis as historical and social phenomena remains open in the dialectical naturalism of Western Marxism and Murray Bookchin's social ecology. By examining in closer detail how Bookchin's social ecology politicizes the concept of nature, as well as how precursory models in Western Marxist thought provide a foundation for this, Damian Gerber illustrates how the notion of an ecological society remains a decisively political question. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 145 Luther on Thomas Aquinas: The Angelic Doctor in the Thought of the Reformer. By DENIS R. JANZ. Veroffentlichungen des Instituts fiir Europiiische Geschichte Mainz, Abt. Religionsgeschichte, Bd. 140. Stuttgart: Franz Steiner Verlag, 1989. Pp. ii + 124. DM 38 {cloth). As Denis Janz, specialist in the late medieval context of Luther's thought (Luther and Late Medieval Thomism, 1983), points out in the "Prospectus," a study of (...) Luther's understanding of Thomas has an inherent appeal, for, " rightly or wrongly, Thomas and Luther are inevitably regarded as the standard-bearers of Roman Catholicism and Protestantism" {p. 1). The recent completion of the necessary critical indices has made the task possible, and the result is a fine and necessary contribution to the work of all scholars interested in the thought of these two pivotal Christian thinkers. The method of Janz is straightforward: assemble the references to Thomas in Luther's works, organize them into appropriate categories, exegete their meanings, and discern important tendencies or perspectives common to these texts. Then "the accuracy of Luther's understanding and the cogency of his critique " can be evaluated from the perspective of twentieth cenrtury historical knowledge {p. 2). Janz recognizes that there are significant hermeneutical difficulties inherent in such a study and that any evaluation " may well imply a notion of history as progress, perhaps even a confidence in the intellectual superiority of modernity over the past " (p. 3). The result bears out the soundness of his approach. Chapter I examines "Luther on the Person of Thomas." Luther, sharing in and contributing to his time's distinctive theological polemic, had no shortage of epithets for Thomas, from " Sophist " to " beggarly paunch " {p. 4). The remarkable thing is the surprising number of complimentary things he has to say. At different times of his career Luther referred to Thomas as " this holy man " or " a man of ' great genius '... woefully misunderstood " {p. 5). A most interesting example is the different uses he makes of a story of Thomas's struggle with despair when near death, when Thomas faced his Anfechtung by holding the Bible and saying "I believe what is in this book" (p. 8). Sometimes Luther cites it as an example of the weakness of implicit faith; but other times he makes no critical comment on Thomas, and the story implies the victory of faith over despair. These different uses show the ambiguity of Luther's attitude toward Thomas as a person, and what in balance seems to be " grudging respect " for an " example of how great persons can at the same time be seriously mistaken " (p. 10). 146 BOOK REVIEWS Chapter U, which comprises the bulk of the hook, carefully examines the substantive issues on which Luther mentions and responds to Thomas: experience, the use of Aristotle, Scripture, penance and indulgences, the Lord's Supper, monasticism, justification, law, baptism, angels, papal authority, purgatory, and the veneration of images. On some of these issues Janz sees only a minor critique of Thomas by Luther and sometimes little real difference between their positions. Both Luther and Thomas give primacy to the literal sense of Scripture, and "both teach that the Church and theology stand under the authority of Scripture" (p. 30). On this question Luther's critique has more to do with the Thomists than Thomas. In regard to penance and indulgences Luther criticizes Thomas's view, though here again there is distortion of Thomas by the Thomists, which Luther correctly suspects (pp. 44-45). Though Luther disagrees with Thomas's understanding of the Lord's Supper, he feels Thomas was entitled to his opinion; what he cannot bear is how Thomas has been raised " to the level of an infallible teacher," with his opinions transformed "into articles of faith" (p. 48). Justification, the heart of Luther's thought, is "a relatively insignificant issue " in his critique of Thomas, as Luther eventually comes to understand better the key place Thomas gave grace (pp. 60, 61). Luther sees Christ as the " abrogation " of the law and criticizes Thomas for not seeing it this way; however, this is a linguistic misunderstanding of Thomas, probably based on Gabriel Bicl's teaching, so that Thomas and Luther are... (shrink)

The aim of philosophy, abstractly formulated, is to understand how things in the broadest possible sense of the term hang together in the broadest possible sense of the term. Under 'things in the broadest possible sense' I include such radically different items as not only 'cabbages and kings', but numbers and duties, possibilities and finger snaps, aesthetic experience and death. To achieve success in philosophy would be, to use a contemporary turn of phrase, to 'know one's way around' with respect (...) to all these things, not in that unreflective way in which the centipede of the story knew its way around before it faced the question, 'how do I walk?', but in that reflective way which means that no intellectual holds are barred. (shrink)

Scotus argues that the will of a rational agent has two basic inclinations: for benefit and for justice. Having examined in other articles why he picks these two, I ask here how the combination produces a unified thing. At one point, Scotus proposes an analogy for the two inclinations with the relations of genus and differentia which produce a unified definition. In arguing that the analogy does not succeed, I hope to have given a clearer understanding of the theory (...) of dual affections. (shrink)

Reflecting on the technological age, poet Rainer Maria Rilke wrote of the intense emotions with which people can endow manufactured objects. We seem to "charge" the world of things as we would a battery. Now German art historian Christoph Asendorf explores this transformation of human sense perception in the industrial age and contributes to a new understanding of European culture and modernity. Drawing from literature, painting, architecture, film, philosophy, anthropology, and popular culture, Asendorf offers rich analyses of works by Manet, (...) Baudelaire, Monet, Zola, Benjamin, Heidegger, and Duchamp. These close readings are combined with a montage of key cultural images and events ranging from Paxton's Crystal Palace to the introduction of electricity. The result is a striking account of the emergence of consumer culture within the developing commodity economy of modern Europe. Certain to challenge the mono-disciplinary perspectives of many specialists, this book will interest historians of art, culture, literature, science, and technology. (shrink)

Paul Ricoeur uncovered the creative aspect of language in his theory of metaphor. The metaphor is a special combination of words that as a clash of distant semantic fields forces the reader to interpret the sentence in a new way and see things in a new light. It is a process in which the imagination plays an important role. Ricoeur compares the metaphor to the Kantian schema which is a procedure to provide an image to a concept. The (...) class='Hi'>image helps in the process of assimilating distant elements and thus to achieve a new interpretation. To change perspective the suspension of reference is also needed. The aim of this essay is to analyze the imaginative functions which are operative in the metaphor and look for an answer to the question about the role of the imagination as a productive power as well as a power of internal intuitions. (shrink)

England, known as “the empire without sun settling down” and being among the final winners of the World War I (1914-1918), had one of the heaviest defeats of its history against the Ottoman Empire in the Kut al-Amara, which happened on 29 April 1916 close to Baghdad. Following the defeat of Kut al-Amara, which was the most important war trauma for England during the World War I, the Turks and Germans, as winner side of the battle were evaluated by British (...) prisoners from military, political, cultural and socio-psychological aspects in their memories. Content analysis method is used in the article for qualitative evalution of the data related to the Turkish and German image reflected in the memories of British prisoners after the siege of Kut al-Amara. The alliance between Turks and Germans is regarded as contrast in terms of important elements as national and ethnic identity, language, religion and culture in the main sources of the research as My Compain by Charles Townshend, Besieged in Kut and After by Barber, A Kut Prisoner by Bishop, In Kut and Captivity with the Sixth Indian Division by Sandes, The Secrets of a Kuttite by Mousley which occationally use exaggerated language and the subjective information due to the impact of traumatic defeat.Summary: Being a heroic epic in the war history of Turkey, Kūt al-‘Amāra has been the subject of very fewer researches until recently, despite its importance in Turkey’s history. This argument is supported by the fact that the memoirs by Ottoman soldiers related to the WWI, which also encompass information about Kūt al-‘Amāra, were published half a century after the war at the earliest. Unlike the records of Turkish soldiers participating in Kūt al-‘Amāra, the memoirs and the war diaries of British soldiers were published shortly after the war, as early as possible, between the years of 1918-1921. The authors of these memoirs and war diaries informed the public on the reasons for the defeat of Kūt al-‘Amāra on the one hand, and on the other hand created the Ottoman and Turkish image which was concidered differently in the British society in terms of culture and civilization. They also strengthened this image over that of German’s, with whom they shared many common values despite the fact that they represented the opposite fronts of the war.It is worthy mentioning that the role of the Ottoman army in the victory of Kūt al-‘Amāra was highly underestimated by the memoirs of the British prisoners. According to the authors, it is not the Turkish army that has achieved real victories over the British, but Germany’s support, notably General von der Goltz, the great strategist of Europe. The effects of bad weather conditions and geographical situation are also emphasized among the reasons of the defeat of Kūt al-‘Amāra. Consequently, the success of the Turkish army in the victory of Kūt al-‘Amāra was ignored, except for the role of Halil Pasha. The image of an army that knows the trench and defence techniques well, but fails to attack is one of the prominent evaluations in the memoirs related to the Turkish military characteristics.The British prisoners of war, who evaluate the Turkish and German image through the economic and political situation, draw a very desperate picture of the situation of the Turks in the mentioned areas. According to this image, corruption and bribery prevails at every stage of the Turkish government. The Turks are unable to repay their dept to Germany, which dominates the economy of the country completely. According to these records, besides ordinary people, the army is also facing great difficulties in meeting basic requirements. To convert the Ottoman Empire into their own property and keep the Turks under their control in military, economic and political spheres, the Germans lend a high amount of money.On the basis of Turkish soldiers encountered in Kūt al-‘Amāra, the British prisoners characterizes the Turks as physically large, hard and strong-bodied people. The authors also note that the Turks are not as cold-blooded, calm and obedient as they seem at first sight, rather they become rude people when they get angry. Another feature that British prisoners evaluate as a potential of the Turks, is their childish spirit. In as much as they are happy with small things and can be offended by small things. According to the memoirs, the Germans should not be allowed to benefit from these characteristics of the Turks, but the British should take the advantage of their potential power.The moral characteristics of the Turks and the Germans are among the most emphasized subjects. Written in exceptional time such as war, sometimes the diaries include exaggerated and sentimental phrases related to the moral attitudes enemy soldiers exhibited during siege, as well as captivity. Turks are regarded as negligent and careless rather than cruel or ruthless. They owe these characteristics to their Eastern identity, which is different from the Europeans having virtues such as task responsibility and diligence. The moral characteristic of the Turks regarding the duty, responsibility and kindness is evaluated comparatively with the civilized and humanistic behaviors of the Germans towards the prisoners. Being Europeans, the Germans often come to the fore because of their more polite treatment towards the British prisoners. Although the Germans as an enemy fought against the British on the front, they were kind to them in the Ottoman territories as the only civilized people among the barbarian peoples of the East.The Turks and the Germans are compared in the field of education, as well as other areas of development. The authors emphasize that the education level of the Turks is very low; Armenian and Greek subjects of the Empire are its brain and financial resources, which is the reason why the Turks are anxious about them. The Germans have the superiority in both transportation and communication technology in the Ottoman territories. One of the reasons they had a huge investment on the Ottoman territories is the Berlin-Istanbul-Baghdad-Basra railway. The British prisoners give details on the German communication technology they encountered during both the battle and the captivity days in Anatolia. In addition to the transport and communication technology, they also record much German-made military equipment, from weapons to maps.Evaluating the Turks and the Germans as opposites, the British prisoners draw an image for the latter, with whom they share a common cultural legacy, as a fully equipped enemy in terms of technology and strategy on the front, and the civilized Europeans characterized with their virtue in non-war situations. On the contrary, the Turks are described as a strong defender and daredevil soldiers on the front line, but strategically weak on the front. In terms of duties and responsibilities, the Turkish soldiers are presented with negligent and irresponsible approach towards their prisoners. The images of the Turks and the Germans, which are compared by the British prisoners, are often based on their Eastern and Western identity. The Turks symbolize the East with economic, political and cultural backwardness, yet quite the contrary, the Germans symbolize the West in terms of development, modernity and civilization. The British prisoners sometimes used exaggerated expressions in their approaches regarding both sides, as well as different details in terms of information and interpretation about the same event, due to the trauma of defeat. (shrink)

This chapter concentrates on the nature of the image as it presents itself in experience, with its remarkable capacity to represent within itself people, events, emotions, and many other things, and with its place in art. The Husserlian perspective has many affinities with more recent investigations of images. The physical dimension of image plays an important role in imaging and has been largely neglected by philosophers, though not by artists. The uniqueness of image consciousness rests in its (...) ability to see something in something else. Then, the chapter assesses the differences between image consciousness and symbolic or signitive consciousness. The resemblance in image consciousness must precisely not be perfect; it must be paired with and permeated by difference and even conflict. Images improve experience by folding into themselves the world. (shrink)

In the article the authors put and discuss the problem of rationality in the culture of Old Russia in the context of contemporary discussions on the prob- lems of rationality. Enlighteners of Peter's time adhered to the view of the total absence of intellectual life in Old Russia. Authors distinguish various areas of intellectual activity: the study of nature, mathematical and chronological works, the use of logical tools in apologetics and polemics, medical practices, political strategies, translation activity, understanding of the (...) inner nature of man. The evolution of Old Russian language passed along the line of transformations of concrete-figurative thinking into conceptual, abstract thinking. In the processes of mastering philosophical concepts, the formation of an analytical system of language on a logico-verbal basis takes place. In the formation of a verbal-ordered language, the key role was played by symbols-concrete things, verbal and abstract. Fundamental philosophical concepts stem from symbols. Specific-proprietary and conceptual languages have different expressive and cognitive capabilities. Allegory, analogy, thought experiment, isolation of an abstract trait, visualization are typical techniques of figurative thinking. Modern Russian language absorbed the features of both figurative and logical construction. The digital era opens up new possibilities for visual methods of encoding information. (shrink)

The question naturally arises: Is public art inherently violent, or is it a provocation to violence? Is violence built into the monument in its very conception? Or is violence simply an accident that befalls some monuments, a matter of the fortunes of history? The historical record suggests that if violence is simply an accident that happens to public art, it is one that is always waiting to happen. The principal media and materials of public art are stone and metal sculpture (...) not so much by choice as by necessity. “A public sculpture,” says Lawrence Alloway, “should be invulnerable or inaccessible. It should have the material strength to resist attack or be easily cleanable, but it also needs a formal structure that is not wrecked by alterations.”12 The violence that surrounds public art is more, however, than simply the ever-present possibility of an accident—the natural disaster or random act of vandalism. Much of the world’s public art—memorials, monuments, triumphal arches, obelisks, columns, and statues—has a rather direct reference to violence in the form of war or conquest. From Ozymandias to Caesar to Napoleon to Hitler, public art has served as a kind of monumentalizing of violence, and never more powerfully than when it presents the conqueror as a man of peace, imposing a Napoleonic code or a pax Romana on the world. Public sculpture that is too frank or explicit about this monumentalizing of violence, whether the Assyrian palace reliefs of the ninth century b.c., or Morris’s bomb sculpture proposal of 1981, is likely to offend the sensibilities of a public committed to the repression of its own complicity in violence.13 The very notion of public art as we receive it is inseparable from what Jürgen Habermas has called “the liberal model of the public sphere,” a dimension distinct from the economic, the private, and the political. This ideal realm provides the space in which disinterested citizens may contemplate a transparent emblem of their own inclusiveness and solidarity, and deliberate on the general good, free of coercion, violence, or private interests.14 12. Lawrence Alloway, “The Public Sculpture Problem,” Studio International 184 : 124.13. See Leo Bersani and Ulysse Dutoit, “The Forms of Violence,” October, no. 8 : 17-29, for an important critique of the “narrativization” of violence in Western art and an examination of the alternative suggested by the Assyrian palace reliefs.14. Habermas first introduced this concept in The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society, trans. Thomas Burger and Frederick Lawrence . First published in 1962, it has since become the focus of an extensive literature. See also Habermas’s short encyclopedia article, “The Public Sphere,” trans. Sara Lennox and Frank Lennox, New German Critique 1 : 49-55, and the introduction to it by Peter Hohendahl in the same issue, pp. 45-48. I owe much to the guidance of Miriam Hansen and Lauren Berlant on this complex and crucial topic. W. J. T. Mitchell, editor of Critical Inquiry, is Gaylord Donnelly Distinguished Service Professor of English and art at the University of Chicago. His recent book is Iconology: Image, Text, Ideology. (shrink)

The present paper deals with the problem of the digital-culture-public-philosophy as a possible response of those philosophers who see the need to face the challenges of the Internet and the visual culture that constitutes an important part of the Internet cultural space. It claims that this type of philosophy would have to, among many other things, modify and broaden philosophers’ traditional mode of communication. It would have to expand its textual, or mainly text-related, communication mode into the aesthetic and visual (...) communication mode. More precisely, philosophers would have to learn how to aestheticize and visualize their ethical narratives by using some digital tools – YouTube clips for example. (shrink)

The Mahāyāna ideal isaprati $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{s} \underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{t} $$ hā-nirvā $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{n} $$ a — liberation with a basis in neithersa $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{m} $$ sāra nornirvā $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{n} $$ a, that is to say, neither in the conventional world nor in the true nature of all things (Nagao 1981). Through the consecration proceedings ayidam, Buddha, or Bodhisattva is established insa $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{m} $$ sāra. Through the employment of the mirror in the consecration ritual, thatyidam, Buddha, or Bodhisattva participates in the actual nature of all things as (...) they are — unestablished, devoid of own nature, like reflected images in a mirror. If the mirror does not resolve the paradox of consecrating the unconsecratable, it holds up a mirror to the impossible mystery of transcendent immanence. (shrink)

In the Statesman, Plato seems to be advocating that in the absence of a true king who will rule independently of laws, the next best thing as far as just rule is concerned is to ad here rigidly to existing laws, whatever they are. The rule of the true king is given as an example of virtuous rule in the sense that virtue politics or jurisprudence holds that laws cannot always deal justly with particular cases. But Plato’s view of (...) what we must do when there are no true kings forthcoming seems to preclude a virtue theoretical understanding of politics and laws. In this paper I will investigate the view that the image of the true king, who relies on written laws for convenience only, provides a model for a more realistic appeal to virtue in jurisprudence, that is, a respect of laws that is compatible with equity, in the sense understood by Aristotle.Čini se da Platon u Državniku zagovara shvaćanje prema kojemu u odsutnosti istinskog kralja koji će vladati neovisno o zakonima druga najbolja stvar, što se tiče pravedne vladavine, jest strogo pridržavanje postojećih zakona, što god oni bili. Uloga istinskog kralja navodi se kao primjer vrle vladavine u tom smislu što politika ili jurisprudencija koje se zasnivaju na vrlini drže da zakoni ne mogu uvijek pravedno izlaziti na kraj s pojedinačnim slučajevima. No čini se da Platonovo shvaćanje toga što moramo činiti kada ne postoje istinski kraljevi sprječava razumijevanje politike i zakonâ koje se zasniva na teoriji vrline. U ovom članku ispitujem shvaćanje prema kojemu slika istinskog kralja, koji se na pisane zakone oslanja samo iz praktičnih razloga, pruža model za realističnije pozivanje na vrlinu u jurisprudenciji, to jest poštivanje zakonâ koje je spojivo s nepristranošću u onom smislu u kojem to razumije Aristotel. (shrink)

The apparent contradiction between subjective and objective approaches to time in Augustine can be resolved if it is understood that he regarded cosmic time and the finite things it engenders as being of itself, in some sense, both psychic and self-recording. This interpretation holds whether or not Augustine affirms a world soul. It is justifiable in terms of the continued applicability of his earlier liberal-arts writings to his later texts and his blending of Plotinian vitalism, Porphyrian spiritualism, and his own (...) ‘theurgism’ (especially in his commentary on the Psalms), which is parallel to that of Iamblichus. Augustine’s ‘musical ontology’, which is also a metaphysics of number, word, and seminal reason, leads him to develop a theory of time and memory that anticipates more the spiritual realism of Bergson than it does idealist and phenomenological philosophies. However, for Augustine, time as an image of eternity remains aporetic, and its aporia is ‘resolved’ only by the Incarnation and its sustaining as the liturgical and political community of the Church. Through Christological, and not just angelic, mediation, our memories and expectations truly reach to past and future realities, just as our intentions reach to really located things, but only because all of these are both inherently psychic/intellectual and sustained by the divine eternity. (shrink)

The connection of Hermann Сohen’s “The Logic of Pure Knowledge” with the revolutionary transformations in physics and mathematics at the end of the 19th century is shown. Сohen criticised Kant’s answer to the question “How is mathematics possible”? If Kant refers to a priori forms of pure intuition, Сohen sees in it a restriction of freedom of mathematical thinking by limits of intuition. It has been shown that Cohen's position is in accordance with the main development of mathematics in the (...) last decades of the 19th century, in particular, with K. Weierstrass’ striving to get rid of geometrical or mechanical images and intuitions in the mathematical analysis. Cohen was also well informed about the latest ideas in physics of his time. They are also discussed in “The Logic of Pure Knowledge.” The revolutionary spirit of physics and mathematics was appealing to Cohen, and he felt a corresponding enthusiasm for it. The ongoing scientific revolution is consonant with Cohen’s assertion that the foundations of science are hypotheses. The purity of pure thinking does not guarantee the correctness of any of its constructions. Each step in the development of science requires a critique of existing notions. The development of knowledge from the naive to the critical one shows a movement from a picture of the world as a set of stable things to a picture of continuous movement and change, where change is more important than what changes. Cohen sees such a development in an evolution of the concept of substance in modern physics and he welcomes the replacement of material substance by energy, seeing this movement as a confirmation of critical idealism. Finally, it is discussed whether we can speak of the actuality of Cohen’s logic of pure knowledge. (shrink)

According to the mythical-religious literature time is determined by the eternal nature of divinity or origin of all things. From this adagio, theological literature is provoked and studies on the eternal nature of divinity suggest that if the universe was created the image of its creator the first must also be eternal. Therefore the question arises: how to shape that which by nature is formless, infinite, namely eternity? To answer this question the following paper develops a brief history about (...) the Judeo-Christian tradition on the problem of time and its relationship with eternity and also tries to prepare at the end one logical answer to the question about the form of eternity. (shrink)

It is all the rage today to speak about the “power" of images. Yet while it seems hardly disputable that images generate fascination or repulsion and that they provoke laughter, tears or delight, it is by no means clear what it entails to grant them an agency of their own. The article sets out to chart the current literature on the topic, and to indicate why it is not the same to ask what it means for images to do things (...) to us and what it means do things with images. While the former question often leads, under a disguise of object-oriented thinking, to reintroduce mentalism, the latter gets caught up in inextricable problems that Austin’s speech act theory already had to struggle with. In the last section, at alternative account is proposed: the performance of image is not an event of causation, it is a process of visualization that lets appear what can only appear in images. (shrink)

It is prudent to highlight that Ingoma has played an essential role in the transformation of amaZulu. The Ingoma’s story is of dramatic socioeconomic changes in Zulu society after the final ‘downfall’ of the independent kingdom. It is the decade in which amaZulu entered the migrant labour system in greater proportions than ever before. As expected from any African society, the narrative for this decade could well be expressed in music, song, dance and some other forms of performances, which could (...) be collectively called Ingoma. Sentiments arose around this period in the history of Zulu Ingoma, whereby some felt it as negative, while others saw it as positive. As such, this article set out to examine the story of Ingoma during the decade between 1929 and 1939. This article adopted an ethnomethodological approach within an interpretive paradigm to understand the impact of Ingoma musical and/or dance performance tradition. The results of this article reveal that Ingoma musical and/or dance performance traditions of the 1920s and 1930s represented the less continuity of precolonial musical and/or dance performance traditions of amaZulu expressions of power and warfare than the complex interaction of dance traditions, labour migration and missionisation. This article concludes by affirming that people continuously construct their cultures to reflect their identities. These results imply two things: firstly, amaZulu migrants were not just passive recipients of cultural changes at that time, and secondly, they were consciously responsible for the transformation of Ingoma dance songs as they reflected on the socioeconomic changes they found themselves in.Contribution: This study contributes by establishing the factual impact of this transformative period on Ingoma musical and/or dance performance tradition and on the broader cultural expression of amaZulu as a society in developing South Africa. (shrink)

A mirror image is not an image of a thing seen, but that thing seen in a different perspective.

In lieu of an abstract, here is a brief excerpt of the content:diacritics 33.2 (2005) 42-70 [Access article in PDF] "O Happy Living Things" Frankenfoods and the Bounds of Wordsworthian Natural Piety Anne-Lise François With all the flowers Fancy e'er could feignWho breeding flowers will never breed the same. —John Keats, "Ode to Psyche" And I could wish my days to beBound each to each in natural piety. —William Wordsworth, "My heart leaps up" O happy living things! no tongue Their (...) beauty might declare:A spring of love gusht from my heart, And I bless'd them unaware!Sure my kind saint took pity on me, And I bless'd them unaware. —Samuel Taylor Coleridge, "The Rime of the Ancient Mariner" "O happy living things!"—vitamin-enriched grains; potatoes equipped to kill their predators; silk-producing goats; fast-growing salmon that hardly require feeding. Is it possible to predicate the breathless exclamation that escapes Coleridge's mariner, unaware not of water snakes but of the fantastic array of genetically modified creatures—animals and plants—currently under design or production by biotech industries? Already in May 2000 a New York Times article was announcing the imminent arrival of "fast-growing trout and catfish, oysters that can withstand viruses, and an 'Enviropig,' whose feces are less harmful to the environment because they contain less phosphorus." An article inset describes the emergent production of "pharm-animals":These domesticated beasts—cows, pigs, goats, sheep, and chickens—have been given the ability to produce pharmaceuticals and other valuable substances in their milk, eggs or semen. Endowed by scientists with foreign genes, often taken from humans, these animals, or bioreactors, as they are also known, earn their keep as living chemical factories. Two companies, the Genzyme Corporation of Cambridge, Mass., and PPL Therapeutics, a Scottish company, already have products from pharm animals being tested in clinical trials supervised by the Food and Drug Administration. Many other animals are [End Page 42] still in the development stage. For example, Nexia Biotechnologies in Canada is working on a goat that carries a gene from spiders allowing it to produce spider silk in its milk. When the spider silk, which consists of extremely strong, light proteins, is extracted from the goat's milk, the substance, potentially, can be used in applications like bulletproof vests. [Yoon] This last sentence is intriguing. The genetic revolution often bills itself as a second green revolution that will prevent starvation and alleviate disease, promising to feed the world's growing population in terms that tend to essentialize poverty and hunger as inevitable symptoms of a human condition, rather than understand them through the lens of specific colonial and postcolonial histories. But bulletproof vests? The indignant leftist response here would be to deride the collusion between biotechnology and the military-industrial complex—bulletproof vests leaving little doubt as to whose desires count as universal, timeless needs. Yet such a response is perhaps too quick to attribute reason to these genetic experiments in cross-species breeding, and too quick to accept the terms in which biotechnicians present themselves—as the instruments of reason, whether of global capitalism or universal human progress. Part of what this essay wishes to suggest is that to dream up such things and to think of wanting to do them—make a goat produce spider silk in its milk—involve particular fantasies, fantasies not simply about recreating the world in one's image, but about learning to desire the world again, to be excited by it or "surprised" by its existence, to borrow a phrase from Stanley Cavell. The journalist's parenthetical "potentially" indicates that no use has yet been determined, no burning need fuels such experiments, and hints at the boredom behind them—what William Wordsworth might have called the "state of almost savage torpor" in which desire itself has to be invented.As the New York Times writer's double metaphor of animal as laborer- and factory-in-one suggests—"these animals, or bioreactors, as they are also known, earn their keep as living chemical factories"—the binaries animal-human, machine-animal... (shrink)

Reflection is today a watchword in many learning contexts. Experience is said to be transformed to knowledge when we reflect on it, university students are expected to acquire the ability to reflect critically, and we want practitioners to be reflective practitioners in order to improve their professional practice. If we consider what people mean when they talk about reflection in practice, we will discover that they often mean different things. Moreover, their conceptions of reflection are guided by images rather than (...) by definitions. This paper explores six distinct images of reflection and discusses the consequences of adopting one or more of these images in learning situations: (1) dedoublement, (2) analogical thinking, (3) mirror, (4) experiment, (5) puzzle solving, (6) criss-crossing a landscape. Reflective thinking can be improved if we are sensible of what we are reflecting about and according to which image of reflection we are doing it, since the step between using an image and seeing this image as a model is short. Using models, in turn, implies knowing their limits. (shrink)

The gradual increase in the density of highway vehicles and traffic flow makes the abnormal driving state of vehicles an indispensable tool for assisting traffic dispatch. Intelligent transportation systems can detect and track vehicles in real time, acquire characteristics such as vehicle traffic, vehicle speed, vehicle flow density, and vehicle trajectory, and further perform advanced tasks such as vehicle trajectory. The detection of abnormal vehicle trajectory is an important content of vehicle trajectory understanding. And the development of the Internet of (...) Things and 5G technology has led to a continuous increase in the rate of data information circulation. The “Internet of Vehicles” generated based on the practice of 5G communication technology constitutes a vehicle abnormal trajectory detection system, which has very high feasibility and safety and stability. Therefore, this research is aimed at the needs of preventing major accidents and forensic analysis during highway vehicles. Based on the integration of the Internet of Things 5G communication technology, a trajectorial anomaly detection of highway vehicle trajectory based on the integration of the Internet of Things 5G is proposed. By accurately sensing unsafe events at the perception layer, network layer, and application layer, the vehicle driving trajectory state is divided into several simple semantic representations. The semantic representation is analyzed, and then the moving target detection and moving target tracking algorithms needed to extract the vehicle trajectory are introduced. Through video detection and tracking of moving vehicle targets, the driving trajectory of the vehicle is obtained, and the movement characteristics of the vehicle in each frame of image are extracted. According to the relationship between the trajectory of the vehicle and the lane line, the vehicle trajectory analysis is realized, and then it is judged whether the vehicle has abnormal trajectory. Compared with the traditional method of manually detecting the driving condition of the vehicle, the abnormal trajectory detection of the vehicle based on the integration of the Internet of Things and 5G can quickly detect the abnormal trajectory of the vehicle in the traffic monitoring video. (shrink)

In this paper, I examine the relation between phenomenology and anthropology by placing Foucault?s first published piece, Introduction to Binswanger?s?Dream and Existence? in dialectical tension with The Order of Things. I argue that the early work, which so far hasn?t received much critical attention, is of particular interest because while OT is notoriously critical of anthropological confusions in general, and of?Man? as an empirico-transcendental double in particular, IB views?existential anthropology? as a unique opportunity to establish a new and fruitful relation (...) between transcendental forms and empirical contents. This is because IB focuses on a specific object,?Menschsein?, which is neither the transcendental subject nor an empirical being. Thus for the young Foucault existential anthropology occupies a fertile methodological middle ground between transcendental approaches and empirical forms of analysis. I first interpret anthropology in the light of phenomenology and defend the view that Menschsein is neither a transcendental structure nor a concrete particular, but as the instantiation of the first in the second. I argue that for anthropology to yield the full theoretical benefits Foucault claims for it, the particular cases of Menschsein examined in existential analysis have to be regarded as exemplary. I then read phenomenology back in the light of anthropology and examine how, for Foucault, the analysis of Menschsein in dreams benefits fundamental ontology by affording us a clearer view of some of the main existentiale than the focus on everyday waking experience in Being and Time. Finally, I turn to the limits and difficulties of this early position and my reading of it, and to their consequences for Foucault?s later view. (shrink)

This paper argues that the AI ethics has generally neglected the issues related to the science communication of AI. In particular, the article focuses on visual communication about AI and, more specifically, on the use of certain stock images in science communication about AI — in particular, those characterized by an excessive use of blue color and recurrent subjects, such as androgyne faces, half-flesh and half-circuit brains, and variations on Michelangelo’s The Creation of Adam. In the first section, the author (...) refers to a “referentialist” ethics of science communication for an ethical assessment of these images. From this perspective, these images are unethical. While the ethics of science communication generally promotes virtues like modesty and humility, similar images are arrogant and overconfident. In the second section, the author uses French philosopher Jacques Rancière’s concepts of “distribution of the sensible,” “disagreement,” and “pensive image.” Rancière’s thought paves the way to a deeper critique of these images of AI. The problem with similar images is not their lack of reference to the “things themselves.” It rather lies in the way they stifle any possible forms of disagreement about AI. However, the author argues that stock images and other popular images of AI are not a problem per se, and they can also be a resource. This depends on the real possibility for these images to support forms of pensiveness. In the conclusion, the question is asked whether the kind of ethics or politics of AI images proposed in this article can be applied to AI ethics tout court. (shrink)

The Call for Papers invokes a history of thinking about images in terms of Western traditions, culminating in the ‘apocalyptic discourses of today’s cultural climate’ Jacques Rancière describes in The future of the image. Not considered in this scenario are other ways of looking at, being moved by, thinking about, going with and feeling through images, which I will unfold in this paper. Starting with filmmaker Merata Mita from Aotearoa New Zealand, who contrasts living images of her ancestors in (...) documentaries, ‘very much alive’ to her, with outsiders’ selective collecting of those images ; linking with Natalie Robertson’s tracing of takiaho, by which descendants keep connections with their ancestors in film fragments alive; I will also remember Aby Warburg’s notion of Nachleben – the ‘survival’, ‘continuity’ and ‘metamorphosis’ of images and motifs, and finally engage Mitchell’s consideration of a road not taken by Rancière in contemplating The future of the image. The paper explores a range of experiences, actions, reflections and emotions bundled in the terms appropriation and iconicity: from engaged encounters to consumptive misuse in the first case, from fleeting celebrity fame to a particular form of material presence that contributes to identification and community building in the latter. By bringing Māori and Pacific ways of thinking together with minor European thought traditions the paper shows that images, as appearance into visibility and doability, can not only connect the imagination with reality. They can also open up new and old realms of possibilities through affective and effective iconicity. Whether or not this can happen depends on the prevailing kind of belonging. (shrink)