Free association -- Architecture and the unconscious -- The evocative object world -- The fourth object and beyond.

In this article, I outline various ways in which artifacts are interwoven with autobiographical memory systems and conceptualize what this implies for the self. I first sketch the narrative approach to the self, arguing that who we are as persons is essentially our life story, which, in turn, determines our present beliefs and desires, but also directs our future goals and actions. I then argue that our autobiographical memory is partly anchored in our embodied interactions with an ecology of artifacts (...) in our environment. Lifelogs, photos, videos, journals, diaries, souvenirs, jewelry, books, works of art, and many other meaningful objects trigger and sometimes constitute emotionally laden autobiographical memories. Autobiographical memory is thus distributed across embodied agents and various environmental structures. To defend this claim, I draw on and integrate distributed cognition theory and empirical research in human-technology interaction. Based on this, I conclude that the self is neither defined by psychological states realized by the brain nor by biological states realized by the organism, but should be seen as a distributed and relational construct. (shrink)

This chapter addresses how contingency can become a creative part of language, dialogue and spectatorship, through a discussion of the free associative dimension of film experience and of film as an evocative object. A return to the theoretical import of the method and the process of free association in psychoanalytic theory is offered, through a particular focus on the work of Jean-Bertrand Pontalis and Christopher Bollas, as an alternative approach to a psychoanalytic theory of film experience which foregrounds the (...) dialogic nature of the psychoanalytic encounter and of psychic experience as such. (shrink)

Does cultural evolution happen by a process of copying or replication? And how exactly does cultural transmission compare with that paradigmatic case of replication, the copying of DNA in living cells? Theorists of cultural evolution are divided on these issues. The most important objection to the replication model has been leveled by Dan Sperber and his colleagues. Cultural transmission, they argue, is almost always reconstructive and transformative, while strict ‘replication’ can be seen as a rare limiting case at most. By (...) means of some thought experiments and intuition pumps, I clear up some confusion about what qualifies as ‘replication’. I propose a distinction between evocation and extraction of cultural information, applying these concepts at different levels of resolution. I defend a purely abstract and information-theoretical definition of replication, while rejecting more material conceptions. In the end, even after taking Sperber’s valuable and important points on board, the notion of cultural replication remains a valid and useful one. This is fortunate, because we need it for certain explanatory projects. (shrink)

Writing is a central research act that must be effectively performed throughout the entire research project, not only to present project outcomes but also to formulate research problems, collect data, and validate outcomes. The present paper introduces evocative writing—advocated by autoethnographers (and some phenomenologists)—as an effective research method to capture the subtleties of real-life networked learning experiences. Through evocative writing, researchers (and subsequently, readers) can observe and make sense of both the beautiful and the ugly of their concerned (...) phenomenon. Evocative writing practice can also liberate researchers from the established academic tradition that unnecessarily devalues their subjectivity and limits their creativity by imposing the problematic normality of research objectivity. Despite its aesthetic and communicative merits, however, evocative researchers as human beings cannot fully grasp the structural essence (or prereflective meaning) of the lived experiences of networked learning phenomena beyond their own frame of reference. Here, the author believes that lived experience descriptions and related methodological techniques devised by phenomenologists can provide evocative networked learning researchers with a possible breakthrough. Based on the author’s own experiences, the author will demonstrate the effective use of evocative writing complemented by lived experience descriptions for networked learning research. (shrink)

This thoughtful, learned, well-written, extensively illustrated, and heavily documented study deserves to be regarded as a landmark in art history. Traditional art history has dealt for the most part with the “fine arts” (chiefly painting, drawing, sculpture, and architecture), whereas other human creations that take physical form (such as furniture, ceramics, textiles, and metal and glass items), whether utilitarian or decorative (or both at once), are considered “craft” or “applied art” and are studied by folklorists, anthropologists, and archaeologists and often (...) displayed in different museums. Cooke wishes to break down this “hierarchical taxonomy,” this “fragmented, hierarchical field,” that emerged from Western Europe's “misunderstanding of art,” which valued “the cerebral over the manual.” His goal, in other words, is to outline “a more inclusive human history of art”— “a connected art history.” This phrase from his subtitle refers not simply to connecting “fine art” with “applied art” but also to crossing temporal and regional boundaries. Still another act of connecting is to examine all parts of an object's life history, and thus the three main divisions of the book deal with the making of objects, their circulation from one person and place to another (and “their ability to transmit ideas” in the process), and their meaning for the persons who possessed or encountered them.Over the years I have repeatedly said that all objects made by human beings are worthy of preservation and study because they bring us into direct contact with the past and, as part of our surroundings, affect our thoughts in the present. Every object, I have argued, including copies of a single printed edition of a book (so-called duplicates), is an independent witness to the past. I am particularly pleased, therefore, to welcome a major book that explores in detail, with a wealth of examples from many centuries and cultures, the place of objects in human history. Cooke's pursuit is “object-driven,” beginning with the nature of the materials and finally coming to “the inherent power of the object itself to influence human thought and action.” (Compare the subtitle of Sherry Turkle's 2007 anthology Evocative Objects: Things We Think With.) Cooke's refusal to separate “materials” from “people,” or “technologies” from “values,” reminds me of John Szarkowski's approach to photographs. In Photography until Now (1989), Szarkowski points out that histories of photography generally treat technical matters separately from artistic ones—a split between the “empirical” and the “intuitive” that he finds indefensible, for “these two ways of knowing meet in the process of making things.” He adds, “The meeting can be cordially symbiotic or aggressively competitive, but its resolution defines the character and meaning of the thing that is made.” This statement has been a favorite of mine as an elegant characterization of the nature of art, and it is one that Cooke would clearly agree with.Cooke does not discuss photography, but he makes clear that he is not attempting a “comprehensive history that charts the complete ebb and flow of objects over time.” Rather, his book is meant to be a “suggestive guide” to the “principles of material literacy,” a “kit of tools for future complex constructions of history.” Even so, I find some of the omissions puzzling. Why, for example, are glass objects not taken up, when he so thoroughly deals with other common materials? More serious, in my opinion, is the exclusion of the fine arts. (Of the 215 illustrations, five are of oil paintings and one is of a Japanese print, but they are present only as the sources for information drawn from their pictorial content; one Hogarth engraving is shown because its image was often reproduced on punch bowls; and there is a very brief passage on the “uneasy relationship” between sculpture and material culture, but no sculptures are illustrated or used as examples for discussion.) Presumably Cooke felt it was unnecessary for his book to encompass the fine arts after demonstrating that functional objects are just as sophisticated artistically and culturally as products of the fine arts are. Yet those products also belong to the universe of “entangled objects” (How could they not?), and it would have been illuminating to see them adduced among the examples Cooke cites. One could argue that by excluding them—and by referring to the makers of the objects he does discuss as “artisans” and “craftspeople”—he comes close to reinforcing the division he wishes to eliminate.Less easy to explain is Cooke's omission of books, for they have been one of the largest and most widely circulated classes of utilitarian objects. Most people never think about books as objects, treating them only as disposable receptacles for transmitting verbal texts in tangible form (which is why so many books are destroyed when their texts supposedly become available in another form). Such people do not realize that texts have connections with their physical embodiments. (For example, books, whether manuscript or printed, often contain clues revealing how their texts were affected by the production process; and readers’ attitudes toward texts can be influenced by their presentation.) Cooke, however, with his deep understanding of the way objects function and his impressive knowledge of the scholarship, cannot be one of these uninformed people. He would obviously be aware of the vast literature devoted to leather and cloth bookbindings and their decoration, as well as to the myriad styles of letters and the varieties of paper and parchment; he would also know how letterforms and binding designs reflect a complex interplay of social, political, and artistic forces. Bibliographers have long studied books as Cooke advocates studying other objects: “working from the inside out,” beginning with the evidence in books themselves for reconstructing the routines that were followed in their creation. And book historians are recognizing the necessity for an international approach like Cooke's, since many of the books circulating in one country originated in other countries. Books would have been a prolific additional source for illustrating Cooke's analyses.My admiration for Cooke's book is not altered by these few disappointments. Even without discussions of paintings, sculptures, and books, it is still exhilarating in its scope and depth. One hopes that art and material-culture historians will pay attention to it. But it ought to have a wider audience, for the daily lives of all of us would be enriched by a greater appreciation of the objects that make up a significant part of our environment. (shrink)

In his work on aesthetics, John Dewey provocatively (and enigmatically) called art the "most universal and freest form of communication," and tied his reading of aesthetic experience to such an employment. I will explore how art, a seemingly obscure and indirect means of communication, can be used as the most effective and moving means of communication in certain circumstances. Dewey's theory of art will be shown to hold that art can be purposively employed to communicatively evoke a certain experience through (...) an auditor's experience of an art object. Such a use is shown to be an extension of Dewey's conceptions of scientific method and the role of experience in criticism and communication, and is discussed in light of examples drawn from contemporary film, sculpture, and classical Japanese poetry. (shrink)

In a late notation from 1932, Husserl emphasizes the fact that a broad concept of “apperception” should also include, alongside his usual examples, the apprehension of objects as bearers of an individual or inter-subjective past, specifically “indicated” with them; thus, he distinguishes between apperceptions “appresenting” a simultaneous content (co-presentations), anticipatory apperceptions pointing to future incidents, and retrospective apperceptions referring to “ad-memorized” ( hinzuerinnert , ad - memoriert ) features and events. The latter sort of apperceptions are involved not only (...) in our apprehension of historical traces and relics, but also in that of causal relations, familiar objects, and cultural objects in general. Following several later notations of Husserl concerning the topic of “apperceptions,” this paper outlines the specific intentional structure of retrospective or evocative apperceptions, analyzing their various possible forms. (shrink)

T.S. Eliot's 1919 concept of the "objective correlative" has long served as the dominant framework for understanding the relationship between literary objects and emotional response. This paper argues that while Eliot's formulation represented a critical advance beyond pure expressionism, it remained fundamentally incomplete: a descriptive mechanism without predictive or engineering capacity. The Bulut Doctrine's Objective Projection (OP) methodology constitutes a structural break (Kuhnian paradigm shift) from the Eliotic tradition, replacing evocation-based aesthetics with a mathematically formalized, probabilistically convergent narrative physics. (...) We demonstrate that OP does not merely extend Eliot but operates within an entirely distinct epistemological register — transforming literary theory from a hermeneutic discipline into an applied physical science. Key contributions include the projS operator, the six-variable spatial-temporal matrix, Narrative Entropy (Sn), and the Universal Biological Interface (UBI) model of cross-cultural response convergence. (shrink)

This article draws on the interrelated concepts of reverie and repose in Gaston Bachelard's philosophy to approach Claire Denis' poetic foregrounding of objects in 35 Shots of Rum (35 Rhums, 2008). Connecting Bachelard's work on time to his later studies of the imagination, I demonstrate how the poetic time of reverie and repose are essential to Bachelard's thinking. Focusing on three especially charged objects (trains, rice cookers and lanterns), I argue for reverie and repose as being embedded into (...) the rhythmic structure, affective organisation and form of Denis' film. Contextualising Bachelard's later thinking in relation to Eugène Minkowski, I maintain that Denis' objects reverberate (both formally and sensuously). In 35 Shots of Rum, Denis' poetic objects and her evocation of different in-between states parallels Bachelard's own materialist thinking on the imagination, reverie and repose. (shrink)

This article explores the relationship between the affective intensities of screen media and its potential to serve as an affective force for the transmission of intergenerational trauma. I explore how watching a documentary portraying historical atrocities that preceded the birth of the documentary’s viewers yet affected their lives in profound ways, is one of the manifold engagements in genealogy and memory work that seeks to know the past affectively. My focus is on Indisch viewers whose relatives suffered through various atrocities (...) that took place in Indonesia in the 20th century. By ethnographically exploring Indisch affective engagements with Joshua Oppenheimer’s documentary, The Act of Killing, I show how such engagements need to be analysed as occurring across human and non-human interactions and beyond the subject–object distinction. I argue that the affectivity of screen media that showcase instances of historical violence that have never received much public representation needs to be understood with particular historical contingencies. This article alerts us to how processes of getting to know the past affectively reveal the fragility of the embodied self in the wake of cataclysmic violence. (shrink)

The post-conflict societies of Bosnia and Kosovo continue to be plagued by the deleterious effects of ethno-nationalism and ethnic enclaves. Unfortunately, this mix impedes both democracy and peace building within these Balkan countries. One way to promote such building is for these enclaves to collapse, thereby allowing multiethnic societies to develop. This essay proposes that enclaves be dealt with physically by ridding them of those evocative objects that help to create and maintain enclaves. By getting physical in this (...) way, however, we find ourselves in a dilemma, caught on the horns of legality and expediency. Yet there is a promising path between the horns that involves civic design. This essay offers a physicalist theory of managing these impediments to democracy and peace building, beginning with four hypotheses, followed by an abstraction and mathematization in the form of a matrix, a dilemma arising from these hypotheses, and possible solutions. (shrink)

It is remarkable that we have to-day a number of philosophers who call themselves subjectivists in moral philosophy. For, although the name “subjectivist” is by no means new, philosophers have reserved it hitherto for their opponents, and usually for imaginary opponents at that. Perhaps the chief cause of the change which has taken place in recent years is the discovery of a distinction between descriptive and emotive meaning. In the past the only form of subjectivism considered by writers on moral (...) philosophy was the suggestion that moral sentences such as “You ought to do that” were statements about the speaker's own attitude; and it was easy to refute this by pointing out that we discuss questions of morals in a way which would be unintelligent, and even unintelligible, if moral judgments were only reports of introspection. But those who now call themselves subjectivists maintain that the peculiarity of moral words is their expressive and evocative power. According to their analysis, a speaker who uses one of these words in an indicative sentence may be stating nothing at all, but is undoubtedly trying to influence others to adopt a certain attitude. This, they say, explains how there can be genuine disagreement about questions of morals and why discussion may produce results. If A tries to evoke one attitude in his hearers and B tries to evoke an incompatible attitude, their utterances are opposed, not indeed like contradictory statements, but rather like the efforts of men engaged in a tug-of-war. (shrink)

Emotion Review, Volume 13, Issue 4, Page 289-298, October 2021. This paper takes its cue from the recent interest in materiality and “things” in the field of Byzantine studies, to explore the role of objects in evoking being moved. First, it advances a new model to explain the relationship between being moved and affordances. Second, it focuses on a specific case study, that is Michael Psellos’ funeral oration for his daughter Styliane, who died of smallpox at the age of (...) 9 years old. The paper sheds light on how affective affordances of an object contribute to the evocation of being moved in literary texts, working within and affecting narrative patterns. While building on the experience of ethical and spiritual principles clearly recognizable by the audience, such affordances point toward the activation of broader core values. (shrink)

Chapter 1 places Kant’s declaration about his debt to Hume against the background of the Preface to the _Prolegomena_ as a whole. It argues that Kant sees Hume’s attack on metaphysics as a contribution to Enlightenment. Kant praises Hume by opposing his critics, like Beattie, whose invocation of common sense against Hume Kant associates with the Inquisition’s enforcement of orthodoxy via “chisel and hammer.” We must read Kant’s defense of Hume, the Preface argues, against the background of the scandal produced (...) by Hume’s _Dialogues_. Kant’s evocation of Horace links the Preface with Kant’s “What Is Enlightenment?” and its motto _sapere aude_. It must be read alongside Hume’s attack on priestcraft in the _Enquiry_ and in “Of the Rise and Progress of the Arts and Sciences.”. (shrink)

This work addresses the aesthetic and evocative power of the objects belonging to our deceased; specifically, it examines how these objects shape and design the aesthetic experience we have of them. To this end, it draws on the aesthetics of everyday life and its two variants: in the weak variant (identified with Thomas Leddy, among others thinkers), the treatment of the object as a relic that one barely touches, results in the memory of the deceased remaining a (...) fairly superficial sympathetic connection. In contrast, in the strong variant (primarily associated with Yuriko Saito’s ideas), by restoring the object’s utility, that is, by fully engaging with it, an empathetic immersion in the deceased occurs, leading to a much more intense recollection. The ultimate aim here is to propose the experience of remembering our deceased, activated by their belongings and shaped by them in either of the two aforementioned variants, as a fully aesthetic experience. (shrink)

In this paper, I describe how artifacts and autobiographical memory are integrated into new systemic wholes, allowing us to remember our personal past in a more reliable and detailed manner. After discussing some empirical work on lifelogging technology, I elaborate on the dimension of autobiographical dependency, which is the degree to which we depend on an object to be able to remember a personal experience. When this dependency is strong, we integrate information in the embodied brain and in an object (...) to reconstruct an autobiographical memory. In such cases, autobiographical memory is extended or distributed. (shrink)

In the BBC show, The Repair Shop, members of the public bring their cherished but crumbling possessions into a workshop populated by expert craftspeople, who carry out restorations. These objects arrive as treasured possessions, which, despite their dilapidated state, still hold memories and meaning for their owners, albeit memories that may have faded as the object itself has aged. Something magical seems to take place after the objects are restored, however. The restored objects seem to reanimate and (...) revive the memories that their owners have invested in them. How is it possible that this restoration can bring memories held by the objects back to life? What is special about The Repair Shop restoring objects to their former glory? We outline two ways in which objects can be evocative and embody emotion, memory, and meaning. We then outline the ways in which the restoration of these objects to something like their original form can improve scaffolded recall and bring memories back to life. For one class of evocative objects, the restoration enhances recall by reinstating details from the context in which the memories were encoded. For the second class of evocative objects, their restoration affords an imaginative connection to the past, which enables them to become powerful focal points of memory and shared narratives. In effect, The Repair Shop seems to work not only as a repair shop of objects but as a repair shop of memory too. (shrink)

In his latest book Christopher Bollas uses detailed studies of real clinical practice to illuminate a theory of psychoanalysis which privileges the human impulse to question. From earliest childhood to the end of our lives, we are driven by this impulse in its varying forms, and _The Infinite Question_ illustrates how Freud's free associative method provides both patient and analyst with answers and, in turn, with an ongoing interplay of further questions. At the book's core are transcripts of real analytical (...) sessions, accompanied by parallel commentaries which highlight key aspects of the free associative method in practice. These transcripts are contextualised by further discussion of the cases themselves, as well as a wider theoretical framework which places its emphasis on Freud's theory of the logic of sequence: by learning to listen to this free associative logic, Bollas argues, we can discover a richer and more complex unconscious voice than if we rely solely on Freud's theory of repressed ideas. Bollas demonstrates, in an eloquent and persuasive manner, how the Freudian position of evenly suspended attentiveness enables the analyst's unconscious to catch the drift of the patient's own unconscious. He also shows that to stimulate further questioning is often of more benefit to the analytical process than to jump to an interpretation. Yet whatever fascinating course a session may take, neither the patient nor the analyst can halt the progress of the self-propelling interrogative drive. _The Infinite Question_ will be invaluable to both the new student and the experienced psychoanalyst, read either on its own or as a practice-based extension of the theoretical ideas elaborated in its companion volume, _The Evocative Object World_ (also published by Routledge). (shrink)

This book explores our corporeal connections to the past by considering what three theoretical approaches-somaesthetics, posthumanism, and the uncanny-may reveal about both premodern and postmodern terms of embodiment. It takes as its point of departure a selection of fifteenth-century northern European Books of Hours-evocative objects designed at once to to inscribe social status, to strengthen religious commitment, to entertain, to stimulate emotions, and to encourage discomfiting self-scrutiny. Studying their kaleidoscopically strange, moving, humorous, disturbing, imaginative pages not only enables (...) a window into relationships among bodies, images, and things in the past, but also in our own internet era, where surprisingly popular memes drawn from such manuscripts constitute a part of our own visual culture. In negotiating theoretical, post-theoretical, and historical concerns, this book aims to contribute to an emerging and much-needed intersectional social history of art. It will be of interest to scholars working in art history, medieval studies, Renaissance/early modern studies, gender studies, the history of the book, posthumanism, aesthetics, and the body. (shrink)

One goal of this paper is to argue that autobiographical memories are extended and distributed across embodied brains and environmental resources. This is important because such distributed memories play a constitutive role in our narrative identity. So, some of the building blocks of our narrative identity are not brain-bound but extended and distributed. Recognising the distributed nature of memory and narrative identity, invites us to find treatments and strategies focusing on the environment in which dementia patients are situated. A second (...) goal of this paper is to suggest various of such strategies, including lifelogging technologies such as SenseCams, life story books, multimedia biographies, memory boxes, ambient intelligence systems, and virtual reality applications. Such technologies allow dementia patients to remember their personal past in a way that wouldn’t be possible by merely relying on their biological memory, in that way aiding in preserving their narrative identity and positively contributing to their sense of well-being. (shrink)

_An evocative collection of vignettes and essays from Ukraine’s “voice” of classical antiquity, now available in English for the first time._ Inspired by Virgil’s exquisitely ambivalent phrase “sunt lacrimae rerum” (there are tears of/for/in things), Andriy Sodomora, the Ukrainian “voice” of classical antiquity, has produced a series of original vignettes and essays about things: the big things in our lives (like happiness, loneliness, and aging); the small things we do or see daily, rarely paying attention to them (like a (...) tree’s shadow or the kernels on an ear of corn); and the things (i.e., objects) to which we form connections. The selected stories presented here are the first English translations of Sodomora’s profoundly intellectual and intertextual prose. Through his nostalgic memories and recollections, Sodomora takes readers on a journey through western Ukraine, as well as through world literature, from ancient Greece and Rome to the poetry of Paul Verlaine and Federico García Lorca. _This book has been published with the support of the Translate __Ukraine Translation Program_. (shrink)

Although hypointellectuals have long been a part of our cultural landscape, it is in post-conflict societies, such as those in Bosnia and Kosovo, that there has arisen a strong need for a different breed of intellectual, one who is more than simply a social critic, an educator, a person of action, and a compassionate individual. Enter the non-partisan intellectual—the hyperintellectual. It is the hyperintellectual, whose non-partisanship is manifested through a reciprocating critique and defense of both the nationalist enterprise and strong (...) interventionism of the International Community, who strives to create a climate of understanding and to enlarge the moral space so as to reduce the divisiveness between opposing parties. It is in this way that the hyperintellectual acts as a catalyst for the creation of a democratic culture within the civil societies of Bosnia and Kosovo. (shrink)

The potentially philosophically problematic aspects of modern technology have been the subject of much discourse in recent times. The new kinds of incorporeal online spaces that are available to engage with have untold consequences on the formation of subjectivity. When phenomenological arguments about the nature of being are considered, the way that we display ourselves online becomes in need of exploration. This paper hypothesizes an exploration of what new relations toward the world have arisen through our relation to the sublime (...) in technology. To this end, we must examine how deeply the feeling of the sublime in technology has affected subjectivity and intelligence. (shrink)

This paper identifies a structural deficiency in Radical Enactivism called ‘the Content-Binding Problem’. REC distinguishes sharply between contentless basic cognition and content-involving sociolinguistic practices. This separation creates a difficulty in explaining how disparate cognitive formats integrate into a coherent whole. The integration process is often invisible during healthy functioning but becomes evident during the breakdown of memory in Korsakoff’s Syndrome. The analysis centers on autotopography and the reliance on environmental artifacts to anchor the self. Clinical evidence shows that patients do (...) more than react to environmental stimuli. They attempt to coordinate the specific features of external artifacts with their linguistic narratives. The failures and subsequent attempts at self-correction observed in these patients imply a sensitivity to satisfaction conditions that cannot be fully explained by skilled interaction alone. REC currently lacks an explanation for how the socio-normative contents of narratives are constrained by the physical environment. Korsakoff’s Syndrome serves as a limit case to demonstrate that human cognition requires representational mechanisms capable of binding these distinct formats, a requirement that challenges the anti-representational core of REC. (shrink)

The objection raised by Davidson against Kuhn in article "On the Very Idea of Conceptual Scheme" that the argument presented in "The Structure of Scientific Revolution" was inconsistent is incorrect. Kuhn's conception belongs to psychology and sociology and his work could be titled "An Outline of Psychology and Sociology of Scientific Research". Consequently he is interested only and only in psychologi-cal reasons that affect scientists' theoretical decisions. E.g. his considerations concerning neutral observational language are polemous against thesis that language like (...) that could be somehow useful for interpretation of what scientists do and also against thesis that it could be useful for scientists themselves. The difficulty of un-derstanding above paradigmata does not consist on conceptual schemata meant logically as Davidson reads it but on different cognitive attitude and different manual sets of concepts. To explain the controversy logical and psychological concepts of meaning are distinguished. Davidson means the proper, Kuhn does the latter. Psy-chological meaning concists on what associations and feelings are evocated by utterances in the recever's mind. When Kuhn says that after a revolution scientists live in another world he means only that the language with witch they describe the reality has different psychological meaning. And this is that kind of meaning that cannot be translated and is lost when you discuss above paradigmata. From Kuhn's point of view it is possible to translate logical meaning of scientific utterances from before a revolution, and he does it. The psychological meaning can be only described but not translated. (shrink)

The sexual revolution: an evocative term, but what meaning can be given to it today? How does “sexuality” come into being, and what connections does it have with the changes that have affected personal life more generally? In answering these questions, the author disputes many of the dominant interpretations of the role of sexuality in modern culture. The author suggests that the revolutionary changes in which sexuality has become cauth up are more long-term than generally conceded. He sees them (...) as intrinsic to the development of modern societies as a whole and to the broad characteristics of that development. Sexuality as we know it today is a creation of modernity, a terrain upon which the contradictory tendencies of modern social life play themselves out in full. Emancipation and oppression, opportunity and risk—these have become a part of a heady mix that irresistably ties our individual lives to global outcomes and the transformation of intimacy. We live today in a social order in which, for the first time in histroy, women are becoming equal to men—or at least have lodged a claim to such equality as their right. The author does not attempt to analyze the gender inequalities that persist in the economic or political domains, but instead concentrates on a more hisdden personal area in which women—ordinary women, in the course of their day-to-day lives, quite apart from any political agenda—have pioneered changes of greate, and generalizable, importance. These changes essentially concern an exploration of the potentialities of the “pure relationship,” a relaitonship that presumes sexual and emotional equality, and is explosive in its connotations for pre-existing relations of power. The author analyzes the emergence of what he calls plastic sexuality—sexuality freed from its intrinsic relation to reproduction—in terms of the emotional emancipation implicit in the pure relationship, as well as women’s claim to sexual pleasure. Plastic sexuality is decentered sexuality, freed from both reproduction and subservience to a fixed object. It can be molded as a trait of personality, and thus become bound up with the reflexivity of the self. Premised on plastic sexuality, the pure relationship is not exclusively heterosexual; it is neutral in terms of sexual orientation. The author speculates that the transformaion of intimacy might be a subversive influence on modern institutions as a whole, for a social world in which the dominant ideal was to achieve intinsic rewards from the company of others might be vastly different from that which we know at the present. (shrink)

The paper takes as the starting point a dense and notorious quote by Lacan where he takes up in a single gesture three concepts of ancient philosophy, tyche, clinamen and den. The contention is that all three aim at the status of the object, although by different means and in different philosophical contexts, and the paper tries to spell out some crucial points concerning each. Tyche, usually translated as chance and put into an opposition with automaton, requires a reading of (...) some passages of Aristotle’s Physics where Lacan took it from, and an account of the problem of repetition in psychoanalysis. Clinamen, the swerve, stemming from Epicure and Lucretius, requires a condensed reading of the tradition which took it up, from Cicero to Hegel, Marx, Deleuze and Badiou, pinpointing the dilemmas and contradictions of this tradition. Den, stemming from Democritus who coined this neologism, brings up an entity which is neither being nor nothing, neither one nor zero nor multiple. It is perhaps the best evocation, at the dawn of philosophy, of what Lacan would call object a, and it allows to sidestep the difficulties and the pitfalls presented by the other two notions. The paper tries to pin down the minimal requirement for the Lacanian theory with the irreducible and incommensurable (non)relation of ‘minus one’ and den. (shrink)

Ruins are evocative structures, and we value them in different ways for the various things they mean to us. Ruins can be aesthetically appreciated, but they are also valued for their historical importance, what they symbolize to different cultures and communities, and as lucrative objects, i.e., for tourism. However, today an increasing number of ancient ruins have been damaged or completely destroyed by acts of war. In 2001 the Taliban struck a major blow to cultural heritage by blasting (...) the Bamiyan Buddhas out of existence. They were not easy to destroy. This direct targeting of cultural property might change our attitudes toward conservation practices. Francesco Bandarin, the UNESCO assistant director-general for culture, states, “Deliberate destruction has created a new context. At the time, Bamiyan was an exceptional case.” Bandarin’s comments notwithstanding, the destruction of cultural property in times of war is not new. Not only is there relatively settled international law prohibiting the looting of cultural property during times of war, we can find examples of intentional destruction of cultural property from thousands of years ago. In this paper I would like to focus on one particular case, that of the Mỹ Sơn Archaeological Sanctuary, in the Socialist Republic of Việt Nam. Mỹ Sơn is the foremost Champa archaeological site and the largest archaeological site in Việt Nam. The largest temple (kalan) at Mỹ Sơn, A1, was destroyed in a US bombing raid in 1969. In this paper I highlight different approaches to architectural cultural heritage preservation in terms of reconstruction, restoration, and ruination -- with an eye to applying these approaches to the remains of the A1 temple in Mỹ Sơn. I briefly discuss the history of Mỹ Sơn before providing some reasons to believe that we should allow A1 to ruinate. (shrink)

The experience of perceiving objects in the world is undeniable and fundamentally grounded in our engagement with our surroundings. For instance, when I consider Berkeley’s evocative example of “kicking a stone,” the resultant pain is not a detached intellectual concept but rather a direct consequence of my physical interaction with the stone. Such perception encompasses not only clear and distinct objects but also ambiguous scenarios, like interpreting partial shadows as a half-face on a wall. Even highly skilled (...) observers may occasionally perceive things that lack an external material basis. These perceived yet non-existent entities are mind-dependent, as they emerge from the brain—and body. What we experience as “seen” is often a recontextualized interpretation of sensory input. When we cannot fully comprehend what we are observing, our minds frequently default to familiar forms, effectively filling in gaps with recognizable patterns. This perceptual process operates beyond our conscious awareness, managed by neural mechanisms that interpret and structure our sensory world without our explicit control. (shrink)

We present a theory of human artistic experience and the neural mechanisms that mediate it. Any theory of art has to ideally have three components. The logic of art: whether there are universal rules or principles; The evolutionary rationale: why did these rules evolve and why do they have the form that they do; What is the brain circuitry involved? Our paper begins with a quest for artistic universals and proposes a list of ‘Eight laws of artistic experience’ -- a (...) set of heuristics that artists either consciously or unconsciously deploy to optimally titillate the visual areas of the brain. One of these principles is a psychological phenomenon called the peak shift effect: If a rat is rewarded for discriminating a rectangle from a square, it will respond even more vigorously to a rectangle that is longer and skinnier that the prototype. We suggest that this principle explains not only caricatures, but many other aspects of art. Example: An evocative sketch of a female nude may be one which selectively accentuates those feminine form-attributes that allow one to discriminate it from a male figure; a Boucher, a Van Gogh, or a Monet may be a caricature in ‘colour space’ rather than form space. Even abstract art may employ ‘supernormal’ stimuli to excite form areas in the brain more strongly than natural stimuli. Second, we suggest that grouping is a very basic principle. The different extrastriate visual areas may have evolved specifically to extract correlations in different domains , and discovering and linking multiple features into unitary clusters -- objects -- is facilitated and reinforced by direct connections from these areas to limbic structures. In general, when object-like entities are partially discerned at any stage in the visual hierarchy, messages are sent back to earlier stages to alert them to certain locations or features in order to look for additional evidence for the object . Finally, given constraints on allocation of attentional resources, art is most appealing if it produces heightened activity in a single dimension rather than redundant activation of multiple modules. This idea may help explain the effectiveness of outline drawings and sketches, the savant syndrome in autists, and the sudden emergence of artistic talent in fronto-temporal dementia. In addition to these three basic principles we propose five others, constituting a total of ‘eight laws of aesthetic experience’. (shrink)

There is a difference between merely thinking that P and really grasping that P. For example, Jackson's (1982) black-and-white Mary cannot (before leaving her black-and-white room) fully grasp what it means to say that fire engines are red, but she can perfectly well entertain the thought that fire engines are red. The contrast between merely thinking and grasping is especially salient in the context of certain moral decisions. For example, an individual who grasps the plight of starving children thanks to (...) evocative images seems much more likely to donate for the children's benefit than someone who is merely told about their plight. This paper offers a phenomenal account of grasping according to which grasping a content (whether a proposition or concept) consists in one's thoughts about the content being constituted by phenomenal experiences of constituents of the content. This account improves on earlier phenomenal accounts of grasping (Bourget 2017a, 2018) by allowing for partial grasping and generalizing to concepts. The paper also addresses objections to phenomenal accounts of grasping, including the objection that recent developments in AI technology show that consciousness is irrelevant to grasping and understanding. (shrink)

“A sentimental layman would feel, and ought to feel, horrified, on being admitted into [an expert art] critic's mind, to see how cold, how thin, how void of human significance, are the motives for favour or disfavour that there prevail.” Thus writes William James. The art-world is dominated by critics who sneer and sentimentality, resist evocation, and issue stale, dispassionate appraisals. Memorized standards are coolly deployed to scan works for the features that are currently in fashion, before an icy verdict (...) is delivered. Untutored art enthusiasts make aesthetic judgments in an entirely differently way. For them, appraisal is read off “the sounding board of the body.” They use their emotions. Thus, according to James, there are two ways to assess art: cold and hot. So who is right, the rhapsodical museum-goer or the effete professional critic? As a first pass, I side with the rhapsodies. I think dispassionate appraisal is parasitic on passionate appraisal. Cool reason can never be sufficient on its own to assess artistic merit. This is a corollary of “aesthetic sentimentalism”—a view was championed by Hume and other British moralists. Of course, aesthetic sentimentalism does not entail that critics are wrong when they depart from the bubbling masses. It entails merely that good critics must be slaves to their own passions. Hacks may deliver aesthetic judgments dispassionately, but more sensitive critics have been known to muster an occasional gasp or thrill. Perhaps the refined emotions of professional critics have more validity than the crude gushings of James ’s “sentimental layman.” True beauty may be restricted to those works that elicit goosebumps in skilled viewers. Hume flirts with this idea. He thinks John Milton is objectively better than John Ogilby. Why? Because John Dryden said so, and he should know. John D. can arbitrate between the merits of John M. (shrink)

In Vienna in the early 1920s a group of brilliant philosophers, mathematicians and scientists - led by figures including Moritz Schlick, Otto Neurath, Rudolf Carnap and Kurt Gödel - gathered to discuss the very foundations of science and mathematics. Known as the Vienna Circle, their motto was 'knowledge only from experience' and the movement became known as Logical Empiricism. In this highly engaging book, Sahotra Sarkar tells the philosophical story of one hundred years of Logical Empiricism, from its inception in (...) 1924 to its legacy today. He explains how its theories, influenced by the revolutionary theories of space, time and causality in the air at the time, led to a quest for a unified theory of science. He also shows how Logical Empiricism's courageous commitment to logic and objectivity provided a powerful political antidote to Nazi racism and obscurantism, before charting the fall of the movement after many of its members, who had fled to the United States during World War Two, were presumed to have communist sympathies. A superb evocation of one of the most important intellectual and scientific movements of the twentieth century, The Vienna Circle: The Story of Logical Empiricism will be of great interest to anyone interested in philosophy, history, and the history of science"- Provided by publisher. (shrink)

In a 1967 article, A. C. Graham made the claim that 情 qing should never be translated as "emotions" in rendering early Chinese texts into English. Over time, sophisticated translators and interpreters have taken this advice to heart, and qing has come to be interpreted as "the facts" or "what is genuine in one." In these English terms all sense of interrelationality is gone, leaving us with a wooden, objective stasis. But we also know, again partly through the work of (...) Graham, that interrelationality was of fundamental importance in the early Chinese cosmology and that qing, by later carrying the meaning of "emotions," expressed that interrelationality. I take as my project in this article the recovery of an emotional adumbration in the qing of early Chinese texts, notably the Mencius, from which Graham begins his discussion. With an eye to explicating qing in the Mencius, and with a sensitivity to an implied notion of interrelationality in early texts, I survey early literature from the Shu Jing to late commentaries on the Yi Jing. I find that usages of qing and contexts in which qing is used inevitably illuminate it as key term in the evocation of interrelationality, shading it with emotional overtones. Emotions, of course, are inherently interrelational, and even more so in a Chinese world in which the internal and the external are in constant communication by way of a cosmic interchange of arousal and response among all things. That qing, as a term which later comes to explicitly mean "emotions," should have a centuries old convention of emotional connotation prior to its explicit definition should come as no surprise. The corroboration of this supposition entails a complex investigation and analysis, however, and it is a preliminary step in this investigation and analysis that I undertake here. (shrink)

Sigils are among the most familiar objects in magical literature, yet they are among the least clearly defined. They appear as spirit seals in Western grimoires, as intention-marks in modern chaos magic, as elemental signs in Franz Bardon's hermetic system, as vévé in Haitian Vodou, and as deity-related diagrams in tantric and contemplative traditions. Despite this ubiquity, no systematic cross-traditional framework for analysing them has previously been proposed. This paper offers the first such framework. The central argument is that (...) existing definitions of the sigil, as seal, spirit signature, or symbolic representation of desire, are historically useful but analytically incomplete. They describe what a sigil looks like or represents, but not what makes it operative. The paper proposes a narrower and more functional definition: a sigil is a charged graphic operator, a visible mark formed and activated to condense or express a relation between a practitioner and an invisible referent. A sigil is not made operative by graphic form alone. It becomes a sigil through charge: the condensation of intention, desire, will, imagination, attention, and character into the mark. A six-axis taxonomy is developed covering origin, morphology, function, the sigil-referent relationship, activation, and charge. The fourth axis, the sigil-referent relationship, is argued to be the most philosophically significant dimension for cross-traditional comparison. It asks whether the connection between mark and referent is arbitrary and conventional, iconic, indexical, or participatory. The distinction between arbitrary and participatory is shown to correspond to the classical magical distinction between evocation, calling an external presence into the ritual space, and invocation, inviting a force or quality to inhabit the practitioner directly. It is at the participatory-invocatory end of this axis that the sigil connects to the phenomenology of the ultra-subjective hyperspace: the intense inner field of consciousness in which the boundary between practitioner, mark, and referent begins to dissolve and altered reality opens. The sixth axis, charge, explains why graphic form alone is never sufficient. Two identical marks may differ entirely in operative force depending on the quality of the inner state condensed into them. At its fullest charge the sigil stops being a graphic object and becomes an operative event: not a representation of a relation but the living relation itself, enacted in the field of the practitioner's altered state of consciousness. The taxonomy is applied comparatively to seven sigil examples drawn from six traditions spanning five centuries: Bardon's gestural fire elemental sigils, Bardon's planetary composite diagram Aschmunadai, the seal of Demoriel from the Theurgia Goetia, the Seal of Solomon from the 15th century Munich Manual of Demonic Magic, the Thjófastafur or thief's stave from the Icelandic Galdrabok, Crowley's Liber Arcanorum and Liber Carcerorum grids, and the Second Gate of Nebo from the Simon Necronomicon. Each example receives a full six-axis profile demonstrating that the taxonomy produces meaningfully different results across traditions without collapsing them into sameness. (shrink)

Cultural structures can organize experience either independently of time—‘transversely’ to its flow—or temporally—‘longitudinally’ along it. Most existing concepts—binaries, codes, norms—represent the former. Temporal structuring is much less theorized. While sociologists frequently invoke ‘narratives,’ they often use the term loosely, as a more evocative synonym for beliefs or values (e.g., ‘ecological narrative’). Recent work in pragmatism and interactionism has reintroduced temporality into theories of action. I argue, however, that further progress is hindered by the ‘aporia of time’—the enduring difficulty of (...) simultaneously accounting for subjective and objective time. To address this problem, I adopt Ricoeur’s solution and extend it by introducing timeliness as a dimension of narrative. While narratives are typically understood as sequences of segments, timeliness captures how the duration of those segments also shapes meaning-making. It ties narrative to both the inner flow of time and social time—producing harmony or dissonance (e.g., ‘untimely,’ ‘premature,’ etc.). This helps us understand how the narratives we live by—such as the ‘American Dream’—structure our actions and our sense of temporal movement. I explore this theoretical innovation through an empirical case of educational decision-making. Using longitudinal data from Russia, I examine a puzzling pattern: vocational-track students often revise their plans mid-course. I show that this shift results from a temporal conflict between the unfolding meta-narrative of ‘coming-of-age’ they often employ and the pressures of real-life time. (shrink)

The concept of emergence has seen a significant resurgence in philosophy and the sciences, yet debates regarding emergentist and reductionist visions of the natural world continue to be hampered by imprecision or ambiguity. Emergent phenomena are said to arise out of and be sustained by more basic phenomena, while at the same time exerting a "top-down" control upon those very sustaining processes. To some critics, this has the air of magic, as it seems to suggest a kind of circular causality. (...) Other critics deem the concept of emergence to be objectionably anti-naturalistic. Objections such as these have led many thinkers to construe emergent phenomena instead as coarse-grained patterns in the world that, while calling for distinctive concepts, do not "disrupt" the ordinary dynamics of the finer-grained (more fundamental) levels. Yet, reconciling emergence with a (presumed) pervasive causal continuity at the fundamental level can seem to deflate emergence of its initially profound significance. This basic problematic is mirrored by similar controversy over how best to characterize the opposite systematizing impulse, most commonly given an equally evocative but vague term, "reductionism." The original essays in this volume help to clarify the alternatives: inadequacies in some older formulations and arguments are exposed and new lines of argument on behalf the two visions are advanced. (shrink)

A beautiful, profound series of reflections on the body by one of the most prominent and consequential philosophers of continental Europe This landmark collection brings into English Jean-Luc Nancy's last completed work and concludes his remarkable philosophical reflections on the body, a project and journey he began almost thirty years ago. Nancy's essays--which take the body as an intersection of pulsing life and destructive cruelty on a global scale--become more vivid, more physical, than ever, even as they venture into language (...) that is as lyrical as it is profound. This vividness is manifest in blood: as it flows, in all its pulsing and forceful circulation, and as it spills, in the cruelty of existences confronted daily by countless destructions. This can be described as sanguis and cruor, the two Latin words for blood's intermingled but distinct aspects. This distinction allows Nancy to highlight an almost mystical sense of the body (yet one that remains soberly on this side of its manifest insistence), alongside the cruelty that pervades our world. The very existence of the world itself is threatened by its reduction to mere objects. The exceptional writings brought together in Corpus III comprise a masterful work of philosophy that marries rigorous erudition--on Freud, Nietzsche, and others--with rich poetic language and an actual poem. Nancy's thought opens the body onto its own unaccountable origins, its plural singularities, its enmeshed instantiations, and its excessive irreducibles, which are also the elusive excesses of language. Whereas in earlier texts Nancy has referred to this excess as poetry, here he performs it in the form of a poem, in the extraordinary hymn entitled Stoma. While the publication of a poem by Nancy is a notable event, equally noteworthy is a remarkable essay entitled "Scandalous Death," in which Nancy meditated on a subject that was to come to him too soon after. Above all, the book is crucial for bringing into English Cruor, the very last work Nancy completed before his death, an evocative meditation offered by a great thinker on the complex conditions of his own--and our--singular survival. (shrink)

In his On the Musically Beautiful, Hanslick vigorously argued that musical beauty depends neither on the representation nor on the evocation of feelings. However, despite his formalism, Hanslick regards the performance of a musical work as a moment of emotional release. Given the tension between the formalist nature of Hanslick’s general theory and this expressionist drift in his conception of the performer, in this article I pursue two objectives: 1) to argue that there is, in fact, an important internal inconsistency (...) in Hanslick’s theory regarding the nature of performance, and 2) to deepen and render intelligible this perspective of performance. Although internally inconsistent, this perspective, in its search for a synergistic conciliation of the composer’s creativity with the performer’s expressivity, is worthy of analysis. (shrink)

"This is the most thorough architectural 'crit' of a hut ever set down, the justification for which is that the hut was the setting in which Martin Heidegger wrote phenomenological texts that became touchstones for late-twentieth-century architectural theory."--from the foreword by Simon SadlerBeginning in the summer of 1922, philosopher Martin Heidegger occupied a small, three-room cabin in the Black Forest Mountains of southern Germany. He called it "die Hütte". Over the years, Heidegger worked on many of his most famous writings (...) in this cabin, from his early lectures to his last enigmatic texts. He claimed an intellectual and emotional intimacy with the building and its surroundings, and even suggested that the landscape expressed itself through him, almost without agency. In Heidegger's Hut, Adam Sharr explores this intense relationship of thought, place, and person.Heidegger's mountain hut has been an object of fascination for many, including architects interested in his writings about "dwelling" and "place." Sharr's account--the first substantive investigation of the building and Heidegger's life there--reminds us that, in approaching Heidegger's writings, it is important to consider the circumstances in which the philosopher, as he himself said, felt "transported" into the work's "own rhythm." Indeed, Heidegger's apparent abdication of agency and tendency toward romanticism seem especially significant in light of his troubling involvement with the Nazi regime in the early 1930s.Sharr draws on original research, including interviews with Heidegger's relatives, as well as on written accounts of the hut by Heidegger and his visitors. The book's evocative photographs include scenic and architectural views taken by the author and many remarkable images of a septuagenarian Heidegger in the hut taken by the photojournalist Digne Meller-Markovicz.There are many ways to interpret Heidegger's hut--as the site of heroic confrontation between philosopher and existence; as the petit bourgeois escape of a misguided romantic; as a place overshadowed by fascism; or as an entirely unremarkable little building. Heidegger's Hut does not argue for any one reading, but guides readers toward their own possible interpretations of the importance of "die Hütte.". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Why the Family is Beautiful (Lacan Against Badiou)Eleanor Kaufman (bio)The theory of ethics that can be distilled from the work of Jacques Lacan and Alain Badiou bears no resemblance to many commonly received notions of the ethical, especially any that would link ethics to a system of morality. In fact, ethics is not necessarily the central concept in their work, even in Lacan's The Ethics of Psychoanalysis or Badiou's (...) recent Ethics: An Essay on the Understanding of Evil. If anything, it is defined vicariously and in relation to other more central concepts, such as the workings of desire for Lacan and the fidelity to an event—or truth-process—for Badiou. Nonetheless, an examination of the network of concepts held together under the umbrella of the ethical allows for a sharp distinction between the work of Lacan and Badiou, one that Badiou—himself avowedly indebted to Lacan—is hesitant to make. Where Lacan elevates the beautiful over the good in his reading of Sophocles's Antigone, Badiou elevates the truth-process over the evil betrayal of such an event, drawing on examples ranging from National Socialism to the love relation between two people. A truth-process is a situation-specific adherence, or fidelity, to the revolutionary potential of an event that may take place in one of the four realms of politics, art, science, and love. Perhaps Badiou's best example of a truth-process—what I will also refer to as fidelity to an event—is one not described in the text under consideration here: the apostle Paul's proclamation of and fierce loyalty to the event of Christ's resurrection. It is in the particular form in which the ethical fidelity to a truth-process may be hard to distinguish from evil that I will take issue with Badiou, for both his political examples and his evocation of love as one of four conduits to a truth-process reflect a difficult inflexibility in his extraordinarily lucid and provocative system. Lacan, on the other hand, uses Antigone's strange family values to suggest a more flexible model of ethics, one that is focused on the encounter with the inhuman and the fragile boundary between life and death.Lacan's most sustained discussion of ethics occurs in his seminal Seminar Seven from 1959-60, entitled The Ethics of Psychoanalysis.1 Not only does this seminar register a gradual shift from an earlier emphasis on desire to a later focus on the real and the drive, but it is also a crucial articulation of what might seem for some to be an oxymoronic conjunction—psychoanalysis and ethics. Such a conjunction, as opposed to a Sartrean or Levinasian model that would situate ethics in relation to the Other,2 takes as its [End Page 135] touchstone Freud's stinging critique in Civilization and Its Discontents of the biblical injunction to love the neighbor as oneself. Here it is not merely a question of understanding why the neighbor may be equally an object of hatred, but of understanding how contradictory sentiments are also to be found at the heart of the self, and hence why a viable system of ethics must take this into consideration.3 In other words, ethics is not to be thought primarily as a relation to the other so much as a nonrelation to the self.4 Thus, when Lacan opposes the good to the beautiful, it is precisely the relational aspect of the good that he denigrates.Lacan links the good to the dialectic and to the power to deprive others, situating it squarely in the realm of morality. The beautiful, by contrast, marks a space of nonrelation where it is not so much a matter of two distinct selves but rather of a single self whose desire is not its own. In Seminar Six from the previous year, Lacan analyzes Hamlet and suggests that the reason Hamlet does not kill Claudius is that he is traversed by his mother's desire. He emphasizes that Hamlet's desire is "the desire not for his mother, but of his mother."5 Between Seminars Six and Seven, Lacan shifts his focus from desire to ethics, from... (shrink)