We provide a new link between deductive and probabilistic reasoning fallacies. Illusory inferences from disjunction are a broad class of deductive fallacies traditionally explained by recourse to a matching procedure that looks for content overlap between premises. In two behavioral experiments, we show that this phenomenon is instead sensitive to real-world causal dependencies and not to exact content overlap. A group of participants rated the strength of the causal dependence between pairs of sentences. This measure is a near (...) perfect predictor of fallacious reasoning by an independent group of participants in illusory inference tasks with the same materials. In light of these results, we argue that all extant accounts of these deductive fallacies require non-trivial adjustments. Crucially, these novel _indirect_ illusory inferences from disjunction bear a structural similarity to seemingly unrelated _probabilistic reasoning_ problems, in particular the conjunction fallacy from the heuristics and biases literature. This structural connection was entirely obscure in previous work on these deductive problems, due to the theoretical and empirical focus on content overlap. We argue that this structural parallelism provides arguments against the need for rich descriptions and individuating information in the conjunction fallacy, and we outline a unified theory of deductive illusory inferences from disjunction and the conjunction fallacy, in terms of Bayesian confirmation theory. (shrink)

The perceived strength of darkness enhancement in the centre of surfaces surrounded or not surrounded by illusory contours was investigated as a function of proximity of the constituent elements of the display and their angular size. Magnitude estimation was used to measure the perception of the darkness phenomenon in white-on-grey stimuli. Darkness enhancement was perceived in both types of the stimuli used, but more strongly in the presence of illusory contours. In both cases, perceived darkness enhancement increased (...) with increasing proximity of the constituent parts of the display and with their angular size. These results suggest that the occurrence of darkness (or brightness) enhancement phenomena in the centre of the displays is not directly related to illusory contours, which only reinforce the subjective surface brightness/darkness. (shrink)

According to the conceptualist view in the philosophy of perception, we possess concepts for all the objects, properties, and relations which feature in our experiences. Richard Heck has recently argued that the phenomenon of illusory experience provides us with conclusive reasons to reject this view. In this paper, I examine Heck’s argument, I explain why I think that Bill Brewer’s conceptualist response to it is ineffective, and I then outline an alternative conceptualist response which I myself endorse. My (...) argument turns on the fact that both Heck, in constructing his objection to conceptualism, and Brewer, in responding to it, miss a crucial distinction between perceptual demonstrative concepts of objects, on the one hand, and perceptual demonstrative concepts of properties, on the other. (shrink)

Purpose. The aim of the article is to clarify the content of the concept of culture as an explication of vitality within the philosophy of life and its further modifications in current problems of contemporary. The analysis performed standing from the point, that contrasting of nature and culture is irrelevant, since culture does not contradict natural determinants and patterns, but rather qualitatively alters them. So, are justified the idea of culture as a phenomenon that exist accordingly and in proportion (...) to nature, need to form its potential and content and not contradict the axioms and values of life. Theoretical basis. In the theoretical field of philosophy of life, the local development of the problem of culture as an explication of vitality produces grounds for analytical and prognostic activity concerning meaningful transformations in a separate historical and social horizon. The fundamental categories of culture: spirit, value, symbol, freedom, justice and harmony receive the requested content and meaning. The idea of the constancy and super-naturality of cultural universals is illusory and dangerous. The consequences of such a "non-cosmological" justification of freedom and will, and the assertion of values, that contradict the logic of life, are the global environmental, economic and social crisis of our time. Originality. The originality of the authors’ thought lies in the interpretation of the essence of culture as an explication of vitality, as a logical and natural extension of life. In this formulation of the problem of culture, the possibility of reconciling the natural, social and value determinants of human life is formed. Theorists of the philosophy of life substantiated the primacy and supremacy of the values of life over the values and meanings of culture. The position of authors position consists in the need to understand culture as an environmentally appropriate and dimensional phenomenon, the content and strategies of which are determined by a single ontology. Conclusions. The analysis let authors understand the voluntarily chaotic element of life. Culture in its philosophical analysis took on a clearer anthropomorphic dimension: the immanent logic of being in substantiating the essence and purpose of man and the value of his being localized the universe of transcendence in the concept of "living world", "inhabited space", "human, too human". Accordingly, the range of cultural evaluations has been polarized: from the approving statement of its vital essence, to the disparaging calls for its reform. The chaotic state of voluntarily acts is transformed into cultural codes and stereotypes by rationalization. The modern global nature of crisis phenomena, both in the worldview, in the social, and in the ecological dimension, requires reformatting the understanding of culture as a continuation of nature, and not its antipode. (shrink)

A mechanistic explanation is a desired outcome in many studies of perception. Such explanations require discovering the processes that contribute to the realization of a perceptual phenomenon at different levels of information processing. The present analysis aims at investigating the obstacles to develop such mechanistic explanations and their potential solutions in the context of psychopathology. Geometric-Optical Illusions (GOIs) are among perceptual phenomena that have been studied to understand psychopathology in various clinical populations. In the present analysis, the GOIs will (...) be discussed as a methodological tool in the investigation of the mechanistic approach to understanding perception in such populations. I will argue that the fact that most such studies are mainly focused on the investigation of susceptibility to GOIs can only lead to classifying such phenomena or to reporting some correlations between different aspects of such phenomena with certain brain activities, without formulating a mechanistic explanation. The investigation of the variables that mediate perceptual phenomena at earlier stages of information processing is required for the formulation of such explanations. Thus, the objective of the present analysis is twofold: 1) showing how ignoring such variables have prevented the formulation of mechanistic explanations of responses to GOIs in clinical populations, such as schizophrenia and autism, 2) analyzing the methodological aspects of an effective approach in which a top-down guidance based on phenomenological insights (the first-person data) along with the insights provided by the existing theories help overcome obstacles in developing mechanistic explanations of GOIs. (shrink)

Philosophical discussions of the phenomenon that has come to be known as ‘moral luck’ have either dismissed it as illusory or touted it as the evidence for doubting the probative value of our commitment to certain widely avowed views concerning interpersonal assessments of responsibility. In this discussion, we present a third, distinctive interpretation of the moral luck phenomenon. Drawing upon empirically robust results from psychological studies of judgment bias, we argue that the phenomenon of moral luck (...) is demonstrably not illusory. What we suggest, however, is that the phenomenon ought not to be taken to countenance doubts about the standards generally taken to be regulative of assessments of interpersonal responsibility. Rather, its significance lies in foregrounding certain generally unacknowledged obstacles we face in the process of conclusively applying general valid moral standards in making specific judgments of responsibility and desert.1. (shrink)

We design a double-or-quits game to compare the speed of learning one’s specific ability with the speed of rising confidence as the task gets increasingly difficult. We find that people on average learn to be overconfident faster than they learn their true ability and we present an intuitive-Bayesian model of confidence which integrates confidence biases and learning. Uncertainty about one’s true ability to perform a task in isolation can be responsible for large and stable confidence biases, namely limited discrimination, the (...) hard–easy effect, the Dunning–Kruger effect, conservative learning from experience and the overprecision phenomenon if subjects act as Bayesian learners who rely only on sequentially perceived performance cues and contrarian illusory signals induced by doubt. Moreover, these biases are likely to persist since the Bayesian aggregation of past information consolidates the accumulation of errors and the perception of contrarian illusory signals generates conservatism and under-reaction to events. Taken together, these two features may explain why intuitive Bayesians make systematically wrong predictions of their own performance. (shrink)

Shakya Chokden's approach consists of reducing all phenomena to mind and its appearances, and then negating dualistic minds as illusory and nonexistent and establishing the non-dual jñāna transcending them as the only phenomenon existent in reality—the primordial tathāgatagarbha with all buddha-qualities complete. For him, this interpretation of tathāgatagarbha is indispensable for tantric contemplative practice and for explaining how and why that practice works. The initial identification of tathāgatagarbha as the primordially existent jñāna endowed with buddhaqualities serves as the (...) foundation for conceptually envisioning deities of the ultimate body-maṇḍala and eventually, when enough clarity is achieved, directly perceiving them by jñāna itself. Further cultivation of that self-cognizing jñāna displaying Cakrasaṃvara maṇḍala takes the practitioner through the stages of the tantric path to the eventual achievement of buddhahood qualified by the full manifestation and vision of buddha-qualities from within and by jñāna. (shrink)

The paper tries to develop some of the main characteristics of Dilthey’s “phenomenology of metaphysics” in the second part of the Einleitung in die Geisteswissenschaften. It is argued that we have to understand this phenomenology as an attempt to go beyond both Kant’s and Comte’s criticism of metaphysics. According to Dilthey the core of all metaphysics is its ideal of a logical coherence of the world: in contrast to modern science, Dilthey says, metaphysics is based on the conviction that there (...) is an objective and internal coherence of reality behind the phenomena. Even if this coherence is reduced to its minimal form, that is to the combination of substantiality and causality, even then, Dilthey argues, it constitutes a projection of the living unity of human consciousness into extramental reality, and this prevents metaphysics from being science. Gradually the Christian metaphysics of the Middle Ages has been replaced by science, both in our knowledge of nature and in our knowledge of our spiritual self. Consequently metaphysics as a scientific project is for Dilthey a historical phenomenon, which irrevocably belongs to the past. The apparent completion of metaphysics in the ‘private metaphysical systems” of the Modern Age is in fact, Dilthey claims, the “euthanasia” of metaphysics, its unconscious noble and gentle suicide. For they conceive nature as a “colossal fantastic reflection of the metaphysician’s own self”, and in that way achieve a complete transformation of objective into subjective reality. By so doing, however, metaphysics destroys itself at the very moment of the complete fulfilment of its task. In the systems of Leibniz, Hegel etc. the old ideal of a total understanding of the world is apparently realised. But at the same time this means, according to Dilthey, that objective reality as such no longer exists. The total disclosure of the metaphysical secret is for Dilthey nothing else but the disclosure of the illusory nature of all metaphysics. (shrink)

Temptation and Free Will. A Solution to the Problem of the Relationship Between Human Free Will and God’s Omniscience The article aims to show that none of the today discussed positions concerning the relationship between human free will and God’s omniscience—determinism, compatibilism, molinism and libertarianian revisionism—is an adequate solution and proposes a position to some extent resembling Kant’s solution to his Third Antinomy, where he made the distinction between subject as causa phenomenon and subject as causanoumenon. God possesses not (...) only an absolute knowledge concerning all processes and events in the world, but He also has a full knowledge concerning what all human subjects will decide to do. Nevertheless, His absolute knowledge in this sense is compatible with human freedom, because ‘real freedom’ is ‘located’—as a causality of freedom—in individual human natures which already exist in eternity and of which our actual inner experience gives us only a ‘sensual scheme’ (Kant). Human persons are tempted by different life experiences which they receive, i.e. they are tested by God and it cannot be excluded that some of these personal essences will turn out to be only illusory and in this sense will be condemned. For all other persons worldly experience was planned by God as a necessary element of their future eternal life. Keywords:God, omniscience, freedom, determinism, eternal life, persons. (shrink)

Terrorism, as a form of politically motivated violence, is as ancient as organized warfare itself, emerging as soon as one society, pitted against another in the quest for land, resources, or domination, was moved by a desire for vengeance or found advantages in military operations against noncombatants or other ‘soft’ targets. It is sanctioned and glorified in holy scriptures and has been part of the genesis of states and the expansion of empires from the inception of recorded history. The United (...) States itself emerged through the systematic ethnic cleansing of native Americans, a nearly 300-year campaign that featured the destruction of homes and crops, the theft of land, forced expulsions, massacres, and tears.1 While terrorist violence has been employed by both sides in the conflict over Palestine for over 80 years, the prevalence of the rhetoric of ‘terror’ to describe Arab violence against Israeli and Western targets is a more recent phenomenon. For more than three decades, this rhetoric has fostered the popular perception that Arab terrorism is the central problem in the Middle East crisis, and that once solved, progress can be made on other issues. Nothing could be more illusory. The Western obsession with Arab terrorism not only overlooks the fact that terrorist activity between Arabs and Jews has been reciprocal, but, more generally, that attempts to remove an effect without touching its causes are utterly futile. Terrorism between Palestinian Arabs and Israeli Jews is the product of deep divisions, entrenched strategies, and fundamental grievances and will not disappear so long as both sides cling to their present political ambitions and convictions. No informed discussion of its normative status can ignore its historical and political context. At.. (shrink)

Psychotic-like experiences are a phenomenon that occurs in the general population experiencing delusional thoughts and hallucinations without being in a clinical condition. PLEs involve erroneous attributions of inner cognitive events to the external environment and the presence of intrusive thoughts influenced by dysfunctional beliefs; for these reasons, the role played by metacognition has been largely studied. This study investigates PLEs in a non-clinical population and discriminating factors involved in this kind of experience, among which metacognition, as well as psychopathological (...) features, seems to have a crucial role. The aim of this study was to extend the knowledge about the relationship between metacognition, psychopathology, and PLEs, orienting the focus on metacognitive functioning. The sample consisted of 207 Italian participants voluntarily recruited online, who gave consent to participate in the study. The average age of the sample was 32.69 years. Subjects affected by psychosis, neurological disease, and drug addiction were excluded from the analyses. The following scales were used to investigate PLEs: Peters et al. Delusions Inventory, Launay-Slade Hallucinations Scale-Extended Revised, Prodromal Questionnaire-Brief, and Revised Hallucination Scale. To assess general psychopathological features, the Behavior and Symptom Identification Scale was administrated. The Metacognition Self-Assessment Scale was chosen to evaluate metacognitive functioning. From hierarchical regression analyses, it emerged that the presence of anxiety, depression, and impulsive/addictive symptoms constitute a remarkable vulnerability factor for PLEs, in line with previous evidence regarding the relationship between general psychopathology and PLEs. Metacognition negatively predicts PLEs, and its presence does not affect the significance of psychopathological variables, suggesting that metacognitive abilities seem to play a protective role for the occurrence of PLEs among non-clinical individuals, and such ability operates as an independent predictor along with other variables. These results are explained by the role of metacognitive functions, which allow individuals to operate many mental processes such as interpreting sensorial events as real or illusory, understanding behaviors, thoughts, and drives of others, and questioning the subjective interpretation of facts. (shrink)

Many physicists regard the flow of time as an illusion. There is an upper level flow of time, the phenomenon of past/present/future; and there is a lower level flow of time which is really a flow of events. Perceptual completion accounts for the lower level flow of time in a few ways: apparent movement; amodal completion; and dynamic change as exemplified by a newly described modal completion that we called happening. It acts like an illusory percept connecting discrete (...) stimuli in all sensory modalities. The past/present/future distinction cannot exist unless an object is perceived to be the same now as it is then. This cognition requires object persistence. Experiments with object persistence suggest the circumstances when that, too, is an illusory percept. The illusory percepts of object persistence and perceptual completion can account for the entire flow of time. Our findings and conclusions are congruent with a few time theories and cosmologies that suggest that the flow of time is an illusion. (shrink)

Tibetan Buddhist writings frequently state that many of the things we perceive in the world are in fact illusory, as illusory as echoes or mirages. In Twelve Examples of Illusion , Jan Westerhoff offers an engaging look at a dozen illusions--including magic tricks, dreams, rainbows, and reflections in a mirror--showing how these phenomena can give us insight into reality. For instance, he offers a fascinating discussion of optical illusions, such as the wheel of fire (the "wheel" seen when (...) a torch is swung rapidly in a circle), discussing Tibetan explanations of this phenomenon as well as the findings of modern psychology, and significantly clarifying the idea that most phenomena--from chairs to trees--are similar illusions. The book uses a variety of crystal-clear examples drawn from a wide variety of fields, including contemporary philosophy and cognitive science, as well as the history of science, optics, artificial intelligence, geometry, economics, and literary theory. Throughout, Westerhoff makes both Buddhist philosophical ideas and the latest theories of mind and brain come alive for the general reader. -/- "This delightful book offers a rich and satisfying philosophical feast to anyone interested in the phenomenon of illusion itself or in the Buddhist analysis of the human condition. Westerhoff draws together classical Buddhist scholarship, contemporary cognitive science and his own judicious philosophical reflection in a serious but refreshingly accessible engagement with the Buddhist tradition in the exploration of the role of illusion in our cognitive and emotional lives." Jay L. Garfield, author of Fundamental Wisdom of the Middle Way: Nagarjuna's Mulamadhyamakakarika -/- "Jan Westerhoff creatively juxtaposes an important Buddhist study of illusion with fascinating modern researches on illusory experiences, using the latter to illuminate the former. The result is a revealing account of the pervasiveness of illusion in our cognitive experience and the very structure of our cognitive apparatus. It brings to life the Buddhist discussion of illusion, making it relevant to our everyday experience instead of being high-minded intellectual exercises only." -/- Tao Jiang, author of Contexts and Dialogue: Yogacara Buddhism and Modern Psychology on the Subliminal Mind -/- "The twelve similes for the illusory nature of this world are very profound, and Westerhoff does them wonderful justice in this excellent book." -/- Robert Thurman, Jey Tsong Khapa Professor of Buddhist Studies, Columbia University. (shrink)

Spinoza devoted Chapter VI of the Tractatus Theologico-Politicus to the question of the miracle, which he considers illusory because it constitutes a purely natural phenomenon. However, he attributed to it a social and pedagogical function capable of preserving the power of the sovereign. I will analyze Spinoza’s theory of the miracle and then Hume’s theory, in order to compare them, and thus highlight the specific problems posed by their thesis. I will then analyze Hume’s probabilistic approach, by examining (...) Bayses’ theorem. I will then examine the epistemological status of testimonial knowledge. Finally, I will confront the theories of Spinoza and Hume with R. Sa‘adyah G’aon’s notion of certainty and Maimonides’ conception of miracle. (shrink)

Intuition is a concept of western philosophy, and phenomenology holds that under the influence of intuition, the concept of things and thing-in-itself can be well distinguished. Intuition as a method is feasible, and consciousness obtains content through intuition, especially in event analysis, where the phenomenon is the essence. However, phenomena have a dual nature, intuition stimulates intuition and is the exclusive of the mind, which is called mind view in Buddhism, both of which are different from the way of (...) “I think”, but emphasize “I see”, the object of intuition can be the phenomenal world, or consciousness itself, intuition dispels language, accompanied by the spontaneous receptivity of the heart. Buddhism believes that it is impossible for people to strictly distinguish between subject and object in the process of cognition, which is bound to be the blending of mood, even illusory. The phenomenal world is the manifestation of life consciousness. In the face of perceptual experience such as color, sound, fragrance, taste and touch, people can go deep into their hearts and see the consciousness itself frankly. The ancient sages and sages of China found that “view” is closely related to understanding, such as Nagarjuna’s “middle view”. Tiantai’s “one mind and three views”, even in the Western context, cannot escape the metaphysical and transcendental color. Mou Zongsan thought that it was the biggest and most essential difference between Chinese and Western philosophy (Mou, 2001). Buddhism attaches great importance to the body and function of “view”. To some extent, the view of mind is the same as intuition. This paper focuses on the analysis of the possibility of intuitive reduction from the perspective of Buddhist “view of mind”, and advocates that before rational judgment, intuition should be given enough priority, and after rational judgment, mind should be given enough repetition. It further distinguishes the transcendental illusion brought about by intuition, and reveals the efforts of Buddhism to touch transcendental philosophy through the way of mind. (shrink)

Book synopsis: This volume contains nine previously unpublished papers which were originally given at the conference «Thought and Ontology» held in the Centro di Studi sulla Filosofia Contemporanea in Genova.The general theme is the relation between thought and the world.Must we regard thought and world as distinct categories? Might there be quite different conceptual schemes? Can either the content of thought or the way thought is justified be independent of the world? Is truth some kind of match between thought and (...) world, or could the relevant relation be identity? Does the distinction between veridical and illusory perception lie wholly outside the subject? Is language, the main vehicle of thought, just a natural phenomenon, or does its special involvement with normativity place it in a special category? What lesson can be drawn from our use of language to refer? (shrink)

A possible solution is offered to help resolve the “two times problem” regarding the veridical and illusory nature of time. First it is recognized that the flow (passage) of time is part of a wider array of temporal experiences referred to as manifest time, all of which need to be reconciled. Then, an information gathering and utilizing system (IGUS) model is used as a basis for a view of manifest time. The model IGUS robot of Hartle that solves the (...) “unique present” debate is enhanced with veridical and (corresponding) illusory components of not only the flow of time but also the larger entity of manifest time, providing a dualistic IGUS robot that represents all of the important temporal experiences. Based upon a variety of prior experiments, that view suggests that the veridical system is a reflection of accepted spacetime cosmologies and through natural selection begets the illusory system for functional purposes. Thus, there are not two opposing times, one outside and one inside the cranium. There is just one fundamental physical time which the brain developed, now possesses and is itself sufficient for adaption but then enhances. The illusory system is intended to provide a more satisfying experience of physical time, and better adaptive behavior. Future experiments to verify that view are provided. With a complete veridical system of temporal experiences there may be less need to reify certain temporal experiences so that the two times problem is less of a problem and more of a phenomenon. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Deborah Bradley, “Oh that Magic Feeling! Multicultural Human Subjectivity, Community, and Fascism’s Footprints”Marja HeimonenDeborah Bradley has written a most interesting paper that is concerned with anti-racism pedagogy and significant musical moments. Her study has a moral and an ethical dimension; the style of writing is fresh and honest, and she is deeply involved in her important theme. In addition, she is able to explore both sides of (...) the same coin: how music education may support not only anti-racism but also fascism.The approach might be characterized as socially and politically oriented philosophical research. I think that it is most important to shed light on philosophical and theoretical concepts and make them clearer through practical examples, and this is how Bradley explores her research subject. The theories and concepts she uses, such as the concept “multicultural human subjectivity,” are clarified not only by theoretical exploration but also through the personal experiences of human beings particularly interviews of choir members.A more coherent structure, and a focus on a theme, might have helped the writer to go deeper in her research subject, but in that case, the paper would have very probably lost its mission for music educators: the promotion of anti-racism as part of critical pedagogy, not only theoretically but also in practice. Moreover, the structure of the paper and its philosophical argumentation might have been clearer if the writer had focused just on the first theme in her paper: the positive effects of music education, especially a world choir music curriculum, argued to promote both self-understanding (connected with identity) and tolerance between different kinds of human beings. But, the writer also decided to explain [End Page 85] the darker side of the same phenomenon, music and music education used for questionable instrumental purposes and ideologies; for promoting fascism, for instance.I think that this turning point is indeed fascinating and it sheds light on the multiple functions of music education in our societies. Music and education in Nazi Germany is taken as an example, but it is not only the specific historical circumstances, the Third Reich, that demonstrates these problems: “freedom” and “democracy” can be interpreted in various ways, and creating “better people” may refer to different kinds of educational aims also in our multicultural world of today. What should music educators do? Should music education be separated from all kinds of social aspects related to moral and ethical education?Bradley raises questions rather than gives answers, which is as valuable as aiming at finding one right answer (that may not exist). Of course, music’s autonomy could be one basis for music education: the aim of music educators could be to teach children to analyze musical structures and to understand musical works cognitively. A Kantian view of pure art, aesthetic experience, morality and beauty, or excellence as the aim of artistic activity might also be taken as an aim in music education. Following these views, the choir director should rather train the choir members to sing purely in rhythm than to concentrate on authentic emotions, promoting their growing into morally conscious and ethically responsible human beings. Philosophically, the debate between an aesthetic approach and a more pragmatic (praxial) one might be found behind the questions addressed in this paper,1 although Bradley rather refers to the German philosopher Theodor W. Adorno’s ideas on music education.Adorno, who lived in the shadow of Hitler’s Germany and Stalin’s Russia, is a multidimensional sociologist, musician, composer, musicologist, and philosopher, whose works have been interpreted in various ways: actually, he not only defends music’s autonomy, but simultaneously argues that the ideal of music’s self-containment is just an illusory projection (of a bourgeois subject). In other words, his dialectical method aims at keeping opposing views together, and his ideas—rooted in critical social theory—have become a source for new critical musicology.2 Adorno was not a music educator or a pedagogue in instrumental or vocal music, and his view of teaching contemporary music for children could, in my view, be regarded almost as questionable as the German views he criticized as fascist: the aim to educate amateur musicians... (shrink)

There is a long standing debate as to whether or not time is ‘real’ or illusory, and whether or not human time is a direct reflection of physical time. Differing spacetime cosmologies have opposing views. Exactly what human time entails has, in our opinion, led to the failure to resolve this ‘two times’ problem. To help resolve this issue we propose a dualistic model of human time in which each component has both an illusory and non-illusory aspect. (...) With the dualistic model we are able to provide experimental tests for all of the human time assertions of 10 chosen spacetime cosmologies. The illusory aspect of the ‘present,’ i.e. a ‘unique present’ was confirmed. An information gathering and utilizing system was constructed using a virtual reality apparatus allowing the observer to experientially roam back and forth along the worldline ad lib. The phenomenon of ‘change’ was experimentally found to be illusory at high frequency observation and non-illusory at low frequency observation, the latter phenomenon coinciding with ‘change’ referred to in the ‘Order of Time’ and ‘Relativity Refounded’ views. Additional experiments are presented indicating that both motion and temporality are dualistic. In sum, the dualistic model of human time allows for the existence of both illusory and non-illusory aspects of human time that are not in conflict with one another. It also provides experimental evidence for various spacetime cosmological assertions regarding human time. (shrink)

The rule-following paradox of Kripke's Wittgenstein posits that there is no fact of the matter about an individual that can determine whether he means one thing or another by a term, such as "+". The paradox thus renders the existence of meaning illusory. The objective of this thesis is to examine the paradox and try to offer a version of a dispositional account that can counteract Kripke's skeptics. ;Gaining insights from previous dispositionalist accounts of meaning and rule-following, including those (...) of Dretske, Fodor, Millikan, Martin & Heil, Shogenji, and Yallowitz, my project is to put all those insights together to formulate a functional view of human dispositions to rule-following which will resolve the error, finitude, and first-person epistemic problems that Kripke raises against the dispositionalist approach. Specifically, I argue that rule-following or meaning consists in one's possessing a disposition, realistically construed. A rule-following disposition is real in the sense that it is responsible for, and hence not to be equated with, its manifestations under various conditions. A person acquires a real disposition to rule-following through a learning history which is constrained by biologically innate human endowments of learning and cognition. The error problem then becomes the problem of how to identify the disposition without vacuity or circularity. My claim is that identifying a rule-following disposition is a task of scientific hypothesizing, which is epistemically and methodologically sound. The finitude problem is in my view a form of Humean inductive skepticism. My response to it is to adopt a reliabilist theory of justification and its treatment of the induction problem. A distinctive contribution of mine is to offer a functionalist account of dispositions and introspection in the resolution of the first-person epistemic problem. My aim is to do full justice to the phenomenology and epistemology of meaning and rule-following from the first-person point of view. ;My conclusion is that a satisfactory dispositional account such as the one I offer not only vindicates the reality of rule-following and meaning but also increases our understanding of the nature of meaning and human rule-following phenomenon. (shrink)

Often, sensory input underdetermines perception. One such example is the perception of illusory contours. In illusory contour perception, the content of the percept includes the presence of a contour that is absent from the informational content of the sensation. (By “sensation” I mean merely information-bearing events at the transducer level. I intend no further commitment such as the identification of sensations with qualia.) I call instances of perception underdetermined by sensation “underdetermined perception.” The perception of illusory contours (...) is just one kind of underdetermined perception. The focus of this chapter is another kind of underdetermined perception: what I shall call "active perception". Active perception occurs in cases in which the percept, while underdetermined by sensation, is determined by a combination of sensation and action. The phenomenon of active perception has been used by several to argue against the positing of representations in explanations of sensory experience, either by arguing that no representations need be posited or that far fewer than previously thought need be posited. Such views include, but are not limited to those of Gibson (1966, 1986), Churchland. (shrink)

I introduce some distinctions concerning depiction and show that the checker-shadow phenomenon is not an illusion of the kind it is claimed to be. This might also help to think more clearly about other ‘illusory’ phenomena.

This paper will address René Girard’s critique of the “humanization of nothingness” in modern Western philosophy. I will first explain how the “desire for death” is related to a phenomenon that Girard refers to as “obstacle addiction.” Second, I will point out how mankind’s desire for death and illusory will to self-divinization gradually tend to converge within the history of modern Western humanism. In particular, I will show how this convergence between self-destruction and self-divinization gradually takes shape through (...) the evolution of the concept of “the negative” from Hegel to Kojève, Sartre and Camus. Finally, we shall come to see that in Girard’s view “the negative” has tended to become an ever-preoccupying and unacknowledged symptom of mankind’s addiction to “model/obstacles” of desire. (shrink)

In the contemporary literature on panpsychism, one often finds the claim that a Russellian-monist version of panpsychism, i.e., _Russellian panpsychism_, is a superior view compared to alternative non-physicalist theories. The argument for this claim is that while Russellian panpsychism can integrate consciousness in the causal order and explain mental causation, alternative theories fail to do so. If this is correct, panpsychism deserves its place as a main contender in solving the mind-body problem. In this paper, I argue that Russellian panpsychism’s (...) superiority in explaining mental causation over competing accounts is illusory. On one reading, the proposed explanation is not an explanation of the phenomenon that is at stake in the mental causation debate. On an alternative reading, it is an explanation of the right phenomenon, but analogous explanations are available to competing accounts with less counterintuitive commitments. While there may be other considerations supporting panpsychism, explaining mental causation is not one. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 34.1 (2001) 1-20 [Access article in PDF] On the Hegelian Sublime: Paul de Man's Judgment Call Martin Donougho In recent years, the sublime has become a focus of renewed interest in philosophy and literary theory, despite being (perhaps in part because it is) "the most confused and confusing notion of the time" (Honour 1977, 145). 1 Much of the interest has been directed at the Kantian (...) account and the long tradition stemming from it. By contrast, little attention has been paid to G. W. F. Hegel's version of the sublime, whether of the phenomenon itself or of its conceptualization. That is natural enough, it might be thought, given the marginal place accorded the sublime in Hegel's scheme of things--he simply was not interested. Yet, that very marginality is of interest, if we follow the lead of the subtlest of commentators, Paul de Man, in his essay "Hegel on the Sublime" (1983). As de Man reads and diagnoses it, Hegel's marginalizing of the sublime (much as with the section on symbolics or, indeed, aesthetics tout court) serves the interests of an aesthetic ideology. The gesture of putting the sublime aside in fact reveals more about the philosopher's system than is found in his express doctrine, de Man insists. The sublime, like Hegel's allegory, should then be read symptomatically, as the "defective cornerstone" of the entire system. 2 In this essay, I have two aims: besides explicating Hegel's theory of the sublime on its own terms, I try to assess de Man's reading of Hegel's rhetorical strategies.Even if de Man's charges fail--as I argue they do--his approach to Hegel remains, I think, full of insights. The sublime, it might well be thought, betokens the same penetration of an objective field by subjective theory that (for Heidegger and others) is at issue with Western metaphysics as a whole; a prime instance of this would be Hegel's own allegedly masterful project, including his attempt at an aesthetic system. So understood, "on the sublime" would translate as over the sublime, that is, in a bid to enframe and control discourse about "the most high" or "great writing" (see Longinus). 3 And then we might ask, for example, what Hegel is doing [End Page 1] when he consigns the sublime to a minor role, or when he instead gives the classical Ideal star billing. How exactly does he stage his discourse about art?Oddly enough, Hegel's sublime is not at all part of the main theoretical line stemming (if only in retrospect) from Immanuel Kant. That line might be dubbed "the Romantic sublime"--the title of an influential book by Thomas Weiskel, which appeared posthumously in 1976--or, alternatively, "the Yale sublime," in honor of an entire group (which includes Geoffrey Hartman and Harold Bloom) who wrote about the tendency of Romantics such as William Wordsworth and Ralph Waldo Emerson to invest themselves in their topic. 4 Kant himself points to a possible illusory move he labels subreption. Here--to apply a useful distinction Peter de Bolla (1989) draws--we have not just a discourse on, but also a discourse of the sublime. 5 The discourse of the sublime produces the very category it is meant to analyze, hence providing a space for "experience" of the sublime. A boot-strapping process induces a "subject-effect," calls forth a subject position. The remarkable thing is that--although he is said at sixteen to have made a translation of Longinus 6 and although he was, of course, familiar with the whole Kantian approach, which in many respects should have been congenial to him--Hegel stands apart from this "Romantic," or "hermeneutic," sublime. He does not at all give the appearance of staging readings in the manner sketched above, but instead adopts a distanced, disinterested perspective on the phenomenon.Even so, his aesthetic system might be accused of framing a discourse on the sublime, which, through seeking dialectical profit on its investment, shades into a discourse of the sublime. Thus, de... (shrink)

The paper examines the philosophical implications of a phenomenon in the psychology of perception: the Mueller-Lyer illusion. In this visual effect, the impression is created that a horizontal line enclosed by acute angles is shorter than a similar line flanked by obtuse angles, though the lines are of equal length when measured with a ruler. While the Mueller-Lyer effect may be merely illusory when one adheres to the metrical laws of perceptual geometry based on Euclid, it is suggested (...) that, from a phenomenological standpoint, the effect has a validity of its own. Going further, the Mueller-Lyer configuration is adapted to provide an example of a form of visual experience that specifically violates one of Euclid's basic postulates. The article closes by exploring the possibility of non-Euclidean visual geometries in relation to the concept of causality, Einsteinian relativity, and anomalous phenomena. (shrink)

In 1921 was published the book of the famous Austrian-British philosopher and funder of the analytic philosophy Ludwig Johann Wittgenstein, in which he wrote, that the big part of our philosophical problems, which were subject of the thinking of the thousands philosophers, are created not by the difficulty of reality but by the complication of the language. When a philosopher analyzes a language he uses, he will find that the biggest part of the philosophical problems is illusory. Following Wittgenstein's (...) advices, in this article we probe to analyze what means the concept "polytheism" and to answer the questions: did the phenomenon, what is with this word described, anytime exist, or it is only a phantasies' fabrication, and all attempts to think about it are wandering in the dark labyrinths without exit. The first problem we have in our way is absolutely darkness in this question. We could not find any research, in which the concept of polytheism is analyzed in this way we changed. So we must get through the forest of an unknown ourselves without opportunity to have support from the experience of the predecessors. We hope our mistakes might be useful for the following researches. The Greek word "doxa polytheos" was first time used by Philo of Alexandria and after them many Judaic and Christian authors repeated this word opposing own religion to the paganism. Jan Bodin 1n 16th Century used this word in the modern mean as a France word "polythéisme". The Greek word "doxa polytheos" and the France one "polythéisme", though they are constructed of the same Greek word "Θεός", based on the different concepts, because in 16 centuries the word "Θεός" changed its means. In Greek-speaking society this word was used to detonate any being who overstate the material world. When Thales of Millet wrote, that "the world is full of gods", he did not mean that there is an Absolut in every small part of the world. When he used the word "Θεός" in this mean, Thales thought about different objects, as we called "God" now. The mean of the term "polytheism" is unclear and is the cause of many researches problems in the religious studies. The Greek word "Θεός" detonated every sacral being, which was the object of the worship, but not the Absolut. When this word went in the term "polytheism", its mean was changed, and it was used for the calling Absolut in the Christian meaning. This transformation of the meaning created the wrong conception that in the world there were or are religions, the members of them believes in the existence of some or many Absolutes. The problem of using concept "polytheism" is not a real academic problem but an illusions problem, what is caused by the wrong and incorrect using of the term. The Greek word "Θεός", of them are created the terms "monotheism" and "polytheism", is used in both terms in different meanings. In the term "monotheism" the word "Θεός" means God-Absolut, and in the term "polytheism" – any beings, what are the objects of the religious worship. The monotheism and polytheism are not two different phase of the entvelopment of the religious consciousness. These ideas are created by the wrongness of Hegel's philosophy and must be uprooted from the lexicon of the religious studies. (shrink)

In this article we want to rethink the educational significance of the novel from the perspective of a ‘metanovelistic’ reading of Don Quixote, often acclaimed as the ‘first modern novel’. Our point of departure is two-fold: on the one hand, there is the controversial contemporary phenomenon of de-reading, and all the educational discussions it entails; on the other hand, there is the existing tradition of literary education, which has already extensively reflected upon the (moral, epistemological, ontological) relations between novel (...) reading, education, and subjectification, but which perhaps also has exhausted its means for doing so. To problematize this double starting point in a new way, we propose to revisit the ‘origins’ of the (Western) novel and novel reading, at the dawn of modernity. Exploring the differences between the narratives of subjectification represented by the Cartesian cogito and Cervantes’ Don Quixote—which were near-contemporaries—we strongly argue for an educational–philosophical rehabilitation of the latter. In a first movement, and in dialogue with novelists Milan Kundera and Carlos Fuentes, we do so by focusing on the novel as a particular form or configuration of knowledge—one that is by nature experimental and pluralist. In a second movement, we link this to Jean Baudrillard’s famous distinction between ‘simulation’ and ‘illusion’, claiming that novel reading qua educational subjectification always involves a quixotic practice of adventurous, ‘playful’, and public negotiation between reality and its more or less illusory alternatives. (shrink)

Ours are Days of Decision and it's indispensable to transform our technics. For it, we must abandon the inherited conception of technics based on neutrality and autonomy. To this end, in this article we develop a socio-historical ontology for technics that argues: (a) To understand technics we have to take into consideration technical objects, handling, and the degree of guidance of the animal user. (b) Each technics is inseparable from its society. (c) The idea of a free use of technics (...) is illusory. There are always unexpected impacts and various uses of a given technics. (d) Technologies of the Capitalocene are imperial. (e) Technologies have acquired a destructive inertia and we have the obligation to understand technological development as a political phenomenon. (f) In order to go beyond the Capitalocene and advance towards Degrowth, we have to move from imperial technologies to humble technics. (shrink)

continent. 1.3 (2011): 149-155. The world is teeming. Anything can happen. John Cage, “Silence” 1 Autonomy means that although something is part of something else, or related to it in some way, it has its own “law” or “tendency” (Greek, nomos ). In their book on life sciences, Medawar and Medawar state, “Organs and tissues…are composed of cells which…have a high measure of autonomy.”2 Autonomy also has ethical and political valences. De Grazia writes, “In Kant's enormously influential moral philosophy, autonomy (...) , or freedom from the causal determinism of nature, became prominent in justifying the human use of animals.”3 One of the oldest uses of autonomy in English is a description of the French civil war from the late sixteenth century: “Others of the…rebellion entred in counsell, whether they ought to admit the King vpon reasonable conditions, specially hauing their autonomy.”4 Life, and in particular human life, and in particular human politics, is well served by the usages of autonomy . What about the rest of reality, however? Should it be thought of, if it's even considered real and mind-independent, as pure stuff for the manipulation or decorative tastes of truly autonomous beings? We tend to think of things such as paperweights and iPhones as mere tools of human design and human use. To use them is to cause them to exist as fully and properly as they can. But according to Martin Heidegger, when a tool such as a paperweight is used, it disappears, or withdraws ( Entzug ). We are preoccupied with copying the page that the paperweight is holding down. We are concerned with an essay deadline, and the paperweight simply disappears into this general project. If the paperweight slips, or if the iPhone freezes, we might notice it. All of a sudden it becomes vorhanden (present-at-hand) rather than zuhanden (ready-to-hand).5 Yet Heidegger is unable to draw a meaningful distinction between what happens to a paperweight when it slips from the book I'm copying from and what happens to the paperweight when it presses on the still resilient pages of the thick paperback itself. Further still and related to this point, even when I am using the paperweight as part of some general task, I am not using the entirety of the paperweight as such. My project itself selects a thin slice of paperweight-being for the purposes of holding down a book. Even when it is zuhanden the paperweight is withdrawn. Graham Harman is the architect of this way of thinking.6 Harman discovered a gigantic coral reef of withdrawn entities beneath the Heideggerian submarine of Da-sein, which itself is operating at an ontological depth way below the choppy surface of philosophy, beset by the winds of epistemology, and infested with the sharks of materialism, idealism, empiricism and most of the other isms that have defined what is and what isn't for the last several hundred years. At a moment when the term ontology was left alone like a piece of well chewed old chewing gum that no one wants to have anything to do with, object-oriented ontology (OOO) has put it back on the table. The coral reef isn't going anywhere and once you have discovered it, you can't un-discover it. And it seems to be teeming with strange facts. The first fact is that the entities in the reef—we call them “objects” somewhat provocatively—constitute all there is: from doughnuts to dogfish to the Dog Star to Dobermans to Snoop Dogg. People, plastic clothes pegs, piranhas and particles are all objects. And they are all pretty much the same, at this depth. There is not much of a distinction between life and non-life (as there isn't in contemporary life science). And there is not much of a distinction between intelligence and non-intelligence (as there is in contemporary artificial intelligence theory). A lot of these distinctions are made by humans, for humans (anthropocentrism). And the concept autonomy has come into play in policing such distinctions. In this essay I shall to try to liberate autonomy for the sake of nonhumans. I shall do so by parsing carefully the title, which is taken from Hakim Bey's work The Temporary Autonomous Zone .8 First we shall explore the term autonomous . Then we shall explore what the full meaning of zone is. Finally, we shall investigate what temporary means. Each of these terms is of great value. An object withdraws from access. This means that its very own parts can't access it. Since an object's parts can't fully express the object, the object is not reducible to its parts. OOO is anti-reductionist. But OOO is also anti-holist. An object can't be reduced to its “whole” either, “reduced upwards” as it were. The whole is not greater than the sum of its parts. So we have a strange irreductionist situation in which an object is reducible neither to its parts nor to its whole. A coral reef is made of coral, fish, seaweed, plankton and so on. But one of these things on its own doesn't embody part of a reef. Yet the reef just is an assemblage of these particular parts. You can't find a coral reef in a parking lot. In this way, the vibrant realness of a reef is kept safe both from its parts and from its whole. Moreover, the reef is safe from being mistaken for a parking lot. Objects can't be reduced to tiny Lego bricks such as atoms that can be reused in other things. Nor can be reduced upwards into instantiations of a global process. A coral reef is an expression of the biosphere or of evolution, yes; but so is this sentence, and we ought to be able to distinguish between coral reefs and sentences in English. The preceding facts go under the heading of undermining . Any attempt to undermine an object—in thought, or with a gun, or with heat, or with the ravages of time or global warming—will not get at the withdrawn essence of the object. By essence is meant something very different from essentialism . This is because essentialism depends upon some aspect of an object that OOO holds to be a mere appearance of that object, an appearance-for some object. This reduction to appearance holds even if that object for which the appearance occurs is the object itself! Even a coral reef can't grasp its essential coral reefness. In essentialism, a superficial appearance is taken for the essence of a thing, or of things in general. In thinking essentialism we may be able to discern another way of avoiding OOO. This is what Harman has christened overmining .? The overminer decides that some things are more real than others: say for example human perception. Then the overminer decides that other things are only granted realness status by somehow coming into the purview of the more real entity. When I measure a photon, when I see a coral reef, it becomes what it is. But when I measure a photon, I never measure the actual photon. Indeed, since at the quantum scale to measure means “to hit with a photon or an electron beam” (or whatever), measurement, perception ( aisthesis ), and doing become the same. What I “see” are deflections, tracks in a diffusion cloud chamber or interference patterns. Far from underwriting a world of pure illusion where the mind is king, quantum theory is one of the very first truly rigorous realisms, thinking its objects as irreducibly resistant to full comprehension, by anything.9 So far we have made objects safe from being swallowed up by larger objects and broken down into smaller objects—undermining. And so far we have made objects safe from being mere projections or reflections of some supervenient entity—overmining. That's quite a degree of autonomy. Everything in the coral reef, from the fish to a single coral lifeform to a tiny plankton, is autonomous. But so is the coral reef itself. So are the heads of the coral, a community of tiny polyps. So is each individual head. Each object is like one of Leibniz's monads, in that each one contains a potentially infinite regress of other objects; and around each object, there is a potentially infinite progress of objects, as numerous multiverse theories are now also arguing. But the infinity, the uncountability, is more radical than Leibniz, since there is nothing stopping a group of objects from being an object, just as a coral reef is something like a society of corals. Each object is “a little world made cunningly” (John Donne).10 We are indeed approaching something like the political valance of autonomy . The existence of an object is irreducibly a matter of coexistence. Objects contain other objects, and are contained “in” other objects. Let us, however, explore further the ramifications of the autonomy of objects. We will see that this mereological approach (based on the study of parts) only gets at part of the astonishing autonomy of things. Yet there are some more things to be said about mereology before we move on. Consider the fact that since objects can't be undermined or overmined, it means that there is strictly no bottom object . There is no object to which all other objects can be reduced, so that we can say everything we want to say about them, hypothetically at least, based on the behavior of the bottom object. The idea that we could is roughly E.O Wilson's theory of consilience .11 Likewise, there is no object from which all things can be produced, no top object . Objects are not emanations from some primordial One or from a prime mover. There might be a god, or gods. Suppose there were. In an OOO universe even a god would not know the essential ins and outs of a piece of coral. Unlike even some forms of atheism, the existence of god (or nonexistence) doesn't matter very much for OOO. If you really want to be an atheist, you might consider giving OOO a spin. If there is no top object and no bottom object, neither is there a middle object . That is, there is no such thing as a space, or time, “in” which objects float. There is no environment distinct from objects. There is no Nature (I capitalize the word to reinforce a sense of its deceptive artificiality). There is no world, if by world we mean a kind of “rope” that connects things together.12 All such connections must be emergent properties of objects themselves. And this of course is well in line with post-Einsteinian physics, in which spacetime just is the product of objects, and which may even be an emergent property of a certain scale of object larger than 10?¹?cm).13 Objects don't sit in a box of space or time. It's the other way around: space and time emanate from objects. How does this happen? OOO tries to produce an explanation from objects themselves. Indeed, the ideal situation would be to rely on just one single object. Otherwise we are stuck with a reality in which objects require other entities to function, which would result in some kind of undermining or overmining. We shall see that we have all the fuel we need “inside” one object to have time and space, and even causality. We shall discover that rather than being some kind of machinery or operating system that underlies objects, causality itself is a phenomenon that floats ontologically “in front of” them. In so doing, we will move from the notion of autonomy and begin approaching a full exploration of the notion of zone , which was promised at the outset of this essay. Since an object is withdrawn, even “from itself,” it is a self-contradictory being. It is itself and not-itself, or in a slightly more expanded version, there is a rift between essence and appearance within an object (as well as “between” them). This rift can't be the same as the clichéd split between substance and accidents , which is the default ontology. On this view, things are like somewhat boring cupcakes with somewhat less boring sugar sprinkles on them of different colors and shapes. But on the OOO view, what is called substance is just another limited slice of an object, a way of apprehending something that is ontologically fathoms deeper. What is called substance and what is called accidence are just on the side of what this essay calls appearance. The rift (Greek, chorismos ) between essence and appearance means that an object presents us with something like what in logic is known as the Liar: some version of the sentence “This sentence is false.” The sentence is true, which means that it is a lie, which means that it is false. Or the sentence is false, which means that it is telling the truth, which means that it is true. Now logic since Aristotle has tried desperately to quarantine such beasts in small backwaters and side streets so that they don't act too provocatively.14 But if OOO holds, then at least one very significant thing in the universe is both itself and not-itself: the object. An object is p ? ¬p. To cope with this fact, we shall need some kind of paraconsistent or even fully dialetheic logic, one that is not allergic to dialetheias (double-truthed things). Yet if we accept that objects are dialetheic, p ? ¬p, we can derive all kinds of things easily from objects. Consider the fact of motion. If objects only occupy one location “in” space at any “one” time, then Zeno's paradoxes will apply to trying to think how an object moves. Yet motion seems like a basic, simple fact of our world. Either everything is just an illusion and nothing really moves at all (Parmenides). Or objects are here and not-here “at the same time.”15 This latter possibility provides the basic setup for all the motion we could wish for. Objects are not “in” time and space. Rather, they “time” (a verb) and “space.” They produce time and space. It would be better to think these verbs as intransitive rather than transitive, in the manner of dance or revolt . They emanate from objects, yet they are not the object. “How can we know the dancer from the dance?” (Yeats).16 The point being, that for there to be a question, there must be a distinction—or there must not be (p ? ¬p).17 It becomes impossible to tell: “What constitutes pretense is that, in the end, you don't know whether it's pretense or not.”18 In this notion of the emergence of time and space from an object we can begin to understand the term zone . Zone can mean belt , something that winds around something else. We talk of temperate zones and war zones. A zone is a place where a certain action is taking place: the zone winds around, it radiates heat, bullets fly, armies are defeated. To speak of an autonomous zone is to speak of a place that a certain political act has carved out of some other entity. Cynically, Tibet is called TAR, the Tibetan Autonomous Region, for this very reason. In this phrase, Region tries to emulate zone : it sounds as if the place has its own rules, but of course, it is very much under the control of China. What action is taking place? “[N]ot something that just is what it is, here and now, without mystery, but something like a quest…a tone on its way calling forth echoes and responses…water seeking its liquidity in the sunlight rippling across the cypresses in the back of the garden.”19 If as suggested earlier there is no functional difference between substance and accidence; if there is no difference between perceiving and doing; if there is no real difference between sentience and non-sentience—then causality itself is a strange, ultimately nonlocal aesthetic phenomenon. A phenomenon, moreover, that emanates from objects themselves, wavering in front of them like the astonishingly beautiful real illusion conjured in this quotation of Alphonso Lingis. Lingis's sentence does what it says, casting a compelling, mysterious spell, the spell of causality, like a demonic force field. A real illusion: if we knew it was an illusion, if it were just an illusion, it would cease to waver. It would not be an illusion at all. We would be in the real of noncontradiction. Since it is like an illusion, we can never be sure: “What constitutes pretense…” A zone is what Lingis calls a level . A zone is not entirely a matter of “free will”: this concept has already beaten down most objects into abject submission. Objects are far more threateningly autonomous, and sensually autonomous, than the Kantian version of autonomy cited in the first paragraph of this essay. A zone is not studiously decided upon by an earnest committee before it goes into action. One of its predominant features is that it is already happening . We find ourselves in it, all of a sudden, in the late afternoon as the shadows lengthen around a city square, giving rise to an uncanny sensation of having been here before. Objects emit zones. Wherever I find myself a zone is already happening, an autonomous zone. It is the nonautonomous zones that are impositions on what is already the case. Or rather, these zones are autonomous zones that exclude and police. They are brittle. Every object is autonomous, but some objects try to maintain themselves through rigidity and brittleness, like (and such as) a police state. Paradoxically, the more rigidly one tries to exclude contradiction, the more virulent become the dialetheias that are possible. I can get around “This sentence is false” by imagining that there are metalanguages that explain what counts as a sentence. Then I can decide that this isn't a real sentence. This is basically Alfred Tarski's strategy, since he invented the notion of metalanguage specifically to cope with dialetheias.20 For example we might claim that sentences such as “This sentence is false” are neither true nor false. But then you can imagine a strengthened version of the Liar such as: “This sentence is not true”; or “This sentence is neither true nor false.” And we can go on adding to the strengthened Liar if the counter-attack tries to build immunity by specifying some fourth thing that a sentence can be besides true, false, and neither true nor false: “This sentence is false, or neither true nor false, or the fourth thing.” And so on.21 It seems as if language becomes more brittle the more it tries to police the Liars of this world. Why? I believe that this increasing brittleness is a symptom of a deep fact about reality. What is this deep fact? Simply that there are objects, that these objects are withdrawn, and that they are walking contradictions. This means indeed that (as Lacan put it) “there is no metalanguage,” since a metalanguage would function as a “middle object” that gave coherency and evenness to the others.22 Since there is no metalanguage, there is no rising above the disturbing illusory play of causality. This may even have political implications: no global critique is therefore possible, and attempts to smooth out or totalize are doomed to fail. To think the zone is to think the notion of temporary , which we shall now begin to discuss in greater detail. The zone is not in time: rather it “times.” But because a zone is an emanation of an object, it is based on a wavering fragility, since objects are p ? ¬p. When an object is born, that means that it has broken free of some other object. An object can be born because it and other objects are fragile. If not, no movement would be possible. Objects contain the seeds of their own destruction, a dialetheic sentence that says something like “This sentence cannot be proved.” Kurt Gödel argues that every true system of propositions contains at least one sentence that the system cannot prove. In order to be true, the system must have a minimum incoherence. To be real, it has to be fragile. Imagine a record player. Now imagine a record called I Cannot Be Played on This Record Player . When you play it on this record player, it produces sympathetic vibrations that cause the record player to shudder apart. No matter how many defense mechanisms you build in, there will always be the possibility of at least one record that destroys the record player.23 That is what being physical is. An object is inherently fragile because it is both itself and not-itself. When the rift between appearance and essence collapses, that is called destruction, ending, death. When an object breaks, several new objects are born. An opera singer sings a loud note in tune with the resonant frequency of a wine glass. (See the movie included below.) The singing is a zone, an autonomous level of intensity, opening a rift between appearance and essence. The glass ripples—for a moment it is nakedly a glass and a not-glass—almost as if it were having an orgasm, a little death. It is caught in the rift of the singing. Then its structure can't handle the coherence of the sound waves, and it breaks. It is incoherence and inconsistency that is the mark of existence, not consistency and noncontradiction. When things break or die, they become coherent. Essence disappears into appearance. I become the memories of friends. A glass becomes a dancing wave. Instantly, there are glass fragments, new temporary autonomous zones. The fragments have broken free from the glass. They are no longer its parts, but emanate their own time and space, becoming perhaps accidental weapons as they bury themselves in my flesh. Thus Hakim Bey's instructions on creating temporary autonomous zones oscillate disturbingly between performance art and politics, circus clowning and revolution. To play with the aesthetic is to play with causality, to rip from the sensual ether emanating from things new regions, new zones. Anarchist politics is the creation of fresh objects in a reality without a top or a bottom object, or for that matter a middle object: Everything in nature is perfectly real including consciousness, there's absolutely nothing to worry about. Not only have the chains of the Law been broken, they never existed; demons never guarded the stars, the Empire never got started, Eros never grew a beard. … There is no becoming, no revolution, no struggle, no path; already you're the monarch of your own skin—your inviolable freedom waits to be completed only by the love of other monarchs: a politics of dream, urgent as the blueness of sky.24 Bey imagines that this is because chaos is a primordial “undifferentiated oneness-of-being.” A Parmenides or a Spinoza or a Laruelle would read this a certain way. Individual objects, or decisions to talk about this rather than that, are just maggot-like things crawling around on the surface of the giant cheese of oneness.25 Yet he also describes chaos as “Primordial uncarved block, sole worshipful monster, inert & spontaneous, more ultraviolet than any mythology.” This image is of an inconsistent object, not of an undifferentiated field. An object, indeed, that can be distinguished from other things. If not, then the first part of The Temporary Autonomous Zone , subtitled “The Broadsheets of Ontological Anarchism,” is a kind of onto-theology. Onto-theology proclaims that some things are more real than others. Bey, however, is writing poetically, and thus ambiguously. We are at liberty to read “undifferentiated oneness-of-being” as something like the irreducibility of a thing to its parts and so forth (undermining and overmining). This certainly seems closer to the language in the following paragraph: “There is no becoming … already you're the monarch of your own skin.”26 On this view, there is no difference between art and politics: “When ugliness, poor design & stupid waste are forced upon you, turn Luddite, throw your shoe in the works, retaliate.” Since Romanticism this has been the war cry of the vanguard artist.27 To say to is to fall prey to the tired axioms of the avant-garde, and we think we know how the game goes. But OOO is not simply a way to advocate “new and improved” versions of this shock-the-bourgeoisie boredom. Bey's text is certainly full enough of that. Rather, since causality as such is aesthetic, and since nonhumans are not that different from humans, the new approach would be to form aesthetic–causal alliances with nonhumans. These alliances would have to resist becoming brittle, whether that brittleness is right wing (authoritarianism) or left wing (the endless maze of critique). No “ism,” especially not the ultimate forms, nihilism and cynicism, is in any sense effective at this point. All forms of brittleness are based on the mistaken assumption that there is a metalanguage and that therefore “Anything you can do, I can do meta.” I will not be listing any approaches here, as Bey does. Such lists and manifestos belong to the vanguardism that no longer works. Why? Not because of some marvelous revolution in human consciousness, but because nonhumans have so successfully impinged upon human social, psychic and aesthetic space. It is the time after the end of the world. That happened in 1945, when a thin layer of radioactive materials was deposited in Earth's crust. Geology now calls it this era the Anthropocene . Ironically, this period, named after humans, is the moment at which even the most thick headed of us make decisive contact with nonhumans, from mercury in our blood to manta rays to magnesium. Richard Dawkins, Pat Robertson and Lady Gaga all have to deal with global warming and mass extinction, somehow. We now live in an Age of Asymmetry marked by a skewed, spiraling relationship between vast knowledge and vast nonhuman things—both become vaster and vaster because of one another and for the same reasons.28 This means that coming up with the perfect attitude or the perfect aesthetic prescription just won't work any more. Even the most hardened anthropocentrist now has to pay through the nose for basic food supplies, and has to use more sunscreen. Whether he knows it or acknowledges it, he is already acting with regard towards nonhumans. There is nothing special to think, no special critique that will get rid of the stains of coexistence. The problem won't fit into the well-established modern boxes, which is why the “mystical,” “spiritual” quality of Bey's prose is welcome. Of course, when I put it this way, you may immediately close off and decide that I am talking about perfect attitudes after all, or something outside of politics, or other ways that the radical left marshals to police its thinking of the nonhuman. Because that is what is really at stake in all this: the nonhuman in its coexistence with the human—bosons, gods, clouds, spirits, lifeforms, experiences, the sunlight rippling across the cypresses. Bey begins to get at this in a Latour litany in the second part of The Temporary Autonomous Zone , “The Assassins”: Pomegranate, mulberry, persimmon, the erotic melancholy of cypresses, membrane-pink shirazi roses, braziers of meccan aloes & benzoin, stiff shafts of ottoman tulips, carpets spread like make-believe gardens on actual lawns—a pavilion set with a mosaic of calligrammes—a willow, a stream with watercress—a fountain crystalled underneath with geometry— the metaphysical scandal of bathing odalisques, of wet brown cupbearers hide-&-seeking in the foliage—“water, greenery, beautiful faces.”29 This will be conveniently dismissed as orientalism. If we're never allowed to escape the crumbling prison of modernity for fear of imperialism there is truly no hope. In a similar way, the fear of anthropocentrism and anthropomorphism is very often staged from a place that just is anthropocentrism .30 Critique turns into ressentiment . An object radiates a zone that is aesthetic and therefore causal. Because objects “time” they are temporary. Not because they exist “in” time that eventually gets the better of them. Their very existence implies the possibility of their non-existence. Since objects are not consistent, they can cease to exist. But nothing, no one, will ever be able to insert a blade between appearance and existence, even thought there is a rift there. Now that's what I call autonomy. NOTES 1. John Cage, Silence: Lectures and Writings (Middletown, CT: Wesleyan University Press, 1973), 96. 2. P. B. Medawar and J. S. Medawar, The Life Science: Current Ideas in Biology (London: Wildwood House, 1977), 8. 3. David DeGrazia, Animal Rights: A Very Short Introduction (Oxford: Oxford University Press, 2002), 5. 4. Antony Colynet, A True History of the Civil Warres in France (London, 1591), 480. 5. Martin Heidegger, Being and Time , tr. Joan Stambaugh (Albany, N.Y: State University of New York Press, 1996) 62–71. 6. Graham Harman, Tool-Being: Heidegger and the Metaphysics of Objects (Peru, IL: Open Court, 2002). 7. Hakim Bey, The Temporary Autonomous Zone (Brooklyn: Autonomedia, 1991). 8. Graham Harman, The Quadruple Object (Ripley: Zero Books, 2011), 7–18. 9. This is not the place to get into an argument about quantum theory, but I have argued that quanta also do not endorse a world that I can't speak about because it is only real when measured. This world is that of the reigning Standard Model proposed by Niels Bohr and challenged by De Broglie and Bohm (and now the cosmologist Valentini, among others). See Timothy Morton, “Here Comes Everything: The Promise of Object-Oriented Ontology,” Qui Parle 19.2 (Spring–Summer, 2011), 163–190. 10. John Donne, Holy Sonnets 15, in The Major Works: Including Songs and Sonnets and Sermons , ed. John Carey (Oxford: Oxford University Press, 2009). 11. Edward O. Wilson, Consilience: The Unity of Knowledge (New York: Knopf, 1998). 12. Martin Heidegger, What Is a Thing? (Washington: Regnery, 1968), 243. 13. Albert Einstein, Relativity: The Special and the General Theory (London: Penguin, 2006); Petr Horava, “Quantum Gravity at a Lifshitz Point,” arXiv:0901.3775v2 [hep-th]. 14. Graham Priest, In Contradiction (Oxford University Press, 2006), passim: the most notable recent quarantine officers have been Tarski, Russell, and Frege. 15. Priest, In Contradiction , 172–181. 16. William Butler Yeats, “Among School Children,” Collected Poems , ed. Richard J. Finneran (New York: Scribner, 1996). 17. Paul de Man, “Semiology and Rhetoric,” Diacritics 3.3 (Autumn, 1973), 27–33 (30). 18. Jacques Lacan, Le seminaire, Livre III: Les psychoses (Paris: Editions de Seuil, 1981), 48. See Slavoj Zizek, The Parallax View (Cambridge, Mass.: MIT Press, 2006), 206. 19. Alphonso Lingis, The Imperative (Bloomington: Indiana University Press, 1998), 29. 20. Priest, In Contradiction , 9–27. 21. See Graham Priest and Francesco Berto, “ Dialetheism ,” The Stanford Encyclopedia of Philosophy (Summer 2010 Edition), ed. Edward N. Zalta. 22. Jacques Lacan, Écrits: A Selection , tr. Alan Sheridan (London: Tavistock, 1977), 311. 23. The analogy can be found at length in Douglas Hofstadter, “Contracrostipunctus,” Gödel, Escher, Bach: An Eternal Golden Braid (New York: Basic Books, 1999), 75–81. 24. Bey, “ Chaos: The Broadsheets of Ontological Anarchism ,” Temporary Autonomous Zone . 25. This is closest to the language of François Laruelle in Philosophies of Difference: A Critical Introduction to Non-Philosophy (New York: Continuum, 2011) 179. 26. Bey, “ Chaos: The Broadsheets of Ontological Anarchism ,” Temporary Autonomous Zone . 27. Peter Bürger, Theory of the Avant Garde (Minneapolis: University of Minnesota Press, 1984). 28. For further discussion see Timothy Morton, “From Modernity to the Anthropocene: Ecology and Art in the Age of Asymmetry,” The International Social Science Journal 209 (forthcoming). 29. Bey, “ The Assassins ,” Temporary Autonomous Zone . 30. Timothy Morton, The Ecological Thought (Cambridge, Mass.: Harvard University Press, 2010), 75–76. (shrink)

Since 2008 I have been closely following the conceptual/performance/video work of Daniel Peltz. Gently rendered through media installation, ethnographic, and performance strategies, Peltz’s work reverently and warmly engages the inner workings of social systems, leaving elegant rips and tears in any given socio/cultural quilt. He engages readymades (of social and media constructions) and uses what are identified as interruptionist/interventionist strategies to disrupt parts of an existing social system, thus allowing for something other to emerge. Like the stereoscope that requires two (...) identical images to create an illusion of a three-dimensional image, Peltz sometimes visualizes two separate elements to create an object or moment that requires space and depth to focus on its varied layers. They say your brain has to process and make meaningful sense out of all that visual information before it can accept the illusion. I say your brain has to do a similar thing when looking and seeing the divine, magical, and faithful (social) art making of Daniel Peltz. Daniel Peltz is Associate Professor of Film/Animation/Video at RISD. He divides his time between Rhode Island and Sweden and is currently at work on an exhibition at Botkyrka Konsthall, Stockholm opening February 2013 and a new project to be included in the IASKA: Spaced Biennial (Australia) in 2014. This interview took place on Skype and is part one of a two-part interview. Feliz Lucia Molina: Are you in Providence, RI? Daniel Peltz: I’m at my house in Providence. I’ve been back for six days teaching winter session at RISD and doing this workshop series—these investors’ drum circles with a group of wealth managers. a client of the firm, 2013, photo Shirin Adhami FLM: The wealth managers were all drumming together? DP: They were all drumming in response to the performance of their retirement portfolios. FLM: Is this part of the “Unrealized Gain/Loss” piece? DP: Yes, it’s part of a show I’m working on in Sweden. I can show you because it was just today. I’ll show you some of this. Lets see—share screen [click, click, click]. This is the room. I’ve been using the camera system that’s already installed in the conference rooms to record them. So the video is being recorded directly by the wealth management office’s tech staff. These are the people I worked with in the last workshop. This conference table is less wondrous. They’ve been learning to drum in response to their retirement portfolios. I started by bringing in my little bit of wealth for them to propose a management strategy, I came to the follow-up meeting with a counter proposal, which was this workshop. So they agreed to do this series of workshops instead of managing my wealth. FLM: Does everybody in the room manage your wealth? That’s kind of a lot of people. DP: That woman in the back there and Craig —they handle new client business. So when you come there with your wealth, they sit down with you and suggest to you how they would manage it. They’re very nice, responsible people. FLM: And where is this? DP: This is in Providence and the one I was showing you is in Waltham, where I was today. Then I’m going to Newport for the last one on Friday. So I will have done four of them. This is the group in Waltham that I just played with today. I played directly with the two groups in Providence and I’m working with an ethnomusicologist at Brown, Asha Tamarisa, who is facilitating the last two. She’s helped develop the workshop in terms of figuring out how to train a group to do this and thinking about the compositional challenges of working in response to retirement portfolio data. FLM: Screensharing helps me to figure out tiny bits here and there about the project. DP: I might even be able to play you a little of the audio I’ve also been working with a group of professional percussionists on what will become a quarterly public investors’ drum circle event. Their stuff was really nice, but I want you to hear what we sounded like in the workshops. They’ve all been recorded by the a/v system in the offices. We use a simple structure where the drummer investors interpret the sensation of gain or loss as embellishments to a base heartbeat rhythm. The group holds the heartbeat and, as each person experiences gain or loss, they embellish that rhythm. "Screensharing helps me to figure out tiny bits here and there about the project" FLM: Is the process all very spontaneous? DP: Its actually quite structured. We produce a custom stock ticker that shows the performance of their collective portfolios. In advance of the workshop each participant submits assets in their retirement portfolio. Then we make a stock ticker that shows the real-time performance of their assets so that they can respond to almost live data. FLM: Are they reading the stock ticker projected up on the screen in the room? Do people drum in correspondence to the visual live data of the performance of their assets? DP: Exactly. They’re looking at the stock ticker as opposed to each other, so it’s a slightly shifted drum circle. They’re looking at the ticker but they’re listening to each other—that’s what we’re practicing. For example, NVO—the price is 172.08 but it’s down -1.16 and as that moves across the screen, the person who’s retirement is invested in that asset starts to embellish when that arrow first appears, based on their experience of loss. They stop when it exits the screen and return to the heartbeat. You could have one ticker for each retirement portfolio, but the way the workshop is constructed is that we just isolate one asset from each person’s portfolio so that everyone in the group is represented in a single ticker. So they’re drumming and looking at the ticker, but they’re hearing each other experience gain and loss. We’ve removed direct visual engagement from the social structure of a drum circle but the oral engagement is still there. FLM: So they had their own sound interpretation of gain and loss? DP: Yeah and that part is quite spontaneous as you were saying. In some of the preparatory exercises we’ve been working to give the participants more strategies for interpreting the sensations of gain and loss. We’re trying to develop their capacity to embellish a heartbeat or base rhythm but I’m not invested in having a melodious result. I’m quite curious about what this kind of structure will result in without any desire for a particular result. FLM: For context, can you talk about the project you did a couple years ago in Bali, “Unrealized Gain/Loss” in relation to this current wealth management project? DP: The workshops I’ve been doing use a similar strategy to the other components in this project. It started in Indonesia on my sabbatical and I was really trying to understand where I was physically and where I was being on sabbatical—this kind of strange jubilee structure where every seventh year you’re supposed to renew your self. And it was around the time of the global financial crisis. I was on sabbatical for the global financial crisis. I remember watching my father, in particular, respond to the financial crisis by monitoring his retirement portfolio and trying to make sense of it. I realized on a visit to their home that he checked his retirement portfolio every single day and I was really struck by that because in some way our parents are mysteries to us as children, especially their moods. We know how important their moods are but we don’t know what governs them. And somehow it was like I’d figured it out, it’s the performance of the DOW! So I think there was something in that. Then I was in Indonesia and I had been drawn there by an interest in their highly ritualized Hindu culture, where so much of life is driven by a ceremonial calendar. I was interested in Bali as this predominantly Hindu pocket within a predominantly Islamic country and life there being organized by this ritual calendar functioning as a kind of resistance to the dominant global religion of free-market capitalism. So I started to explore that correlation between the ways in which this culture that I was living in was sort of “living for the afterlife” and this idea within certain segments of American society of “living for the afterwork life”. The idea that your wellbeing in the “afterwork life” is tied to forces that are unseen and largely beyond your control has strong similarities to many religious understandings of the universe. So I started to explore that and the crafts and materials that were around me were primarily Batik and percussion. Percussion is a huge part of daily life in Bali. These gamelan troupes were everywhere. And I also happened to be there for Nyepi, the day of silence, which is preceded by a very elaborate procession and construction of demonic statues. These were the things that were around me and I started studying Batik with one of the Batik artists there and also started a conversation with two master Batik artists, one who is American and her Indonesian husband. I developed these patterns that were based on symbols from the performance of my retirement portfolio and worked with the batik artists to produce two sarongs. d. peltz - 2012 In producing the designs, I treated the performance of my retirement portfolio since my arrival at RISD [7 years] as a significant interval and then I looked at the ways in which decisions are made within retirement portfolios as having an extension outwards from the individual assets that underlie the retirement portfolio, which are kind of like the base elements of the retirement world. Then there’s the allocation of your assets, which is a global way of understanding an individual according to typologies, which are often referred to in terms of risk—this notion of a ‘risk profile’. What type of ‘person’ you are is determined by your attitude towards risk, or potentiality, and I found that to be a really fascinating way of understanding the universe. I remember looking at the tabs in my retirement portfolio and finding this one for viewing ‘Unrealized Gain/Loss’ and that’s often how I work—is just going through the Cambridge Parking Code, for example, and finding this section of the code that was called ‘Crossing Non-Signalized Locations’ and just feeling “I can’t do any better than that,” you know? That’s what I was talking about in terms of ready-mades that exist in the social sphere. So I found that tab, actually, a long time ago, and I pulled it out of a journal when I was there [in Bali] working on these pieces and I wound up making these two sarongs and later on a series of porcelain vessels for holding one’s unrealized gains and losses. At the time, I knew that I wanted a performance to come out of them, but I wasn’t sure what it was. I was inspired very much by this sort of thing: Pulls out a TIAA-CREF brochure with a man in a suit seated at a table. This guy is probably an actor, and [the brochure] says “TIAA-Cref announces “Individual counseling sessions at the Rhode Island School of Design. Individual counseling sessions at no additional cost to you. You can discuss your personal financial situation with an experienced TIAA consultant on a confidential basis. We are available to help you discuss how to achieve your financial goals by investing in financial solutions such as mutual funds, brokerage, life insurance, and annuities...etc....What retirement benefits best fits your situation?” Often I encounter this and I think O.K., this is one way to prepare for the after-work life and it seems inadequate to me. But, I also find it really inspiring. I really like the visual language of it. I kind of want to be that man. I’d like to see if I could maybe buy his clothes. FLM: What it is about the man on the brochure that interests you? DP: He’s offering personalized objective advice and a detailed evaluation of everything you need to know and do. Who wouldn’t want that? But he’s also something of a contemporary priest or priestess, mediating between the unseen all-powerful universe of global capitalism and the common worker. So I started off developing Unrealized Gain/Loss directly from the charts that represent the performance of my retirement portfolio. Then I came home and I wanted to use those. I had this word in my journal “unrealized gain/loss vessel.” I had this notion of vessels that would contain unrealized gains and losses. That felt really important to me that they would have somewhere to go. I had been thinking a lot about altars and making offerings—that somehow this really fickle, massive, difficult-to-comprehend-universe of the financial world—that somehow it might be nice if you could making an offering to it. [In Bali] they made such beautiful elaborate offerings. So I studied offering making as well with one of the women there and she taught me some of the standard forms created by folding leaves and the significance of the floral arrangements. I started working in clay and then moved to porcelain and I made these unrealized gain/loss vessels. I made a few of them, they have holes on either side that you can’t get your fingers in. But something can go in there and something can go out of there. It’s a nice size for putting on an altar. Then I got this commission from Artists in Context who was interested in my doing something for this project “Artists Perspectives for the Nation” project. I proposed initiating these investors’ drum circles as a new public performance form. I’m interested in bringing together those two symbols—the symbol of the djembe and the drum circle. unrealized gain/loss vessel - d.peltz - 2012 FLM: I can imagine the public digital stock ticker performing like a soft fleeting stream of information, a kind of (meaningless) illusory comfort blanket. DP: In some way you have to understand its relevance outside of the obvious, right? Because the obvious is illogical. Nobody is actually using that data to day trade, for example. People aren’t sitting there with their computers watching the market data in Times Square or setting up an outdoor office and being like “OK it’s up 3 points or it’s up 1.56, trade! Ok now buy, Ok now sell!” That would be a kind of a nice performance, actually. But actual day traders would want more up to date data than that. To understand what that data is doing is really important. And that’s something I’ve realized—that I’m interested in a particular kind of data visualization, which is not about what data can tell people, but what data can tell people who are visualizing it. For example, in the Cambridge Project “Crossing Non-Signalized Locations” I was interested in the 10,000 excuses archive of data recording five years worth of excuses for why people thought they shouldn’t have received their parking ticket. I was not interested in making that excuse wall so that the public could see and understand this data. Inevitably the data will be seen by others but I was really interested in what the action of visualizing the data told those who were visualizing it. The parking attendants themselves were writing those excuses on the wall—I was interested in what that kind action of writing the excuses on the wall told them about the data. Similarly, I’m interested in designing a way to allow people to pass this data from the unseen universe of the market, through their own bodies, which happens through the merging of the drum and the stock ticker. I’m interested in those two also as symbols; the drum as this symbol of the earth, the body and a pagan counterculture, and the stock ticker referring to the ethereal world of global markets—bringing those two together and making them dependent. I’m often drawn to conceptual propositions that I become invested in testing in a sincere way—at first they often they sound humorous to others, but I have to remember that there is humor in them. I don’t sit around and laugh about these things. I stop finding them funny at all. I’m interested in the proposition that we could know something about the after-work life by drumming in response to our retirement portfolio. So then I become really interested in how to craft that into a viable performance form for myself and others. FLM: The aspect of using sound in “Unrealized Gain/Loss” as a way of embodying the information to the asset holder is really intriguing—using sound as a means of embodying the asset data. Was sound a medium that made sense to use immediately or were you considering other means of attempting to embody it? DP: Well I do use other mediums within the project like textile, ceramic, and batik patterns. I was first drawn to the history of Batik patterns as a socio-economic stratification system and the vessels as a way of embodying or manifesting this data of unrealized gain and loss. My first approach was to work with meditation actually—a meditation workshop with my colleagues. I was going to offer this “Unrealized Gain/Loss” workshop where you would explore the sensations of gain and loss by adapting the way yogi-nidra brings you into contact with your physical surroundings and stretches your perception. FLM: At Naropa University there are/were business & compassion workshops—a sort of mash-up of business and compassion and how compassion could be incorporated into a business model. This process and engagement of “embodying data” also has to do with “Participatory Democracy and the Future of Karaoke” you created at the DNC in Denver in 2008. DP: That kind of appropriation and instrumentalization of spiritual practice could be disturbing and thus compelling as a strategy. For various reasons, I’ve come to be drawn to both the form of a quarterly public performance and the established performance form of a drum circle. Its something I’ve seen myself do before, that is to mess up a really good functional social system like a drum circle or karaoke. I remember I was developing language for the karaoke project and started calling it “Participatory Democracy and the Future of Karaoke” and one of my assistants on the project, who’s an incredible artist, said, “but don’t you think the future of karaoke is guitar hero?” and I realized that maybe he thought I was trying to improve the form. I’m just trying to get people to have this shifted embodied experience, I need to craft the performance context so that they can do that. In the case of the karaoke project, for example, what did I need in order to be able to do this [a person to stand up in front of a bar and deliver a karaoke speech]? I realized that the body is very vulnerable so I built a podium so that the speaker can feel secure enough to do this, otherwise you couldn’t get to this state achieved by passing these speeches through the body. Then I was, like, well you need to be able to practice the lyrics because you don’t know all the “songs” by heart, which became an insert to the massive track books carried by most karaoke VJs. And then sometimes the crowd in the bar isn’t there with me, so I needed to extract the voice of the crowd cheering from the original venue and I needed the local audience to cheer if they wanted to. I’m interested in both where the form succeeds and fails. In particular, one of the most interesting things is this auditory gap between the space where you are, the reduced scale of applause in your own little bar, and this grand scale of applause at the convention center where the speech was originally delivered. FLM: How did the concept of “Participatory Democracy Karaoke” come about and why did you use karaoke as a means of engaging what was happening at the DNC in 2008? DP: I was looking at a lot of different readymade media infrastructures within the city at the time. I was interested in the emergency broadcast systems and I developed a proposal to repurpose that system and karaoke became an important symbol because it was this populist form that was already engaged in exploring the sensation of celebrity but also visualizing the gap between ourselves and those with more power and influence. So it had this readymade capacity to play with power and celebrity and I felt like the Obama presidential campaign, the first one in particular, had some very curious overlaps with this culture of celebrity. Obama of course rose to power partly based on his oratory abilities and I was interested in how karaoke as a vehicle was so adept at offering people all that was left of authentic expression in a political speech. Managing a politician and constructing their identity is such a developed practice that it becomes, kind of automatically, a metaphor for the way that our own identities are constructed. Of course the Obama campaign was very hip and savvy and deploying this notion of grassroots. It was really pioneering in its use of social media and this deployment of notions of populism. I was interested at that time in the capacity of karaoke to track speech patterns, precise tempos of anyone’s delivery, and that to me was a way of thinking about what might be left of the authentic self. I was interested in karaoke’s capacity to extract that authentic component and offer it to others. So not just to stand up and be them, but to [literally] pass their speech patterns through your own body. A long time ago, it started to strike me as odd that one would make media at all. It struck me as a kind of un-contemporary way of going about making art in an age of media overflow. That logic extended into my thinking on delivery devices and installation as well. Why would one buy a screen or even set one up when there are so many out there? And the way in which these media displays function in karaoke bars and bars in general is very interesting to me. I’m drawn to this passive consumption of media where your primary social interaction is with the bartender or a few other individuals but these screens are around you and your attention is shifting back and forth between these spaces. So much political rhetoric is spoken to a half-listening audience. I was interested in what was happening in the slippage and that karaoke was a kind of slippage amplifier. So if you put people in a bar and they are delivering a Kucinich speech and Kucinich comes up on a screen then your getting a sound bite of Kucinich and an image of Kucinich and your friend is talking to you— FLM: A kind of magic takes place in that incongruency between sound and image and the karaoke participant who’s relaying the speech-text at the same time. DP: Exactly and there’s some kind of truth in that experience of reality. FLM: Yeah, there’s something uncanny about seeing the body close-up like that as though it can’t lie to you in that moment or context. It’s a weird moment of luminous clarity. The work you’ve done and all of what you’re saying about karaoke is so very interesting to me. Growing up, my dad and uncles sang karaoke a lot (and still do) and being first-generation Filipino American is a different cultural subtext entirely. I’m also seeing it from the position of witnessing family members who are carriers of these stories and songs. And seeing them cherish these Tony Bennett, Frank Sinatra, Elvis Presley songs so much, I also see how their bodies are literal vessels of popular music that signifies something greater—it signifies their cultural and socioeconomic place in the world. The way that they cherish these American 1950s and 1960s pop songs is similar to having a certain kind of reverence for their spiritual faith or Catholicism. It’s a similar kind of care, focus, and attention exerted in karaoke and Catholicism—that these two structures and systems give something to focus on. Setsuko, Seiji and Hitoshi in Obama, Japan as Obama in Indiana — d. peltz — 2008 DP: Sure there something about the relationship we have to our candidate or the way we go about choosing a candidate, which is very similar to a deity or idol. I learned a lot about karaoke culture through this project. I’d never done karaoke. I’d never been interested in it as a form and then I travelled to Japan as part of the project when I made “Setsuko, Seiji and Hitoshi in Obama, Japan as Barack Obama in Indiana” and it was quite fascinating because my image of karaoke had always been this very public forum in a karaoke bar and then I discovered there’s this whole other world of karaoke where people even go on their own, they go and rent a room or cubicle and sing, or they go on a date—just the two of them go and sit in a room and do karaoke together. FLM: I’m interested in issues that take place within or as a result of specific karaoke culture(s). In the Philippines within the last several years there’s been occurring the “My Way Killings” phenomenon. Apparently baklas or gay men are employed by karaoke establishments to help “smooth over conflicts over karaoke singing”—these social forms of conduct, or lack thereof that arise out of the infrastructures of this social sport. In this one rural part of the Philippines there’s a village karaoke machine that the whole village shares—the Aeta indigenous people have an appointed “keeper” of the karaoke machine. I also see karaoke as a proxy to the confessional box in Catholicism where one goes to pour out their sins (minus the penance and redemption). The karaoke machine enables one to literally sing out whatever’s going on internally, but through highly saturated popular song lyrics. While karaoke is a public and social sport, it can also be a private one. Karaoke is a means of communion with each other. DP: Right, this preference for this kind of mediated communication. In Japan I was trying to organize people to work on this project and I was talking about throwing a party and they were like, well, we have to rent a karaoke machine because what else are we going to do? And I think its kind of serving that function of surrogacy—emotional surrogacy. FLM: And karaoke tools can be read as ritual tools—the magic mic that holds everything. There’s got to be some overlap at some point—between religious ceremony and devotion to the karaoke machine. DP: The way I designed the piece was so that it could slip right on top of the ready-made karaoke infrastructure. There was a flat-packed podium and it was made of a single sheet of plywood with no fasteners that slotted into itself. Those were sent out to a network of karaoke bars that I invited to become “karaoke convention centers.” The local VJs downloaded our custom-made, speech-extracted tracks that were designed to play on their existing equipment. In this sense the piece is a permanent installation. If you go to Denver today, some of the VJs still have the tracks in their library of offerings, the Ramones and Romney. It was this notion of re-purposing readymade infrastructure to create a distributable populist form. Obama was coming and the convention was in the Pepsi Center and 30,000 people were coming including 10,000 journalists. The impetus behind the larger art project that commissioned international artists to make works in Denver, was that local people weren’t going to have much access to this convention. It was like an invasion, the city was being descended upon, but if you lived a block away from the site, you had the same access as people in Zimbabwe&mash;30 second media bits excerpted from the speeches. So it seemed to me that the fundamental gesture was how do I take that signal, which was travelling out of the convention center, and create a local interruption? FLM: Is that what you mean by ‘intervention’? The term is frequently used to help describe your work. DP: It depends on the day. Around that karaoke project I had a conversation with Krzysztof Wodiczko and he was proposing that maybe rather than intervention, we should consider the word interruption. Because intervention is kind of an overused term in the field of art and it has militaristic and therapeutic associations outside of the art context. Fundamentally, the idea of intervening speaks to the readymade social world as your primary material. So it’s basically suggesting a kind of subtractive process, which gets back to this question: what is the role of the contemporary media artist in a world that’s so saturated with media? You can’t work additively in a saturated field. If you want to make a visible mark you have to work subtractively. That’s what intervention is about to me, just another way of saying “to work subtractively.” FLM: So the interventions or interruptions aren’t necessarily adding or subtracting, but are they putting orange cones there? What are they doing exactly? DP: I think you’re right about that, they’re not really subtracting. They’re adding to the scope of possibility. I’ve been thinking (with this exhibition I’m mounting next month) about the work as explorations and expansions of social possibility. Maybe it’s more insertion. I started calling the pieces ‘insertions’ that I was making in Rejmyre—a small town in Sweden where I’ve been working for six years now. My favorite site to install there is the tourist bureau. I started calling the video pieces that I made for the tourist bureau, video insertions. This idea that you’re inserting something into the readymade media infrastructure of the world resonates with me. Insertion leverages a context, creating a possibility that the inserted object might be naturalized in the process — that someone can encounter my video in Rejmyre as tourist information. And then all of a sudden tourist information can include some American guy prostrating through town and it can include really bad relationship advice. Maybe insertion is a better word. tourist information – d. peltz 2009-present  . (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Commentary on “Free Will in the Light of Neuropsychiatry”G. Lynn Stephens (bio)A necessary condition of our having free will is that we initiate some of our actions by our own will or decision. Spence argues that, in light of certain empirical findings, we can accept that willing causes action, only if we acknowledge that willing is a non-conscious phenomenon. “If the notion of free will is retained... it (...) will be a free will which is essentially non-conscious.... [A] conscious free will (in the sense of consciousness initiating action) is incompatible with the evidence....” I shall argue that Spence’s conclusion depends upon a highly questionable understanding of what it is for a decision to be conscious.The evidence to which Spence refers above comes from experimental studies by Libet. This work suggests that, at least for simple motor performances, we become aware of willing the action only after the act has been initiated. This raises the possibility that our subjective experience of willing an action generally follows rather than precedes initiation of the relevant act and, hence, does not cause that action.What does all this entail concerning the causal efficacy of willing or deciding? Spence carefully refrains from drawing the conclusion that decisions never cause actions. Rather he concludes that “conscious decisions do not cause acts.... “Our decision or freedom is illusory (if by these terms we mean conscious phenomena).” We can continue to maintain that our decisions sometimes initiate actions, but only provided that we regard our decisions as non-conscious.In order to evaluate the claim that conscious decisions do not cause actions, we need to distinguish two questions: (1) Does my decision, of which I am conscious, cause me to do A? and (2) Does my being conscious of my decision cause me to do A?We might answer (1) in the affirmative, but (2) in the negative. That is, it might be true that my decision to do A caused me to do A and that I was conscious of that decision, but false that my being conscious of my decision caused me to do A. Indeed, we might suppose that, although my decision caused me to do A, I did not become conscious of that decision until after I had done A. How could this be? Suppose that my subjective experience of deciding to do A results from an (internal) perceptual process and that this process takes time. In that case it is possible that, having decided to do A, it requires more time for me to become conscious of that decision than is required for the decision to initiate my doing A. By the time I become aware of my decision, I have already done what I decided to do.The evidence Spence offers is incompatible with the hypothesis that the subjective experience of [End Page 97] my decision to do A causes me to do A, but quite compatible with the hypothesis that my decision to do A, of which I was conscious, caused me to do A. When he expresses his point by saying, “decisions to act arise prior to our consciousness of them,” or “The role of consciousness in volition is not that of initiator,” he is drawing the conclusion warranted by his evidence.However, he goes beyond his evidence when he says, “Thus our decision or freedom is illusory (if by these terms we mean conscious phenomena),” or “Conscious decision do not cause acts.” To justify these conclusions he needs to argue that something counts as a conscious decision only if we become conscious of it at precisely the instant at which it occurs. (Compare: Something counts as an event that we see, only if we begin to see it precisely at the instant at which it occurs.) Absent some defense of this view, a defense provided nowhere in Spence’s paper, we may continue to maintain that conscious decisions do cause actions.Related ArticlesFeature Article: Free Will in the Light of NeuropsychiatryCommentary: Commentary by FrithCommentary: Commentary by LibetCommentary: Commentary by StephensResponse: Response to the CommentariesG. Lynn Stephens G. Lynn Stephens, Ph.D., Department of Philosophy, University of Alabama... (shrink)

Multiple biological groups, such as ant colonies, appear to have a noteworthy inefficiency: they contain vast amounts of redundant members that are not strictly needed to maintain the group. Philosophers and biologists have proposed that such inefficiency is illusory because redundancy enhances the resilience of groups when living under harsh conditions. Still, this proposal is unsatisfactory in different respects. First, it is too vague to account for when redundancy is selectively advantageous. Furthermore, it overlooks cases in which redundancy fails (...) to increase the resilience of groups. This paper offers an account of group redundancy that addresses these difficulties. Specifically, it advances the hypothesis that the mere presence of harsh conditions is not what drives the evolution of redundancy; rather, it is the fact organisms are often unable to predict when they will face harsh conditions. Redundancy enables groups to properly respond to unpredictable circumstances without resorting to the unreliable detection systems of their members. A better understanding of the phenomenon of redundancy is likely to impact other key issues in philosophy of science, including the evolution of cooperation and transitions in individuality, and the role of redundancy in complex systems, be they biological or not. (shrink)

Terrorism is politically motivated violence directed against noncombatants. It is no doubt as ancient as organized warfare itself, emerging as soon as one society, pitted against another in the quest for land, resources, and dominance, was moved by a desire for vengeance, or, found advantages in operations against ‘soft’ targets. While terrorist violence has been present in the conflict between Jews and Arabs over Palestine for over eighty years, the prevalence of the rhetoric of ‘terror’ to describe Arab violence against (...) Israeli and Western targets, is a more recent phenomenon. This rhetoric has fostered the popular perception that Arab terrorism is the central problem in the Middle East crisis, and that once solved, progress can be made on other issues. Nothing could be more illusory. The Western obsession with Arab terrorism not only overlooks the fact that terrorist activity has been reciprocal, but, more generally, that attempts to remove an effect without touching its causes are utterly futile. Terrorism between Arabs and Israelis is the product of deep divisions, entrenched strategies, and fundamental grievances, and it will not disappear so long as both sides cling to their present political ambitions and convictions. No informed discussion can ignore its historical and political context. At the same time, terrorism is the most noticeable and tragic aspect of a bitter struggle, and any serious attempt to grasp the goals, methods, and passions of either party must realize that it has been central in giving the conflict the shape it has. (shrink)

Wegner’s argument on the illusory nature of conscious will, as developed in The Illusion of Conscious Will (2002) and other publications, has had major impact. Based on empirical data, he develops a theory of apparent mental causation in order to explain the occurrence of the illusion of conscious will. Part of the evidence for his argument is derived from a specific interpretation of the phenomenon of auditory verbal hallucinations as they may occur in schizophrenia. The aim of this (...) paper is to evaluate the validity of the evidence on auditory verbal hallucinations as employed by Wegner. I conclude that auditory hallucinations do not provide solid evidence for Wegner’s theory. Moreover, the phenomena in schizophrenia provide, in fact, an argument against part of Wegner’s theory of apparent mental causation. (shrink)

This article discusses the reasons why illusory contours are likely to result from adaptive perceptual mechanisms that have evolved across species to promote behavioral success.

Illusory Abiding: The Cultural Construction of the Chan Monk Zhongfeng Mingben. By Natasha Heller. Harvard East Asian Monographs, vol. 368. Cambridge, Mass.: Harvard Univ. Asia Center, Harvard Univ. Press, 2014. Pp. xiv + 471. $49.95.

A number of well-developed theories shed light on the question, under what circumstances our beliefs enjoy epistemic justification. Yet, comparatively little is known about epistemic defeat--when new information causes the loss of epistemic justification. This book proposes and defends a detailed account of epistemic defeaters. The main kinds of defeaters are analyzed in detail and integrated into a general framework that aims to explain how beliefs lose justification. It is argued that defeaters introduce incompatibilities into a noetic system and thereby (...) prompt a structured re-evaluation process that makes a justified reinstatement of the defeated belief impossible. The account is then applied to the topic of disagreement, where it is used in an argument for conciliationism, as well as a new explanation for higher-order defeat. Throughout the book, the notion of defeat is the center of attention, while a number of new issues are discussed at the intersections of defeat and justification. Specifically, new problems are raised for broadly internalist accounts of defeat, a fully descriptive reliabilist account of defeat is provided, and the case for normative defeat is revisited. (shrink)

In addition to their conduct, organizations can be stigmatized for conduct they did not engage in. Advancing a conceptual foundation of illusory conduct stigma, I explain how it stems from a perceptional process that is distinct from the one underlying conduct stigma. I use conspiracy theory as an illustrative source of illusory conduct stigma and explain how the former evolves in the absence of evidence, differs from an official narrative, and incorporates organizations. The study proposes that organizations are (...) likely targets when they have higher status, larger size, and recent media coverage, and the targeting is persistent when organizations are complex, diversified, and carry strong emotional appeal. Moreover, organizations are at times participants in the production, facilitation, and forbearance of illusory conduct stigma. The study contributes by explicating how organizations are affected as well as how they participate in the development and propagation of illusory conduct stigma. (shrink)

Neurological disorders of body representation have for a long time suggested the importance of multisensory processing of bodily signals for self-consciousness. One such group of disorders – illusory own body perceptions affecting the entire body – has been proposed to be especially relevant in this respect, based on neurological data as well as philosophical considerations. This has recently been tested experimentally in healthy subjects showing that integration of multisensory bodily signals from the entire body with respect to the three (...) aspects: self-location, first-person perspective, and self-location, is crucial for bodily self-consciousness. Here we present clinical and neuroanatomical data of two neurological patients with paroxysmal disorders of full body representation in whom only one of these aspects, self-identification, was abnormal. We distinguish such disorders of global body representation from related but distinct disorders and discuss their relevance for the neurobiology of bodily self-consciousness. (shrink)

What we might usefully call “playing full-stop” and playing games plausibly figure in a well-lived life. Yet there are reasons to worry that the two not only do not naturally go hand in hand, but are in fact deeply opposed. In this essay I investigate the apparent tension between playing full-stop and playing competitive games. I argue that the nature of this tension is easily exaggerated. While there is a psychological tension between simultaneously engaging in earnest competitive game play and (...) playing fullstop, there is no logical contradiction between the two. Somewhat surprisingly, seeing how this tension is best understood teaches us something about the nature of willing an end and the “guise of the good.” With a resolution of the apparent tension between playing full-stop and playing competitive games, I turn to the practical worry that playing competitive games is destructive precisely for the very reasons it is opposed to playing full-stop. Here I develop a positive proposal to mitigate the tension between playing full-stop and playing competitive games. This proposal draws on the idea of “striving play” as recently developed by Thi Nguyen and some ideas from classical Stoicism. (shrink)

The plethora of tripartite bodies in postcommunist countries seems to suggest the emergence of an East European corporatism. Analysis of arrangements in Bulgaria, Czech Republic, Hungary, Slovakia, and Poland indicates instead the prevalence of illusory corporatism. Token negotiations, nonbinding agreements, and exclusion of the private sector demonstrate that tripartite procedures are deployed to introduce neoliberal, not social democratic, outcomes. A path-dependent argument stressing labor's weak class identity best explains these outcomes. East European labor, unlike historic Western counterparts, is marked (...) by a weak sense of class interests, disinclination to organize the private sector, and declining support from the workforce, making it unable to emerge as a strong force. It is not labor but the new elites that seek tripartism, hoping thereby to share burdens, conform to European norms, and demonstrate responsiveness to society. Formal tripartism also follows from the legacy of state socialism, giving symbolic voice to the formerly included now headed for exclusion. In the end, tripartism helps secure labor's acceptance of its own marginalization. (shrink)

In a recent article, Kim Sterelny and Philip Kitcher5 defend a version of genic selectionism and attempt to refute the criticisms I made of that doctrine. Their defense has two components. First, they find fault with the account I gave of the units-of-selection controversy-an account which uses the idea of probabilistic causality as a tool of explication. Second, they provide a positive account of their own of what that controversy concerns, one which they think allows genic selectionism to emerge as (...) a successful thesis. I believe that the position they sketch is mistaken, both in its general orientation and in its details. I believe that the Sterelny/ Kitcher position misunderstands what the biological question of the units of selection is about and that their criticisms of my own proposal are mistaken as well. (shrink)