Descriptive Experience Sampling (DES) attempts to apprehend in high fidelity pristine inner experience (the naturally-occurring, directly-apprehended phenomena that fill our waking lives, including inner speaking, visual imagery, sensory awarenesses, etc.). Previous DES investigations had shown individual differences in the frequency of inner speaking ranging from nearly zero to nearly 100% of the time. In early 2020, the Internet was ablaze with comments expressing astonishment that constant internal monologue was not universal. We invited Lena, a university student who believed she had (...) constant internal monologue, to participate in a DES analog of a pre-registered study: We would announce, on the Internet, that we would conduct a fully transparent DES investigation and roll out videos of the DES interviews (and annotated transcripts) as they occurred in (almost) real-time, something like “reality TV about inner experience,” so that spectators could examine for themselves our characterizations of Lena and how we arrived at them. We describe here the procedure and its findings: Lena did _not_ have frequent internal monologue (contrary to her expectations); she _did_ have frequent visual imagery (to her surprise); and we speculated about the frequent presence of two simultaneous “centers of gravity” of her experience. The entire procedure is available for inspection. (shrink)

Introspection, or looking inward to observe one's experience, is inherent in many methods used to study feelings, the experiential component of emotion. Challenges of introspection make faithful, high-fidelity descriptions of feelings difficult to attain. A method that (1) cleaves to a specific moment, (2) cleaves to pristine inner experience, (3) brackets presuppositions, and (4) utilizes an iterative process may be particularly well suited to this task. We review some contemporary introspective methods from the perspective of these four methodological constraints, finding (...) that Descriptive Experience Sampling (DES) addresses the constraints most fully. We present DES findings on feelings to highlight the unique contributions careful introspective methods make to emotion science. High-fidelity descriptions of feelings are necessary for a complete understanding of emotion. (shrink)

Mas A. Mardkayin arzhēkʻner -- Mas B. Hawatkʻ ew mnapashtutʻiwn -- Mas G. Ěntanekan mtorumner.

Since Descartes, the quest for the foundation in epistemology has suffered a series of setbacks. The consequence of the opposition against an epistemic foundation is epistemic skepticism. The irony of the skeptic position is that scepticism in all its hues is self-refuting. Although the establishment of a foundation is essential for coherent epistemology, the quest for epistemic foundation has suffered some oppositions because most attempts at establishing foundational epistemology have focused on intentional signs or products – beliefs, concepts, propositions, etc. (...) In this essay, I argue that in order to establish foundational epistemology, cognitional and intentionality analysis should take priority over conceptual analysis. Hence, instead of focusing on intentional signs or products, attention should be paid to intentional acts – experiencing, understanding and judging – of the knowing subject. In other words, I argue that paying adequate attention to human cognitional structure is vital in the defense of epistemic foundation and that the foundation is found in the structure of human knowing rather than in the products of human knowing. Focusing on cognitional analysis will help to account for both epistemic foundation and epistemic pluralism. The shift from conceptual to cognitional and intentionality analysis has implications for the articulation of the African perspective on knowledge since the human cognitional structure is the same, but contextual differences arise because of one's epistemic environment. Following the example of Bernard Lonergan, I argue that self-knowledge or self-affirmation of the knower, as he terms it, is the paradigmatic case for the establishment of epistemic foundation. (shrink)

Resumo: O pensamento de Walter Benjamin ocupa uma posição particular e, pode-se até dizer, especial na história do pensamento crítico moderno. Sua obra, fragmentada, inacabada, hermética, atual, anacrônica e complexa, possibilita um passeio sobre uma diversidade de temáticas que vão desde a literatura, passando pela sociologia, filosofia, arte, história, entre outras. O objetivo principal deste artigo consiste, assim, em estabelecer mais um olhar em direção a esse pensador. Trata-se, sobretudo, de compreender como as temáticas do fetichismo da mercadoria e da (...) fantasmagoria podem ser vistas em uma de suas principais obras semificcionais (“Infânc[1]ia Berlinense: 1900”). Foram selecionados, para fins deste trabalho, oito excertos. São eles: “O telefone” “Rua de Steglitz, esquina com a rua de Genthin”, “Mercado”, “Krumme Straβe”, “Um fantasma”, “O anãozinho corcunda”, “Blumeshof 12” e “Desgraças e Crimes”. Após a análise dos excertos, pôde-se observar que o conceito de fetichismo da mercadoria, cunhado por Marx no Capital e ampliado por Benjamin como um elemento de interpretação da realidade burguesa alemã da época de sua infância (fantasmagoria), pode ser visualizado na maioria dos excertos escritos pelo autor na obra “Infância Berlinense: 1900”. Palavras-chave: Fetichismo; Fantasmagoria; Infância Berlinense: 1900; Walter Benjamin. Fetishism and Phantasmagoria in the Work “Berliner Childhood: 1900”, by Walter Benjamin Abstract: Walter Benjamin's thought occupies a particular and, one might even say, special position in the history of modern critical thought. His work, fragmented, unfinished, hermetic, current, anachronistic and complex, allows a tour of a diversity of themes ranging from literature, through sociology, philosophy, art, history, among others. The main objective of this article is, therefore, to establish another look towards this thinker. It is, above all, to understand how the themes of commodity fetishism and phantasmagoria can be seen in one of his main semi-fictional works (“Berlin Childhood: 1900”). Eight excerpts were selected for the purposes of this work. They are: “The Telephone”, “Steglitz Street, Corner with Genthin Street”, “Market”, “Krumme Straβe”, “A Ghost”, “The Humpbacked Little Dwarf”, “Blumeshof 12” and “Misfortunes and Crimes”. After analyzing the excerpts, it was possible to observe that the concept of commodity fetishism, coined by Marx in Capital and expanded by Benjamin as an element of interpretation of the German bourgeois reality of his childhood (phantasmagoria), can be visualized in most excerpts written by the author in the work “Berlin Childhood: 1900”. Keywords: Fetishism; Fantasmagoria; Berlin Childhood: 1900; Walter Benjamin. Fetichismo y Fantasmagoría en la Obra “Infancia Berlinesa: 1900”, de Walter Benjamin Resumen: El pensamiento de Walter Benjamin ocupa un lugar particular y, hasta se podría decir, especial en la historia del pensamiento crítico moderno. Su obra, fragmentada, inconclusa, hermética, actual, anacrónica y compleja, permite un recorrido por una diversidad de temáticas que van desde la literatura, pasando por la sociología, la filosofía, el arte, la historia, entre otras. El objetivo principal de este artículo es, por tanto, establecer otra mirada hacia este pensador. Se trata, sobre todo, de entender cómo los temas del fetichismo de la mercancía y la fantasmagoría pueden verse en una de sus principales obras semificcionales ("Infancia berlinesa: 1900"). Se seleccionaron ocho extractos para los propósitos de este trabajo. Ellos son: "El teléfono", "Calle Steglitz, esquina con calle Genthin", "Mercado", "Krumme Straβe", "Un fantasma", "El enanito jorobado", "Blumeshof 12" y "Desgracias y crímenes". Tras el análisis de los extractos, fue posible observar que el concepto de fetichismo de la mercancía, acuñado por Marx en El Capital y ampliado por Benjamin como elemento de interpretación de la realidad burguesa alemana de su infancia (fantasmagoría), puede visualizarse en la mayoría de los extractos escritos del autor en la obra "Infancia berlinesa: 1900". Palabras clave: Fetichismo; Fantasmagoría; Infancia Berlinesa: 1900; Walter Benjamin. Data de registro: 04/03/2022 Data de aceite: 01/12/2022. (shrink)

The paper considers the recently published British Medical Association Guidance on ethical issues arising in relation to rationing of treatment during the COVID-19 Pandemic. It considers whether it...

Selected articles of Ēṭukūru Balarāmamūrti on Marxist philosophy; includes contributed on his life and work.

ABSTRACT Notwithstanding recent controversies involving echo chambers and social media, “post-truth” has always been central to philosophical investigations of what is knowable and good. The internal tension of the term offers a choice: to gasp in feigned astonishment at the hell-in-a-handbasket state of public discourse, or to reflect critically on what is beyond, after, or other than the truth. In this essay, we approach post-truth via elements of narrative, biography, and myth, portraying Friedrich Nietzsche's polytropic figure, Zarathustra, as he might (...) have spoken to the contemporary moment. We demonstrate how Zarathustra affords access to the idea that truth and life are inextricable in the human condition. To temper this tension, we depict a character whose disposition toward post-truth spans from certainty and doubt to exuberance and despair. Our hope is to indicate how, for the humans of Motley Cow, post-truth is ubiquitous, institutional, and infrastructural. (shrink)

De geesteswetenschappen nemen in hoog tempo afscheid van het postmodernisme. Filosofen, historici, sociologen en antropologen staan opnieuw voor een intellectueel draaimoment. Na de linguistic turn en de cultural turn is er nu een ethische wende. In tal van cultuurwetenschappen probeert men om oudere tradities en concepten weer zinvol in te zetten. De geesteswetenschappelijke carrousel brengt deze heroriëntering in kaart. Deze nieuwe ronde in het debat over de verhouding van wetenschap, politiek en cultuur wordt eerst gevolgd op wetenschapsfilosofisch niveau. Vervolgens komt (...) de huidige politieke discussie over identiteit, tolerantie en solidariteit aan bod. Het leggen van een geloofwaardig verband tussen moraal, politiek en wetenschap blijkt een oefening in intellectuele evenwichtskunst. (shrink)