Although written more than 2,500 years ago and within a radically different culture, the Tao Te Ching's concepts and teachings have become more influential in the West than ever before. Laozi, the Chinese sage and founder of Taoism, sets out a path (tao) that allows us to tune in to the nature of the universe. His axioms are intended to help us achieve transcendence and a life of integrity and balance: they explore the importance of male and female complementary qualities (...) while praising self-knowledge and criticizing rational understanding. Among his insights are the beliefs that flexibility and suppleness are superior to rigidity and strength, and that self-absorption and self-importance are vain and destructive. This illustrated edition of a classic work is an essential addition to any home library of the world's classic philosophical texts. (shrink)

In New Philosophy for New Media, Mark Hansen defines the image in digital art in terms that go beyond the merely visual. Arguing that the "digital image" encompasses the entire process by which information is made perceivable, he places the body in a privileged position -- as the agent that filters information in order to create images. By doing so, he counters prevailing notions of technological transcendence and argues for the indispensability of the human in the digital era.Hansen (...) examines new media art and theory in light of Henri Bergson's argument that affection and memory render perception impure -- that we select only those images precisely relevant to our singular form of embodiment. Hansen updates this argument for the digital age, arguing that we filter the information we receive to create images rather than simply receiving images as preexisting technical forms. This framing function yields what Hansen calls the "digital image." He argues that this new "embodied" status of the frame corresponds directly to the digital revolution: a digitized image is not a fixed representation of reality, but is defined by its complete flexibility and accessibility. It is not just that the interactivity of new media turns viewers into users; the image itself has become the body's process of perceiving it.To illustrate his account of how the body filters information in order to create images, Hansen focuses on new media artists who follow a "Bergsonist vocation"; through concrete engagement with the work of artists like Jeffrey Shaw, Douglas Gordon, and Bill Viola, Hansen explores the contemporary aesthetic investment in the affective, bodily basis of vision. The book includes over 70 illustrations from the works of these and many other new media artists. (shrink)

ABSTRACT The French chemist Louis Pasteur chose to be actively engaged in the fine arts throughout his life—yet scholarship has ignored or dismissed these pursuits. This empirical study documents his unknown, but deep involvement with art and artists from age thirteen until his death. This was no casual pastime. Art animated Pasteur. It was also at times useful to him for making political statements, cultivating status, and supporting loyal friends. This account identifies nearly twenty significant friendships with painters and sculptors (...) and uncovers over thirty other artists with whom his associations deserve examination. The narrative suggests points at which art was especially germane to his scientific career and possible junctures that merit further research. Evidence from his artistic friendships also corrects the common picture of Pasteur as a dour workaholic who never laughed or smiled. (shrink)

I begin by looking at passages in Mill's System of Logic that circumscribe the range of logic as he understood the subject. His logic is clearly too narrow to be the arbiter of the extended arguments presented in his Utilitarianism, On Liberty, and The Subjection of Women. Looking at Mill's argumentative practice in those works we see that he is noticeably concerned to deal with objections, more so even than in giving arguments for his position. His practice is shown to (...) be consistent with his professed views about how opinions outside science and mathematics are to be justified. These views are stated primarily in On Liberty where Mill gives a standard of justification and proclaims the importance of dealing with objections as part of that standard. Given Mill's characterization of an art, or practice - also found in the Logic - it turns out that a case can be made that Mill's views on argumentation fit the criteria for an art, pretty much on a par with ethics as an art. In the sense that I give to 'argumentation theory' it seems entirely appropriate to say that implicitly Mill held a theory of argumentation, a theory distinct from other proposed theories of argumentation, and a theory worth further study and development. (shrink)

Yoga is the exercise of choice for so many because it makes you feel great in body and mind. But modern images of yoga have long featured the same kinds of bodies--white, slim, young, cis-gendered, able. Harmony Willow Hansen knows that a celebration of every kind of body brings more joy and inclusivity to all of us. She has been drawing joyful people in practice for years, creating a presence on Instagram that reaches hundreds of thousands of yoga lovers. (...) Her figures include older people, trans people, differently-abled people, people in different body types and weights. Harmony's art is all about bodies where anyone can find themselves and feel seen. Here are an array of positions including beginner poses, seated and low poses, lying down poses, standing poses, and partner poses, as well as prenatal and children's poses and flow. Readers will share in the ease and confidence that radiate from these yogis. An ideal gift for any yoga lover."--Amazon. (shrink)

Definition of the problem Obesity is a burgeoning challenge for healthcare systems worldwide. In times of demographic change, it also affects an increasing number of older persons, presenting substantial challenges to delivering health and nursing care in both acute and long-term care (LTC) settings. So far, a detailed analysis of the diverse group of 65+ in this field is missing, particularly in the area of LTC. The needs of neither care recipients, nor those of nurses and institutions are monitored, analyzed, (...) or systematically evaluated. Moreover, ethical implications of professional care for older persons with obesity have not yet been discussed in research and policy. Arguments We argue that a needs-based approach is appropriate to address these ethical complexities. We further argue that a comprehensive mapping of the ethical terrain is best from an interdisciplinary and mixed methods perspective. For this, we conduct a scoping review to synthesize the state-of-the-art in both the healthcare and LTC settings; and we focus on challenges reported in case studies from professional care settings in European and North American institutions. Conclusion Our findings point to a lack of research on ethical issues related to the LTC needs of older persons living with obesity and the challenges faced by their professional carers. From the limited number of (case) studies that can be found, however, a series of ethical concerns emerge that have direct import for access, utilization, and quality of care. Accordingly, a new research agenda is needed to inform an ethical approach for policy and practice. It must be rooted in a concern for both care recipients and caregivers in mixed methods studies. Future research should provide criteria for balancing needs, allocating resources and developing practical solutions for people who are confronted with multiple stigma. (shrink)

Empathy is a psychologically significant phenomenon. It plays a key role in the development of the self, sociality, and prosocial behaviour. The term empathy originated in 19th-century aesthetics, where the concept was seen as an explanation for aesthetic experience. Despite renewed interest in the relation between empathy and aesthetic experiences, investigations into how empathy shapes experiences of art are still scarce. Given this situation, we ask the following three questions: What does one experience when experiencing a work of art empathetically? (...) What is given during such moments? How is consciousness structured in aesthetic empathetic experience? To answer these questions, we analysed five different experiences with visual art using a phenomenological psychological methodology. We found that a complexity of psychologically significant meaning arises from the empathic experience of art. The core aspects of this meaning are captured in a structure incorporating experience of a foreign subjective sense, reliving and affective adherence, interiorisation, pleasure in sharing, and affective understanding. Based on this structure, we argue that aesthetic empathy features a sense of otherness to a degree not previously recognised and that aesthetic empathy is an inherently intersubjective experience in which the spectator is invited to participate and share feelings expressed in the work of art in moments of aesthetic presence. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Creativity in Teaching and Building a Meaningful Life as a TeacherDavid T. HansenMy point of departure in this essay is the idea that creativity in teaching often has less to do with inventiveness per se than it does with responsiveness. To draw on terms from John Dewey, creative teachers "rise to the needs of the situation" presented in the educational setting.1 They respond well to circumstances not because they (...) necessarily have the pedagogical equivalent of Twyla Tharp's talent for choreography or B.B. King's brilliance on the blues guitar; rather, I want to suggest that creative teachers, at least in many cases, "rise" and do what is needed because they have learned to pay attention both to students and to the subject(s) at hand. In other words, I propose that we consider the idea that creativity in teaching often manifests itself most vividly, if also subtly, in a kind of ongoing attentiveness, by which I mean a dynamic combination of patience, listening, and initiative.I will begin the discussion by first sketching a conception of creativity in teaching centered around the idea of attentiveness. Then I address two [End Page 57] consequences of this conception. The first is that the most suitable models of good practice for new teachers to start with are not the profession's versions, presuming such exist, of Pablo Picasso, Marie Curie, or Michael Jordan. I do not mean that it is uniformly inappropriate to place such models in front of teacher candidates, any more than it would be wrong to put before art students the work of a Cassatt or Rembrandt. However, I will argue that among the best and most consequential initial models are those experiences in which teacher candidates themselves truly listened to the doings of the world around them and heeded what was said, whether the latter "spoke" in the form of a work of art, a human voice or gesture, or the play of wind in the trees. If new teachers take seriously this kind of experience, they can gain a valuable perspective for approaching the long and often difficult process of appreciating teaching's details and engaging them in educational settings. I illustrate these claims by examining a field-based activity that was part of a teacher education program I used to direct.The second consequence of the conception of creativity in teaching I will put forward points to the title of this essay. If new teachers deepen their ability to pay attention and to engage in creative work, they position themselves to receive one of teaching's primary offerings to its practitioners, namely, a life of meaning."Ordinary" Pedagogical CreativityCreativity in teaching can take many forms. We witness it in the structuring of an artful lesson plan; in the logic, flow, and pacing of a dynamic lecture; or in a timely and evocative example or illustration the teacher employs to clinch a point in the midst of a class. All of this is familiar and an important, indeed indispensable, way to think about good teaching. Creativity in practice is associated here, among other things, with notions of expertise and of knowledge gained through experience.However, I want to add to this portrait the notion that creativity in practice can also spring from responsiveness. Rather than issuing solely from what the teacher brings to the educational setting — consider again terms such as expertise and knowledge — creativity can point to what the teacher is capable of deriving or drawing from it. Creativity as responsiveness denotes a form of openness to the setting, which may or may not complement or fit harmoniously with what is preset, prefigured, or anticipated. Experienced teachers would be the first to say that there are times when it becomes educationally vital to shelve a preset plan. There are times when one form of creativity in teaching, embodied in a well-wrought lesson plan, must give way to another form, embodied in what I am calling responsiveness. The art of teaching consists, in part, of balancing these expressions of pedagogical creativity.Let me share the following vignette as a basis for elucidating this point. One morning in March 2002, during which... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Dialogue:The Principle of Civility in Academic DiscourseForest HansenSeveral months ago New York Times columnist David Brooks addressed the lack of civility in recent public discourse. "So... you get narcissists who believe they or members of their party possess direct access to the truth.... You get people who prefer monologues to dialogue.... You get people who... loathe their political opponents."1One might think that by contrast academia, and especially academic (...) publications, would provide a bastion of civil discourse. Alas, even academia has been infiltrated. At least it so appears to me when I read some of what has been recently published in the name of the philosophy of music education.I find that disheartening.However one defines "philosophy," it minimally entails raising questions whose answers are reasonably debatable. The key word here is "reasonably." Those who are committed to philosophical activity criticize positions they oppose by formulating arguments, giving examples, calling on accepted facts, clarifying the meaning of terms, and bringing to bear the principles of formal and informal logic. And thus they open themselves to counter-criticism of the same [End Page 198] sort. Nowhere in this enterprise is there need—or room—for invective, sarcasm, name-calling, ad hominems, or any other kind of personal abuse. One might call this The Principle of Civility in Academic Discourse.Philosophy differs in this respect from polemics. In one of its senses "polemics" means "the art or practice of disputation or controversy," and so seems a close cousin to philosophy. However, while "philosophy" traces its etymological roots to "love" and "wisdom," "polemics" is derived from "war." Polemics is a kind of verbal warfare. Typically polemicists are willing to use any tool at their disposal—even underhanded ones—to "win" the war of ideas. Polemics in this usual sense dispenses with objectivity and fairness (though it may make such a pretense). In fact, people who mount personal attacks thereby reveal their lack of philosophical tools and diminish their argument.Distinguishing philosophy from polemics does not mean that all philosophical claims are equal. Some positions are stronger than others, some weaker. Some can be dismissed relatively out of hand if they are illogical or do not square with normal experience. But even when positions are inadequate, the persons who advance the positions deserve to be treated with courtesy, respect, and collegiality.Typically, people trained in philosophy assimilate this principle as a matter of course. They have learned that over the centuries great minds have disagreed about every philosophical issue—whether the make-up of ultimate reality, the nature and sources of knowledge, the existence of god, the justification of morality. So too with what the nature of music is, what music should be taught and how, what is the purpose of music education.No one has a corner on the answers to such questions. The floor should always be open to debate—to consideration of new proposals and reconsideration of old ones. In disciplines where some matters are more or less settled (as in natural science and mathematics), such arguments disappear and new quests hope to find new settled answers. But in philosophy, more fundamentally than in any other traditional academic discipline, the discussion, the reasoned argumentation, is ongoing.Many years ago Douglas Morgan, in his essay "Must Art Tell the Truth"2 eloquently captured this spirit of philosophy:Philosophy is itself to be conceived as an invitational, dialectical activity rather than as any system of dicta. A philosopher can be thought of as [one] who, far from commanding assent with any thunderous barrage of argumentative artillery, invites you to think [about] the world or some aspect of it in a somewhat different way. "Come in," [the philosopher] says cordially, "and welcome. Sit down. Let me mix you an idea. Sip this thought, and tell me how your own experience looks. If you should find my way of construing our [End Page 199] world unappetizing or unpromising, pray show me your way. Let us once again in the good old Greek way, dia-lego, talk it through together."Finally, The Principle of Civility in Academic Discourse ought to be conveyed in our classrooms, as we foster new generations in... (shrink)

Maurice Merleau-Ponty was described by Paul Ricoeur as 'the greatest of the French phenomenologists'. The essays in this volume examine the full scope of Merleau-Ponty's philosophy, from his central and abiding concern with the nature of perception and the bodily constitution of intentionality to his reflections on science, nature, art, history, and politics. The authors explore the historical origins and context of his thought as well as its continuing relevance to contemporary work in phenomenology, philosophy of mind, cognitive science, biology, (...) art criticism and political and social theory. What emerges is a fresh image of Merleau-Ponty as a deep and original thinker whose philosophical importance has been underestimated, in part owing to the influence of intellectual movements such as existentialism and structuralism, into which his work could not be easily assimilated. New readers will find this the most convenient and accessible guide to Merleau-Ponty currently available. (shrink)

Automated decision-making (ADM) systems can be worn in and on the body for various purposes, such as for tracking and managing chronic conditions. One case in point is do-it-yourself open-source artificial pancreas systems, through which users engage in what is referred to as “looping”; combining continuous glucose monitors and insulin pumps placed on the body with digital communication technologies to develop an ADM system for personal diabetes management. The idea behind these personalized systems is to delegate decision-making regarding insulin to (...) an algorithm that can make autonomous decisions. Based on interviews and photo diaries with Danish “loopers”, this paper highlights two interrelated narratives of how users have to care for the loop by _maintaining_ a stable communication circuit between body and ADM system, and by _modifying_ the loop through analysis and reflection. It shows how the human takes turns with the ADM system through practical doings and anticipation to safeguard continuous management of chronic disease. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In MemoriamForest HansenKingsley Blake Price, Professor of Philosophy at The Johns Hopkins University for more than three decades, died in Baltimore on October 27, 2009, at the age of 92. He had long served as an editorial consultant for PMER and participated in numerous PME international symposia. His personal and academic life drew admiration from his colleagues, students, and friends (overlapping classes).Kingsley was born in Salem, Indiana, where his (...) father was a Baptist minister. The family moved from there to California, and Kingsley grew up in Berkeley. He earned his B.A. with highest honors from University of California, Berkeley (1938) and went on there for his M.A. (1942) and Ph.D. (1946). His dissertation was on Locke’s theory of knowledge. Kingsley taught first at the University of Washington, then at the University of Nevada and Sarah Lawrence College (where he became a good friend of Susanne Langer) before becoming an assistant professor of philosophy and education at Hopkins in 1953. He retired from Hopkins in 1986. In the meantime he published books and articles, presented invited papers, and traveled extensively, especially to England, France, Italy, and Greece. In 1973–74 he was president of the Philosophy of Education Society.What is especially remarkable about this is that Kingsley became blind at the age of four, as a result of undiagnosed scarlet fever. For the rest of his life he was dependent upon others to read to him (he was never keen on taped readings, and was a consultant to the Library of Congress concerning recordings for the blind). He also needed others to help him with daily practical tasks. Yet he remained fiercely independent and lived alone until his death. He did not use a seeing-eye dog and only rarely a white cane.Besides his two books, Education and Philosophical Thought (1962) and On [End Page 194] Criticizing Music (1982), Kingsley published numerous articles and reviews in the Journal of Philosophy, the Review of Metaphysics, the Journal of Aesthetics and Art Criticism, Educational Theory, the British Journal of Aesthetics, the Philosophy of Music Education Review, and others. His publications were mostly on topics of art (especially music) and education. He had long been working on a manuscript of reflections upon the alleged emotional qualities of music. Kingsley criticized other theories as having inconsistent of otherwise insupportable claims. Some of his former students hope to bring this work to fruition as a book.Kingsley took piano lessons as a youngster and, typically, excelled. As a teenager he placed second in a Major Bowes Amateur Hour radio competition and considered a career as a concert pianist. When one former student asked why he had not pursued that, Kingsley replied that philosophy was more in need of an excellent philosopher than music was of an only good pianist.A February memorial for Kingsley was postponed because of a blizzard in the Baltimore area. On April 25, 2010, former graduate students, readers, colleagues, and friends—some from as far away as California, Wyoming, Hawaii, and Florida—gathered in Baltimore to honor Kingsley and share their remembrances. Besides their expressions of admiration for his philosophical acumen and his rigorous teaching, people noted Kingsley’s high moral principles, his wide range of interests in the humanities, his commitment to efforts promoting world peace, and his connoisseurship in gardening and antique furniture. Many graduate students rode with him on his tandem bicycle, and later invited him to give papers at their colleges. He was a meticulous dresser and was proud of his bow ties, his four-in-hands, and his beret. Besides such personal testimonies by those present, letters by family members, friends abroad, former graduate students, and other friends were read. Photographs were on display, and recordings of some of Kingsley’s favorites by Bach, Schubert, and Vaughan Williams were played.Above all, Kingsley was that rare professor who maintained friendship with many of his students. He is survived by an older brother, two sisters, and numerous nephews, nieces, and their offspring. And by his many friends for whom his life has made a lasting impact. [End Page 195]Forest HansenEaston, Maryland Professor Emeritus, Lake Forest College forestval2... (shrink)

This essay draws on Kenneth George's ethnographic study of the Indonesian painter Abdul Djalil Pirous and his art, as well as Pirous's own characterizations of his paintings as “spiritual notes,” to theorize and examine how paintings serve as ethical media. The essay offers a provisional definition of and methodology for “visual ethics” and considers how pictures and language can function quite differently as sites for ethical reflection. The particular painting analyzed here is a large temple mural of the death of (...) the Buddha located at Wat Unnalom, a prominent Buddhist monastery in Phnom Penh, painted in the 1980s by Cambodian artist Sum Pon. After discussing the lifeworld of Pon's Mahāparinibbāna and varied Khmer Buddhist interpretations of the painting, I suggest that the painting's rendering of “moral vision” helps us understand Buddhist ways of seeing more generally. I conclude by returning to George's question about how our understanding of ethics would change if we took pictures as the “fulcrum of moral relationships,” arguing that pictures can embody certain kinds of tensions or paradoxes that are difficult to explain and grasp discursively, such as paradoxes that arise from the inevitability and yet inexplicability of death as well as the tensions between Buddhist aims of cultivating “boundless” love and the particularities of our own individual experiences of love. (shrink)

Socrates defends justice against the attack mounted by Thrasymachus in Plato’s Republic, but it isn’t easy to say what the defense consists of. A careful reading shows that Thrasymachus himself is deeply though unselfconsciously attached to justice. Thrasymachus admires skillful artisans and thinks that devoting oneself to one’s art makes one a good man, worthy of good things. He feels that the skillful and unjust deserve to get the better of the artless and weak, which is to say he unselfconsciously (...) believes in a form of distributive justice. Moreover, his surprising attachment to justice resembles and casts light on the attachment to justice that most people feel. (shrink)

This art-science-interaction article focuses on moral implications of a recent science announcement. Against the background of literary and cultural theories, it compares a YouTube story with narratives employed in fictional stories.

The book consists of three problem areas which are all connected with the question of creativity, esp. in gthe arts and poetry: It is about the ancient mythopoetic concept of the muses and their collision with the beloved of the poet, about the authority crisis of authorship and the dominance of the author over his creatures and fictional characters as well as their revolt against the father of the text and about a typ of creating and writing which acts against (...) all genetic traditions of authorship in the form of conception and birth, genealogical derivation. In this sense the, anti-generic' creativity doesn't originate and invent a work of art or a cultural phenomenon: the anti-generic product is something made, something constructed and not fgenerated, manufactured and not breed. This anti-oedupus-concept workts in a widespread tradition of the arts and literature, starting from our heroes of deconstructed narrative as Sterne's or Diderot's, over the classics of european realism Dostoevski or Flaubert until Nabokov and his, pregnant muse' Lolita. Wenn es ums Schaffen geht oder gar ums Schöpferische, liegt nichts so nahe wie das scheinbar unerschöpfliche Feld der Geburtsmetaphern, das Reden vom Zeugen und Empfangen, vom Austragen und Gebären eines Werkes, das für das Kind steht - ja dieses gar ersetzen soll. Die in diesem Band versammelten Überlegungen verknüpfen drei Problemkreise: Es geht um die Projektionsfigur der Musen und ihrer Kollision mit der Dichtergeliebten, um die permanente Autoritätskrise im Verhältnis des Autors zu seinen eigenen Geschöpfen und um die Entdeckung eines Kunstschaffens und Schreibens, das alle genetischen wie generischen Modi der Hervorbringung gegen den Strich dichtet und also konsequent antigenerisch verfährt. Vorgeführt werden diese drei Problemkreise an klassischen Texten des antigenerischen. Zuletzt bleibt die Frage nach den Musen der Musen und den Paradoxa der Dame Dichterin mit Blick auf ihre Inspirationsquellen. (shrink)

The real history of the covey of attention-artists who call themselves "The Birds." A great deal of uncertainty--and even some genuine confusion--surrounds the origin, evolution, and activities of the so-called Avis Tertia or "Order of the Third Bird." Sensational accounts of this "attentional cult" emphasize histrionic rituals, tragic trance-addictions, and the covert dissemination of obscurantist ontologies of the art object. Hieratic, ecstatic, and endlessly evasive, the Order attracts sensual misfits and cabalistic aesthetes--both to its ranks, and to its scholarship. In (...) recent years, however, the revisionist work of the research collective ESTAR(SER) has done much to clear the air, bringing archival precision to the history of this covey of attention-artists who call themselves "The Birds." Gathering the best articles of the last twenty years of The Proceedings of ESTAR(SER), this volume represents a landmark in the history of aesthetic practices, and will be a point of departure for future work wading the muddy marshes at the limits of historicism."--Publisher description. (shrink)

Epilepsy surgery is the most effective therapeutic approach for children with drug resistant epilepsy. Recent advances in neurosurgery, such as the Laser Interstitial Thermal Therapy, improved the safety and non-invasiveness of this method. Electric and magnetic source imaging plays critical role in the delineation of the epileptogenic focus during the presurgical evaluation of children with DRE. Yet, they are currently underutilized even in tertiary epilepsy centers. Here, we present a case of an adolescent who suffered from DRE for 16 years (...) and underwent surgery at Cook Children's Medical Center. The patient was previously evaluated in a level 4 epilepsy center and treated with multiple antiseizure medications for several years. Presurgical evaluation at CCMC included long-term video electroencephalography, magnetoencephalography with simultaneous conventional EEG and high-density EEG in two consecutive sessions, MRI, and fluorodeoxyglucose - positron emission tomography. Video long-term EEG captured nine focal-onset clinical seizures with a maximal evolution over the right frontal/frontal midline areas. MRI was initially interpreted as non-lesional. FDG-PET revealed a small region of hypometabolism at the anterior right superior temporal gyrus. ESI and MSI performed with dipole clustering showed a tight cluster of dipoles in the right anterior insula. The patient underwent intracranial EEG which indicated the right anterior insular as seizure onset zone. Eventually LITT rendered the patient seizure free. Retrospective analysis of ESI and MSI clustered dipoles found a mean distance of dipoles from the ablated volume ranging from 10 to 25 mm. Our findings highlight the importance of recent technological advances in the presurgical evaluation and surgical treatment of children with DRE, and the underutilization of epilepsy surgery in children with DRE. (shrink)

Performance Generating Systems (PGS) are rule- and task-based approaches to improvisation on stage in theatre, dance, and music. These systems require performers to draw on predefined source materials (texts, scores, memories) while working on complex tasks within limiting rules. An interdisciplinary research team at a large Western Canadian university hypothesized that learning to sustain this praxis over the duration of a performance places high demands on executive functions; demands that may improve the performers’ executive abilities. These performers need to continuously (...) shift attention while remaining responsive to embodied and environmental stimuli in the present, they are required to inhibit automated responses and impulses using the rules of the system, and they strive towards addressing multitasking challenges with fluidity and flexibility. This study set out to test the mentioned hypothesis deductively and identify mediating processes inductively, using mixed empirical methods. In a small sample experiment with a control group (28 participants; 15 in intervention group, 13 in control group), standardized quantitative tests of executive functions (D-KEFS) were administered before and after an eight-week intervention. Participant-reported qualitative observations from the praxis were also collected throughout the intervention for grounded analysis. Within the limitations of small sample data, we found both statistically significant and trending effects on inhibition, problem-solving initiation, fluidity, and cognitive flexibility. Examining the mediating process, we found that participants experienced significant challenges sustaining the practice halfway through the intervention. The participant-reported solutions to these challenges, which emerged as the strongest behavioural patterns when coding the qualitative data to saturation, were strategies of problem-solving and of re-directing attention. These strategies support and advance our understanding of the effects measured in the standardized tests. In terms of application, our results identify characteristics of PGS that could potentially maintain and strengthen executive functions over and above less demanding performing arts interventions. The results also deliver new insight into how PGS works, which may contribute to the development and teaching of this artistic practice. (shrink)

In this article, David Hansen works with two conceptions of “being with.” The first is Jean-Luc Nancy's ontological version as found in his Being Singular Plural (1999). The second is Hansen's ontic formulation as expressed in his recent book, Reimagining the Call to Teach: A Witness to Teachers and Teaching (2021). Nancy's notion is ethical as well as ontological. It constitutes a vision of human being qua being and is formulated in critical juxtaposition with the viewpoints on ethics (...) and being of Martin Heidegger and other recent thinkers. Hansen's conception is not ontological, as such, but is ethical in the sense of presuming that teaching is a practice with built-in terms of relationship between teachers, students, and the subject matter of education, where “education” differs from socialization and enculturation. “Being with” constitutes a term of art for the priority in teaching of attunement, responsiveness, and receptivity — both to students and to subject matter — over formal processes of teacher reflection. The latter are indispensable, but they take their identity and their warrant from the fundamental ethical terms of the practice that are rooted in being with. Here, Hansen seeks to show how Nancy's conception of being with enriches the pedagogical idea of being with as the center and circumference of teaching. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 76-79 [Access article in PDF] Response to Kingsley Price, "How Can Music Seem to be Emotional" Forest Hansen Lake Forest College Just as at the International Symposium in Philosophy of Music Education IV (PME-IV) in Birmingham, Kingsley Price has demonstrated his acute logical prowess and his alluring wit. Then as now he was addressing the question of how music can seem (...) to have feelings, how it is that we attribute merriment, joy, sorrow, sadness, and the like to passages of instrumental music. On that occasion he systematically dissected the general theory which explains such attributions by reference to feelings or emotions caused in the listener, and he more explicitly criticized the causal model theories of Peter Kivy, Jerrold Levinson, and Roger Scruton. He half-promised, then, that he would in time examine another kind of relevant theory-namely one that explains by showing that music means feelings.Now he has examined for us what is probably the strongest version of such a theory-that of Susanne Langer-and found it wanting. And he has left us in limbo by refusing to reveal his own true and best theory. Perhaps for that we must wait for PME-VI!By way of responding to Price, I want to point out two things in his argument which I find rather slippery, one perhaps not so important and one that I think is [End Page 76] quite important. Then I will make a quasi-defense of Langer's theory of meaning which may evade Price's criticism. Finally, I would like to hazard a guess as to the kind of position which Price might put forward if he were not so reticent.First, the point that is not so important. There has long been an amazing amount of uncertainly about what constitutes an emotion or a feeling, amazing because philosophers and subsequently psychologists have been reflecting on and doing mental and laboratory experiments in the area for a long, long time. Some take feeling to be the larger field of which emotions are a subset; others do the reverse. Some differentiate feelings or emotions or both in terms of related behavior, whereas others put them in the box of subjective experience. So my first comments are meant to be cautionary with respect to speaking about feelings or emotions.Price, for instance, speaks of love as a kind of emotion. I find that peculiar, especially in the way he describes Romeo's love as "continuous, not a succession of discrete moments" and as something that has a more or less clear beginning and end with no lapses in between. But there must be many times that Romeo does not experience the so-called emotion, when he is asleep, for instance, or doing nothing between acts. I love my wife Valerie, but when I am speaking now, and in most of my actions every day, I am not experiencing some set of feelings that combine to make the emotion "Forest's love of Valerie." Often what we call emotions are only intermittently experienced and are perhaps best understood as dispositions or attitudes or beliefs or commitments.My second, and I hope more telling, point is to note how Price is playful with the notion of "reality." He makes it sound as if the distinction between appearance and reality is something that can be quite clear and unambiguous, even if it is not so in particular situations like that of a person seeing a nonexistent oasis or of Lady Macbeth seeing a nonexistent spot on her hand. But note how Price so often gives us examples from the world, so to speak, of art. Lady Macbeth and Romeo do not exist as real people. Those who enact their parts do, of course, but the Lady Macbeth actor is not fooled about the spot on the hand, and the Romeo actor might quite dislike the Juliet actor and not even be sexually attracted to her. Unlike us poor mortals, Romeo and Juliet live and die again and again... (shrink)

Os dois subgêneros epistolares desenvolvidos por Antônio Vieira entre 1646 e 1696, a carta familiar e a carta negocial, reatualizam os preceitos das artes dictaminis antigas. Escritas como imitação verossímil e decorosa de fala de pessoa natural, as canas produzem a presença do corpo e voz do remetente, reativando neo-escolasticamente as técnicas da sermocinatio latina. A comunicação tratará de categorias retóricas e teológico-políticas das articulações dos dois subgêneros: a - a enunciação ou o contrato enunciativo, em que caracteres e afetos (...) constantes qualificam o remetente como tipo discreto que se dirige ao destinatário aplicando decoros específicos da pessoa e da circunstância; b - o enunciado ou a narração, em que as tópicas da invenção e as partes da disposição constituem a verossimilhança adequada ao subgênero e à matéria exposta. (shrink)

This article proposes that time is not so much constituted by time-consciousness as given by technical inscriptions of time. The `digital gift' of time that comprises one fundamental mode of this giving of time correlates with Aristotle's conception of time as `the number of movement according to the before and after'; more specifically, it furnishes a minimal form of temporal difference — a minimal before-after structure — that proves useful for exploring how the experience of time has changed today. The (...) article argues that we increasingly live time not, as philosopher Bernard Stiegler argues, through neo-Husserlian temporal objects like the cinema that model the flow of time through our consciousnesses, but rather with the aid of artworks that eschew the objectal in favor of the processual. In works like Wolfgang Staehle's Empire 24/7, Pierre Huyghe's L'Ellipse and Lynn Kirby's Six Shooter, we confront open-ended digital structures that provide us with a technically-specific mediation of the minimal before-after structure and allow us to participate in more heterogeneous enframings of time that move beyond the temporal ratios of human perception. The article closes with a brief discussion of contemporary Chinese art that serves to broaden the proposed `digital aesthetic' of time beyond the `digital' construed narrowly as a concrete technical platform. (shrink)

In this paper I investigate the relationship between T.W. Adornos general aesthetic theory and his actual view on contemporary art. Adornos view on art is centered around concepts like praxis, matter and critique: Fine art is supposed to make it obvious that any understanding of matter always in some way is inadequate. Praxis is always grounded on an understanding of matter, but in hiding this fact it becomes ideological and repressive. The fine arts have to make this visible – they (...) have to criticize the given praxis. This leads him to reject very big areas of the actual contemporary art – e.g. the music of Igor Strawinsky. I will show that this rejection springs from Adornos view on matters that turns out to be too narrow: His view on matter is too physicalistic. He focuses on the fact that Strawinskys music on the pure audible level is not as radical as for example Schoenbergs music. In this critique I think he overlooks that the music material is not just the audible sound. Strawinskys music appears as new - but only if one realizes how history is part of its material. Adornos being unaware of this leads to a modification (through Heidegger and Strawinsky) of his (and the general marxist) concept of history: The marxist (romanticist) view on history as being one-dimensional shows to be repressive! Adornos own methodology (the negative dialectics) therefore demands a modication of his own view on history – and also of his view on contemporary arts. (shrink)

In this article the author discusses the terms Bildung, wisdom, dialogue and philosophical dialogue. The author understands Bildung as the spiritual education of the soul, involving the existential growth and maturation of the individual in her relation to herself, to other people, to the world and to a possible transcendent Other. The outcome of processes involving Bildung is argued to be increased wisdom. Dialogue, especially in the form of philosophical dialogue, is presented as a powerful way of enhancing students’ Bildung (...) towards wisdom. The theoretical discussion is linked to a practical example from the author’s experience of teaching a course on philosophical dialogue in international teacher education in Norway. (shrink)

Inspired by an ‘apophatic turn’ in theology, philosophy and art, and with insights from existential phenomenology, the article encourages us to step back as actors in order to let life or the phenomenon itself act upon us. This kind of apophatic thinking is not so far away from the thinking of the Norwegian philosopher Olav Eikeland when he describes “Insider and Praxis Action Research”. And yet, the apophatic potentials in his way of understanding action research are here elaborated by pointing (...) to three dimensions: the Knowledge, Being and Mystery dimensions in a praxis, and to the four ways of seeing praxis from within both a “gnoseology” and an “agnoselogy”. The latter being led by a deep sense of wonder followed by what Daoist’s call Wu Wei or “effortless actions”. (shrink)

It has become a commonplace that "images" were central to the twentieth century and that their role will be even more powerful in the twenty-first. But what is an image and what can an image be? _Releasing the Image_ understands images as something beyond mere representations of things. Releasing images from that function, it shows them to be self-referential and self-generative, and in this way capable of producing forms of engagement beyond spectatorship and subjectivity. This understanding of images owes much (...) to phenomenology—the work of Husserl, Heidegger, and Merleau-Ponty—and to Gilles Deleuze's post-phenomenological work. The essays included here cover historical periods from the Romantic era to the present and address a range of topics, from Cézanne's painting, to images in poetry, to contemporary audiovisual art. They reveal the aesthetic, ethical, and political stakes of the project of releasing images and provoke new ways of engaging with embodiment, agency, history, and technology. (shrink)

The oral eye is a metaphor for the dominance of global designer capitalism. It refers to the consumerism of a designer aesthetic by the 'I' of the neoliberalist subject, as well as the aural soundscapes that accompany the hegemony of the capturing attention through screen cultures. An attempt is made to articulate the historical emergence of such a synoptic machinic regime drawing on Badiou, Bellmer, Deleuze, Guattari, Lacan, Rancir̈e, Virilio, Ziarek, and Zizek to explore contemporary art (post-Situationism) and visual cultural (...) education. Jagodzinski develops the concept of an 'avant-garde without authority,' 'self-refleXion' and 'in(design)' to further the questions surrounding the posthuman as advanced by theorists such as Hansen, Stiegler and Ziarek's 'force' of art. (shrink)

AbstractThe world we live in is shaped by technology and its development. This process is observed and debated in the humanities as well as in computer science and cognitive sciences. Narratives of human life being merged with and transcended by technology not only belong to science fiction but also to science: Theorists like Katherine Hayles or Mark B. N. Hansen speak of a technogenesis of consciousness. These accounts hold that our cognitive abilities are deeply influenced by technology and digital (...) media. The digitalization of the lifeworld is a global phenomenon, which unfolds regardless of local cultures. It is art which seeks to explore the experiential aspects of technologically shaped life-worlds. In my contribution I will present examples of artworks which focus on the possibility of aesthetic experiences with new technologies and getting in touch with the so-called technological unconscious. I attempt to investigate the potential of art to unfold experiential aspects of human rapport with technology and thereby develop aisthetic practices for understanding the cultural and political dimensions of digitalized life-worlds. (shrink)

In the context of the highly contested discourse of posthumanism, this essay examines Mark Hansen’s attempt to give a robust account of technology in its extra-linguistic dimension by evincing an ‘‘‘originary’’ coupling of the human and the technical’ that grounds experience as such (Hansen, 2006a: 9). Specifically, I argue that Hansen’s perspective is haunted by the representational logic that it moves against. In this, I do not repudiate Hansen’s argument as such, but rather reject one of (...) its central underlying implications: that the extra-discursive materiality of technology might be accessed, linguistically, without attaching a meaning to it that is foreign to this materiality. To this end, the essay begins with an examination of technesis as it is initially developed by Hansen, demonstrating the necessity from which it sprang, the contribution that Hansen’s reading makes, and its ultimate limitations. From here, the essay articulates Hansen’s argument for an affective topology of the senses, corroborating the increased importance of digital technologies in this perspective through a brief comparison of Roberto Lazzarini’s ‘skulls’ (as read by Hansen) and my own piece ‘Sound’. Finally, this comparison pivots the essay towards a critical analysis of Hansen’s account of primary tactility that demonstrates its dependence on the (representational) logic of language. In closing, then, I argue that what is accomplished by Hansen’s putting-into-discourse of technesis is, paradoxically, a re-staging of the constitutive ambivalence of deconstruction that reinvigorates the posthumanist elements of that discourse. (shrink)

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

Lo digital descansa en la computación. La programación utiliza algoritmos. Los algoritmos son el conjunto de reglas que resuelven problemas en un número finito de pasos. En este sentido, el mundo digital está regido por cantidades, números, reglas fijas. El grado de libertad parece muy limitado. Por el contrario, la actividad artística y la creatividad descansan en la apertura, la libertad y en experiencias cualitativas. Estas experiencias no solo son vitales para la expresión artística, sino para la vida cotidiana. Los (...) mundos-vitales tecnológicos tal como se representan en tecnologías actuales (por ejemplo, en las casas inteligentes o en la conducción automática) o en la ciencia ficción no parecen dar cabida a estas estructuras abiertas. La filosofía de la tecnología está dividida: muchos sostienen que la tecnología determina en gran medida la cognición humana (como Mark B. N. Hansen, Bernard Stiegle) y, consiguientemente, subordina la cognición humana a las organizaciones maquinales. Otros adoptan una aproximación diferente y reflexionan sobre el potencial creativo de las nuevas tecnologías (Erin Mannig, Jaime del Val). Este artículo discute teorías que abordan la relación humano-máquina en tanto que estructuras complejas que van más allá de la visión distópica del ser humano siendo trascendido o incorporado por la tecnología. Estas aproximaciones son centrales para discutir el futuro del ser humano y la conformación político-cultural de los mundos vitales. Para entender cómo las relaciones humano-máquina pueden considerarse como procesos abiertos y creativos, presento narrativas de cognición corporalizada, ejemplos artísticos de estrategias de performance con sistemas algorítmicos, y finalmente engarzo estos aspectos en un panorama más amplio sobre la conceptualización de la tecnología y la vida humana como un continuo, en vez de una sostenida oposición o un estar determinado por el otro. (shrink)

Most eighteenth- and nineteenth-century portrait paintings have eyes staring outward at the beholder. A minority of these eyes have slightly elevated pupils in comparison to the iris. These off-centre pupils are not the norm, but they occur regularly in works by skilful European portrait painters in the eighteenth and nineteenth centuries. This article takes a closer look at selected portrait paintings by Danish artists Jens Juel and Constantin Hansen and argues that the discrepancy between the pupils and the rest (...) of the paintings creates an illusion of movement or presence when looking the paintings in the eye. The discrepancy creates an aesthetic effect corresponding with Merleau-Ponty’s concept of internal discordance. According to Merleau-Ponty, visual art can create the illusion of movement by portraying its parts in different moments. These internal discordances make the painting “move” because the beholder unconsciously creates a fictive link between the parts thereby expanding time in space. The article combines presence theory (Jean-Luc Nancy and Hans Ulrich Gumbrecht), phenomenology (Merleau-Ponty) and art theory and perception theory (James Elkins, Dominic McIver Lopes and Michael Fried) in order to study the effects and possible reasons for creating pupils out of sync with the rest of the painting. (shrink)

Adriano Ardovino, Raccogliere il mondo. Per una fenomenologia della rete [Angela Maiello] • Clive Bell, L’Arte [Filippo Focosi] • Alessandro Bertinetto, Il pensiero dei suoni. Temi di filosofia della musica [Domenica Lentini] • Terrence Deacon, Incomplete Nature. How Mind Emerged From Matter [Mariagrazia Portera] • Roger Scruton, La bellezza. Ragione ed esperienza estetica [Filippo Focosi] • Miriam Bratu Hansen, Cinema and Experience. Sigfried Kracauer, Walter Benjamin and Theoder W. Adorno [Domenico Spinosa] • Lawrence Barsalou, scritti sulla “Grounded Cognition” [Gialuca (...) Consoli] • Dis-forme , Università degli Studi di Palermo, 28-29 maggio 2012 [Michele Bertolini e Pietro Conte]. (shrink)

Our beliefs and opinions are shaped by others, making our social networks crucial in determining what we believe to be true. Sometimes this is for the good because our peers help us form a more accurate opinion. Sometimes it is for the worse because we are led astray. In this context, we address via agent-based computer simulations the extent to which patterns of connectivity within our social networks affect the likelihood that initially undecided agents in a network converge on a (...) true opinion following group deliberation. The model incorporates a fine-grained and realistic representation of belief and trust, and it allows agents to consult outside information sources. We study a wide range of network structures and provide a detailed statistical analysis concerning the exact contribution of various network metrics to collective competence. Our results highlight and explain the collective risks involved in an overly networked or partitioned society. Specifically, we find that 96% of the variation in collective competence across networks can be attributed to differences in amount of connectivity and clustering, which are negatively correlated with collective competence. A study of bandwagon or “group think” effects indicates that both connectivity and clustering increase the probability that the network, wholly or partly, locks into a false opinion. Our work is interestingly related to Gerhard Schurz’s work on meta-induction and can be seen as broadly addressing a practical limitation of his approach. (shrink)

The requirement that animals be used in research and testing in order to protect humans was formalized in the Nuremberg Code and subsequent national and international laws, codes, and declarations. We review the history of these requirements and contrast what was known via science about animal models then with what is known now. We further analyze the predictive value of animal models when used as test subjects for human response to drugs and disease. We explore the use of animals for (...) models in toxicity testing as an example of the problem with using animal models. We conclude that the requirements for animal testing found in the Nuremberg Code were based on scientifically outdated principles, compromised by people with a vested interest in animal experimentation, serve no useful function, increase the cost of drug development, and prevent otherwise safe and efficacious drugs and therapies from being implemented. (shrink)

Like philosophy itself, Dune explores everything from politics to art to life to reality, but above all, the novels ponder the mysteries of mind. Voyaging through psychic expanses, Frank Herbert hits upon some of the same insights discovered by indigenous people from the Americas. Many of these ideas are repeated in mainstream American and European philosophical traditions like pragmatism and existential phenomenology. These outlooks share a regard for mind as ecological, which is more or less to say that minds extend (...) beyond the brain into the rest of the body and the surrounding environment. -/- The cross-cultural strands in Dune tie closely to Herbert’s life and interests. An outdoorsman born in the Pacific West, he had an abiding bond with a friend from the Quileute tribe, Howie Hansen. Herbert advocated for aboriginal rights and crafted well-intentioned if slightly stereotypical tales about indigenous characters, partly based on his visits with Northwest tribes. Carl Jung (1875-1961), whose idea of collective consciousness echoes aboriginal views, was among Herbert’s European influences. So was existential phenomenology, especially as developed by Martin Heidegger (1889-1976). The names of characters in one of Herbert’s novels—The Santaroga Barrier—in fact coincide with terms that Heidegger used to articulate how emotionally colored coping with our environment defines our existence. Many indigenous philosophers have treated phenomenology and its American cousin pragmatism in approving ways. Indeed, the ideas of North America’s first inhabitants seem to have been absorbed by pragmatists and even earlier by transcendentalists like Ralph Waldo Emerson (1803-1882) and Henry David Thoreau (1817-1862). -/- These different philosophies all advance a place-based psychology. Anne Waters, herself of mixed tribal heritage, generalizes the mindset of her people this way: “American Indian consciousness, and hence American Indian identity is … interdependent with our land base.” Lee Hester, a Choctaw thinker, adds that practices—not mere beliefs—are most important for native thought. American transcendentalists and pragmatists, as well as European phenomenologists, similarly see hands-on practices and environmental interactions as the core of experience. Extending this a little, they sometimes suggest experience isn’t individual but instead cultural. “Culture” is here understood as interactions within communities that define our worlds and experiences, as when we talk about the “French experience,” “culture” or “world,” or the “experience of parenthood.” This theme also shows up in indigenous thought. -/- Exploring the Dune universe, we find everything from land-based concepts of personal identity, to the idea of sharpening the mind through hands-on training, to collective notions of experience in cooperative tribes or through the genetic memory of central characters. The stories explore fate versus free will in cosmic contexts, introducing views from indigenous thought and the pragmatic philosophy of William James (1842-1910). Different forms of spiritualism mingle to shape minds and cultural mixtures around the globe, and the same occurs in the Dune series. The customs and personalities of characters fuse elements from Buddhism, Christianity, Hinduism, Judaism, Taoism, and especially Islam. The series not only highlights that religion shapes psychology, but also that faith connects to place, especially paralleling Judeo-Christian-Islamic desert faiths. In capturing these points, the Dune novels show that “our values, our lifestyles and even the ways we think and feel have been strongly influenced by our locations in history and geography. The study of the human mind is fundamentally the study of place.”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:IntroductionLori A. Custodero and Anna NeumannIn this symposium, three scholars present the genesis, meaning, and artfulness of creative work and its realization as aesthetic experience within three educational fields. Lori A. Custodero, working out of music education, provides a perspective emanating from an aesthetic of childhood wonder and playfulness; David T. Hansen, writing out of philosophy of education, discusses how being fully present in the teaching moment leads (...) to meaningful experience; and Anna Neumann, who writes out of the field of higher education studies, represents scholars as engaged in intellectual pursuits, often framed aesthetically, and as struggling to hold on to precious time for creation. Aware of the inherent tensions in learning environments from child care centers to graduate schools, we address ways in which our research has revealed people's sustained pursuit of imagined possibilities, oftentimes amidst perceived impediments.Creative work involves imagining possibilities whereby individuals, alone and together, pose personally relevant questions and pursue fluent pathways of inquiry within the shared meanings of cultural context. At its finest, such work is artful, simultaneously responding to and emanating from immediate circumstance and past experience. It is malleable and vulnerable and compelling, fusing familiar images and surprising perceptions into new "equilibria... stable, even though moving" whereby "changes interlock and sustain one another."1 As scholars and teachers committed to learning, we strive to create and discern meaning between established understandings and emerging ideas and images. As we dance between reception and action, between insight and "onsight,"2 fully attentive to the perceived potentials in our work, we move toward synchrony, experiencing the aesthetic. The realizations that arise from experiences such as these — new or newly reconfigured words, sounds, images, movement, and ideas — express new balances of sense and feeling and, sometimes, beauty. Whether in the shared, artfully expressive vocalizations between the newborn infant and mother or in the scientist's finessing patience with elegant mathematical imagery, creative work invites a drawing together of what we know and what we struggle to know. Over time, the interplay of this work and its realization, [End Page 33] what Dewey refers to as "movement and culmination,"3 creates a momentum that serves to define lives as aesthetic.We have created this symposium as a space for considering the meanings of the aesthetic in lives — from its earliest instantiations in the experiences of infants and young children, to its developed expression in the professional (in this case, intellectual) efforts of adults pursuing scholarly careers, to its representation in teaching as intergenerational fusions of knowledge, learning, and lives. We see the aesthetic as both native and learned; as individually held and formed and felt, and as collectively created and voiced, the product of lives in intersection; as marking bounded moments in time (those instants of compelling "present-ness") and as spreading through years, well beyond bounded present-ness, perhaps as memory. Yet while striving to define the aesthetic in lives, we also strive to understand lives, individually and interactively, as lodgings for the aesthetic, as locations that give shape, form, and voice to beauty and insight, to creativity and learning. As we explore the lives in which the aesthetic finds its home, and within which it forms, we wonder about the extent to which the aesthetic may, in its turn, illuminate the strivings of those lives, including human desires to create, know, learn, understand, sense. We are then collectively concerned with the meanings of the aesthetic in lives and about the lives themselves as "moving spaces" within which the aesthetic can grow.We pursue this theme, centered on the power of the aesthetic to illuminate human lives, out of a realization that current understandings of what it means to be human — and especially what it means to learn and create — have been framed within the rubrics of the social sciences, certainly in productive ways. And yet we suggest that the artful, though powerful in its abilities to voice emotion and beauty, has not been employed as intensively as it might in efforts to understand what it means to create and learn as virtues of human existence, as perhaps the ultimate of human strivings. We hope that these symposium papers will help invigorate such... (shrink)

This book review outlines and comments on the ten sections of Robert Allinson’s edited collection, Understanding the Chinese Mind: The Philosophical Roots. It begins with John E. Smith, whose essay presents three types of intercultural scholarly occurrences: parallels and agreements, divergences, and conflict. Next is Robert Neville, who discusses common ontological and cosmological themes in Confucianism, Daoism, and Sinicized Buddhism. General themes are then tied to Plato and the mystical side of Western monotheistic religions. In the following essay, Chad (...) class='Hi'>Hansen discusses his interpretation of the Chinese theory of language, suggesting that the prescriptive and socializing nature of the Chinese language make for a radically different conceptions of language and mind from Western theories (except functionalist theories), one in which concerns for truth are secondary. In response to Hansen, Christoph Harbsmeier draws on Chinese classical philosophy to argue that a concern for truth is central in the Chinese canon. The reviewer then comments on the limitations of Harbsmeier’s critique, which adopts Tarski’s ‘T schema’ of truth to assess notions of truth in Chinese classical philosophy. Continuing with the essays, Chung-ying Cheng compares Chinese and Western metaphysics on the Parmenidean problem of change. Drawing mainly from Xunzi, Antonio Cua sets up a dialogue between Confucianism and Anglo-American moral philosophy on the function and justification of ritual code. Kuang-ming Wu compares and contrasts prominent Chinese and Western approaches to the apprehension of beauty in the arts, the former being heavily analytical and prone to universal generalizations and the latter being more adumbrative and contextualized. The reviewer then comments on Wu’s apparent omission of the difference between a Western experience of beauty and Western philosophizing about the experience of beauty. The last essay, Lao Sze-kwang suggests that the difference between the practical, “orientative” direction of Chinese philosophy which aims at effecting change in the self or the world and the highly theoretical slant of Western philosophy as an absolute difference between the two canons, a difference which the reviewer welcomes but at the same time pulls back from any claims of absoluteness. Finally, the book review turns to Allinson’s introduction, which reflects on the multiplicity of perspectives in both Western and Chinese mind and, like Sze-kwang, draws attention to the higher degree of emphasis that Chinese philosophy places on practice, explaining the difference in part in terms of the propensity of Chinese philosophers to envision humanity as in or capable of regaining fundamental harmony with the cosmos. The reviewer concludes with suggestions for further dialogues. (shrink)