후설 현상학은 제일철학적 철저주의의 이념에 의거하여 절대적 근원성의 해명을 추구한 철학이다. 이에 따라 후설 현상학이 궁극적으로 밝혀낸 절대적 근원성은 바로 선험적 주관성의 생생한 현재이다. 이 선험적 주관성의 생생한 현재는 모든 시간을 구성하는 근원시간화로서의 선시간적 근원성이다. 다시 말해 생생한 현재는 최초의 시간화인 자기현재화로서의 자기시간화를 통한 선험적 주관성의 시간적 자기구성의 가능 근거로서 궁극적으로 기능하는 근원자아이다. 이뿐만 아니라 생생한 현재는 모든 대상성을 시간위치적으로 시간화된 시간객체로서 구성하는 선험적 주관성의 시간적 대상구성의 가능 근거로서 궁극적으로 기능하는 근원자아이다. 이러한 생생한 현재는 시간화된 이후에야 비로소 성립하는 선험적 주관성의 (...) 현상학적 자기반성의 가능 근거로서 궁극적으로 기능하는 선반성적 자기동일성이다. 그런데 이러한 생생한 현재는 시간화 이전의 선시간적 근원성으로 인해 결코 반성적으로 대상화되어 파악될 수 없는 절대적 익명성을 지닌다. 따라서 이러한 생생한 현재는 반성적 자기의식의 인식론적 자기관계로써 이해될 수 없고, 선반성적 자기의식의 존재론적 자기관계로서 이해될 수 있다. (shrink)

The nature of temporal experience is typically explained in one of a small number of ways, most are versions of either retentionalism or extensionalism. After describing these, I make a distinction between two kinds of temporal character that could structure temporal experience: A-ish contents are those that present events as structured in past/present/future terms, and B-ish contents are those that present events as structured in earlier-than/later-than/simultaneous-with relations. There are a few exceptions, but most of the literature (...) ignores this distinction, and silently assumes temporal experience is A-ish. I then argue that temporal character is not scale invariant, but rather that temporal experience is A-ish at larger scales, and B-ish at smaller scales. I then point out that this scale non-invariance opens the possibility of hybrid views. I clarify my own view as a hybrid view, according to which temporal experience is B-ish at small scales – and at this scale my trajectory estimation model applies – but A-ish at larger scales, and at the larger scale my TEM does not apply. I then motivate this hybrid position by first defending it against arguments that have tried to show that the TEM is untenable. Since the hybrid view has TEM as its small-scale component, it must address this objection. I then put pressure on the main alternative account, extentionalism, by showing that its proponents have not adequately dealt with the problem of temporal illusions. The result is a new theory motivated by i) explaining its virtues, ii) showing that objections to it can be met, and iii) showing that objections to its main competitors have not been met. (shrink)

Was the zoological garden a place for science in the 19th and 20th centuries? This question cannot be answered with a simple yes or no. Rather, this Special Issue suggests, we need to reconstruct how the concrete conditions of the zoo as an institution influenced, enabled, triggered, facilitated, obstructed, or impeded scientific research. The zoo was and is a multifunctional space serving different constituencies, such as scientists of different disciplines, artists, breeders, and the general public. This collection of articles argues (...) that despite or even because of its hybrid character, the zoo generated knowledge about exotic animals in often unexpected ways. This Special Issue conceives of “science at the zoo” as a an “impure,” yet very rich epistemic constellation with its very own dynamic, tensions, and contradictions. The first part of this introduction provides a historical overview of the topic. Synthesizing the existing secondary literature, it addresses the major themes of science at the zoo: the debate among scientists about the pros and cons of research conducted in and outside the cages; the gap between the promise of doing research at the zoo and the actual practices; and the emergence of new fields of knowledge such as zoo veterinary medicine, zoo biology, and conservation science. The introduction's second part draws out the common topics that connect the eight articles of this Special Issue: the multiplicity of spaces interacting with the zoo; the broad range of historical actors, including academics, animal traders, and zoo keepers; the changing roles of the zoo-going public; and the negotiation of authority and epistemic hierarchies in producing knowledge about zoo animals. The large numbers of zoos and the long temporal range these articles cover bring the constant evolution of “science at the zoo”-and hence its intrinsic historical dimension-to the fore. (shrink)

The field of the philosophy of biology is flourishing in its aim to evaluate and rethink the view inherited from the previous century ---the Modern Synthesis. Different research areas and theories have come to the fore in the last decades in order to account for different biological phenomena that, in the first instance, fall beyond the explanatory scope of the Modern Synthesis. This thesis is anchored and motivated by this revolt in the philosophy of biology. -/- The central target (...) in this context is the possibility of naturalizing teleology, a classical nightmare for the history of biology itself. This requires, principally, understanding the causes of teleological explanations without assuming an unfashioned backward causation of sorts. As the riddles of teleological explanations are about their temporal dimension, I analyze different temporal scales of biological processes: evolutionary, developmental, and physiological. -/- The first one is the one defended in the context of the Modern Synthesis. As expected, one of the aims of this thesis is to evaluate the adequacy of an evolutionary account of teleological explanation. The scrutiny is negative. Evolutionary explanations in the context of the Modern Synthesis lack the necessary causal roots to naturalize teleology. Concerning the physiological scale, a long tradition pushed up by Kant and the organicist movement in the 20th century allows us to better understand how teleological explanations can be naturalized in physiological process. The key notions in this temporal scale are self-organization and the recursive, looped character of physiological process. While the physiological scale may be suitably accounted by contemporaries views, such as Autonomous Systems Theory, different central teleological phenomena remain unexplained from a purely physiological perspective. In particular, different issues concerning the (adaptive) construction of organism ---such as plasticity, robustness, variation, novelty, inheritance--- deserve an ontogenetic analysis. -/- The principal aim of this thesis is to provide a theory of teleological development that falls beyond the Modern Synthesis' framework and is prompted by different insights from the history of biology. I call it Agential Teleosemantics. It rests on two central pillars. First, that developmental processes, beyond any gene-centered stance, can be understood in informational terms; i.e. developmental processes are about the interaction of developmental resources conveying biological information. The second ingredient is agentivity, namely the idea that development is regulated by an agentive system according to the adaptiveness of the phenotypic outcomes produced. The role of agency in Agential Teleosemantic is equivalent to the role of genes in the Modern Synthesis: it is responsible for explaining the order and the adaptive complexity in the living realm. -/- The second target of this thesis regards the possibility of naturalizing intentional explanations in cognitive science. The central project involved in such an aim is known as teleosemantics. Classical teleosemantics however is etiological: it explains the teleofunctions of representational systems in terms of evolutionary processes. The different disputes in the contemporary philosophy of biology provide two insights to analyze teleosemantics in cognitive science. First, the challenges against the Modern Synthesis must be extended to the evolutionary approach of etiological teleosemantics. Second, as Agential Teleosemantics suggests an alternative source for teleofunctions ---ontogeny, I offer an attempt to integrate Agential Teleosemantics into cognitive science in order to provide an alternative teleosemantic project to understand intentional explanations in cognitive science. (shrink)

The aim of this article is to reveal with an overall approach, how the psycho-social background, starting from woman image in first periods and reach modern day, is embraced by outstanding theorists of modern psychology, and also how these collected works are reflected in their definitions of woman. If it is considered that woman has been discussed with reflections against and not from primary sources throughout history, it can be seen that the most essential roots of woman narrations can be (...) found in oral culture and the parts of written texts are made over symbol, metaphor, proposition and story. However myths (stories) that take place in oral and partly written culture about primitive man, are sacred tales, they will also present data regarding human image. Therefore with a limited effort of human being to understand the infinite, it can be understood what human being think, feel and how they interpret rather than gods/goddesses ontology. From this point of view, this article that consists of two parts, first of all will mention especially about perception of Goddess in those reflected to image of God, maintaining its efficiency in conscious or unconscious as a system of symbols intrinsic to human nature and cultural code background and then the woman image will be roughly discussed with a descriptive style over the world of mythology, psychology and faith. In the second part, it will be examined in detail how all the written and oral information about understanding woman by modern anthropologists are interpreted with the perspective of modern psychology specific to theorists such as Freud, Jung and Fromm. Eventually, it will be emphasized that past and future are integrated with information, experience and feelings with an active relationship; perception and approach of woman have stayed up to date in time continually; mythology, psychology and religion are important factors within this matter.Summary: Human being has also used historical, temporal and spatial attributions for God. Infinite human being has expressed their thoughts about the finite God by analogy. Despite the dominance of male gender in the images of God in these analogies which are the products of human experience, female Gods that is to say Goddesses are not few. The matter of how the image of goddess come to the fore in a distinctly male-dominant society is a noteworthy matter. The narration of Earth Mother over female symbol in myths in which the harmony is constantly secured within the inner and exterior world and mention about living in harmony with the universe is an important data in order to understand female characteristics attributed to God. Human being has also used historical, temporal and spatial attributions for God. Infinite human being has expressed their thoughts about the finite God by analogy.The woman subject is influenced by transferred life experience within the historical process, and it is an undeniable fact that ancient “woman perception” has reflections to the present day. Within the history of humanity, striking definitions about woman can be seen in sacred statements in symbol language. Therefore, it is proper to examine primarily the image of sacred and then examine female meaning that is charged on that image. The aim of this study can be summed up with two themes: a) try to understand the general framework of reflections of the present image of woman, style of narration and comprehension in psychological, sociological, and religious terms by getting help from myths which mention about ancient image of God, although there is centuries old difference between those stories and us, b) reveal the image of woman in Freud, Jung, and Fromm’s approach which establishes a bond between mythology that is a system of symbols special to human nature and human psychology and discuss this subject by using psychology of religion.When reviewed ancient Far East and Middle East myths and also Ancient Greek mythology, it can be seen that gods are not cloistered supernatural beings who do not have abstract personalities and also do not lead a wholly metaphysic life. The crucial issue here is; the reality that Gods and Goddesses are shown as a model to both man and woman. Psychologists who examine religion in terms of psychology state that first outcomes about the image of God come up not with behavior but with emotion. The attributions of gender, related to the emotion in question are cited during the transfer of those emotions as well. Therefore; philosophers, culture and religion historians, theologians, anthropologists, archaeologists, psychologists, and sociologists have contributed to this transfer when they discuss the cult of God or Goddess throughout the history. It is interesting that the usage of the term of God maintains while the usage of the term of Goddess decreases. Civilization historians claim that the appearance of divine religions particularly quickens the course of transition from goddess to god. According to them, during this period in which there is a transfer from polytheist image of God to monotheist image of God, the quantitative change in the perception of God comes with a qualitative change. According to Fromm, during this power gathering period, there has been a transfer from mother and feminine (woman) centered religion to father and masculine (man) centered religious experience/ God image. According to him, in the second stage of humanity development, “the children of Earth Mother turn into the children of divine father”, there is a transition from unconditional love of mother to authoritarian sympathy of father, from an image of supplemental and surrounding Goddess to authoritarian image of God who makes requests by his nature, lays down principles and laws, and supports the power and search for a successor to deliver the power.The perception of women who led to Prophet Adam deviated from the truth and expelled from heaven is spread around especially the regions of one-God religions. This has strengthened the idea that divine religions have a negative view towards women. Including Islam, the reason of all divine religions’ encountering with claims that they have a negative approach against woman stem from applying to that religions’ human resources rather than essential religious sources which are existing or lost earliest forms.Oedipus complex is an important thesis of Freud which explains the development of religion and morals; establish the base of his psychology, and in fact, important in terms of his making connection with difference of kinds and flow or non-flow of request and needs while explaining human behaviors. According to Freud who points to sexuality and aggression which are the most powerful two instinct in the biology of male or female; the first three or five years of a newly born human- this is the period in which the basic part of personality is formed- the definition of self is extremely influenced by his/her gender (in both biological and sociocultural terms). Freud who put forward father-son conflict in the struggle to survive between Zeus and his sons in Moses and Monotheism (1998c) and Totem and Taboo (1998a), makes an explanation about the origin of religion and humanity over two male characters. Jung pays attention to goddess image as much as the image of god and do not approach this situation only as a polytheism or sociocultural explanation or childish appearances of a primitive mind. He accepts goddesses as a reflection of archetypes in human. Male has a feminine side, female has a masculine side, and a unity occurs when both complete each other. According to Fromm, a taxonomy referring to woman and man is primarily a sociology-based approach rather than a biology-based one. Fromm (1995) thinks that the whole depiction shows individuals’ own desire and needs, that is to say, their psychology rather than a theology. Transition from mother (woman) centered religion to father (man) centered religious experience and God image is essentially one of the most important breaking/inversion points of human being, not humanity. As a result, it can be said that it is an important point to clearly understand the story of mankind to examine that intense freshness at hand and centeredness of quantitative and qualitative changes of divine or God image of ancient societies come down after psychological, sociological, religious, economic, political, and cultural changes. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

Temporal ontology is concerned with the ontological status of the past, the present and the future, with presentism and eternalism as main contenders since the second half of the last century. In recent years several philosophers have argued that the presentism/eternalism dispute is not substantial. They have embraced, one may say, deflationism. Denying or downplaying the meaningfulness of tenseless language and wielding the so-called triviality objection have been their main argumentative tools. Other philosophers have opposed this trend, thereby holding (...) fast to what could be named substantialism. Their leading defensive strategy has consisted in bringing to the fore tenselessness or unrestricted quantification in an attempt to resist the triviality objection. Despite this reaction, the past few years have hosted a new wave of deflationism, wherein the triviality objection and qualms about the legitimacy of tenselessness and unrestricted quantification still loom large. This paper counters this trend, by providing a new clarification of tenseless predication, unrestricted quantifiers and their role in rescuing substantialism from the triviality objection. A crucial ingredient is this: the appeal to unrestricted quantifiers and to tenseless predication are not alternative strategies, but rather two sides of the same coin, since substantialism requires quantifiers that are both tenseless and unrestricted. (shrink)

ABSTRACTTime-consciousness has long been a focus of research in phenomenology and phenomenological psychology. We advance and extend this tradition of research by focusing on the character of temporal experience under conditions of mania. Symptom scales and diagnostic criteria for mania are peppered with temporally inflected language: increased rate of speech, racing thoughts, flight-of-ideas, hyperactivity. But what is the underlying structure of temporal experience in manic episodes? We tackle this question using a strategically hybrid approach. We recover and (...) reconstruct three hypotheses regarding manic temporality that were advanced and modeled by two pioneers of clinical phenomenology: Eugène Minkowski and Ludwig Binswanger. We then test, critique, and refine these hypotheses using heterophenomenological methods in an interview-based study of persons with a history of bipolar and a current diagnosis of acute mania. Our conclusions support a central hypothesis due to Minkowski... (shrink)

In this article, I will pursue three aims. First, I would like to demonstrate the non-transcendental character of Merleau-Ponty’s phenomenology, namely, his claim that a strict division between a priori and a posteriori is an abstraction that derives from a more primordial unity that is given in our lived experience. I will criticize authors such as H. Dreyfus and T. Carman who treat the body and bodily character of our existence as a classical Kantian a priori that functions (...) as a condition of experience without itself being a part of the experience. The claim I would like to defend in this regard is that reflections on the conditions of our experience must themselves be a part of our experience. The second task is to show how Merleau-Ponty’s analysis of temporality helps him to avoid this strict division between a priori and a posteriori. Based on this, I will elucidate some of the most obscure passages of Phenomenology of Perception. Finally, I will claim that the notion of optimal grip can neither be explained by the reference to our body, as Carman claims, or to brains, organisms and their copings with the environment, as Dreyfus argues. Instead, I will claim that the maximal grip is rather a consolidation or intensification of the temporal ecstasy. (shrink)

‘Time’ has been central to Zygmunt Bauman’s theory of modernity and his subsequent account of its solid and liquid variants. The experience of time in these accounts announces the coming of new opportunities, but it also signals a corrosion of our moral sensitivity. In this article, I assess Bauman’s contribution to the sociology of time and the centrality of our temporal character for his philosophical anthropology. There is a unique chance to be moral in liquid modernity, by unshackling (...) the outdated and habitual ethics of the past. The danger, however, lays in an increasingly ‘hurried life’, where a ‘nowist’ culture demands endless answers to the most banal of choices, often before these choices have even arrived. I argue that for Bauman the historical power of culture is to raise the ‘ought’ above the ‘is’. This results from our character as temporally-aware creatures. In our liquid modern times, the haste of life and its individualizing forces shift the character of that temporal awareness, endowing us with a false set of needs crafted by the market. The project of humanity itself has become, in Bauman’s diagnosis, subservient to maintaining the goals of the market. (shrink)

Within legal contexts, a claim to knowledge requires that the evidence appealed to fulfills conditions established by legal norms that belong to the so-called Evidence Law. In addition, the epistemic justification presupposed by this kind of knowledge is temporally affected by the changing character of the evidence and the judicial discretion usually exercised in the applications of the Evidence Law. As such, these two scenarios involve three modalities: temporal, epistemic, and deontic. The present paper philosophically discusses the links (...) between these modal dimensions in the above legal context. Based on the discussion, a formal tense-epistemic-deontic logic is developed. That is, the paper characterizes a formal language formally representing the three dimensions through specific logical operators, constructs a formal semantics for the language, and specifies a formal logical system. Finally, the soundness and completeness of the system with respect to the semantics is proved. (shrink)

For achieving the sustainable development goals, green development has been raised to a high position for cities in China. The economic development in Northwest China is slow, the ecological environment is fragile, and the mineral resources are rich. Only through green development can we realize the comprehensive income of regional production development, rich life, and good ecology. This paper measures the green development efficiency of 30 prefecture-level cities in Northwest China by using DEA-SBM model of unexpected output, explores the differences (...) and causes of green development efficiency from the perspective of time and space through convergence coefficient, coordination matrix, GIS, and other methods, and empirically tests the impact of industrial structure, technological progress, and other driving factors on green development efficiency by using panel Tobit model. The results show that, on the whole, the efficiency of green development in Northwest China is low, path dependence is serious and unbalanced, the coordinated development effect of different regions is weak, and the spillover effect of core urban agglomerations has not been effectively exerted; from the perspective of driving factors, economic development, population density, traffic situation, and education investment can significantly improve the efficiency of urban green development, and the second is that the proportion of industries significantly hinders the improvement of green development efficiency, while the impact of scientific and technological innovation is not significant. Based on the empirical results, this paper believes that the harmonious development of natural environment and economic society can be realized only by improving the coordinated development effect among cities, implementing the optimization and upgrading of industrial structure, introducing excellent talents, and promoting the technological upgrading. (shrink)

Cognitive research on Ego-Reference-Point models of time in English traditionally shows that “FUTURE IS IN FRONT OF EGO” and “PAST IS IN BACK OF EGO.” Recently, however, this view has been challenged by other results, showing that there exists a major static model of time wherein “FUTURE IS IN BACK OF EGO” and “PAST IS IN FRONT OF EGO.” However, evidence for both conceptual systems comes predominantly from linguistic and gestural forms of expression. For instance, convincing empirical evidence coming from (...) the manifestation mode of cinema is still lacking. This article attempts to fill this gap by bringing the discussion of temporal metaphors to the foreground of character subjectivity in film. Using concise case-studies taken from various films, this study provides evidence that a majority of flashback scenes seem to base their conceptions of time on a static Ego-Reference-Point model in which the past appears to be in front of the character’s eyes on screen. (shrink)

Time has a highly unstable place between the objective and the subjective. On the one side, there are very well known philosophical arguments trying to show that time has only a subjective reality, even that it is merely a subjective epiphenomenon. On the other side, we are compelled to take points of view as non dispensable elements of reality, at least of a reality capable of containing beings like us. And points of view offer a world of temporal entities (...) existing in an objective way. Moreover, points of view themselves appear to be temporal entities among other temporal entities. We analyse both aspects of time. Our main focus will be McTaggart’s arguments against the reality of a fluent time, what he called temporal series of kind A. We will distinguish three very different arguments in McTaggart works. We analyse them in detail. And we reject their conclusive character. Our final target is to maintain that there is a room for fluent time in what is internal to points of view but external to the subjects adopting those points of view. (shrink)

Why does Plato write dialogues? Why more than one? The Temporality of Human Excellence begins with a brief introductory consideration of these questions, and concludes with a suggestion about two things: the intent of his use of this form, and the manner of its concrete realization in a set of two dozen or so dialogues. Taking up each dialogue as a separate drama, the reading seeks to focus attention on how each, by its characters, their interplay and conversation, and the (...) apparent lack of positive issue to the discussion they engage in, contributes to a sketch of human excellence as a complex power developed and grown into as consummation in the maturing, over time, of a human being. (shrink)

It has not been clarified if attention influences perception of targets in visual masking. Three forms of common masks were thus chosen in the present study and presented with character targets in three temporal sequences. In order to pinpoint the level of processing where masking arises, character targets were varied in depth of processing from random arrangements of strokes up to real Chinese characters. The attentional influence was examined under perceptual discrimination and lexical decision tasks, respectively. The (...) results revealed significant interactions among four factors. Identification of character targets in each form of mask sequence varied with task demand, with greater suppression in the perceptual discrimination task. These findings suggested that attentional demand can bias processing in favor of task-related information in visual masking. Variations in masking effects may be contributed by both attentional demand and spatio-temporal interaction. (shrink)

Hartshorne holds that #1 and #2, taken with a proper theory of such relations as knowing and loving, entail #3, so that by denying the latter, classical theism abandons the privilege of holding to the conjunction of #1 and #2 consistently. Its only alternatives are to turn Leibnizian or to be inconsistent. The former option is to deny the contingency of the world. God's creative decrees always have a sufficient reason, else how could we call him wise. This reason must (...) always be the highest good, else how could we call him good. This world is really the best possible world precisely because it is the only possible world morally necessitated by the divine character. (shrink)

The turn to optimism makes figures of progress, consumption, self-making and empowerment appear in various genres of chick-lit. These narratives, however, are often still shaped by a depressive tone that is distinct from one that says that women have more options than happy-ever-after, even while heterosexual romance remains a structuring force. This article takes the Ghanaian web-series An African City as its example to explore this ambivalence. An African City offered its first season in 2014 and was immediately received as (...) ‘Africa’s own Sex and the City’, praised for challenging the image of a backward Africa, while criticised for offering an unrealistic account of life for urban African women. The series is set around the lives of five women, one of whom plays the leading role as narrator. The ‘African city’ serves as another character, rather than a mere backdrop for the action to unfold. I argue that the various characters perform an ongoing ambivalence towards progress, always stuck in a look backward. It is not simply that the quest for romance fails as part of the drama, but that the drama of failure itself folds onto both the African city and African women as figures that remain eternally stuck in their relation to the temporalities that accrue around modernity. (shrink)

I argue that the temporal boundaries of certain experiences — those I call ‘simple experiential events’ — have a different character than the temporal boundaries of the events most frequently associated with experience: neural events. In particular, I argue that the temporal boundaries of SEEs are more sharply defined than those of neural events. Indeed, they are sharper than the boundaries of all physical events at levels of complexity higher than that of elementary particle physics. If (...) correct, it follows that the most common forms of identity theory-functionalism and dualism events play key roles through identification or correlation) — are mistaken. More positively, the conclusion supports recent approaches that attempt to explain conciousness by appeal to quantum physics. (shrink)

The article compares views of C.G. Jung and N.O. Lossky on the nature of time, including in the context of contemporary to them physical theories - quantum mechanics by W. Pauli and relativistic physics by A. Einstein. In particular, the author points to the similarity of ideas of both thinkers that the psyche relativizes time not only subjectively, but also objectively. Jung and Lossky provide this statement with a similar empirical basis, for example, the researches of T. Flournoy, as well (...) as similar theoretical arguments by postulating a fundamental acausal principle of the connection of all things, which is better suited for describing psychic and some physical phenomena than the classical causal explanation. In analytical psychology, such a principle is synchronicity, in hierarchical personalism - gnoseological coordination. Both concepts are genetically related to the G.W. Leibniz idea of pre-established harmony, which was reinterpreted by Jung and Lossky through different worldview foundations. Jung in his reasoning relied on the transcendental idealism of I. Kant, the principle of complementarity and the discoveries of quantum mechanics, Lossky - on intuitivism, the principle of subordination and on his own interpretation of Einsteins theories. Jung comes to the conclusion that the psyche has a timeless character, and Lossky comes to the conclusion that it has a super-temporal character. Jungs timelessness indicates the transcendental nature of psyche and the strive to get away from the classical causal explanation, saving it according to the principle of complementarity only to consider the phenomenal side of being and mainly physical processes. One of the pioneers of quantum mechanics Pauli was of the same opinion in general. Because of there is nothing transcendent in hierarchical personalism, Losskys super-temporality is of a strive to find a deeper basis for occurring in time processes, and, according to the principle of subordination, to include time in the hierarchical structure of the universe, prescribing for it a role of one of the two key forms of psychic and psycho-material processes characteristic of a certain stage of being. (shrink)

This essay shows how, in Shakespeare’s Antony and Cleopatra, the relation between the protagonists can be seen as an insurmountable contrast between two different cultures – on the one hand, the “diurnal” and “rational” culture of Rome and, on the other hand, the “nocturnal” and “passionate” culture of Egypt –, but also as an opposition between two different ways of understanding the relation between illusion and reality, appearance and truth, and thus between theatre and life. More specifically, what emerges is (...) the awareness that art, embodied in Cleopatra’s beauty, constantly reminds us of the unredeemable finitude and transience of the human being, who is inevitably immersed in time. In this light, if art is able to become a manifestation of truth, the fact remains that such truth, as final sense, is something that art can “show”, but only to indicate its perpetually elusive character. It is indeed a truth which, like the indecipherable secret kept in the Mausoleum, cannot be “told” or “represented” once and for all. (shrink)

¿Cómo conceptualizar la temporalidad? ¿Qué analítica puede inteligir su carácter inefable? ¿Dónde reside la potencia heurística capaz de dar cuenta de la experimentación de su multiplicidad? Este artículo intentará poner en valor las herramientas elaboradas por la filosofía modal de V. Jankélévitch, a fines de contribuir a la tarea de arquitecturar una "episteme de la intuición" del tiempo presente. Si antes de Bergson la experiencia del tiempo había quedado ligada a la fijación de un concepto, Jankélévitch, proseguirá el trabajo de (...) su maestro, poniendo en foco el dominio disímil de "las maneras" en las que el tiempo se vivencia subjetivamente y se experimenta con-otros. Para ello, creará nociones capaces de indagar cualitativamente un dominio complejo, fugaz e irreversible, surcado por experiencias diversas, singulares, intransferibles. Así, la sutil elaboración efectuada por Jankélévitch en las nociones del "Yo-no-sé-qué" y el "Casi-nada", devendrá aquí la puerta de entrada a este mundo en movimiento, constituido por saberes que se producen siempre de modo fragmentario, "semi-gnosis" como caracterizará Jankélévitch, visto que atienden a una intelección "intuitiva" de la temporalidad, cuya capacidad heurística sobre nuestros modos de producción de la subjetividad sin duda puede sumar un aporte a las perspectivas de la filosofía contemporánea. How to conceptualize temporality? Which analytics can understand its ineffable character? Where does the heuristic strength capable of accounting an experimentation of its multiplicity lie? The aim of this article is to bring in value the tools developed by the modal philosophy of V. Jankélévitch, in order to contribute to the task of building an architecture for an "episteme of intuition" of present time. If before Bergson the experience of time had been linked to the setting of a concept, Jankélévitch will continue the work of his master, putting in focus the dissimilar domain of "ways" in which the time is subjectively lived and experienced with-others. To affront this challenge, he will propose notions capable to qualitatively inquire a complex domain, fugacious and irreversible, marked by diverse experiences, unique, non-transferable ones. Thus, the subtle elaboration made by Jankélévitch on the notions of "I-don't-know-what" and the "Almost-nothing", will become here the entrance gate to this moving world, constituted by a production of knowledge that always occurs in a fragmentary way, "semi-gnosis" as Jankélévitch's would characterize, as it serves to an "intuitive" intellection of temporality, whose heuristic capability on our modes of production of subjectivity can definitely contribute to the perspectives of the contemporary philosophy. (shrink)

This article explores Descartes's philosophy of time as articulated in the 'non-endurance doctrine' in the Third Meditation. I argue that what has been overlooked in prior readings of this doctrine is acknowledgement that it is articulated by a fictional character within a fictional span of time. The text, therefore, expresses a temporal reality, as well as articulating a temporal theory. I explore the temporality of the text, and the fictionality of the narrator, through the lens of Monika (...) Fludernik's theory of experiential narrative. (shrink)

According to Heidegger’s interpretation, while Aristotle’s treatment of practical wisdom cannot be divorced from his account of theoretical wisdom, there has nevertheless been a tendency in Western thought to separate what he terms the theoretical and practical modes of concern and to afford a certain priority to the theoretical mode. This article argues that one thinker in the tradition with which Heidegger engaged, namely Thomas Aquinas, constitutes an exception to this analysis. Thomas’s treatment of prudence (prudentia), rooted in Aristotle’s discussion (...) of phronēsis, furnishes an initial point of contact with Heidegger. Turning to Thomas’s account of the precepts of the natural law, I show that implicit therein is an understanding of care that corresponds to Heidegger’s notion of Sorge, albeit an understanding that is imbued with a strikingly different character—namely, a theistic one. Central to this argument is the claim that Thomas escapes Heidegger’s dismissal of ontotheology thanks to his analogical construal of being. (shrink)

This paper describes a neglected aspect of the critique of academic ‘cultures of speed’ offered by Maggie Berg and Barbara Seeber in The Slow Professor. I argue internalisation of the values and imperatives of cultures of speed can encourage the erosion of a range of academic virtues while also facilitating the development of a range of academic vices. I focus on the ways that an internalised ‘psychology of speed’ erodes our capacity to exercise the virtues of intellectual beneficence – excellences (...) of character which advance the intellectual needs of others – by radically distorting our experience of time. (shrink)

Lange & Dyer misunderstand what is meant by an “entity” and confuse a medium of representation with the content being represented. This leads them to the erroneous conclusion that SHRUTI will run out of phases and that its representation of bindings lacks semantic content. It is argued that the limit on the number of phases suffices, and SHRUTI can be interpreted as using “dynamic signatures” that offer significant advantages over fixed preexisting signatures. Bonatti refers to three levels of commitment to (...) a representational theory of the mind and states that SHRUTI is committed to RTM at levels 1 and 2. He acknowledges that SHRUTI is not committed at level 3, but argues that an extended SHRUTI would have to make such a commitment. We agree that SHRUTI is committed to RTM at level 1 and, in a sense, also at level 2. SHRUTI, however, is not committed to RTM at level 3 and, even though it has been extended in several ways, it has retained its original representational character. (shrink)

Another possible source of this neglect in the United States is the work of Mark Okrent. In Heidegger's Pragmatism Okrent does, indeed, take seriously the importance of the account of temporality for the project of Sein und Zeit, as originally conceived by Heidegger. However, like Dreyfus, Okrent is so taken by the pragmatic character of the analyses in Division I that he ignores Heidegger's analysis of authentic existence and thereby any bearing that this analysis might have on the account (...) of temporality; in addition, he eschews Heidegger's extensive talk of "'ecstases' of temporality and their 'horizonal schemata'" as inappropriate, picture-thinking holdovers from Husserl. Perhaps even more significant for contemporary assessments of Heidegger's account of temporality as the meaning of 'to be' is Okrent's contention that the account is basically aporetic. Okrent fails to find in Sein und Zeit "the conceptual resources" for distinguishing between "'presence' in the sense of presentability and presence as the ground of presentability." As a result, he concludes, Heidegger's argument is transcendental and thus verificationist, implying a kind of metaphysical pragmatism, ultimately distasteful to Heidegger and a prime source of the Kehre. (shrink)

Central to Perelman and Olbrechts-Tyteca’s philosophical revival of rhetoric and dialectic is the importance given to the temporal character of argumentation. Unlike demonstration, situated within the “empty time” of a single instant, the authors of The New Rhetoric understand argumentation as an action that unfolds within the “full time” of meaningful human life. By taking a broader view of his work beyond The New Rhetoric, I first outline Perelman’s understanding of time and temporality and the challenge that it (...) poses for the study of argumentation. Next, I emphasize the distinction between argumentation’s internal and external temporal structures, and then show how Perelman problematizes a static view of a number of basic argumentative concepts by bringing out their essentially temporal character. Finally, in clarifying what is at stake in Perelman’s account, I conclude by drawing attention to a number of issues in contemporary argumentation studies that may benefit from a reconsideration of Perelman’s analysis of time. (shrink)

This article examines stylistic and linguistic aspects of photographic thinking in the novels of Fyodor Dostoevsky and Bruno Schulz. The analysis is framed by the insights of Western and Ukrainian theorists of the image. The development of photo technologies anticipates photographic thinking as an aesthetic phenomenon. Photographic thinking is embodied in the specific artistic and imaginative reflection of reality and the human world, embedded on the linguistic—syntactic—level of the artistic text. In Dostoyevsky’s tract, the text can be seen as a (...) photo album with consecutive snapshots, each frame containing a certain dominant. On the syntactic level, the phrases “suddenly” and “for a moment” introduce the photographic frame or a change of frame. The phrase “for a moment” grounds a new poetic technique, a way of capturing the psychological states of a character when the soul is revealed, that is, when he or she is reacting unconsciously. The capturing of life from the point of view of a camera distinguishes the surrealist fiction of Bruno Schulz. This photographic perspective is connected with a new conceptualization of temporality: the past and the present are on the same plane and neither is the time of representation, which means the subject of representation is always dead. The conception of time as ‘frozen’ in the moment is also part of Dostoevsky’s poetics. (shrink)

Number processing abilities are important for academic and personal development. The course of initial specialization of ventral occipito-temporal cortex sensitivity to visual number processing is crucial for the acquisition of numeric and arithmetic skills. We examined the visual N1, the electrophysiological correlate of vOTC activation across five time points in kindergarten, middle and end of first grade, second grade, and fifth grade. A combination of cross-sectional and longitudinal EEG data of a total of 62 children at varying familial risk (...) for dyslexia were available to form groups of 23, 22, 27, 27, and 42 participants for each of the five time points. The children performed a target detection task which included visual presentation of single digits, false fonts, and letters to derive measures for coarse and fine digit sensitive processing across development. The N1 amplitude analyses indicated coarse and fine sensitivity characterized by a stronger N1 to digits than false fonts across all five time points, and stronger N1 to digits than letters at all but the second time point. In addition, lower arithmetic skills were associated with stronger coarse N1 digit sensitivity over the left hemisphere in second grade, possibly reflecting allocation of more attentional resources or stronger reliance on the verbal system in children with poorer arithmetic skills. To summarize, our results show persistent visual N1 sensitivity to digits that is already present early on in pre-school and remains stable until fifth grade. This pattern of digit sensitivity development clearly differs from the relatively sharp rise and fall of the visual N1 sensitivity to words or letters between kindergarten and middle of elementary school and suggests unique developmental trajectories for visual processing of written characters that are relevant to numeracy and literacy. (shrink)

Taking very seriously its anti-Parmenidean character, this essay locates a radically temporalized ontology at the heart of Aristotle’s Physics. We first concentrateon Aristotle’s discussion of kinêsis or ‘change’ as always between opposites, drawing the conclusion that the archai that govern and constitute a change, as opposites, cannot be present in the change itself. Thus, change is what it is by virtue of what is necessarily not present. We then draw the implications of this discussion for chronos or ‘time,’ defined (...) in Book IV of the Physics as “the number of change.” Here, we uncover the ecstatic present moment of natural, changing things, a present constituted by its past and future, which is to say by what is emphatically not present. (shrink)

Claiming that individuals and communities get their choices, rhythms and practices biopolitically choreographed by temporal mechanisms that dictate which human experiences are included or excluded, Elizabeth Freeman states that those ‘whose activities do not show up on the official time line, whose own time lines do not synchronize with it, are variously and often simultaneously black, female, queer’. The narrative subject of Bernardine Evaristo's Girl, Woman, Other is black, female and queer in her design of a polyphonic text featuring (...) twelve black women moving through the world in different decades and occupying a temporal dimension that deviates from the linear and teleological modes. I draw on Edelman ; Freeman and Ahmed to analyse Evaristo's novel as a text informed by feminist queer temporality and thus explore these characters’ resistance to chrononormative assumptions like ‘the straight time of domesticated gender, capital accumulation, and national coherence’. In this light, I address her cast of ‘time abjects’ –lesbians, transgender women, feminist killjoys and menopausal females—as characterized ‘chronotopically’ as their racialized and gendered subjectivities coalesce temporally and spatially seeing their pasts and futures interact in a typically transpositional, queer and diasporic continuum. By invoking Freeman's notion of ‘erotohistoriography’ as a distinctive mode of queer time that not only recognizes non-linear chronopolitics, but decidedly prioritizes bodies and pleasures in self-representation, I contend that Evaristo depicts bodies as likewise performing this encounter between past and present in hybrid, carnal and trans-temporal terms. I conclude that in her joining temporality and corporeality, memory and desire, she suggests alternative ways of representing contemporary black British womanhood. (shrink)

Current evidence suggests that the efficacy of psychedelic therapy depends, in part, on the character of psychedelic experiences themselves. One pronounced aspect of psychedelic experiences is alterations to the experience of time, including reports of timelessness or transcending time. However, how we should interpret such reports remains unclear, and this lack of clarity has philosophical and clinical implications. For instance, “true” timelessness may be considered antithetical to having any experience at all, and descriptions of experiences involving “timelessness” are known (...) to be diverse and of varying clinical significance. In this article, we utilize a phenomenological approach to the study of temporality to highlight ambiguities in current constructs used to assess psychedelic experiences. In doing so, we advance some preliminary phenomenological accounts of psychedelic therapy’s mechanisms of action, such as psychedelic temporality acting as a kind of counterpoint for depressive temporality. We conclude by outlining how a dedicated phenomenological research program can provide a nuanced map of psychedelic temporality, guiding future research in a manner that addresses both philosophical and clinical ambiguities. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Toward a Radical Female Imaginary: Temporality and Embodiment in Irigaray’s EthicsEwa Plonowska Ziarek* (bio)An important intervention of Irigaray’s work on sexual difference into the postmodern debates on ethics is the mediation between two different lines of ethical inquiry: one represented by the work of Nietzsche, Deleuze, Foucault, and, to a certain degree, Castoriadis, and the other by the work of Levinas, Derrida, and Lyotard. Although the two trajectories both (...) depart from the notion of morality as a universal system of law and judgment, they represent different approaches to freedom and obligation. For Levinas, Derrida, and Lyotard, the ethical significance of alterity disrupts social systems of signification and, in this sense, marks transcendence as a break in discourse, whereas for Nietzsche, Deleuze, and Foucault, otherness is expressed within the endless variations of becoming. To elucidate this difference, it might be useful to recall John Caputo’s distinction between two kinds of postmodern ethics—the Nietzschean heteromorphism and the Levinasian heteronomy. In its emphasis on becoming and change, heteromorphism, Caputo claims, puts forward the claim of liberation but cannot accommodate an obligation to the other: “In heteromorphism, the aim is freedom from inhibition and blockage, freedom from... the weight of values... from everything that weighs the will down....” By contrast, the Levinasian ethics of alterity gives priority to the obligation to the other, which calls the freedom of the subject into question: “freedom is suspect, suspended, held in question, because it is aggressive, self-accumulative, and eventually, finally murderous. Heteronomism wants the other to be free while one is oneself held hostage” [Caputo 60].In my discussion of the radical female imaginary I would like to show that Irigaray’s work refuses to align itself with either side of this divide. Originating in the very gap between liberation and responsibility, self and other, immanence and transcendence, freedom and obligation, the feminist ethics of sexual difference cannot disregard any of these claims. For Irigaray, the ethics of sexual difference has to enable different trajectories of gendered becomings without forgetting the obligation to the other. In fact, Irigaray argues that the responsibility to the other who differs sexually is the very source of such becomings. Irigaray’s ethics maintains neither the rigid separation between freedom and obligation, as is the case in Levinas’s work, nor their symmetrical reversibility, as is the case in Kant’s ethics. By contesting the oppositions between carnal passions and ethical obligations, between the respect for the other and the becoming of the self, Irigaray allows us to think through the disjunction between the two main ethical trajectories of postmodernism and to find the means to negotiate between them. In this essay I would like [End Page 60] to focus on two moments of such negotiation: the becoming of sexed bodies and the temporality of the female imaginary.One of Irigaray’s famous claims is the charge of the forgetting of sexed bodies in the discourses of philosophy, science, linguistics, and politics. Although this claim is certainly not new in feminist theory, what is original in Irigaray’s work is the diagnosis of the numerous symptoms of such forgetting, for instance, the relation she makes between the erasure of the sexed body and the nihilism of Western culture. For Irigaray, the forgetting of sexual difference manifests itself not only in the disregard for the specificity of feminine embodiment, desires, and genealogies but also in the disembodied character of linguistic analyses, in the erasure of the drama of enunciation evident in the privilege given to predication, in the separation of the subject of knowledge from carnality and desire, in the infatuation with formalism and with its obverse side, the crippling nostalgia for the maternal body, and, finally, in the rigid separation between the immanence of flesh and the transcendence of the spirit. 1 Even more striking is the originality of Irigaray’s intervention, which links the question of sexual difference with the temporality of the body.An important element of Irigaray’s ethics of sexual difference is the recovery of “that repressed entity, the female imaginary” [TS 28]. Despite numerous excellent discussions of the imaginary in Irigaray’s work, the complexity of her negotiations around this... (shrink)

In this essay, I show how Thomas Aquinas circumscribes epistemological questions concerning both the possibility and character of our knowledge of God within a larger eschatological framework that acknowledges the beatific vision as the ultimate good that we desire as well as the ultimate end for which we were created. Thus, knowledge of God is possible and actual on Aquinas's view because it is eternally rather than merely temporally indexed—that is, properly attributable to the blessed in heaven and only (...) derivatively attributable to persons of faith. I further argue that interpreting Aquinas's account of faith in the light of his account of the beatific vision allows us to carve out polemical space for the theologically realist claim that there can be and in fact is objectivity in our knowledge of God, whether that knowledge comes through faith (in this life) or the beatific vision (in the next life). (shrink)

Drawing on the work of Jacques Derrida, Marking Time presents an innovative account of literary time, in which the temporality and ontology of the literary are seen to be essentially intertwined. Individual chapters trace the stakes of this view of time for the status and 'economy' of the literary text across five 20th-century writers in French whose work is characterized by a fundamental and searching self-questioning: Maurice Blanchot, Samuel Beckett, Louis-René des Forêts, Pierre Klossowski, and Roger Laporte. A final chapter (...) draws on these analyses to develop an inherently unstable figure of 'saving time', which has important repercussions for how we conceive of literary value. (shrink)

In this chapter, we analyze intellectual patience as a character trait. We look at the contexts that call for patience and at what patience demands in those contexts. Together these constitute our account of patience, though the focus is on patience in the life of the mind. We also consider how patience and perseverance differ, which offers a better understanding of the former and sheds light on how character traits can cooperate. We then consider how to become virtuously (...) patient. We conclude reflecting on some remarks made by the poet Rilke. (shrink)

In representative democracies, the absence of responsiveness by elected officials to the interests of the represented often generates problems of legitimacy, accountability and effectiveness. However, responsiveness also tends to narrow the time horizons of democratic decision-making and promote short-termism. This paper advances the notion that responsiveness to interests involving distant time horizons is possible by reconfiguring the franchise in a time-sensitive and future-oriented way. It is divided into two parts. The first pinpoints a few inconsistencies in the available proposals for (...) making responsiveness and the long term compatible (e.g., promoting youth turnout, narrowing the franchise to robust epistemic fitness, establishing future-oriented institutions). The second advances the creation of temporal electoral circles operating alongside territorial electoral circles in order to prompt responsiveness to multitemporal interests. The conclusion asserts that this kind of franchise design is the best available option for introducing temporal aspects into the character of democratic representation. (shrink)

War has changed so much that it barely resembles the paradigmatic cases of armed conflict that just war theories and international humanitarian law seemed to have had in mind even a few decades ago. The changing character of war includes not only the use of new technology such as drones, but probably more problematically the changing temporal and spatial scope of war and the changing character of actors in war. These changes give rise to worries about what (...) counts as war and thus what norms to use in evaluating a particular conflict. In this paper, I develop an argument that the changing character of war gives us reasons to take reductionist revisions of just war theory seriously. By reductionist theories of war I mean those revisions within the just war tradition that suggest that we can use ordinary peacetime interpersonal analyses of moral responsibility and liability to harm to decide what justice requires in times of war. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 42.2 (2004) 218-219 [Access article in PDF] David Roochnik. Beautiful City: The Dialectical Character of Plato's Republic. Ithaca: Cornell University Press, 2003. Pp. ix + 159. Cloth, $35.00. Plato makes no general assertions, certainly none about "universals" (108). The Republic does not advocate the creation of an ideal state (78, 93) but transcends utopias to acknowledge the merits of democracy and democratic (...) diversity (92). Nor does Plato hold the tripartite psychological theory associated with the Republic (18-20). Such theories are impossible for human souls with their essentially temporal natures (104). The Republic is a dialectical work (2). Its movement shows without Plato's saying it that diversity is a social good; that the psychological theory of Book 4 "is preserved in its partiality as a moment of the dialectical development of the dialogue" (3); and so on.David Roochnik belongs in the tradition of Leo Strauss, unearthing an odd and unknown Republic from beneath the dialogue familiar to hordes of readers (beginning with Aristotle) who evidently read it wrongly. Roochnik brings intelligence to his project, clear writing, and a mind inclined toward originality. Nevertheless Strauss's influence is everywhere. E.g.: The Republic is "a conversation that twists and turns, develops, and at times revises what was earlier said. In its totality it gives voice to the truth about the human soul" (131).Roochnik's main subject is that truth about the soul. He says that the Republic corrects Book 4's tripartite analysis with the temporally oriented psychology told in the anecdotes of Books 8 and 9. The wise reader respects both approaches. The soul is "erotic and therefore necessarily diverse, but... desires arithmetical simplicity," and both diversity and simplicity "must be included in an adequate psychology" (120). "Our souls are... suspended between... time and eternity, the divine and the beastly" (108). The erotic and the arithmetical serve as poles between which Plato navigates. Book 4 proposes a mathematical psychology, but Eros increasingly dominates the Republic and the rigid arithmetic designed to harness Eros fails. Book 4's arithmetical account of the soul is "inadequate, and... it is meant to be inadequate" (19). One should see the soul as arithmetical in one respect, irrepressibly erotic in another.Number plays a defining role in the Platonic city, too (38). Kallipolis battles Eros with an arithmetical ideal but loses (44-45). The failure of arithmetic amounts to the failure of utopia. The Republic "teaches that perfect justice is neither possible (the marriage number fails) nor desirable (we don't really want to exile everybody over ten)" (93). Notice: because "we"—Roochnik and his friends?—don't want to found a city among impressionable children, the Republic teaches that Kallipolis is not desirable.To similar effect: "if Kallipolis were to come into being, then the Republic could not. But since Kallipolis requires the Republic in order to come into being, it contains in itself the seeds of its dissolution" (69). Nonsense! Kallipolis needs the Republic in order to come into existence but not to remain existent. The dialogue's disappearance implies nothing about the city's dissolution.Straussians routinely deny that the Republic constructs its city. Though typical, Roochnik claims not to be (7 n. 4, 75). His reading "is not ironic": "the... revisions I have discussed take place on the surface of the dialogue itself, and the kinds of negations that follow are dialectical ones which... preserve what is negated in its partiality" (91).But garble about surfaces and dialectic will not rescue a hermeneutical method if one begins (Roochnik does, all Straussians do) by calling every flaw in a Platonic argument intentional. That Platonolatry is implausible in itself; it is methodologically shoddy for other reasons too. In the first place, it yields meager results. When every argumentative failure is intentional the Republic becomes platitudinous. Thus Roochnik's dialectical meaning is less memorable than the laziest reader's understanding of the Republic (Forms, cave, archons). He dismisses radical claims as unworthy of Plato but replaces them with the mealy... (shrink)

Well-being depends not only on _what_ happens but also on _when_ it happens. There are temporal aspects of well-being, and to a large extent those aspects are about relative timing—about being “in-tact.” On the one hand, there is a perspectival aspect about being in-tact with one’s past, present, and future or, in a less involved sense, with one’s life as a whole. On the other hand, there is a synchronization aspect of being in-tact; and this aspect occurs on different (...) levels: It might be about the alignment between different temporal domains—such as time as individually perceived and physical or intersubjective time. Or it might be about a single domain, especially the inner dynamics of individual time. The danger of not experiencing and acknowledging the relational character of these different timings likely leads to a substantial loss in the variety of human experience. Important aspects of subjective and intersubjective experience might fade away. The present paper discusses these aspects of well-being along the lines of distinctions and concepts prominently used in the metaphysics and the phenomenology of time. Thus, the paper also aims to complement the existing literature by bringing together important strands of current philosophical research. (shrink)

To investigate the underlying mechanism of the relationship between visual working memory (VWM) and Chinese character recognition, and the moderation effect of processing efficiency on this relationship, 154 first-grade students were administered a battery of tasks for VWM, rapid temporal processing, and Chinese character reading. In the VWM task, the children were asked to remember the jumping routes of a frog and report these routes in reverse sequence. The longest span for which each participant could respond correctly (...) at least four times out of six was the VWM index. In the task of temporal order judgement, the participants were asked to select which of two balls was presented first, with stimulus onset asynchronies varying from 8 to 492 ms according to an adaptive psychophysical procedure. Visual temporal order threshold (VTOT) was utilized as an indicator of processing efficiency. The participants were asked to read 100 characters aloud to measure their word-level reading abilities in Chinese character recognition. After controlling age, non-verbal intelligence, visual short-term memory, morphological awareness, and orthographic awareness, the results of a moderation effect analysis showed that (1) both VWM and visual VTOT predicted Chinese character reading, and (2) the moderation effect of VTOT on the VWM-reading link was significant ( p = 0.001). The correlation between VWM and Chinese character reading was positive and significant when VTOTs were above average (i.e., smaller than 87.14 ms); however, the correlation was negative at relatively poor levels of VTOTs (i.e., larger than 231.44 ms). (shrink)

THE phenomenological analysis given by Aristotle in the first book of the Physics shows that change necessarily involves three principles, substratum, form, and privation. The substratum has two related functions. First, it is the subject of change, its own “characteristics” remaining the same; it thus ensures an element of permanence. Its presence indicates that there is true change, not creation and annihilation. Second, as subject of the change, it must have the capacity to receive determinations successively; in this sense it (...) is a potency or “principle of determinability”. The privation, or lack, is necessary in order that something should come to be which was not before. Unlike the substratum and the form which comes to be, it is not a real principle although it has a foundation in the real. It is formal in character; it is associated with the substratum before the change and thereafter ceases to “be”. (shrink)

This article addresses the notions of gender performativity and temporality in Butler’s early work on gender. The paper is articulated in four steps. First it gives an account of the role and nature of temporality in Butler’s theory of gender performativity. Second, it shows some similarities and connections between the role played by temporality in Butler’s theory of gender performativity and its role in Marx’s analysis of capital. Third, it raises some criticisms of Butler’s understanding of temporality and historicity, focusing (...) in particular on the lack of historicisation of her own categories in bothGender TroubleandBodies that Matter. This deficit is a consequence of the epistemological framework within which she is operating, in particular of her understanding of social practices and relations through the lens of linguistic concepts extrapolated from their theoretical context. The article concludes by referring to Floyd’s and Hennessy’s analyses of the formation of sexual identities as examples of the fruitful historicisation of gender performativity, which also sheds some light on the ‘the abstract character’ of the temporality of gender performativity. (shrink)

The paper is devoted to the concise description of some Natural Deduction System (ND for short) for Linear Temporal Logic. The system's distinctive feature is that it is labelled and analytical. Labels convey necessary semantic information connected with the rules for temporal functors while the analytical character of the rules lets the system work as a decision procedure. It makes it more similar to Labelled Tableau Systems than to standard Natural Deduction. In fact, our solution of linearity (...) representation is rather independent of the underlying proof method, provided that some form of (analytic) cut is admissible. We will also discuss some generalisations of the system and compare it with other formalizations of linearity. (shrink)

Eliminativists about free will and moral responsibility argue that no action can be free and responsible because in order to be actions, our movements must be caused by features of our character or will. However, either the will is constituted by states that are themselves produced by events outside our control, or it is constituted by our own choices, which must themselves stem from our will in order to be up to us. Thus, any attempt to account for freedom (...) and responsibility seems to either run into an infinite regress or leave the ultimate causes of our actions up to something outside our agency. Compatibilists attempt to respond to this challenge by arguing that we need not have control over our will in order to be free, but only to have control of our actions on the basis of our will. Libertarians, on the other hand, argue that we can be free so long as our choices are caused indeterministically and chosen for reasons. -/- I argue that both approaches ultimately leave the constitution of the will up to non-agential factors because the dominant accounts view all choices—including those that constitute the will—as essentially events caused by other events, leaving no function for agents to perform. In response, I argue that we can avoid eliminativism if we take the will to be irreducible to events such as choices and also our own. Through an examination of recent non-volitionist approaches that allow for responsibility for non-deliberative action, I argue that such accounts presuppose a Heideggerian view of agency on which all action and deliberation occur on the basis of an underlying projection of possibilities into which we are thrown. Heidegger’s account of temporality in turn allows us to own ourselves in the present by retrieving our past as always already chosen in light of our self-projection into the future. Agents are thus self-constituting beings capable of owning themselves and independent of causation by prior events. Freedom and responsibility are therefore irreducible features of agency. (shrink)

It has recently been remarked that the argument for physicalism from the causal closure of the physical is incomplete. It is only effective against mental causation manifested in the action of putative mental forces that lead to acceleration of particles in the nervous system. Based on consideration of anomalous, physically unaccounted-for correlations of neural events, I argue that irreducible mental causation whose nature is at least prima facie probabilistic is conceivable. The manifestation of such causation should be accompanied by a (...) local violation of the Second Law of thermodynamics. I claim that mental causation can be viewed as the disposition of mental states to alter the state probability distribution within the nervous system, with no violation of the conservation laws. If confirmed by neurophysical research, it would indicate a kind of causal homogeneity of the world. Causation would manifest probabilistically in both quantum mechanical and psychophysical systems, and the dynamics of both would be determined by the temporal evolution of the corresponding system state function. Finally, I contend that a probabilistic account of mental causation can consistently explain the character of selectional states that ensure the uniformity of causal patterns, as well as the fact that different physical realizers of a mental property cause the same physical effects in different contexts. (shrink)

This paper argues for the claim that the mental ontology required for what has been called the “Phenomenal Intentionality Theory” (PIT) should be understood in terms of mental events or episodes, not mental states that instantiate phenomenal properties because the former but not the latter has a kind of temporal shape. I begin by laying out the basic commitments of PIT. I then introduce the notion of “temporal shape” and defend the following simple but powerful argument: (1) If (...) conscious experiences are phenomenal mental states that instantiate phenomenal properties, then the phenomenal character of these experiences will lack a temporal shape. (2) The phenomenal character of conscious experience typically has a temporal shape. (3) Therefore, conscious experiences are not mental states that instantiate phenomenal properties. (shrink)

Using Virginia Woolf's Mrs. Dalloway as primary text to illuminate the human experience of time, it is argued against T. Armstrong (in Modernism) that the depiction of time by Modernist writers such as Woolf is Heideggerian rather than Bergsonian. This study is used to reveal the originality of Heidegger as opposed to Bergson, whose ideas on time, it is suggested, are merely an accumulation of traces of previous ideas on time. Drawing on Aristotle's Metaphysica, De Interpretatione, Ethico Nicomachea, Rhetorica and (...) Physica to develop a new vocabulary, Heidegger revealed the distinctive ontological foundation of space and time in connecting temporality with being. The characters in Mrs. Dalloway illustrate the difference between an authentic and an inauthentic relation to the temporality of being. Normal 0 false false false EN-US X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} Normal 0 false false false EN-US X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;}. (shrink)