The article is focused on the problem of understanding another person. First of all, the author considers understanding on the basis of external signs. In this case, two groups of features are distinguished in the appearance of a person — constitutive, or static, and expressive, or dynamic. The author introduces the concept of a snapshot image of a person. Then the understanding of the other through his speech is investigated. At the same time, all utterances are divided into selfdisclosing and (...) subject-oriented ones. The author substantiates position of the leading role of intonation in revealing the inner world. The identity of its role in creating the interlocutor’s speech image and the role of external expressive features in creating the visual image is revealed. On the basis of this, the author introduces the concept of bodily intonation. Then the understanding of the other through his or her actions is considered and the concept of intonation of an action is introduced. Finally, the author introduces the concept of intonation face as a unified image of the other person arising in our consciousness as a result of the superposition of separate momentary images. The notion of sensitivity structure is also introduced. It is emphasized that the intonation face is not an “objective” but a dialogical phenomenon, representing the result of interaction between the sensitivity structure of the perceived person (manifested in his/her appearance, speech, and actions) and the sensitivity structure of the perceiver. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Overtones:A CollagePaul Youngquist (bio)Mom leans against the keyboard of the old upright piano in the den. She puckers her lips and gently fingers the valves. A couple of times a month, she frees her trumpet from the purple velveteen lining its case—out of love or frustration I can never tell. She stares hard at the bell, pointed somewhere near my feet. She inhales deeply, pressing the silver mouthpiece to (...) her crumpled lips. A silent moment passes—torn by a noise pitched past the sun, a shrieking flare sound. Another follows and another, bright glissandos blinking out somewhere below middle C. They shatter everything I know about her. Everything I thought I knew. What sound was that, what cry? What aspiration to be free? After those initial stabs, she falls into familiar melodies: "Bugler's Holiday" by Leroy Anderson, maybe, or "When the Saints Go Marching In." I'm unsettled for the rest of the day.Trumpeter Don Cherry's sound unsettled me too. I was much older when I first encountered it on Ornette Coleman's The Shape of Jazz to Come. It took me back to Mom's cries. I heard her sound in his: bright, high, and transient: less pitch than smudge, transmitting unknowable overtones. On "Lonely Woman," for instance. Cherry states the plaintive melody in hazy unison with Coleman, blurs the third note, wavers and plays his peculiar temper, untimely and free to move beyond the platitudes of harmony until, after Coleman's baffled cry, he parts company to play a sixth above (if such language matters, and it doesn't), descending in half steps to resolve (not happily) on a minor third, Cherry now pitched below. Their unison breaks apart to reconverge, and the brief bridge feels like a heaving between sobs. This isn't music. It's too raw for the repartee of bebop or the sociability of swing. But everybody can feel it, which explains the scandal of Coleman and company's extended appearance in late 1959 at the Five Spot in New York's East Village. Writing in the New York Times Magazine years later, Joseph Hooper likened it to the furor erupting after Stravinsky's Paris premier of "The Rite of Spring" in 1913. In an interview with Terry Gross, Cherry remembers everyone who was musically anyone being there—from Leonard Bernstein to Thelonious Monk—to witness the sacrilege. The implacable trickster Charles Mingus appeared one [End Page 133] night with Phineas Newborn, a keyboard virtuoso famous for his perfect pitch. Newborn sat and stared at his cufflinks. He never played a note. After the set, Mingus barreled onto the stage and, with his long arms and big hands, crashed all the keys. "That's where it is," he bellowed. "It's all there." Everywhere and nowhere. Cherry and Ornette decentered intonation. They distempered tradition's scales. Afflicted with perfect pitch, Newborn couldn't follow their cries and whispers. They flew free from the comforting staff. Still you feel them, hear their immeasurable sound.Don Cherry: "I've always been on the outside, and that's a good quality for the music to have, like the wind in your face."Cherry's mother Daisy gave him his first horn when he was fourteen. It breathed life into him, offering a way to express sounds his body harbored. Born in Oklahoma City in 1936 to "Negro-Choctaw Indian parents" (his words—his mother's mother was half native), Cherry heard gospel, blues, and Indian songs from the start. The family's move to the Watts neighborhood of Los Angeles in 1940 only multiplied the sounds of diverse ethnicities mixed with the rumble of jazz from the Cherry Blossom, his father's club, where Don and his sister sometimes danced for dimes. His horn funneled all this sound—all the music he'd ever make—through a peculiarly powerful feeling: "that feeling to me, through as much music as I've learned, I still remember just that feeling when I first got that horn." What feeling exactly? "Infant happiness" (in-fant, not speaking). The feeling of life before language: "infant happiness, infant happiness, beautiful! That's what music is really... (shrink)

I argue that when we use email, text messaging, or social media websites such as Facebook to interact, rather than communicating face-to-face, we do not experience the best kind of empathy, which is most conducive to experiencing benevolence for others. My arguments rely on drawing interdisciplinary connections between sources: early modern accounts of sympathy, dance theory, philosophy of technology, and neuroscience/psychology. I reflect on theories from these disciplines which, taken together, suggest that to empathize optimally, we must see (...) or hear each other’s bodily gestures, vocal intonations, and facial expressions. (shrink)

This commentary raises questions about the central concepts in the null hypothesis presented by the author of the target article and urges expansion of the treatment of mental imagery to forms of sensory imagery beyond the visual.

This second volume in the Counterpoints Series focuses on alternative models of visual-spatial processing in human cognition. The editors provide a historical and theoretical introduction and offer ideas about directions and new research designs.

What is the relationship between, on the one hand, the sorts of causal claims found in the special sciences (and in common sense) and, on the other hand, the world as described by physics? A standard picture goes like this: the fundamental laws of physics are causal laws in the sense that they can be interpreted as telling us that realizations of one set of physical factors or properties “causes” realizations of other properties. Causal claims in the special sciences are (...) then true (to the extent that they are) in virtue of “instantiating” these underlying causal laws; as it is often put, the latter serve as “truth-makers” for the former. The picture is thus one according to which the notion of cause, as it occurs in the special sciences, is reflected or “grounded” in a fairly straightforward and transparent way in a similar notion that occurs in fundamental physics. This paper explores some alternatives to this picture. (shrink)

The past few decades have seen an explosion of research on causal reasoning in philosophy, computer science, and statistics, as well as descriptive work in psychology. In Causation with a Human Face, James Woodward integrates these lines of research and argues for an understanding of how each can inform the other: normative ideas can suggest interesting experiments, while descriptive results can suggest important normative concepts. Woodward's overall framework builds on the interventionist treatment of causation that he developed in Making (...) Things Happen. Normative ideas discussed include proposals about the role of invariant or stable relationships in successful causal reasoning and the notion of proportionality. He argues that these normative ideas are reflected in the causal judgments that people actually make as a descriptive matter. Woodward also discusses the common philosophical practice-particularly salient in philosophical accounts of causation--of appealing to intuitions or judgments about cases in support of philosophical theses. He explores how, properly understood, such appeals are not different in principle from appeals to results from empirical research, and demonstrates how they may serve as a useful source of information about causal cognition. (shrink)

Evolution of the humane resonances between Hindu values and contemporary experiences and challenges; contributed research papers.

Thomistic ontology -- Ontological morality and human rights -- The war of the philosophers -- The modern way -- Pope Leo XIII and his legacy -- The survival of tradition.

What is the relationship between, on the one hand, the sorts of causal claims found in the special sciences (and in common sense) and, on the other hand, the world as described by physics? A standard picture goes like this: the fundamental laws of physics are causal laws in the sense that they can be interpreted as telling us that realizations of one set of physical factors or properties “causes” realizations of other properties. Causal claims in the special sciences are (...) then true (to the extent that they are) in virtue of “instantiating” these underlying causal laws; as it is often put, the latter serve as “truth-makers” for the former. The picture is thus one according to which the notion of cause, as it occurs in the special sciences, is reflected or “grounded” in a fairly straightforward and transparent way in a similar notion that occurs in fundamental physics. This paper explores some alternatives to this picture. (shrink)

This paper discusses the epistemic outcomes of following a belief-forming policy of inclusiveness under conditions in which one anticipates systematic disagreement with one’s interlocutors. These cases highlight the possibility of distinctly epistemic costs of inclusiveness, in the form of lost knowledge of or a diminishment in one’s rational confidence in a proposition. It is somewhat controversial whether following a policy of inclusiveness under such circumstances will have such costs; this will depend in part on the correct account of the epistemic (...) significance of disagreement (a topic over which there is some disagreement). After discussing this matter at some length, I conclude, tentatively, that inclusiveness under disagreement can have such epistemic costs. Still, I go on to argue, such costs by themselves would not rationalize substantial limitations on a broad policy of inclusiveness. Insofar as there are grounds for restricting how inclusive one should be in belief-formation, these grounds will not be epistemic, but instead will reflect the practical costs—the time, effort, and resource costs to the subject—of following such a policy. (shrink)

Deux constats sont à l'origine de ce livre. Le débat dans le monde académique autour du lien entre religions, sciences et espace public semble s'être fixé sur l'idée de 'post-sécularité'. Or, sous couvert de rendre les sociétés plus hospitalières aux religions, cette idée profite essentiellement à des courants politico-religieux absolutistes et fondamentalistes. Et la solide expertise francophone qui s'est développée sur le philosophe américain John Dewey (1859-1952) néglige trop souvent ses nombreux écrits consacrés à la critique des religions. Joan Stavo-Debauge (...) retrace donc la généalogie de l'idée de 'post-sécularité' et détaille les méfaits qu'elle peut masquer, comme les mobilisations contre l'avortement, les droits des personnes LGBT, l'expertise scientifique ou encore les politiques écologiques. Il s'appuie ensuite sur les écrits de John Dewey pour remettre au jour la pleine puissance de sa critique des religions fondée sur une pensée naturaliste et pragmatiste et la présenter comme un antidote efficace aux fondamentalismes religieux. (shrink)

Humanity's so far leaderless approach to dealing with rapidly accelerating climate change embodies a profoundly tragic catch-22 that has, among other twists and contradictions, transmuted justice into paralysis.

Assesses Merleau-Ponty’s contribution to ethics as calling for a poetic interplay between perception and imagination, and between silence and solidarity, that reveals our place in the world, and our obligations to ourselves and others. Before his death in 1961, Merleau-Ponty worried about what he saw as humanity’s increasingly self-enclosed and manipulative way of experiencing self, others, and the world—the consequences of which remain apparent in our destructive inability to connect with others within and across cultures. In Merleau-Ponty and the (...) class='Hi'>Face of the World, Glen A. Mazis provides an overall consideration of Merleau-Ponty’s philosophy that brings out what he sees as a corrective prescription for ethical reorientation that is fundamental to Merleau-Ponty’s thought. Mazis begins by analyzing the key role that silence plays for Merleau-Ponty as a positive, powerful presence rather than a lack or emptiness, and then builds on this to explore the ethical significance of the face-to-face encounter in his thought as one of solidarity rather than obligation. In the last part of the book, Mazis traces the development of what he calls “physiognomic imagination” in Merleau-Ponty’s work. This understanding of imagination is not fancy or make-believe, but rather brings out the depths of perceptual meaning and leads to an appreciation of poetic language as the key to revitalizing both ethics and ontology. Drawing on Merleau-Ponty’s published works, lecture notes, unpublished writings, and the work of many phenomenologists and Merleau-Ponty scholars, Mazis also offers incisive readings of Merleau-Ponty’s work as it relates to that of Antoine de Saint-Exupéry, Gaston Bachelard, and Emmanuel Levinas. (shrink)