Eine weit verbreitete Auffassung über die wissenschaftlichen Naturverständnisse besagt, dass ihre historische Entwicklung von einer zunehmenden Abgrenzung gegenüber der Magie begleitet gewesen sei. Ursprünglich eng mit der Magie verbunden, hätten sich die wissenschaftlichen Naturverständnisse in einem langwierigen Prozess immer weiter von der Magie entfernt, bis sie ihre heutige amagische Gestalt erhalten hätten. Mein Beitrag diskutiert einige Argumente zur Stützung dieser, wie ich meine, plausiblen Auffassung. / A whitespread view of the natural sciences holds that their historical development was accompanied by (...) a constantly widening gap between them and magic. Originally closely bound up with magic, the sciences are supposed to have distanced itself from it in a long-drawn-out process, until they attained their present magic-free form. This essay discusses some arguments in support of this plausible view. (shrink)

: The controversy about research on human embryonic stem cells both divides and defines us, raising fundamental ethical and religious questions about the nature of the self and the limits of science. This article uses Jewish sources to articulate fundamental concerns about the forbiddenness of knowledge in general and of knowledge thought of as magical creation. Alchemy, and the turning of elements into gold and into substances for longevity, and magic used for the creation of living beings was (...) at stake in various Talmudic texts. Since contemporary discourse calls regenerative science magical, and makes claims about its restorative power, careful reflection on when magic is forbidden and when it is responsible allows a novel understanding of ethical questions in stem cell research. (shrink)

A widespread view of the natural sciences holds that their historical development was accompanied by a constantly widening gap between them and magic. Originally closely bound up with magic, the sciences are supposed to have distanced themselves from it in a long-drawn-out process, until they attained their present magic-free form. I would like, in this essay, to discuss some arguments in support of this plausible view. To this end, I shall begin with a definition of magical and scientific concepts (...) of nature. To exemplify the gap which, over several epochs, widened between the magical and the scientific understanding of nature, I would like to examine two concepts in natural science, both assumed by physics. The first concept I select is Aristotle's concept of physis. It was fundamental to the emergence of physics, and sets its mark on thought in this field right up to the beginning of the modern period. The distinctive characteristic of the second concept of nature is negative, consisting in the elimination of the Aristotelian distinction between physis and techne. I consider Galileo Galilei to be a trail-blazer for this anti-magical position, as well as a co-founder of experimental science with his mechanical and astronomical works. As a conclusion I will say something of the relationship of magic to concepts of nature typical of the following period, both in physics and other natural sciences. (shrink)

This introductory chapter gives an overview of the emergent field of Critical Transparency Studies. Moreover, it traces some genealogical lines of how, from the eighteenth century onwards, what was known in Antiquity as an optical and aesthetic phenomenon—diaphaneity—came to stand for central concerns in self-knowledge, morality and politics. Such an analysis of the historical semantics of transparency highlights the irreducible plurality of the phenomenon. Against tendencies of seeing transparency as a means of achieving self-coincidence, unicity and self-stability, the chapter sketches (...) an alternative understanding of transparency as diaphaneity and fleshes out the dynamic, transversal and often conflictual nature of sense, making way for a more comprehensive understanding of the contradictions of social existence. (shrink)

This book examines the philosophies of nature of the early Greek thinkers and argues that a significant and thoroughgoing shift is required in our understanding of them. In contrast with the natural world of the earliest Greek literature, often the result of arbitrary divine causation, in the work of early Ionian philosophers we see the idea of a cosmos: ordered worlds where there is complete regularity. How was this order generated and maintained and what underpinned those regularities? What (...) analogies or models were used for the order of the cosmos? What did they think about causation and explanatory structure? How did they frame natural laws? Andrew Gregory draws on recent work on mechanistic philosophy and its history, on the historiography of the relation of science to art, religion and magic, and on the fragments and doxography of the early Greek thinkers to argue that there has been a tendency to overestimate the extent to which these early Greek philosophies of nature can be described as 'mechanistic'. We have underestimated how far they were committed to other modes of explanation and ontologies, and we have underestimated, underappreciated and indeed underexplored how plausible and good these philosophies would have been in context. (shrink)

"In this concluding volume of his impressive study of the history of Western thought about the nature of love, Irving Singer reviews the principal efforts that have been made by 20th-Century thinkers to analyze the phenomenon of love.... [T]he bulk of the book is taken up with critical accounts of the modern thinkers who have systematically called into question the possibility itself of love as a union of distinct human selves. For the most part, these critiques are effectively executed, (...) and they bring a high level of critical acumen to bear on skeptical theses about love that are now too often accepted as truisms."—Frederick A. Olafson, _Los Angeles Times Book Review_ "Irving Singer... has developed a method of historical analysis flexible enough to deal with all kinds of love, from Greek homosexual love in Plato, to the _philia_ and _agape_ of the New Testament, to the courtly love of medieval romance, to the Romantics, for whom love was magic.... [This] final volume brings us to the present. In 'The Modern World,' Singer offers readings of Freud, Proust, and Sartre, among others. He shows how their work was formed in reaction to the 19th-century ideal of 'merging' of the identities of lover and beloved. More often than not, the great modern writers portray love as impossible, as a field of failure and regret.... This masterpiece of critical thinking is a timely, eloquent, and scrupulous account of what, after all, still makes the world go round."—Thomas D'Evelyn, _Christian Science Monitor_ "This is the third of a three-volume history of the philosophy of love. It begins with Kierkegaard, Tolstoy, and Nietzsche in the nineteenth century and treats Freud, Proust, Bergson, D. H. Lawrence, G. B. Shaw, Santayana, Sartre, and others in the twentieth. Although the author's approach is primarily historical, he intersperses critical remarks throughout. Most of the major themes which are discussed by philosophers of love make their way into this history, including friendship, sexual love, and the distinction between love that is based on the value of the beloved and love that bestows value on the beloved. Singer devotes a number of pages to his own views on falling in love, being in love, and staying in love.... Singer's exposition is lucid and organized; his criticisms are insightful."—_Ethics_ "In this third volume of historical overview of the development of the Western conception of love, Singer uses writers, philosophers, and psychologists to provide the reader with an overview of love in the late 19th and 20th century.... Analyzing authors such as Tolstoy, Proust, D. H. Lawrence, and Shaw and philosophers such as Nietzsche, Kierkegaard, Sartre, and Santayana, as well as Freud, Singer... links each contributor's thoughts to the influence of previous writers and also provides some psycho-historical insight into their personal lives that might have been either a source or direct result of their views. In this final volume, Singer proceeds to look at not just the 'great men' influence but also provides a chapter overviewing scientific contributions to our understanding of love.... Singer's work is a significant contribution to understanding the social construction of important, abstract social and personal values. By tracing love through different historical periods through a variety of voices, Singer has created a rich history of the struggle between the ideal and the real, between the dreams of what love should provide and the reality of what relationships have been in each historical period. By personalizing the voice through psychohistorical analysis, Singer also provides insight into the shaping of ideas through the intimate struggles of the shapers."—Mark V. Chaffee, _Contemporary Psychology_. (shrink)

This paper deals with the “magic” of the Carpocratians, who, according to Irenaeus of Lyon, believed in the Platonic tripartite nature of the soul. The Carpocratian approach to philosophical magic is probably derived from Neoplatonic ideas popular during the first centuries of the Common Era. The Carpocrations, a second-century Christian Gnostic group, believed Yeshua was a soul personality like all other people, but because of his “spiritualization,” he reached the state of the “philosophical magician.” He did not lose his (...) memory while “staying with his Father” (while he was in the eternal sphere before his next incarnation) and, according to Irenaeus, despised the creators (angels) of the world during the ascension of the soul, a Hermetic and Neoplatonic notion. In addition, as the Christ, Yeshua overcame all emotions and passions. That is, according to the Neoplatonic tripartite nature of the soul, he overcame the emotional part of himself in favor of the spirit. This ascent gave him magical abilities such as healing and prophecy. The Carpocratians believed that each soul can achieve what Christ achieved. Ceremonial and heavenly magic was practiced by the Carpocratians, but their main goal was to achieve the complete spiritualization of the soul or the attainment of Christ Consciousness. To analyze Carpocratian magic, it is useful to use the theories of other magicians like Agrippa von Nettesheim or Iamblichus, because their ideas improve our limited understanding of the text by the Early Church Writer Irenaeus whose basic interest in the Carpocratians was heresiology. Finally, this analysis of how magic was applied by the Carpocratians could contribute to a better understanding of their philosophy. (shrink)

This article considers the meaning of the ancient Chinese magic square Luoshu. It is known that this square is the most ancient of this type of squares. The importance of the magic square in the philosophical tradition and in the whole culture of China is large. The ancient understanding of number differs from the modern one by its dual character, combining the features of philosophical symbolism and mathematical constructions. Unfortunately, modern interpretations of the Luoshu as well as other numerical (...) constructions preserved by the Chinese tradition are too often limited to a superficial statement of their symbolic, “numerological” nature, ignoring the effects of the mathematical structure represented by them. At the same time, some scholars strongly emphasize the intuitive aspects of numerology, which do not presuppose accuracy. On the contrary, Leibniz saw in the Chinese binary system of thinking the beginning of an exact universal language. The author, appealing to the concept of A.A. Krushinskiy, analyzes the arithmetic laws of the structure of the square. The article shows that the magic square Luoshu is not a numbers game. Without any doubt, its main meaning lies in the application of arithmetic. Chinese magic square is an illustrative implementation of one of the main features of Chinese language and traditional thinking – its rational and mathematical basis. The Luoshu square is a vivid example of visual constructivism in the Chinese style of thinking. By means of the magic square’s scheme, the procedure of generalization that is a basis of concepts formation is carried out. This procedure uses a mathematical magic square algorithm based on the numerical codes of the five elements. The quinary spontaneous symbolism is rooted in the Chinese traditional culture of thinking and life order. (shrink)

"Through a close reading of rarely studied materials, the author examines the contested position of the body in Renaissance philosophy, showing how abstract metaphysical ideas evolved in tandem with the creation of new metaphors that shaped the understanding of early modern political, cultural, and scientific practices. The result is a new approach to the issues that describes the function of new technologies (such as optics and distillation) and their interaction with popular creeds (such as witchcraft and folk medicine), as (...) well as their relationship to the newly discovered ancient Greek and Roman texts that captured the attention of Renaissance intellectuals. The text also investigates, for the first time, how some philosophers forged their original syntheses from newly available and traditional materials. In so doing, these philosophers contributed in unexpected ways to the formation of new cultural practices--practices that entailed largely unexplored conceptualisations of physical bodies but also linked inextricably to the formation of new and striking metaphors for the physical world."--Publisher. (shrink)

Is magic real? Could anything be real that can't be quantified or scientifically investigated? Are qualities like love, beauty, and goodness really just about hormones and survival? Are strangely immaterial things, like thought and personhood, fully explainable in scientific terms? Does nature itself have any intrinsic value, mysterious presence, or transcendent horizon? Once we ask these questions, the answer is pretty obvious: of course science can't give us a complete picture of reality. Science is very good at what it (...) is good at, but highly important aspects of human meaning are simply outside of science's knowledge range. So how might we better relate scientific facts to qualitative mysteries? How might we integrate our powerful factual knowledge with wisdom about the higher meaning of things? This book defines magic as the real qualities and mysteries of the world that science just can't grasp. It looks at how we came to put magic in the box of subjective make-believe. It explores how we might get it out of that box and back into our understanding of reality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:All was this land full fill'd of faerie," or Magic and the Past in Early Modern EnglandLauren KassellI.In 1625 Gabriel Naudé (1600–53), student of medicine and up-and-coming librarian, wrote a history of magic.1 Paracelsianism had been debated in France for decades, and in 1623 Naudé had lent his pen to the controversy following the hoax appearance of bills posted in Paris announcing the arrival of the Fraternity of the (...) Rosy Cross and the wonders they could provide. The impetus for Naudé's history of magic was a pamphlet that described Homer and Virgil, abusively, as magicians. As Didier Kahn has shown, Naudé's 1623 intervention against the Rosicrucians wrested a brewing dispute about Paracelsianism from the hands of theologians and settled it in the name of reason, not religion; his medical training no doubt informed his intervention.2 In his history of magic Naudé complained that everyone who ever did anything clever was now reputed to be a magician, which meant in league with the devil. His project was to clear the ground of the [End Page 107] false histories that had been written for the previous two hundred years. Adopting a mode of historia litteraria, he redeemed the reputations of several dozen learned men—including Zoroaster, Socrates, Roger Bacon, Agrippa, and ultimately Virgil—whose names had been sullied by the term magician.3The branding of natural philosophers and especially mathematical practitioners as magicians had been an enduring problem.4 As John Aubrey would later reflect in notes on the life of the Oxford scholar Thomas Allen, "In those darke times Astrologer, Mathematician, and Conjurer, were accounted the same thing."5 But Naudé provides an elaborate account of why these accusations initially might have been fabricated—jealousy, incredulity, malice, fear of technology—and demonstrates a method for unmasking these errors. Follow the simple rules of good scholarship, he insists: read the best authors, think logically, and acquire "a certain familiarity with the most profitable Sciences, and the most universal and general account of the affairs of this World that may be had, which is to be gained partly by our own industry, partly by the endeavors of those who have gone before us, such as may be those of Historians."6 That is, through hard work and the help of other historians, understand the context in which these texts were written. Perfect historians are indispensable; false historians should be read with caution.7 If one encounters a fabulous tale, locate its textual sources, read critically, and remember that (many) historians vend rubbish.8 Naudé surveys a vast literature dating from antiquity through the sixteenth century, demonstrating that misreadings of tropes and irony, for instance, have led to the labeling of poets and natural philosophers as magicians.9 Likewise, where people have professed their magical powers, Naudé is careful to show that writing books about magic and boasting about one's expertise are not the same thing as practicing magic.10 These fables persist because authors repeat what others have written without applying the above principles of good research; they write for their own glory instead of doing proper research; and they show off their polymathic skills by assembling great [End Page 108] heaps of examples instead of making sense of them. Thus the noble name of history is built upon a monstrous edifice of fables.11In short, prompted by festering occultism and religious controversies in Paris, Naudé wrote a history of magic in order to release the great men of learning from the label of magician. This is a history of the "first appearance of learning, the first rising of the great wits, the time they flourished, the ages which have brought forth most, and take notice by the way, how that ignorance hath always persecuted them with this calumny"; he defines magic historically.12 Great learning and suspicion of its demonic sources are inseparable. Through pragmatic reading, Naudé redeems scholars who have been called magicians, and shifts the onus of explanation away from these learned men and onto historians and their incredulous readers.13 Poor histories are written by men guilty of pride and malice. These fables persist because... (shrink)

This book explores the changing perspective of astrology from the Middle Ages to the Early Modern Era. It introduces a framework for understanding both its former centrality and its later removal from legitimate knowledge and practice. The discussion reconstructs the changing roles of astrology in Western science, theology, and culture from 1250 to 1500. The author considers both the how and the why. He analyzes and integrates a broad range of sources. This analysis shows that the history of astrology—in (...) particular, the story of the protracted criticism and ultimate removal of astrology from the realm of legitimate knowledge and practice—is crucial for fully understanding the transition from premodern Aristotelian-Ptolemaic natural philosophy to modern Newtonian science. This removal, the author argues, was neither obvious nor unproblematic. Astrology was not some sort of magical nebulous hodge-podge of beliefs. Rather, astrology emerged in the 13th century as a richly mathematical system that served to integrate astronomy and natural philosophy, precisely the aim of the “New Science” of the 17th century. As such, it becomes a fundamentally important historical question to determine why this promising astrological synthesis was rejected in favor of a rather different mathematical natural philosophy—and one with a very different causal structure than Aristotle's. (shrink)

This book explores the changing perspective of astrology from the Middle Ages to the Early Modern Era. It introduces a framework for understanding both its former centrality and its later removal from legitimate knowledge and practice. The discussion reconstructs the changing roles of astrology in Western science, theology, and culture from 1250 to 1500. The author considers both the how and the why. He analyzes and integrates a broad range of sources. This analysis shows that the history of astrology-in (...) particular, the story of the protracted criticism and ultimate removal of astrology from the realm of legitimate knowledge and practice-is crucial for fully understanding the transition from premodern Aristotelian-Ptolemaic natural philosophy to modern Newtonian science. This removal, the author argues, was neither obvious nor unproblematic. Astrology was not some sort of magical nebulous hodge-podge of beliefs. Rather, astrology emerged in the 13th century as a richly mathematical system that served to integrate astronomy and natural philosophy, precisely the aim of the "New Science" of the 17th century. As such, it becomes a fundamentally important historical question to determine why this promising astrological synthesis was rejected in favor of a rather different mathematical natural philosophy-and one with a very different causal structure than Aristotle's. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Before Science: The Invention of the Friars’ Natural Philosophy by Roger French, Andrew CunninghamIrven M. ResnickRoger French and Andrew Cunningham. Before Science: The Invention of the Friars’ Natural Philosophy. Hants, UK: Scolar Press, 1996. Pp. x + 298. Cloth, $68.95.This is a peculiar book that depicts thirteenth-century natural philosophy as wholly dependent on the theological interests of the mendicant orders. For the Friars, “Natural philosophy was a study (...) in which the central concerns were the detection, admiration and appreciation of God’s existence, goodness, providence, munificence, forethought and provision for His creation” (4). Although conceived as “a positive contribution to the discipline of the history of science” (3), the work begins and ends with the claim that medieval natural philosophers were not engaged in science.One difficulty is that the authors never make clear what they mean by science, although they evidently understand that it entails a repudiation of metaphysics and a doctrine of nature’s radical autonomy. Consequently, for French and Cunningham medieval “science” is a mythic construct of modern historians, since “[t]here was no scientific tradition (in the modern sense of the term ‘scientific’) of looking at nature in the thirteenth century, only a religio-political way of doing so” (273).Thus, when summarizing the accomplishments of Roger Bacon, they note that “[Bacon] has been credited, along with Grosseteste, with creating early ‘experimental science’. Bacon could not of course have been a ‘scientist’ because he lived in the wrong [End Page 623] age for this” (238). This seemingly casual conclusion is rather stunning not only in its own right, but also as a revelation of the authors’ own effort to disenfranchise medieval ‘scientists’ for having had the misfortune of living too soon.French and Cunningham propose that polemical or apologetical interests urged the Friars to study nature as a response to various heretics and especially the Cathars who, seemingly like moderns, sought to disengage the natural world from the Christian God, while using the vocabulary of Aristotle’s libri naturales. However this central argument demands better support. Since the authors can cite only one surviving Cathar text—De duobus principiis (ca. 1230)—almost everything known of this group is derived from anti-Cathar polemics. Based on this single text the authors can say no more than that it used “what looks very much like a commentary on Aristotle’s Physics or Metaphysics,” (134) but fail to identify more precisely its sources. It is clear that thirteenth-century orthodox polemics increasingly relied on Aristotelian materials, but the conclusion that natural philosophers did so only in response to heretics who beat them to the Aristotelian punch seems tendentious. The historian will likely remain unconvinced that the unparalleled translating activity of the late eleventh and twelfth centuries—the rendering into Latin of Arabic scientific knowledge (as in Constantine the African’s Pantegni or Adelard of Bath’s Quaestiones naturales), Greek medical literature (e.g. Galen’s Methodus medendi translated by Gerard of Cremona and Burgundio of Pisa) and mathematics (e.g. Euclid’s Optics, Theodosius’s Spherics, Archimedes’ On the Quadrature of the Circle, and Ptolemy’s Tetrabiblos and Almagest) culminating with thirteenth-century translations of Aristotle’s biological works—should all have stemmed from a preoccupation with heresy.A further shortcoming of this book is the limited attention given to works on natural philosophy by the Friars themselves. The book’s first seven of eleven chapters explore the educational establishments in which natural philosophy arose: first monastic and cathedral schools, and then the universities. The works of individual Friars receive only the briefest summary. Among the Dominican natural philosophers Albertus Magnus—the patron saint of scientists and one of a very few scholastics to have commented on all of Aristotle’s biological works—is awarded only five pages. For his mastery of Aristotle’s libri naturales Albertus has been called “the dominant figure in Latin learning and natural science of the thirteenth century.” (Cf. Lynn Thorndike, History of Magic and Experimental Science [New York: Macmillan, 1929], 2:521) Albertus described not only the natural world but also explored the philosophical foundations for scientific knowledge. Yet curiously French and Cunningham give much more attention... (shrink)

No student or colleague of Marjorie Grene will miss her incisive presence in these papers on the study and nature of living nature, and we believe the new reader will quickly join the stimulating discussion and critique which Professor Grene steadily provokes. For years she has worked with equally sure knowledge in the classical domain of philosophy and in modern epistemological inquiry, equally philosopher of science and metaphysician. Moreover, she has the deeply sensible notion that she should be (...) a critically intelligent learner as much as an imaginatively original thinker, and as a result she has brought insightful expository readings of other philosophers and scientists to her own work. We were most fortunate that Marjorie Grene was willing to spend a full semester of a recent leave here in Boston, and we have on other occasions sought her participation in our colloquia and elsewhere. Now we have the pleasure of including among the Boston Studies in the Philosophy of Science this generous selection from Grene's philosophical inquiries into the understanding of the natural world, and of the men and women in it. Boston University Center for the R. S. COHEN Philosophy and History of Science M. W. W ARTOFSKY April 1974 PREFACE This collection spans - spottily - years from 1946 ('On Some Distinctions between Men and Brutes') to 1974 ('On the Nature of Natural Necessity'). (shrink)

In fluid-dynamics, several motivating factors can spur new lines of inquiry. Beginning with considerations on the exchange of momentum that takes place at small scales inside a fluid, and after introducing a generalized categorization of different types of fluid media, Understanding the Nature of Science presents a critical analysis of contemporary issues which are being debated in the scientific community. Next, the authors present an evolutionary ecological approach in which human knowledge is studied as the ecology of interacting (...) data-information-knowledge systems developing in time as a consequence of incessant learning from interactions with the environment on various levels of organization. The concluding section suggests the use of problem-based learning to promote conceptual changes from the "Nature of Science" naive views, usually found in students, to more informed views. (shrink)

In this paper, I will argue how Paracelsus's concept of the universal ensoulment of nature may relate to his understanding of the self-healing capacity of the body, as shown in his Grosse Wundartzney (1536). Here, his new approach to medicine is visible, focusing not on retaining or restoring the balance of bodily humours but on strengthening the inner “essence” of life (the so-called “balsam,” “mummy,” “astral spirit,” etc.). This is possible by means of life-endowed essences of healing substances (...) which can affect the body’s vital principle by means of inner sympathies. Here, a link is established to medical alchemy as a way to produce more subtle medicines, the “essences” of things. Such an undertaking is possible only in the framework of the natural magic concept with its underlying microcosm-macrocosm analogy. It is my aim to show not only the principles of Paracelsus's new medicine, alchemy, and his worldview in general, but also how his theories may relate to his predecessors, including Marsilio Ficino, one of the few authors who escaped Paracelsus's harsh critique. (shrink)

Indigenous understandings of consciousness represent an important inspiration for scientific discussions about the nature of consciousness. Despite the fact that Indigenous concepts are not outputs of a research driven by rigorous, scientific methods, they are of high significance, because they have been formed by hundreds of years of specific routes of cultural evolution. The evolution of Indigenous cultures proceeded in their native habitat. The meanings that emerged in this process represent adaptive solutions that were optimal in the given environmental (...) and social milieu. We argue that it would not be appropriate to handle these meanings as something that science considers to be wrong, or outdated relics of the human past. In contrast, Indigenous concepts and their meanings may be considered to be an important heritage of native human populations, but moreover, they are also an interesting material for analyses and inspiration for recent scientific debates. Furthermore, it is also necessary to mention another reason why the exploration of Indigenous concepts has been so topical recently. Thus far, much psychological theoretical development has been published in English as a result of research conducted in Western countries. The dominance of English and the superiority of research conducted by researchers from Western countries may be considered as a kind of barrier toward other ways of knowing. We argue that the traditional cultural knowledge coming from Indigenous societies may offer an interesting source of new thought for science. The weakening of the strong dependence of science on well-established academic circles dominated by Western theoretical perspectives may be beneficial for stimulating its further development (Sidik, 2022). Therefore, this special symposium of the Journal of Consciousness Studies aims to open the doors for other ways of knowing, For the knowing that emerged in native Indigenous cultures. We argue that the rich cultural heritage of these societies may stimulate the emergence of new analytical perspectives for scientific theorising about the nature of consciousness. For all these reasons, the Indigenous concepts of consciousness captured our interest, and we decided to start investigating them. In 2020 and 2021, we retrieved and analysed pieces of information from past ethnographical field evidence gathered in various Indigenous cultures. After removal of data about the cultures showing a high acceptance of influences from external religious traditions (e.g. Christianity, Islam or Buddhism), a comparative analysis of data from 55 Indigenous groups was conducted and published in the Journal of Consciousness Studies (Trnka and Lorencova, 2022). This primary project revealed many interesting results, but more importantly, it also showed many unexplored avenues that called for further exploration. This special symposium of the Journal of Consciousness Studies is a continuation and new development of research on the Indigenous understanding of consciousness. Past ethnographical evidence involved some valuable pieces of knowledge about Indigenous concepts of consciousness, but the relevant information was often fragmentary or even totally missing in some cases. Moreover, many authors of past ethnographic records applied a strong etic approach that clouded the understanding of native Indigenous thoughts. Therefore, the main goal of the recent symposium was to broaden the overall information basis for the analysis of Indigenous concepts of consciousness or closely related phenomena. In other words, the symposium aimed to bring more detailed knowledge of Indigenous concepts of consciousness, mind and body and their relations in various groups of Indigenous people. In 2022, we contacted potential contributors and were pleased by their positive reactions, which reflected the topicality of this research focus. The authors were asked to draft their papers with a special focus on (a) a cultural Indigenous understanding of the concept of consciousness, (b) a cultural Indigenous understanding of the mind-body differentiation (or consciousness-body differentiation) and (c) cultural metaphors and cultural beliefs related to consciousness, mind and body. Many of contributors were native members of Indigenous cultures that made the descriptions of Indigenous concepts more accurate and reliable. This enabled many truly emic, in-depth insights into the Indigenous concepts of consciousness and related phenomena to be gained. As a result, this issue of the Journal of Consciousness Studies introduces eight papers, each focused on a different geographical region/Indigenous groups: Nahua and Maya (Mexico), Guna (Panama), Mapuche (Chile), Maori (New Zealand), Telingit (Altai), Mongolian groups, Igbo (Nigeria) and Asabano (New Guinea). These papers are followed by one more general paper discussing magical consciousness on the case of an Aboriginal wise man (Australia). The symposium closes with our concluding editorial essay, which generalises the findings and introduces three theoretical models of understandings of consciousness inspired by the analysis of Indigenous concepts of consciousness. Aside from the importance for basic research, the exploration of Indigenous concepts of consciousness is also very important for informing practitioners from many applied spheres. Many current methods for treating addictions, traumatic life events, professional burnout and other mental health problems use features of Indigenous healing practices. A proper understanding of meanings related to mind, body and consciousness are quite important for Western psychotherapists to adapt the Indigenous practices to particular Western cultural milieus. Furthermore, a proper understanding of meanings related to mind, body, and consciousness is also important for treating ethnic, linguistic and culturally diverse populations (APA, 1990). For therapists, psychologists and physicians, understanding the meanings of these concepts may promote their own better care of their clients from various Indigenous ethnic groups. Last but not least, Indigenous concepts, meanings and languages are closely related to the continuation of the heritage of Indigenous people (United Nations, 2016). The world’s Indigenous languages have recently been under threat of disappearing; many Indigenous languages are endangered globally, and the rate of loss is high (United Nations, 2016). Importantly, recent research has also shown that the retention of Indigenous languages may be protective for the psychological and physical health of their speakers. All these areas represent fields for potential use of the findings presented in this symposium of the Journal of Consciousness Studies. As a concluding note, the editors of this symposium hope that this collection of papers will inspire academic scholars while also providing important information for practitioners from various spheres. (shrink)

Abu Muhammad Ali b. Ahmed b. Hazm al-Andalusi (d. 456/1064), the greatest exponent of the Ẓahiriyya school, was a scholar producing important works with his identity as a jurist, hadith scholar, historian, literary man, and poet. He also persistently defended the understanding of Ahl as-Sunna against the sects that emerged within Islamic thought as he defended the superiority of Islam against other religions. In his works, he covered almost every topic of the kalam science; in this context, he was (...) especially interested in topics related to the possibility of prophethood, the prophethood of Muhammad and his being the last representative of the prophethood chain. Therefore, this study, based mainly on his works such as al-Fasl, al-Usul wa'l-Furu, ad-Durr fi ma Yecibu i'tikaduhu and Ilm al-Kalam ala Mazhab Ahl al-Sunnah wa'l-Jama'a, deals with the topics of the possibility of prophecy, the prophethood of Prophet Muhammad, and the role and importance of miracles in proving it in the view of Ibn Hazm. Almost all Islamic scholars have based their systems for recognizing prophets on the evidence of miracles. According to them, a person who claims to be a prophet must bring extraordinary evidence to confirm his claim, and it is necessary for him to do so in order to make his opponents religiously responsible. For an event to be considered evidence that confirms the prophet's claim and to be called a miracle, it must have some characteristics, such as: it must be a divine act; it must appear in an extraordinary manner; it must occur together with the claim of prophecy and challenge; and it must occur immediately after the claim of the prophet. Therefore, it is believed that evidence that possesses these characteristics can prove the correctness of the claimant without needing any other evidence. The kalam scholars only call those events as miracles, which have the characteristic of challenging the dozens of evidences that prove the prophet's truthfulness. Therefore, it is without a doubt that the concept of miracle is a special concept invented by kalam scholars. When looking at Ibn Hazm’s views on the subject, which form the backbone of the study, it is necessary to state the following: Firstly, Ibn Hazm explains that prophecy is possible, that God chooses and sends messengers among the people, and that there is no difference among the prophets in terms of belief principles. Ibn Hazm emphasizes the role of miracles in identifying prophets and bases his system on this principle. However, he does not show much care in using the term "miracles" in the way that Kalam scholars accept it and does not aim to explain or list the characteristics or attributes of miracles as seen in Kalam books. He uses the term "miracles," which have been conceptualized over a long period of time, for every extraordinary event that belongs to the prophets, without considering these sensitivities. The most striking aspect of Ibn Hazm's understanding of miracles is that he does not consider the attribute of challenge, which is defined as a condition of a miracle, as necessary. He criticizes those who accept the attribute of a challenge as an essential part of miracles and argues that such an understanding would limit the miracles of the Prophet Muhammad. If the attribute of the challenge is accepted as a condition, then extraordinary events such as the blessing of food and drink, the moaning of wood in the mosque, and some animals coming and expressing their complaints would be excluded from the scope of miracles. This would mean limiting the evidence of Prophet Muhammad's prophecy. According to him, the creator of extraordinary events is God, and He creates them only to confirm His messengers. The events that occur in the hands of a person who claims to be a prophet should be considered a miracle. Therefore, he has named every event that occurred through the prophets as a miracle, regardless of its context and nature. In conclusion, according to Ibn Hazm, there are two types of events that occur in nature: Normal events and miraculous events. He refers to the latter as miracles and limits them to only occurring in the hands of prophets. He believes that events that occur in the hands of prophets, whether they possess the characteristic of tahaddî or not, should be referred to as miracles. Events that occur in the hands of people other than prophets do not possess the characteristics of miraculous events. If such events are claimed to be miraculous, the evidence of the prophets will be damaged. Therefore, Allah creates these events only for His messengers. Therefore, in the view of Ibn Hazm, concepts such as miracles of saints (karamat), magic, and divine help (maunat) do not have a counterpart. In fact, his attitude coincides with the Mu'tazilite tradition. He tries to prevent criticism that can be directed at miracles by assigning miraculous events only to prophets. (shrink)

During the last decades the physico-chemical conception of self-organization of chemical systems has been created. The chemical systems in natural-historical processes do not have any creator: they rise up from irreversible processes by self-organization. The issue of self-organization in physics has led to a new interpretation of the laws of nature. As Ilya Prigogine has shown, they do not express certainties but possibilities and describe a world that must be understood in a historical way. In the new philosophical (...) class='Hi'>understanding of nature priority is not ascribed to any single type or level of entity, but to historical processes, to processes of endless generation and change. (shrink)

The task of this paper is to gather together Guattari’s scattered references to magic, from Chaosmosis and Schizoanalytic Cartographies, and to reconstitute his position, using animism as a guide. For magic is a bulwark against positioning schizoanalysis as another specialism, and in maintaining what Guattari called its ‘eccentric’ relation to professional psychotherapeutic practices. Magic serves Guattari as an antidote to the scientific schemas that dominate psychoanalysis and psychology. Guattari’s effort to reanimate magic as a viable reference within schizoanalysis flies in (...) the face of the ‘ideal of scientificity’. Whereas animism served Guattari’s decentring of subjectivity from the human individual, and his critique of the prevailing dichotomies of subject/object, human/nature, sign/real, to bring magic into play in schizoanalysis is to open it to ethno-psychiatric investigations of sorcery, as well as neo-pagan ecosophy. Magic is indispensable for understanding contemporary assemblages of enunciation, as it exists concurrently with the very forces that would try to banish it, as well as those which would attempt to exploit it for fascistic purposes. (shrink)

Abraham Kaplan once suggested that Dewey’s “magic number” was two. His observation seems to be supported by the titles Dewey gave to his books, such as Experience and Nature. But in making this observation, Kaplan hedged a bit. Perhaps it would be better, he added, to say that Dewey had two magic numbers: he seemed to look for twos in order to turn them into ones. Looking back over the notes I have pencilled in the margins of Dewey’s Collected (...) Works over the years, I am struck with the number of times “1, 2, 3” appears. In some cases these passages are reminiscent of Peirce’s categories. In other cases, they recall Hegel’s dialectic. Dewey’s “magic numbers” are tools that can help us understand the structure and content of his work. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Heidegger and Dao: Things, Nothingness, Freedom by Eric S. NelsonJean-Yves Heurtebise (bio)Heidegger and Dao: Things, Nothingness, Freedom. Eric S. Nelson. London: Bloomsbury, 2024. Pp. viii + 256. Paper $103.50, ISBN 978-1-350411-90-6.On the Way: from Heidegger to Nagarjuna via Lao-ZhuangAfter having reviewed Eric S. Nelson’s 2017 Chinese and Buddhist Philosophy in Early Twentieth-Century German Thought (for the Journal of Chinese Philosophy) and his 2020 Daoism and Environmental Philosophy (for (...) Monde Chinois Nouvelle Asie), reviewing now, for Philosophy East & West, Nelson’s 2024 Heidegger and Dao: Things, Nothingness, Freedom, which develops on the insights of his two previous opuses, is both a real pleasure and a true challenge. It’s a pleasure to read again Eric S. Nelson’s scholarly prose with its own specific conceptual style and distinctive philosophical rhythm. It’s a challenge to give a meaningful and fair overview of a conceptually complex, scholarly rich, and thought-provoking book.No one can speak better about the aim and goals of Nelson’s book than the author himself--following the wayist way of spontaneous ziranity, we will thus let the book speak for itself:Its primary thesis is that, entangled with Daoist and other intercultural sources, Heidegger’s path proceeds from the paradigmatic Occidental philosophy of available givenness and mere presence--which conceals the open spacing of things and seeks to logically exclude and dialectically subordinate negativity and the nothing--to nothingness, emptiness, and the clearing in their coming to presence and withdrawal in absence or, to accentuate its mutable verbal sense, presencing-absencing. […] Zhuangzi’s vision of free and easy wandering indicates ways of practicing philosophy as contesting and unraveling fixations. These practices allow rethinking Heidegger’s pathways and reimagining for ourselves things, nothingness, and world in the specificity of our existential condition.(p. 10)These lines can give already a good indication about what the reader will be provided with: a Heideggerian reading of Daoism nurturing and enriching a Daoist reading of Heidegger; a Daoist reinterpretation of the late Heidegger feeding and complexifying a Heideggerian Pre-Socratic reinterpretation of early Daoism; a continuous feedback loop leading to a process of mutual symbiosis and multiple conceptually creative hybridizations. Ziran and Dao are used to unlock the concealed potentialities of overdetermined Western concepts such as Nature and Ethos while the Heideggerian deconstruction of “Western metaphysics” is [End Page 1] used to de-Eurocentricize our understanding of Daoist and Buddhist thoughts about Thing and Nothingness.The book is divided in two parts: the first part deals with the concept of Thing, the second with the concept of Nothingness. Thing and Nothingness seem to be the perfect antithesis but the magic of Nelson’s reading of their tri-cultural Daoist, Buddhist and Heideggerian conceptualization is to dissipate the classical, ontological antinomy between Being and Non-Being to explore what’s both beyond and below: the natural source of life emergence, coming and returning to a Nothing that is Everything via a Thing that is never Anything (a ready-made and exchangeable object in the universal trading scheme of capitalist general equivalence) but always Something (this and that in particular, in their own specific rhythm of coming back and forth, from and to their source of un-nothingity).The first five chapters evoke the issue of the encounter of Heidegger and Daoist thinking in relation to the deconstruction of Thingness. In the first chapter, Nelson proposes a cross-cultural perspective about the Nature of the Thing linking Heidegger’s critique of the reduction of Things’ Presence to Functional Tools to the Daoist extended conception of Things in terms of Multitude (wanwu 萬物), in which objects, living beings, and spirits participate in the fabric of reality. Chapter 2 examines the connection between Heidegger’s and Daoism’s understanding of “nature” as manifesting a distinct yet similar attention to things’ autopoiesis: following the natural disclosing and unfolding of “things” entails a specific way to think and be in the world. In chapter 3, a comparison is established between Heidegger and Laozi with respect to the notion of void and emptiness: the fact that what powers the utility of a thing is what... (shrink)

This dissertation explains Karl Marx’s understanding of nature, human action, and a materialist standard of practical action. Marx’s understands natural processes as not identical with human action. There are two types of human action for Marx: material action and social action. Material action can use natural processes. Social action does not directly use natural processes, but social action can promote how material action uses natural processes. The difference between natural processes, material action, and social action is important for (...) Marx since it: maintains the independent reality of nature, maintains the development of material accomplishments as separate from social forms, and demonstrates the transitory status of social forms. This difference between material action and social action allows Marx to criticize certain social forms while praising the productive possibilities of the current level of technical development. A practical standard is developed using Marx’s understanding of nature and human action. This practical standard is based on humans’ necessary relationship to natural processes. Beneficial outcomes according to humans’ material abilities and their existence as natural beings is established by application of the practical standard. The materialist standard of practical action can be understood as an ethical theory that is not based on traditional ethical criteria. (shrink)

There is widespread agreement that an adequate understanding of the nature of science (NOS) is a critical component of scientific literacy and a major goal in science education. However, we still do not know many specific details regarding how students and teachers learn particular aspects of NOS and what are the most important feature traits of instruction. In this context, the main objective of this review is to analyze articles from nine main science education journals that consider the (...) teaching of NOS to K-12 students, pre-service, and in-service science teachers in search of patterns in teaching and learning NOS. After reviewing 52 studies in nine journals that included data regarding participants’ views of NOS before and after an intervention, the main findings were as follows: (1) some aspects of NOS (empirical basis, observation and inference, and creativity) are easier to learn than others (tentativeness, theory and law, and social and cultural embeddedness), and subjective aspects of NOS and “the scientific method” seemed to be difficult for participants to understand; (2) the interventions most frequently lasted 5 to 8 weeks for students, one semester for pre-service teachers, and 1 year for experienced teachers; and (3) most of the interventions incorporated both decontextualized and contextualized activities. Given the substantial diversity in the methods and intervention designs used and the variables studied, it was not possible to infer a pattern of more-effective NOS teaching strategies from the reviewed studies. Future investigation should focus on (a) disentangling whether a difference exists between the easy and difficult aspects of learning NOS and formulating a theoretical explanation for distinguishing the two types of aspects and (b) assessing the effectiveness of different kinds of courses (e.g., history of science, NOS or informal) and strategies (e.g., hands-on vs. drama activities; SSI vs. HOS). (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)

Adjustments in the understanding of the relation of religion and science since the Enlightenment require new considerations in epistemology and metaphysics. Constructionist theories of knowledge and process theories of metaphysics better provide the new paradigms needed both to preserve and to limit the significance of each field of human understanding. In a course taught at Moravian College, this perspective is applied to the concepts of nature, reality, and the sacred, with a view to showing how we might (...) develop one such paradigm. Key resources for this task are to be found in the work of artist René Magritte; theologians Langdon Gilkey, Arthur Peacocke, and John Haught; philosophers and historians of science Alfred North Whitehead, Timothy Ferris, Ernan Mc Mullin, and Ian Barbour; philosopher of religion Paul Ricoeur; and historians of religion Rudolph Otto and Mircea Eliade. Such a new paradigm calls for an ecologically sensitive religious awareness which is both sacramental and holistic. (shrink)

Concepts related to the nature of science have been considered an important part of scientific literacy as reflected in its inclusion in curriculum documents. A significant amount of science education research has focused on improving learners’ understanding of NOS. One approach that has often been advocated is an explicit and reflective approach. Some researchers have used the history of science to provide learners with explicit and reflective experiences with NOS concepts. Previous research on using the history of science (...) in science instruction has approached HOS in many different ways and consequently has led to inconsistent findings regarding its utility for improving learning. One promising method for overcoming this inconsistency and teaching NOS with more traditional science content is using stories based in the history of science. A mixed method approach was used to determine whether and how the use of science stories influences undergraduates’ understanding of NOS. Particular attention was paid to the explanations that students used for their understandings. Intervention and control groups completed the Student Understanding of Science and Scientific Inquiry instrument. The intervention group was taught using two historical narratives while the control group was taught using minimal history. A subset of both groups was also interviewed regarding their SUSSI responses and their experiences in the course. Results indicated that the introduction of science stories helped participants gain a better understanding of the role of imagination and creativity in science. Participants mentioned science stories in their explanations for why they changed towards more informed views on SUSSI items related to imagination and creativity. The current study adds to a growing body of literature regarding the use of stories in the science classroom. (shrink)

One of the world's most renowned theoretical physicists, Carlo Rovelli has entranced millions of readers with his singular perspective on the cosmos. In Helgoland, Rovelli examines the enduring enigma of quantum theory. The quantum world Rovelli describes is as beautiful as it is unnerving. Helgoland is a treeless island in the North Sea where the 21-year-old Werner Heisenberg first developed quantum theory, setting off a century of scientific revolution. Full of alarming ideas (ghost waves, distant objects that seem to be (...) magically connected, cats that appear both dead and alive), quantum physics has led to countless discoveries and technological advancements. Today our understanding of the world is based on this theory, yet it is still profoundly mysterious. As scientists and philosophers continue to fiercly debate the theory's meaning, Rovelli argues that its most unsettling contradictions can be explained by seeing the world as fundamentally made of relationships, not substances. We and everything around us exist only in our interactions with one another. This bold idea suggests new directions for understanding the structure of reality and even the nature of consciousness. Rovelli makes learning about quantum mechanics an almost psychedelic experience. Shifting our perspective once again, he takes us on a riveting journey through the universe so we can better understand our place in it. (shrink)

The formation of the concepts and categories that human thinking and culture use is a process that is complex and long-lasting. This specificity of the logical framework of knowledge is due to its historical character, which focuses primarily on the development of consciousness in the stage of development. It is known that the original representations of man about the world had a mythological color. They noted direct intertwining in the practice of everyday relations, and therefore they did not raise the (...) question of their own essence. The same could not have happened, because the individual has not yet realized himself as a unique person. His personal "I" was inseparable from nature or was seen as a part of the generic team. The original man has not yet reached the understanding of self-determination and did not possess the ability to structure the consciousness in its relation to the world. Therefore, in terms of mythological worldview, the term "protocotographic forms of thinking", which represented the empirical integrity of man and the environment, was correctly used. Their specificity was to focus on the concrete. Animistic, fetishistic, and totemic beliefs set themselves the goal of discovering in the environment and distinguishing objects of magic or non-magic in the present concreteness. "Of course, as Ukrainian scholars point out," the protocategorial forms of the primitive and mythological consciousness did not have yet such a certainty that would represent an integral part consisting not of parts but of a dynamic organic ". (shrink)

My aim in this paper is to present and discuss a novel understanding of the nature of epistemic vice. I highlight that epistemic vice such as excessive curiosity, gossip and excessive inquisitiveness do not obstruct the acquisition, transmission and retention of knowledge and are not characterized by a deficiency of epistemic desires or vicious epistemic motivations. However, I argue that such traits ought to be classified as epistemic vices because the agent who possesses them causes epistemic harm to (...) other agents through those traits’ characteristic activities.To remedy obstructivism’s inability to account for vices that cause epistemic harm in other ways besides blocking effective epistemic inquiry, I propose an amended version of this theory. I argue that epistemic vices are character traits, attitudes, and ways of thinking that obstruct the acquisition, transmission, and retention of knowledge and/or cause other kinds of epistemic harm. In addition, I propose a modified version of motivationalism that cashes out non-obstructing, excess-motivation vices in terms of motivation simply by acknowledging, and incorporating into theory, excessive epistemic drives and the negative epistemic (and non-epistemic) consequences stemming from them. (shrink)

This book discusses the legal thought of Bronislaw Malinowski (1884-1942), undoubtedly one of the titans of social sciences who greatly influenced not only the shape of modern cultural anthropology but also the social sciences as a whole. This is the first comprehensive work to focus on his legal conceptions: while much has been written about his views on language, magic, religion, and culture, his views on law have not been fairly reconstructed or recapitulated. A glance at the existing literature illustrates (...) how little has been written about Malinowski's understanding of law, especially in the legal sciences. This becomes even more evident given the fact that Malinowski devoted much of his scholarly work to studying law, especially in the last period of his life, during which he conducted broad research on law and "primitive jurisprudence". The main aim of this book is to address this gap and to present in detail Malinowski's thoughts on law. This book is divided into two parts. Part I focuses largely on the impact that works of two distinguished professors from his alma mater (L. Dargun and S. Estreicher) had on Malinowski's legal thoughts, while Part II reconstructs Malinowski's inclusive, broad and multidimensional understanding of law and provides new readings of his legal conceptions mainly from the perspective of reciprocity. The book offers a fresh look at his views on law, paving the way for further studies on legal issues inspired by his methodological and theoretical achievements. Malinowski's understanding of law provides a wealth of fodder from which to formulate interesting research questions and a solid foundation for developing theories that more accurately describe and explain how law functions, based on new findings in the social and natural sciences. (shrink)

. A partial analogy exists between the lifespan neuropsychological development of individuals and the biological evolution of species: In both of these major categories of growth, progressive emergence of wholes transcends inherently limited part‐processes. The remarkably small purview of each moment of consciousness experienced by an individual may be a crucial aspect of maintaining organization in that individual's cognitive development, protecting it from combinatorial chaos. In this essay I summarize experimental psychology research showing that working memory capacity comprises the so‐called (...) magical number 7±2 items, not only for words and digits but for spatial items and other sorts of cognitive materials, and not only in humans but also in other species. This is so to such an extent that 7±2 may be a “constant of nature.” The small quantity range 7±2 independent items, which builds upon a more elementary, instantaneous working memory capacity of three or four items, is surprisingly independent of the time duration of a cognitive task. Moreover, it is largely independent of ontogeny. Explanations of these powerful facts about working memory are offered here within both a functionalistic framework and a framework of hypothetical neural processes. At the neural level, working memory dynamics may comprise certain brain wave harmonics or topological relationships in the sheetlike cortex. Within the functionalistic framework, I suggest an additional analogy, pertaining to cultural evolution, with Tom Gilbert's work on risk analysis and “the global problematic” that follows from unforeseen consequences of the expansiveness of human ambition. Several connections are drawn with ideas presented by participants in the Chicago Religion and Science Group about how theologies and sciences try to understand the possibility of adaptive exercises of human freedom in the face of the extreme finiteness of each human individual. (shrink)

This essay investigates Dasan Jeong Yak‐yong's (1762–1836) account of human‐nature‐as‐taste, by comparing his commentaries on significant chapters in the Mengzi to Zhu Xi's commentaries. Dasan argues that human nature is understood through giho, taste sentiments and desires, and not as Principle (li). I first introduce Dasan's account of human‐nature‐as‐taste in his commentaries to 3A1 and 7A4. Next, I argue that giho is most appropriately translated as “taste,” because this term captures the dispositional characteristics of giho as a (...) mental faculty as well as its mental effects, such as desires, sentiments, and preferences. I then examine Dasan's and Zhu Xi's commentaries on 6A7 and 6A6, to illustrate how Dasan's view of human‐nature‐as‐taste interprets the chapters differently from Zhu Xi's metaphysical account of human‐nature‐as‐Principle, which Dasan considers as unsupported by the philological and contextual grounds. This exploration of Dasan's empirical account of human‐nature‐as‐taste, serving as a preliminary for a philosophical study of his reinterpretation of the Confucian Classics and his performative account of moral self‐cultivation, will provide us with an alternative perspective to the Neo‐Confucian metaphysic‐epistemic account of human nature. (shrink)

The topic of this contribution is the tension between the everyday dichotomy of nature and technology and the nanotechnological understanding of the world. It is essential to nanotechnology that nature and technology not be categorically opposed as the manmade and the non-manmade, but rather regarded as parts of a structurally identical whole. After the introduction, I will address three points: In a brief first section I will formulate a few questions and a thesis about the nanotechnological developments (...) that can be expected to come. In the main section I will assess four aspects of everyday understanding of nature and technology that are used to legitimate nanotechnology. Finally I will discuss whether an everyday understanding of nature can be conceived as a critical authority with respect to the nanotechnology program. (shrink)

I argue that the imagination was a crucial concept for the understanding of marvellous phenomena, divination and magic in general. Exploring a debate on prophecy at the turn of the seventeenth century, I show that four explanatory categories were consistently evoked and I elucidate the role of the imagination in each of them. I introduce the term ‘floating concept’ to conceptualise the different ways in which the imagination and the related ‘animal spirits’ were understood in diverse discourses. My argument (...) is underpinned with a general discussion of the imagination, after which I focus on a unorthodox tradition which attributed special powers to this internal faculty. Many physicians had explained psychosomatic phenomena by referring to the influence of the imagination on the human body; but some philosophers held that the imagination could also exert power over external objects. During the renaissance these theories acquired negative associations and became linked with illicit magic. Furthermore, I show that the relation between both animal spirits and imagination, and the power of the latter over external bodies, points to the importance of a ‘history of vapours’; and this suggests an adjustment to Keith Hutchison’s argument on occult qualities in mechanical philosophy. The accompanying paper gives more evidence of these claims and elaborates on the relation between the natural and the moral. (shrink)

Young children's early understanding of emotion was investigated by examining their use of emotion terms such as happy, sad, mud, and cry. Five children's emotion language was examined longitudinally from the age of 2 to 5 years, and as a comparison their reference to pains via such terms as burn, sting, and hurt was also examined. In Phase 1 we confirmed and extended prior findings demonstrating that by 2 years of age terms for the basic emotions of happiness, sadness, (...) anger, and fear are commonly used by children as are terms for such related states as crying and hurting. At this early age children produce such terms to refer to self and to others, and to past and future as well as to present states. Over the years from 2 to 5 children's emotion vocabulary expands, their discussion of hypothetical emotions gets underway, and the complexity of their emotion utterances increases. In Phase 2 our analyses go beyond children's production of emotion terms to analyses of their conception of emotion. We focus especially on when children use emotion terms to refer to subjective experiential states of persons. From their earliest uses of these terms in our data children. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:"The Veil of Maya": Schopenhauer's System and Early Indian ThoughtStephan Atzert"The Veil of Maya": Schopenhauer's System and Early Indian Thought. By Douglas Berger. Binghamton: Global Academic Publishing, 2004. Pp. 319.Arthur Schopenhauer's (1788-1860) philosophy combines a number of inquiries into epistemology, metaphysics, ethics, aesthetics, and psychology. Schopenhauer read widely in several languages and incorporated many influences, including his reading of Anquetil Dupperon's Latin translation of selected Upanishads. From a (...) contemporary perspective it is fair to say that Schopenhauer does not offer a systematic philosophy, internally consistent in all its parts, but rather a philosophical approach that is descriptive and sensitive to a wide range of issues. Despite definite exceptions, the strength of Schopenhauer's writing lies in his attempt to be descriptive about the human experience, in combination with a willingness to incorporate its possibilities, and therefore his writings provided, and still do provide, points of departure for a wide variety of investigations.Schopenhauer became especially popular with artists, due to the fact that he proposed a metaphysical theory of art that offered artists possibilities for self-flattering. Aside from the role he played for Nietzsche, this is perhaps the only area in which Schopenhauer's impact is well understood. By contrast, Schopenhauer's decisive role in the development of Freud's psychoanalytic theory has only begun to be appreciated in the past few years. And although there exists a significant tradition of relating Advaita Vedānta and Buddhism to Schopenhauer's philosophy-the approaches of Paul Deussen, Helmuth von Glasenapp, and Wilhelm Halbfass marking conceptual shifts in this tradition-truly comprehensive perspectives are emerging only now. The fascinating exploration of Schopenhauer's exposure to relevant indological texts, commentaries, and scholars is still far from complete, as only a comparatively small selection of Schopenhauer's manuscript remains has been published, by Arthur Hübscher in 1966. As recently as 1998 Urs App was able to conclude, from his study of Schopenhauer's unpublished annotations to the Asiatick Researches, that it has been a misconception-although one carefully nourished by Schopenhauer himself-to assume that Indian concepts only confirmed what Schopenhauer had conceptualized intuitively of his own accord. Douglas Berger's timely study, "The Veil of Maya": Schopenhauer's System and Early Indian Thought, shows that this case can be made by way of a careful analysis of the development of Schopenhauer's philosophy without recourse to unpublished manuscript remains. In this respect Berger states:After reading Schopenhauer for some years, I became convinced that some crucial aspects of his system, specifically how he made argumentative transitions from epistemology to metaphysics to ethics, transitions about which much dispute still rages in the secondary literature, could not be well assessed without taking into consideration how Scho-penhauer understood the Upanishadic and Vedantic notion of maya.(p. xii) [End Page 675]On the basis of the published manuscript remains Berger traces how the early system developed. Here Berger shows very convincingly that the formation of Schopenhauer's system was strongly influenced by his appropriation of one particular element of Hinduism-or better, of Brahmanic world views-namely the idea of maya. Maya in the Upanishads is "most often identified to be the magical power of God employed to create the world and then to hide behind the matter out of which it was made" (p. 62). As Berger has traced in the manuscript remains,Schopenhauer develops an understanding of maya over time which makes it at once an epistemological category of falsification and an existential fetter that causes human beings to comport themselves... in an ethically pernicious way. More specifically Scho-penhauer believes maya to be a way the world appears to us as something it is not.... Epistemologically, maya entails an erroneous perception of things and a fallacious assessment of their nature; axiologically, it is the inauthentic valuation of world and other; metaphysically, it is the mere phenomenal appearance of a noumenal reality; and ethically, it leads to an unjustifiable alienation of other from self.(p. 63)In Schopenhauer's own words from a manuscript dating to 1814:In so far as he is alive... a human being... is doomed not merely to... (shrink)

Psychological traumatisation, as we understand it today, was—in terms of the history of ideas—anticipated by various approaches which have had a lasting impact on modern psychiatry, psychotherapy, and psychosomatic medicine. On the one hand, there is the traditional concept of possession and exorcism with its impressive psychodynamics. On the other hand, there is the theory of the imagination, of an illusion in the sense of a pathogenic infection. Especially the pathological teachings of Paracelsus (sixteenth century) and Johann Baptist van Helmont (...) (seventeenth century)—the latter having advanced the former’s alchemist approach—demonstrate the extent to which demonological, parasitological, and psychological ideas were amalgamated in their ontological notion of a disease. Only the introduction of hypnotism in the middle of the nineteenth century made possible a psychological or psychodynamic understanding of psychological trauma in the modern sense. Hypnotism was striving to strictly dissociate from the magical and natural philosophical speculations of mesmerism and its theory was quite compatible with the model representations of scientific medicine. Sigmund Freud was able to tie in his ideas of hysteria and neurosis with this concept and especially to define repression of (infantile) sexuality as the cause of a culturally ineluctable psychological trauma. Finally, a brief survey of medical history is given to explore artificial trauma as a healing factor. (shrink)