Philosophies

37 pages, 15446 KiB

Open AccessArticle

Language and Consciousness in Early Buddhist Thought: On the Early Reflections on the Theme of Language and the Perception of Reality in the Pāli Canon

by Federico Divino

Philosophies 2025, 10(2), 31; https://doi.org/10.3390/philosophies10020031 - 10 Mar 2025

Abstract

In this paper, the Buddhist view on language and its implications for perception and cognition will be analyzed. The aim of this paper is to demonstrate that archaic Buddhism, as documented in the suttas of the Pāli Canon, already presents a well-articulated theory [...] Read more.

In this paper, the Buddhist view on language and its implications for perception and cognition will be analyzed. The aim of this paper is to demonstrate that archaic Buddhism, as documented in the suttas of the Pāli Canon, already presents a well-articulated theory of knowledge, and that Buddhist considerations on the problem of language are comparable to Saussure’s early linguistic theories, as well as to fundamental issues in the philosophy of perception and theories of cognition. This comparison with Buddhist thought seeks to provide a technical approach to the problem of consciousness in order to structure a systematic dialogue between the philosophy of mind and language, cognitive sciences, and linguistics, offering an original perspective on these topics through Buddhist thought. Full article

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16 pages, 288 KiB

Open AccessArticle

Which Intelligible Words? Reading Femicide Through Rancière’s Concept of ‘La Mésentente’

by Raffaela Puggioni

Philosophies 2025, 10(2), 30; https://doi.org/10.3390/philosophies10020030 - 6 Mar 2025

Abstract

While Jacques Rancière’s concept of the political, democracy, emancipation, equality and aesthetic have significantly (re)shaped many recent debates, his notion of dis-agreement—in its French formulation of ‘mésentente’, meaning the fact of not hearing, and/or of not understanding—has received relatively little attention. [...] Read more.

While Jacques Rancière’s concept of the political, democracy, emancipation, equality and aesthetic have significantly (re)shaped many recent debates, his notion of dis-agreement—in its French formulation of ‘mésentente’, meaning the fact of not hearing, and/or of not understanding—has received relatively little attention. This article argues that if politics, as Rancière suggests, arise from a novel perceptual universe and if dis-agreement entails not-hearing and/or not-understanding, then “speaking politics”—the very act of breaking away from the dominant configuration of the police order—might be perceived as a noisy sound rather than as coherent and intelligible words. Drawing on Rancière’s concept of mésentente, this article examines the noisy, and largely unintelligible, protests sparked by the violent femicide of Giulia Cecchettin which occurred in Italy in 2023. Ultimately, it raises the following questions: which words are intelligible? Does intelligibility depend on the voice of the speaking subjects? Or does it hinge on the (un)familiarity of the vision they project? How can acts of politics be recognized if the words used are unintelligible? Full article

11 pages, 192 KiB

Open AccessArticle

Artistic Aesthetic Value in Participatory Art

by Matilde Carrasco-Barranco

Philosophies 2025, 10(2), 29; https://doi.org/10.3390/philosophies10020029 - 4 Mar 2025

Abstract

In this article, I seek to outline a theoretical framework to critically assess as artistic the aesthetic value of participatory art, namely, art where the audience’s activity is constitutive of the artwork proper. I depart both from the idea that, in participatory art, [...] Read more.

In this article, I seek to outline a theoretical framework to critically assess as artistic the aesthetic value of participatory art, namely, art where the audience’s activity is constitutive of the artwork proper. I depart both from the idea that, in participatory art, aesthetic qualities emerge in the participants’ performances, and from a functional account of art criticism that assesses works in terms of the kinds of objects they are, the goals they pursue, and manners in which they do so. My paper raises the issue of whether and how a functional account of art criticism, which makes artistic value dependent on the artist’s intentions can apply to the criticism of participatory art, whose aesthetic qualities arise in the activity performed by the audience detached from the specific artefacts designed by artists. I analyse the question considering how such detachment varies across forms of participatory art—from interactive art such as installations to fully collaborative artistic projects. Full article

(This article belongs to the Special Issue The Aesthetics of the Performing Arts in the Contemporary Landscape)

3 pages, 137 KiB

Open AccessEditorial

Poetry and Ordinary Language: Introduction to the Special Issue

by David Macarthur

Philosophies 2025, 10(2), 28; https://doi.org/10.3390/philosophies10020028 - 20 Feb 2025

Abstract

Poetry is a creation of ordinary words put to extraordinary use [...] Full article

(This article belongs to the Special Issue Poetry and (the Philosophy of) Ordinary Language)

18 pages, 255 KiB

Open AccessEssay

Rereading the Phenomenology’s Recasting of Perception: The Path to a Differing and Interwoven Temporality, Imaginal, and Poetic Ontology

by Glen A. Mazis

Philosophies 2025, 10(1), 27; https://doi.org/10.3390/philosophies10010027 - 14 Feb 2025

Abstract

The point of this Special Issue of Philosophies and of this essay is to look deeply into Merleau-Ponty’s Phenomenology of Perception, published in 1945, and to “read backwards” from the later works (whether published, transcripts of the later lectures, or the unpublished [...] Read more.

The point of this Special Issue of Philosophies and of this essay is to look deeply into Merleau-Ponty’s Phenomenology of Perception, published in 1945, and to “read backwards” from the later works (whether published, transcripts of the later lectures, or the unpublished notes) in order to find the inchoate ideas that were already present in the Phenomenology that was to be developed into the series of ideas of the later ontology of the flesh of the world. The presence of these inchoate ideas is subtle and not as clearly developed as in the later works, but now we can see them more clearly. The dispersed, decentered, and intermittent sense of self, the circulation of sense into the depth of the world, the radical temporality of institution, the latency of sense, the imaginal lining of all perception and its role in Being, the invisibility of the visible and the poetic flesh ontology will be touched upon in this essay as all of them are developments of the initial move in the Phenomenology to make perception the access to the real. This essay will go further than the many recent interpretations that look at some of these developing ideas to articulate that this is a necessary trajectory from Merleau-Ponty’s starting point in the Phenomenology of Perception and that all these phenomena to which these ideas point can only come forward in their interrelated interwovenness. This would mean that all these strands are integral to the chiasmatic nature of the flesh of the world. Full article

(This article belongs to the Special Issue Merleau-Ponty and Rereading the Phenomenology of Perception)

9 pages, 168 KiB

Open AccessArticle

Agnosticism Without Ontology? The Search for New Conceptual Tools to Describe the Semi-Secular Condition in Sweden

by Peder Thalén

Philosophies 2025, 10(1), 26; https://doi.org/10.3390/philosophies10010026 - 13 Feb 2025

Abstract

This article discusses the future role of agnosticism and its possible meaning in a post-secular, Western cultural sphere, with a special focus on the situation in Sweden. A characteristic of this context, which gives agnosticism a different role than before, is a diminishing [...] Read more.

This article discusses the future role of agnosticism and its possible meaning in a post-secular, Western cultural sphere, with a special focus on the situation in Sweden. A characteristic of this context, which gives agnosticism a different role than before, is a diminishing interest in traditional ontological questions such as the existence of God. This assumption is illustrated by a comparative analysis of four examples of how atheism and secular views of life are shaped today, all of which in one way or another cross the line between religious and secular but also give philosophical questions about what exists or not a diminished role. It is argued in this article that a revised concept of agnosticism, detached from ontological thinking, together with such concepts as semi-secularity, post-atheism and post-secularity, can offer conceptual instruments for a better understanding of the main tendencies in our time. Full article

(This article belongs to the Special Issue Agnosticism in the 21st Century)

15 pages, 7763 KiB

Open AccessArticle

From Spectacle to Scene: A Pragmatist Approach to Performing Live

by Barbara Formis

Philosophies 2025, 10(1), 25; https://doi.org/10.3390/philosophies10010025 - 13 Feb 2025

Abstract

Drawing from the philosophies of pragmatism and somaesthetics, as developed by Richard Shusterman, this inquiry argues that performance holds a unique ontological status, one that emphasizes participation, shared meaning making, and the aesthetic qualities of ordinary, lived experience. As a philosopher trained as [...] Read more.

Drawing from the philosophies of pragmatism and somaesthetics, as developed by Richard Shusterman, this inquiry argues that performance holds a unique ontological status, one that emphasizes participation, shared meaning making, and the aesthetic qualities of ordinary, lived experience. As a philosopher trained as a dancer, I share some insights from my own experience as a performer offering a first-person aesthetic experience as a tool for conceptual inquiry. This experience allows the inquiry to explore the distinction between “scene” and “spectacle”, positioning the scene as a space of co-creation, in contrast to the distant, objectifying gaze encouraged by spectacle. By examining participatory projects and firsthand artistic experiences, I try to illustrate how performance can dissolve the boundaries between art and life, proposing a model of art that is shared, embodied, deeply connected to the rhythms of the everyday and gives foundation to a political transformation. Full article

(This article belongs to the Special Issue The Aesthetics of the Performing Arts in the Contemporary Landscape)

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10 pages, 219 KiB

Open AccessArticle

Types of Recording, Types of Performance and the Ontological Identity of Musical Works

by Alessandro Arbo

Philosophies 2025, 10(1), 24; https://doi.org/10.3390/philosophies10010024 - 12 Feb 2025

Abstract

While all types of musical works have been affected by the advent of recording, it has not always been in the same way or to the same extent. The aim of this paper is to delve into these differences and to clarify the [...] Read more.

While all types of musical works have been affected by the advent of recording, it has not always been in the same way or to the same extent. The aim of this paper is to delve into these differences and to clarify the role played by recording in defining the ontological identity of musical works. Starting from the discussion of some ontological approaches, it considers music recording in light of the conceptual tension between its meaning as a document of a performance of a pre-existing musical work and its meaning as a construction of an autonomous musical work. It argues that the diverse roles that recording can play depend not only on a grasp of the ontological identity of works but on an adequate understanding of the (type of) performance to which they refer. An expansion of the “logical space” of the notion of performance is ultimately necessary to account for the ontological identity of musical works, whether documented or constructed through recording. Full article

(This article belongs to the Special Issue The Aesthetics of the Performing Arts in the Contemporary Landscape)

15 pages, 329 KiB

Open AccessEssay

A Performance of “Aesthetics”—Conflicts and Commons in the Translation of a Nomenclature

by You Nakai

Philosophies 2025, 10(1), 23; https://doi.org/10.3390/philosophies10010023 - 12 Feb 2025

Abstract

This paper recounts the author’s reluctant journey of translating Matthew Fuller and Eyal Weizman’s Investigative Aesthetics: Conflicts and Commons in the Politics of Truth into Japanese, a process that turned out to be a mix of philosophical tightrope walking and comedic pratfalls. Along [...] Read more.

This paper recounts the author’s reluctant journey of translating Matthew Fuller and Eyal Weizman’s Investigative Aesthetics: Conflicts and Commons in the Politics of Truth into Japanese, a process that turned out to be a mix of philosophical tightrope walking and comedic pratfalls. Along the way, we meet Baumgarten, the original translator who coined the aesthetica nomenclature, Kant, who insists that there can be no such thing as a science of sensibility, and a parade of Japanese translators who took great artistic liberties in rendering an alien term into a complicated language formed by three layers of different writing systems. The author reflects on his coining of a new translation for “aesthetics” in Japanese—Kansei-Jutsu (“Sensibility-Art”)—a term that baffled publishers, thrilled a few cultural studies scholars, and may have earned a side-eye from beauty salons already using “estetikusu” for facials. The translation saga spirals into debates about what “aesthetics” even means, culminating in a bittersweet realisation: translation is less about getting it right and more about sparking delightful, sometimes ridiculous, new ways of thinking. By the end, aesthetics re-emerges as a celebration of difference, proving that even conflicts can create a strange and wonderful commons when approached with an openness to diverse sensibilities. Full article

(This article belongs to the Special Issue The Aesthetics of the Performing Arts in the Contemporary Landscape)

13 pages, 221 KiB

Open AccessArticle

Phenomenological Remarks on Love-Eros

by Claude Romano

Philosophies 2025, 10(1), 22; https://doi.org/10.3390/philosophies10010022 - 5 Feb 2025

Abstract

This article attempts to discuss the phenomenological status of love considered as an erotic phenomenon. Is care a kind of desire? A will? A modality of attention? A feeling? Is it rather an existential attitude towards its object? And in this case, how [...] Read more.

This article attempts to discuss the phenomenological status of love considered as an erotic phenomenon. Is care a kind of desire? A will? A modality of attention? A feeling? Is it rather an existential attitude towards its object? And in this case, how to understand such an attitude? Does Heidegger’s concept of Fürsorge exhaust its nature? It seems necessary to address a specific limitation of fundamental ontology, the equivalency between care and care for oneself, to make room for the possibility of a primary (and not derived) care for another (and also a primary anxiety for another) that seems hardly understandable in Heidegger’s terms. But it also seems necessary to supplement the concept of care with two other “existentials”: unconditional trust and being carried. The article finally examines love as an experience. Full article

(This article belongs to the Special Issue Philosophies of Love)

5 pages, 117 KiB

Open AccessEditorial

Communicative Philosophies: Editor’s Introduction

by Jacqueline M. Martinez

Philosophies 2025, 10(1), 21; https://doi.org/10.3390/philosophies10010021 - 5 Feb 2025

Abstract

This Special Issue of Philosophies, entitled “Communicative Philosophies”, intends to push our philosophical reflections into the direction of the embodied realities lived and enacted as we engage in the communicative processes of thinking, feeling, and acting [...] Full article

(This article belongs to the Special Issue Communicative Philosophy)

11 pages, 214 KiB

Open AccessArticle

Time, Risk and Control in Musical Performance Practices

by Michela Garda

Philosophies 2025, 10(1), 20; https://doi.org/10.3390/philosophies10010020 - 3 Feb 2025

Abstract

Time, control and risk are interrelated concepts that provide a valuable framework for exploring the connections among various performative practices and their cultural functions. By referencing sports, circus arts, and musical performance, this article examines the similarities and differences between musical reproductive performance [...] Read more.

Time, control and risk are interrelated concepts that provide a valuable framework for exploring the connections among various performative practices and their cultural functions. By referencing sports, circus arts, and musical performance, this article examines the similarities and differences between musical reproductive performance and improvisation. It focuses on the concept of transformational processes through analogies. Full article

(This article belongs to the Special Issue The Aesthetics of the Performing Arts in the Contemporary Landscape)

11 pages, 1842 KiB

Open AccessArticle

The Quest for the Transition of Inalienable Rights from Humans to Intelligent Machines

by Angelo Compierchio, Phillip Tretten and Prasanna Illankoon

Philosophies 2025, 10(1), 19; https://doi.org/10.3390/philosophies10010019 - 3 Feb 2025

Abstract

Intelligent machines (IMs), which have demonstrated remarkable innovations over time, require adequate attention concerning the issue of their duty–rights split in our current society. Although we can remain optimistic about IMs’ societal role, we must still determine their legal-philosophical sense of accountability, as [...] Read more.

Intelligent machines (IMs), which have demonstrated remarkable innovations over time, require adequate attention concerning the issue of their duty–rights split in our current society. Although we can remain optimistic about IMs’ societal role, we must still determine their legal-philosophical sense of accountability, as living data bits have begun to pervade our lives. At the heart of IMs are human characteristics used to self-optimize their practical abilities and broaden their societal impact. We used Kant’s philosophical requirements to investigate IMs’ moral dispositions, as the merging of humans with technology has overwhelmingly shaped psychological and corporeal agential capacities. In recognizing the continuous burden of human needs, important features regarding the inalienability of rights have increased the individuality of intelligent, nonliving beings, leading them to transition from questioning to defending their own rights. This issue has been recognized by paying attention to the rational capacities of humans and IMs, which have been connected in order to achieve a common goal. Through this teleological scheme, we formulate the concept of virtual dignity to determine the transition of inalienable rights from humans to machines, wherein the evolution of IMs is essentially imbued through consensuses and virtuous traits associated with human dignity. Full article

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16 pages, 258 KiB

Open AccessArticle

Music Criticism Reconsidered: Bias, Expertise, and the Language of Sound

by Lisa Giombini

Philosophies 2025, 10(1), 18; https://doi.org/10.3390/philosophies10010018 - 31 Jan 2025

Abstract

Despite its growing prominence on social and media platforms, scholarly engagement with music criticism today remains unexpectedly limited, especially when compared to the extensive attention devoted to visual and literary criticism. This article seeks to revitalize the discourse by confronting the biases that [...] Read more.

Despite its growing prominence on social and media platforms, scholarly engagement with music criticism today remains unexpectedly limited, especially when compared to the extensive attention devoted to visual and literary criticism. This article seeks to revitalize the discourse by confronting the biases that have long undermined the credibility of music critics in the eyes of both musicians and the public. Inspired by the myth of King Midas—punished by Apollo for his “misguided” musical judgment—the discussion investigates the persistent critiques leveled at music critics, such as accusations of arbitrariness, inadequacy, and irrelevance. Central to this analysis are key questions: how can critics establish authority when their judgments are often shaped by prevailing cultural trends, what expertise distinguishes them from the average listener, and how do they articulate music’s ephemeral essence in words? To address these questions, the article examines the critic’s role through the lenses of journalism, musicology, and criticism itself, highlighting the tension between objectivity and subjectivity and identifying the distinctive skills necessary for effective critique. Full article

(This article belongs to the Special Issue The Aesthetics of the Performing Arts in the Contemporary Landscape)

15 pages, 202 KiB

Open AccessArticle

Do It Again: Repetition, Reproduction, Reenactment in Performance and Music

by Christian Grüny

Philosophies 2025, 10(1), 17; https://doi.org/10.3390/philosophies10010017 - 31 Jan 2025

Abstract

Any human action can be repeated; none can be repeated exactly. In fact, most human actions will be repeated—in its most basic sense, culture is the establishment of forms and standards of repeatability. The performing arts are based on this fact, they make [...] Read more.

Any human action can be repeated; none can be repeated exactly. In fact, most human actions will be repeated—in its most basic sense, culture is the establishment of forms and standards of repeatability. The performing arts are based on this fact, they make it explicit and explore it, albeit in very different ways. In light of these differences, it becomes obvious that ontological questions in music and the performing arts have a cultural index—rather than asking about the nature of identity and repetition, we should ask what counts as identical under what circumstances. These circumstances differ widely across cultures as well as across disciplines, and they are subject to change. Drawing on examples from performance art and music, this paper will explore the different constellations of repeatability we find in these fields. This comparative perspective promises to reshape some gridlocked debates in music as well as in the theory of performance. In particular, Christopher Bedford’s idea of a “viral ontology” of performance and the displacement of the concept of the work by Bruno Nettl’s notion of the model prove fruitful. Full article

(This article belongs to the Special Issue The Aesthetics of the Performing Arts in the Contemporary Landscape)

16 pages, 1092 KiB

Open AccessArticle

Symmetric Instruction Machines and Symmetric Turing Machines

by Mark Burgin and Marcin J. Schroeder

Philosophies 2025, 10(1), 16; https://doi.org/10.3390/philosophies10010016 - 27 Jan 2025

Abstract

Symmetric instruction machines (SIAs) and symmetric Turing machines (STMs) are models of computation involving concepts derived from those of classical Turing machines such as tape (memory) and head (processor), but with different functional and structural characteristics. The former model (SIAs) introduced in this [...] Read more.

Symmetric instruction machines (SIAs) and symmetric Turing machines (STMs) are models of computation involving concepts derived from those of classical Turing machines such as tape (memory) and head (processor), but with different functional and structural characteristics. The former model (SIAs) introduced in this paper and preferred by Mark Burgin is a result of a reformulation of the latter model (STMs) published in several articles by the second author in the past. The properties of both models are analyzed and compared. The word “symmetric” in both cases represents the feature of the design which is distinct from classical Turing machines where only cells on the tape change under the action of the head. In both models, symmetric computing involves changes of the tape and parallel (“symmetric”) changes of instructions listed in the head. The key difference between SIAs and STMs is in the dynamic of the changes, which in the former model has the form of compound one-way actions and in the latter model, it has the form of uniform mutual interactions, which only in specific realizations can be separated into a pair of actions. Because of the untimely passing of Mark Burgin, the discussion of the two models and cooperation on the paper has never been finished. For this reason, the arguments of both authors are reported even though, in some cases, they are mutually inconsistent or even contradictory. Full article

(This article belongs to the Special Issue Special Issue in Memory of Professor Mark Burgin)

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21 pages, 238 KiB

Open AccessArticle

A Critical Analysis of Dreyfus’s Background Knowledge

by Aydan Turanli

Philosophies 2025, 10(1), 15; https://doi.org/10.3390/philosophies10010015 - 24 Jan 2025

Abstract

The role of background knowledge in human intelligence, knowledge, and consciousness has been a topic of discussion among several philosophers, including Ludwig Wittgenstein, John Searle, Martin Heidegger, and Hubert Dreyfus. Hubert Dreyfus criticizes what he calls the mediational approach and offers the contact [...] Read more.

The role of background knowledge in human intelligence, knowledge, and consciousness has been a topic of discussion among several philosophers, including Ludwig Wittgenstein, John Searle, Martin Heidegger, and Hubert Dreyfus. Hubert Dreyfus criticizes what he calls the mediational approach and offers the contact theory to clarify the concept within his theoretical framework. In alignment with Heidegger’s existential phenomenological perspective, he posits that our contact and our embodied coping with the world constitute a background by which we become acquainted with preunderstanding that encompasses both prelinguistic and pre-propositional understandings. In this article, Dreyfus’s analysis of background knowledge is criticized by focusing on his latest writings. It is argued that, although Dreyfus claims to be defending horizontal foundationalism rather than vertical foundationalism, he primarily emphasizes the foundational nonlinguistic role of motor intentionality in absorbed coping. Furthermore, it is asserted that nonlinguistic embodied coping alone cannot provide the basis for linguistic communication and a humanly way of understanding. Rather than serving as a foundation, embodied coping is more appropriately situated within a linguistic context, because we perform deeds with words. Full article

17 pages, 326 KiB

Open AccessArticle

Marsilio Ficino and the Soul: Doctrinal and Argumentative Remarks Regarding His Use of the Elements of Physics and the Elements of Theology

by Sokratis-Athanasios Kiosoglou

Philosophies 2025, 10(1), 14; https://doi.org/10.3390/philosophies10010014 - 23 Jan 2025

Abstract

The depth and extent of Ficino’s reception and use of Proclus has already attracted much scholarly attention. The present paper builds on and tries to enrich these results, focusing specifically on Ficino’s reception of Proclus’ Elements of Physics and Elements of Theology. [...] Read more.

The depth and extent of Ficino’s reception and use of Proclus has already attracted much scholarly attention. The present paper builds on and tries to enrich these results, focusing specifically on Ficino’s reception of Proclus’ Elements of Physics and Elements of Theology. In the first part I discuss a marginal annotation of Ficino, in which he makes use of arguments about the circular motion of the soul from the Elements of Physics. I provide some clarifications about the annotated text (of Plotinus) and propose one additional possible echo of the Elements of Physics in Ficino’s Platonic Theology and its arguments about the immortality of the soul. The second part of the paper turns to the link between the Elements of Theology and Ficino’s Platonic Theology. Together with some further doctrinal borrowings I suggest that also the structure of the two works bears important affinities. The soul is a central case in point. To ground this claim, I compare specific sections of the two texts. Also, I selectively examine Ficino’s commentary on the Philebus, which is prior to the Platonic Theology and is strongly influenced by the early theorems of the Elements of Theology. Overall, the paper wishes to shed further light on Ficino’s multiform (and not yet fully unveiled) appropriation of Proclus. Full article

(This article belongs to the Special Issue Ancient and Medieval Theories of Soul)

11 pages, 232 KiB

Open AccessArticle

Performance Art in the Age of Extinction

by Gregorio Tenti

Philosophies 2025, 10(1), 13; https://doi.org/10.3390/philosophies10010013 - 20 Jan 2025

Abstract

This paper aims to map out the transformations in contemporary performance art during the current ‘age of extinction’. The first section extends Claire Bishop’s notion of “delegated performance” in order to categorize a turn towards the inclusion of other-than-human entities in the performance [...] Read more.

This paper aims to map out the transformations in contemporary performance art during the current ‘age of extinction’. The first section extends Claire Bishop’s notion of “delegated performance” in order to categorize a turn towards the inclusion of other-than-human entities in the performance field. This operation leads to the concept of ‘performative animism’, referring to the strategies of re-animation of reality through artistic performance. The second section works out the idea of ‘planetarization’ of the performance field, which designates its opening to spatial and temporal fluxes coming from a dimension that overcomes the scale of human experience, that is, the planetary dimension. The third and final section interprets the meaning of these two transformations by introducing the concepts of ‘exbodiment’ and ‘excarnation’, which tie closely to a new political task for performance art. Full article

(This article belongs to the Special Issue The Aesthetics of the Performing Arts in the Contemporary Landscape)

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