Basil Vassilicos

The notion of communication system as presented in many works in the humanities is rooted in engineering and the seminal work of Claude E. Shannon titled “A Mathematical Theory of Communication” - published in 1948. In all, the narrowness of a mathematical understanding of communication, as presented by Shannon, presents severe limitations but also, as it will be shown, possible openings, directions or bridges towards the non-mathematical. In particular, the analysis presented here depicts any notion of communication as being inseparable from any noise. In fact, moving at or beyond the clearly defined mathematical limits that are explicit in Shannon’s theory means to invalidate the very possibility of a communication system at all. It is by looking at these limits, it is argued, that a discourse between a theory of communication and aesthetic theories of digital arts can be renewed. This is not least because in that dialogue might be found a plausible explanation for the ever-growing love of random functions and statistical modelling by many digital art practitioners.

Here I first sketch a phenomenological question about perceptual noise in terms of its having different gradients. I then lay out a plausible framework – a ‘medial’ account of perceptual noise – and point to some problems it faces. I then suggest that an understanding of perception rooted in the thought of Karl Bühler has something interesting to add to that medial account, by way of disputing the latter’s reliance on an idea of psychophysical harmony. To scaffold that alternative, I clarify the scope and grounds of Bühler’s critique of the premise of psychophysical harmony, as situated within his wider concerns regarding psychophysics. That points up a Bühlerian understanding of sensory perception and a perspective on gradients of perceptual noise, which is nicely exemplified by his analysis of speech perception. Overall, the goals in this paper are to furnish a survey of some of Bühler’s most important critical responses to psychophysics as both a branch of psychology and as a type of philosophical thinking; to clarify some of his systematic theses and ideas regarding sensory perception; and to demonstrate how his ‘multiple systems, pliable stimuli’ approach can generate an intriguing proposal for the problem of varying phenomenal noise in perception.

Philosophical work on the concept of consent in the past few decades have got to grips with it as a rich notion. We are increasingly sensitive to consent not as a momentary, atomic, transactional thing, but as a complex idea admitting of various qualities and dimensions. In this paper we note that the recognition of this complexity demands a theoretical framework quite different to those presently extant, and we suggest that the enactive approach is one which offers significant value in this regard. In consonance with arguments made by Laurie Penny about how consent is a continuous and dynamic process, we outline how an enactive approach identifies consent as temporally extended (rather than momentarily transactional), and as affected by the skilfulness of the agents involved, the fitness of community-provided resources to negotiate the consensual relationship over time, and the unfolding of circumstances in the situation in which the joint action is taking place. We argue that the value of an enactive perspective on consent is in highlighting these complexities, and in providing resources to articulate and theorise them in ways that are not open to other current approaches.

In this paper, the goal is to investigate the nature of freedom enjoyed by participants in collective agency. Specifically, we aim to address the following questions: in what respects are participants in collective agency able to exercise freedom in some weaker or stronger sense? In what ways is such collective or common freedom distinct from the freedom ascribed to individuals? Might there be different sorts of freedoms involved in and tolerated by collective agency, each of which has its own role in determining the nature and efficacy of the bond uniting its participants? Clarification of just what such freedom may involve and how it subsists within collective agency is not only important for being able to demonstrate the instrumental value of social ontology to contemporary political debates. It may likewise contribute an important dimension to the descriptive psychology of collective agency and shared intentionality, which is an approach deserving of more attention. Here, such clarification is undertaken via a comparison to the notions of freedom at stake in the respective accounts of sociality and collective agency provided by Raimo Tuomela and Jean-Paul Sartre.

The papers collected in this volume explore the richness of Adolf Reinach's short but penetrating philosophical work. Basically, three topics are covered; one group of papers deals with ontology broadly construed, covering the ontological status and nature of Reinach's realism, his contribution to the contemporary understanding of states of affairs, and his ontology of legal objects. The second group of papers deals with social acts and their products, focusing on the structure of social acts and their nature as social encounters, promises and normativity, and contracts and exchanges. A final paper in this issue covers the contemporary concerns in the philosophy of feelings, emotions and values from the perspective of Reinach and his interlocutors. In this way, the contributors, with varying types of emphasis, stress the continuing relevance of Reinach's ideas, and with novel contributions to our understanding of him, they establish vistas for further research in dialogue with contemporary accounts of the respective phenomena.

My interest lies in offering a phenomenological perspective on how noise is experienced, with particular attention to what may be common to different sorts of noise phenomena. As a counterpoint to the notion that noise is an empty or constructed notion, I argue for two desiderata of a phenomenological account of noise; accommodating a plurality of noise experiences, on the one hand, and clarifying their specific phenomenal character, on the other. I then pursue these desiderata by turning to an examination of some contemporary views of perception that have implications for how the phenomenal character of perceptual noise in particular is to be understood; an epistemic misfire view and a sensory misfire view. After clarifying each and its appeal, I convey concerns about the one and the other. I propose a third alternative for further exploration - a perceptual disjoint view - and point to how it ought to explored. On the premise that there is something like a unity of consciousness or experience, I lay out the idea that there may then be many forms of 'disunities' of experience. From an analysis of the latter, I suggest, one may account for many different types of experiences of noise, though with a common ‘phenomenal’ thread running through them.

This volume’s aim is to stimulate philosophical interest in the experience of noise. There are at least three important open questions about noise. First, how should the relationship between noise as a scientific phenomenon and as a type of experience be understood? Is the one to be understood in terms of the other, and what implications may be drawn from this? Second, are experiences of noise strictly limited to perceptual states or to one type of perceptual state – for instance, to acoustic experiences? E.g. is there noise that is visual or tactile? Is there noise that is cognitive, affective, or evaluative? Third, how can philosophy make sense of noise in the first place? Should noise simply be relegated to the hither side of the explananda of philosophy, as the mere leftover of whatever philosophy sets out to account for; meaning, being, totality, etc.? Or may noise be understood as a positive phenomenon in its own right, which has its own distinctive features and content, difficult though they might be to pin down? This volume will contribute to the burgeoning philosophy of noise by highlighting how contemporary philosophical perspectives with a phenomenological or experiential bent – the latter under both broad and narrow construals – can make inroads to these questions about a fascinating yet little understood quarter of human experience.

In this paper, the aim is to explore how there can be a role for expression of affect in illocution, drawing upon some ideas about expression put forward by Karl Bühler. In a first part of the paper, I map some active discussions and open questions surrounding phenomena that seem to involve “expression of affect”. Second, I home in on a smaller piece of that larger puzzle; namely, a consideration of how there may be non-conventional expression of affect. I provide some examples of what I take that to involve and set out some premises for approaching it. In a third section, I motivate such an interest by pointing to a question in speech act theory concerning ‘force conventionalism’. This is whether and how illocution can be performed non-conventionally—that is, whether (at least some) utterances can be communicated with illocutionary force without need of convention. I propose that where expression of affect may occur non-conventionally, it may in turn constitute one important route through which at least some kinds of illocution are achieved. In the fourth part of the paper, I sketch an account of such non-conventional expression of affect for the purposes of illocution, by exploring a broadly Bühlerian account of some affects; namely, that some affects are teleological in character, that coordinations may be involved in their satisfactional states, and that uptake of the expressed affect constitutes one subset of such satisfactional states. That exposition points to the contemporary relevance of the “action theory of expression” proposed by Bühler.

Philosophical work on the concept of consent in the past few decades has got to grips with it as a rich notion. We are increasingly sensitive to consent not as a momentary, atomic, transactional thing, but as a complex idea admitting of various qualities and dimensions. In this paper we note that the recognition of this complexity demands a theoretical framework quite different to those presently extant, and we suggest that the enactive approach is one which offers significant value in this regard. In consonance with arguments made by Laurie Penny about how consent is a continuous and dynamic process, we outline how an enactive approach identifies consent as temporally extended (rather than momentarily transactional), and as affected by the skilfulness of the agents involved, the fitness of community provided resources to negotiate the consensual relationship over time, and the unfolding of circumstances in the situation in which the joint action is taking place. We argue that the value of an enactive perspective on consent is in highlighting these complexities, and providing resources to articulate and theorise them in ways that are not open to other current approaches.

This paper explores how Wundt’s and Bühler’s respective conceptions of gestural expression have implications for how each conceives of what, in broad terms, may be understood as a ‘grammar of gestures’: that is, the rules for the formation and performance of gestures with and without speech. Unlike previous scholarship that has looked at the relationship of Wundt and Bühler, the aim here will be to give particular attention to the relevance of their respective accounts for current philosophical and linguistic research on gesture. Building off of Bühler, we can offer an alternative to the psychologistic and solipsistic model of gestural expression that can be found in Wundt and that seems to be resurgent today in work by McNeil and others. Via Bühler’s notions of diacrisis and of the underlying functions that guide human communication, we propose an understanding of the relationship between gestures and speech that aims to render accurately both the highly contextualised and the highly structured conditions of their mutual employment.

This paper aims to contribute to ‘group-centred views’ of non-agentive shame, by linking them to an ‘anepistemic’ model of the experience and impact of human failing. One of the most vexing aspects of those group-centred views remains how susceptivity to such shame ought to be understood. This contribution focuses on how a basic familiarity with adversity, in everyday life, may open individuals up to these forms of shame. If, per group-centred views, non-agentive shame is importantly driven by participation in social practices with others, a better understanding of the impact of adversity on individuals’ lives may offer a way of explaining how embodied experience instils in individuals a need for such participation. The upshot is an understanding of the individual’s susceptivity to non-agentive shame, which affords it the same legitimacy as more conventional notions of shame.

In this paper, I show where Adolf Reinach comes down on the question of conflicts of obligation. The aim is to look at whether Reinach’s phenomenological realism of obligation holds its own against positions developed by Bernard Williams concerning the nature and import of obligations, and their capacity or incapacity to impinge upon each other and other moral and non-moral concerns. It is shown that even if Reinach turns out to succumb to pitfalls Williams identifies, he nonetheless verges upon agreement with Williams in more ways than one might expect. This result is significant because it shows that Reinach’s phenomenological realism, in contrast to certain forms of moral realism, lays the foundations for what can be considered a heterontology of obligation and ethical concerns, which is presupposed by the experience of (moral) conflict in the first place.

For Michel Henry, the Cartesian notion of “videre videor” (“I seem to see”) provides the clearest schema of the type of self-affection in which life is experienced, and through which one can provide a properly phenomenological conception of life. It is above all in Henry’s exemplification of the ‘videor’ in terms of affective experience (in undergoing a passion, feeling pain) that one is able to pin down his two principle arguments concerning the nature of this self-affection. The one, regarding the videor as a form of self-awareness, ultimately fails to convince, whereas the same cannot be said for Henry’s analyses of those types of affective experience whose primary characteristic is precisely a form of resistance internal to life itself. This leads to a demonstration of how Henry’s phenomenology of the videor founds an understanding of life that presupposes a form of impotence and limitation, and even finitude, as the very implication of its appearance.

Involuntary memories raise worries for any notion of constitution of memorial experiences and of the relationship between subjectivity, the past, and intentionality. However, this does not mean they are wholly intractable for an intentional analysis of consciousness. To the contrary, if one avoids conflating the will with thetic or express intentional acts, the Sartrean notion of intentionality is well-placed to account for the most salient features of involuntary memories, without resorting to appeals to non-subjective memorial processes in which any sense of implication or investment in the content of involuntary memory seems difficult to locate. To make this case, two steps are taken. The first is to map out a Sartrean phenomenology of memory, by taking into consideration how his notions of intentional consciousness, absence, and lack play out at the level of memory. The second is to examine how the Sartrean model of intentional consciousness appears to be well-adapted to the phenomenal traits most salient to involuntary memories. The upshot of such an examination is a provocative phenomenological position on the nature of the resistance of the past and on doing justice to the past, that is, in regard to how memorial intentionality ought be conceived when involuntary memories contribute to the rule rather than merely being an exception in the experience of the past.

In this paper, Lévinas’s criticisms and reformulations of Sartre’s phenomenology of imagination, in the early text “Reality and its Shadow,” are explored in detail. Levinas's own views on imagination and art are shown to be intimately linked to his critique of Sartrean temporality, insofar as they rely on a renewed phenomenological examination of sensation. As a result, understanding Lévinas’s discussion of the image provides benefits for grasping his notion of the instant and its importance for some of his own positions vis-à-vis temporality, e.g. on the future and death. The manner in which Lévinas takes issue with Sartre through a phenomenology of the image and and its composition in sensation is first investigated by looking at Lévinas’s novel choice to situate his descriptions of the image with respect to the function and power of art. Nevertheless, despite this crucial decision on Lévinas’s part, departing from earlier phenomenological accounts, there are clear parallels can be drawn between Lévinas’s and Sartre’s descriptions of the image. The similarites and differences between their treatments of the image and the role played therein by the materiality of sensation are then elucidated in terms of the ‘amphiboly’ of the image, distinguishing the image in both its representational and anti-representational characteristics. From there, we proceed to examine the amphiboly of the image according to its temporality attributes, seeing how for Lévinas and Sartre the temporality of the image, as that of an instant, relates to the temporality of consciousness in general.

In this paper, the Sartrean perspective on freedom is situated with respect to the fact that the price of freedom is at issue nowadays like never before. Of particular note is the way recourse is taken to what one might call a ‘commodification’ of freedom. We are not only asked to consider the value of freedom, but to do so in relative terms. In the process, therefore, the questions concerning freedom take on a different guise. On the one hand, what must one give up or trade for freedom? On the other, wouldn’t one rather wish to exchange freedom in favor of a life apparently more stable, less risky, and less uncertain? Within this framework of understanding freedom, a critical question can be raised from Sartre’s perspective. Can freedom really be now less costly, now more? As if at least certain aspects of human freedom did not involve certain costs that are incurred no matter what one values, and no matter the circumstances?