Playing with Ethics: Games,Norms and Moral Freedom

Morality is serious yet it needs to be reconciled with the free play of alternatives that characterizes rational and ethical agency. Beginning with a sketch of the seriousness of morality modeled as a constraint, this paper introduces a technical conception of play as degrees of freedom. We consider two ways to apply game theory to ethics, rationalist and evolutionary game theory, contrasting the way they model moral constraint. Freedom in the rationalist account is problematic, subverting willful commitment. In the evolutionary account, freedom is also problematic, leading to an infinity of possible social norms with dubious normative force. While these two approaches complement each other, we argue that the evolutionary approach is superior on both theoretical and practical grounds.Thanks to Fabio Paglieri, Rana Ahmad, and Patrick Lewis for comments on a draft, to the NERD team for contributions to the research in section 3.2, and to the anonymous referees for their excellent suggestions. This research is funded by SSHRC and Genome Canada/BC.     

How can we tell the Dancer from the Dance?: The Subject of Dance and the Subject of Philosophy

One of the most important aspects of Gilles Deleuzes philosophy is his criticism of the traditional concept of praxis. In Aristotelian philosophy praxis is properly oriented towards some end, and in the case of human action the ends of praxis are oriented towards the agents good life. Human goods are, for both Aristotle and contemporary neo-Aristotelians, determined by the potentials of human life such as rationality, communality, and speech. Deleuzes account of action, by contrast, liberates movement from an external end. In his books on cinema Deleuze argues that we need to think of events in terms of their power, and not as movements within an already determined image of life. In order to think events as such we need to confront the power of the virtual. This is achieved by a philosophy of life in which becoming is not a means towards the realisation of some end. Rather, becomings are best seen as counter-actualisations: ways in which the already-constituted actual world always bears a power to become other than it already is. If we consider dance in this new context, then dance is neither expressive of an already existing life, nor a pure act that is self-sufficient and self-constituting. Rather, dance is a confrontation with life as a plane of open and divergent becomings.     

Dance,Knowledge, and Power

Susanne K. Langer contributed an exhaustive account of aesthetics, Feeling and Form, in which she articulated her schema of the virtual and wove together the aesthetic elements of music, visual arts, dance, and literature/theater. This analysis of her work centers on two key concepts within her philosophy: the virtual as the aesthetic effect of the work and the perception of the work through intuition. In this paper, I re-read Langers philosophy through a perspective built on intersections between phenomenology, pragmatism, and post-structuralist theory in order to reveal the relevance of her work to current understandings of how the dancing body produces and conveys meaning. I endeavor to show how her work provides a practical, conceptual system for understanding dance as an a-linguistic form of meaning-making, bodily experience, and knowledge.     

Difference and Repetition in <Emphasis Type="Italic">Both Sitting Duet</Emphasis>

In this paper I identify and explore resonances between a contemporary dance piece – Jonathan Burrowss and Matteo Fargions Both Sitting Duet (2003) – and some theories from Gilles Deleuzes Difference and Repetition (1994). The duet consists of rhythmic, repetitive patterns of mainly hand movements performed by two men, for the most part, sitting on chairs. My argument, with Deleuze, is that the repetitions in the dance are productive rather than reductive. They are never repetitions of the same. The ways in which the hand patterns are played with constitute the multiple differences and repetitions we witness. I discuss these in relation to Deleuzes theories of repetition, specifically the ways in which repetition differs from resemblance avoiding the limitations of notions of origin and representation. I argue that, because of these differences which are bound up in the affective qualities of the duet that characterise the distinctive relationship between the two performers, the work, like Deleuzes theories, is transgressive with potential for change. I demonstrate this through its resonances with Deleuzes notions of simulacra and importantly his discussion of the Other. In the process, I aim to show how dance and philosophy can open up something of each other and, in this instance, suggest ways of thinking encounters otherwise. My aim is to foreground the transgressive potential of the extended repetition of the dance for making differences that matter between self and other.     

Turning Fantasies About Positive and Negative Futures into Self-Improvement Goals

Contrasting fantasies about the future with reflections on reality that impedes fantasy realization creates a tight link between expectations of success and forming commitments to self-improvement goals. This effect applies to both fantasies about a positive future contrasted with impeding negative reality as well as fantasies about a negative future contrasted with impeding positive reality. In Study 1, with 63 student participants, contrasting positive fantasies about benefiting from a vocational training with negative reflections on reality impeding such benefits led to expectancy-dependent willingness to invest in the training, more so than indulging in the positive future and than dwelling on the negative reality. In Study 2, with 158 high school students from former East Berlin, contrasting negative, xenophobic fantasies about suffering from the influx of immigrants with positive reflections on reality impeding such suffering led to expectancy-dependent tolerance and willingness to integrate the immigrants. Findings are discussed in terms of how mental contrasting facilitates self-improvement and personal development by making people form expectancy-dependent goal commitments to approach positively-perceived as well as negatively-perceived futures.     

Using Wittgenstein to Respecify Constructivism

Taking its orientation from Peter Winch, this article critiques from a Wittgensteinian point of view some “theoreticist” tendencies within constructivism. At the heart of constructivism is the deeply Wittgensteinian idea that the world as we know and understand it is the product of human intelligence and interests. The usefulness of this idea can be vitiated by a failure to distinguish conceptual from empirical questions. I argue that such a failure characterises two influential constructivist theories, those of Ernst von Glasersfeld and David Bloor. These are considered in turn. Both theories seek to give a general, causal account of knowledge: von Glasersfeld's in term of cognitive subjectivity, Bloor's in terms of social agreement. Ironically, given that both writers cite Wittgenstein as a source of theoretical inspiration, assumptions of both theories run counter to key Wittgensteinian arguments. To show that Wittgenstein's views offer no solace to the realist, the article closes with a brief consideration of John Searle's theory of knowledge.     

How is the Other Approached and Conceptualized in Terms of Schutz's Constitutive Phenomenology of the Natural Attitude?<Superscript>1</Superscript>

The problem of the other was one of the central problems for the founder of phenomenology, Edmund Husserl. He investigated the other as the alter ego intensively in the Fifth Cartesian Meditation, in which he introduced the conceptions of “analogical apperception' and “pairing' as fundamental forms of “passive synthesis.' Although it is no doubt Husserl who investigated the other most seriously and intensively, there is anaporiain his theory of the other. If the other is an object of ego's intentional consciousness, the other turns out to be no more than a modification of the ego. In the face of such anaporia, some phenomenologists embarked upon inquiry into the other. This paper focuses primarily on Alfred Schutz's discussion of the “other' in general and about the “stranger' in particular.     

Technological Other/Quasi Other: Reflection on Lived Experience

This reflection focuses on lived experience with the Technological Other (Quasi-Other) while pursuing creative video and film activities. In the last decade work in the video and film industries has been transformed through digital manipulation and enhancement brought about by increasingly sophisticated computer technologies. The rules of the craft have not changed but the relationship the artist/editor experiences with these new digital tools has brought about increasingly interesting existential experiences in the creative process. How might this new way of being with technology change the craft and the crafter? Through a phenomenological understanding of Martin Heidegger, Maurice Merleau-Ponty, Don Ihde, and their contributions to the human-technology conversation, this essay moves to reveal the lived experiences of artists/editors who use computers to create by means of film and digital video formats. Exploring notions of lived space, lived body, lived time, and lived relation through the computer interface allows for digging deeper into inhabiting technology and experiencing the Technological Other.