The hermeneutic background of C. G. Jung

Hermeneutics has been central to the practice of Jung's psychology from the beginning, although he never fully and consistently developed a hermeneutic method of inquiry and the literature addressing this aspect of his psychology is not extensive. In this paper(1) we undertake a critical re-examination of Jung's relationship to hermeneutic thought, based on his explicit references to hermeneutics in the Collected Works and his theoretical development of the notion of archetypes. Although Jung did not consistently formulate a hermeneutic approach to inquiry, his theoretical development of archetypes is rich in hermeneutic implications. In particular, his notion of the archetype as such can be understood hermeneutically as a form of non-conceptual background understanding. Some implications of this construal of archetypes for Jungian hermeneutics as a form of inquiry are considered.     

面孔吸引力的整体表征及其动态性增强

面孔作为一种高级的视觉刺激,在人际交往中有着无可替代的作用。其中,面孔吸引力更是影响着日常生活的重要社交决策,如择偶、交友、求职、社会交换等。长久以来,研究者们从面孔特征、社会信息和观察者因素等角度不断探索着人们对静态面孔吸引力的感知,且多从进化角度加以解释。但是,人们如何表征面孔吸引力以及其动态性增强机制仍未可知。本项目通过两个研究,分别从面孔吸引力的整体表征,以及面孔动态性通过影响整体加工、影响对整体信息和特征信息的注意、以及影响社会信息来增强吸引力,从这两个角度尝试回答这一问题。在研究1中,本项目从整体加工的角度探索了面孔吸引力的认知表征。研究1.1通过评分任务和适应范式探索高空间频率（更多局部特征）和低空间频率（更多整体特征）对面孔吸引力的影响,旨在从空间频率探讨面孔吸引力的整体表征。研究1.2通过操纵面孔对称性和面孔常态性探索面孔常态性在面孔对称性和面孔吸引力间的中介作用,探讨面孔吸引力的常态构型表征。研究1.3引入“三庭五眼”这一中国传统面孔审美理论,通过评分任务和适应范式研究“三庭五眼” 构型是否符合中国人对高吸引力中国面孔的表征,以此探讨面孔吸引力的整体表征。研究1.4通过评分任务和适应范式考察局部面孔遮挡是否促进整体面孔吸引力,以及这种促进作用是否由于人们通过局部特征“脑补”出了完整面孔。研究2从整体加工、注意和生命力的角度探讨面孔吸引力的动态性增强机制。研究2.1使用合成效应范式测量动态面孔吸引力的整体加工,探索动静态面孔的吸引力差异是否源于其整体加工程度的不同。研究2.2使用注意分散范式,并结合眼动技术,探讨人们对动静态面孔的注视模式是否存在差异,这种差异是否能解释动态面孔吸引力的增强。研究2.3结合问卷法、实验法和结构方程模型,考察了生命力这一社会因素对动静态面孔吸引力的影响。本项目探讨了面孔吸引力的认知表征以及其动态性增强机制,有助于我们进一步理解人们对面孔吸引力的认知加工以及人类欣赏美这一高级智能。同时,本项目的结果对于日常人际交往和面孔吸引力相关算法的优化等方面也有潜在的应用价值。     

Sublime Kinetic Melody: Kelly Slater and the Extreme Spectator

This paper aims to examine the awesome, almost spiritual feeling I experience as an ‘extreme spectator’ while watching Kelly Slater ride the monstrous waves of Pipeline. Drawing on the aesthetics of Kant and Schopenhauer, I examine the experience of the sublime and how it, in conjunction with the perceived kinetic melody of Slater's movements and his karmic connection to the environment in which he thrives, gives rise to the deeply felt awe of the extreme spectator. My intention is to use Slater's case as a paradigm that can be applied to many other athletic performances which share the characteristics discussed in the paper.     

You Can't Get Away with Murder That Easily: A Response to Timothy Mulgan

Abstract

Some works of literature are compromised because their authors get the facts wrong. In other works deviations from the facts don’t seem to matter, and authors quite legitimately make things up. This paper gives an account of the various ways in which matters of fact can make a difference to the aesthetic value of works of literature. It concludes by showing how this account can be applied in determining when a concern with matters of fact is an important part of literary criticism and when it is merely pedantic.     

On the Emotions

Art historians and philosophers often talk about the interpretive significance of titles, but few have bothered with their historical origins. This omission has led to the assumption that an artwork's title is its proper name, since names and titles share the essential function of facilitating reference to their bearers. But a closer look at the development of our titling practices shows a significant point of divergence from standard analyses of proper names: the semantic content of a title is often crucial to the identification, individuation, and interpretation of its associated artwork. This paper represents a first step towards an empirically centred study of our titling practices. I argue that, in order to accept titles as proper names, we must first recognize the social, rather than the referential, function of naming.     

Psychoanalysis as a creative shaping process2

The author first explains the concepts of creativity, play and aesthetic experience. He then outlines the psychoanalytic process as a creative one that shapes reality. Making a link between psychoanalysis and the humanities, he demonstrates that creative play is a fundamental aspect of the human experience of reality. Aesthetic experiences during the psychoanalytic process are comparable to the play by which children structure their world and artists' activity in following their urge to shape. Furthermore it is shown that creative actualisation testifies to a quasi‐biological need for coherence and structure. Through modern hermeneutics, the truth claims of aesthetic shaping can be established in epistemological terms. The basic principles of hermeneutics‐historicity, linguisticity and communicative experience‐find their psychoanalytic counterparts in memory, representational shaping and transference‐countertransference. Psychoanalysis is demonstrated to be simultaneously a science and an art. On the basis of a case history, aesthetic experience is shown to constitute a specific and unique form of access to psychic reality. Aesthetic experience and creativity do not only aid recovery from ‘bad psychological states’, they are also indispensable for the entire understanding of internal and external reality. It is possible to develop this understanding through a creative psychoanalytic attitude.     

What Kind of Normativity is the Normativity of Grammar?

The overall goal of this article is to show that aesthetics plays a major role in a debate at the very center of philosophy. Drawing on the work of David Bell, the article spells out how Kant and Wittgenstein use reflective judgment, epitomized by a judgment of beauty, as a key in their respective solutions to the rule‐following problem they share. The more specific goal is to offer a Kantian account of semantic normativity as understood by Wittgenstein. The article argues that Wittgenstein's reason for describing language as a collection of language games is to allow for a perspective that shows those games as internally purposive without any extralinguistic purpose. This perspective also allows for that union of the general rule and its particular application in practice that the original paradox of rule‐following is wanting.     

Seasonal Variations in Color Preference

We investigated how color preferences vary according to season and whether those changes could be explained by the ecological valence theory (EVT). To do so, we assessed the same participants’ preferences for the same colors during fall, winter, spring, and summer in the northeastern United States, where there are large seasonal changes in environmental colors. Seasonal differences were most pronounced between fall and the other three seasons. Participants liked fall‐associated dark‐warm colors—for example, dark‐red, dark‐orange (brown), dark‐yellow (olive), and dark‐chartreuse—more during fall than other seasons. The EVT could explain these changes with a modified version of Palmer and Schloss’ (2010) weighted affective valence estimate (WAVE) procedure that added an activation term to the WAVE equation. The results indicate that color preferences change according to season, as color‐associated objects become more/less activated in the observer. These seasonal changes in color preferences could not be characterized by overall shifts in weights along cone‐contrast axes.