Other Works

In my dissertation I show that classical pragmatists understood their philosophical projects to be broadly anti-sceptical in nature—a point recent literature sometimes obscures. I then extend their ideas and deploy them against subjectivistic strains in contemporary thought. To unpack the claims of pragmatists, I use the exegetical approach R. G. Collingwood advocated when he noted […]

This book provides new theoretical approaches to the subject of virtuality. All chapters reflect the importance of extending the analysis of the concept of “the virtual” to areas of knowledge that, until today, have not been fully included in its philosophical foundations. The respective chapters share new insights on art, media, psychic systems and technology,

Jon Elster suggested that artists sometimes tell us more about emotions than scientific psychologists. I plan to discuss how Maurice Merleau-Ponty and John Dewey— who were recognized as psychologists—came to better understand emotions through art. I will focus on how Merleau-Ponty’s 1947 “Film and the New Psychology” drew insight from an experiment conducted by the

Recent appropriations of Egypt’s Tahrir Square mirror those of the Egyptian flag. In 2011 the flag, already symbolizing national unity, was appropriated into a sign of unity against the military government. Protesters painted it on faces and marked allegiance to the revolt with it in other ways. Yet by 2013, the military leadership, taking advantage

Integrating examples from filmmaking, results from experimental psychology and phenomenological and pragmatic conceptions of emotion and perception, I argue that emotional qualities accrue to situations in the world and hence do so objectively. I contend, contra common presumption, that facial expressions can be faked, for we should otherwise be unable to explain how faces often

In their 2012 article, “Holistic person processing: Faces with bodies tell the whole story,” Hillel Aviezer and colleagues noted that researchers investigating facial expressions have mostly considered “the face and the body as discrete perceptual units, focusing on the processing of each source in isolation” (p. 20). They further reported that their experiments “show that

John Dewey claimed that modern science has entailed “a generalized . . . adoption of the point of view of the useful arts”—combined, however, with a confused dissociation of science from art. He associated this with a latent allegiance to classical traditions that emphasize fixity, and this, in turn, with the persistence of certain sceptical