The Other Side of Peirce's Phaneroscopy

Research on Peirce’s phaneroscopy has been done with and through the paradigm or the conceptual schema of “Being” — what has been critiqued by post-structuralist philosophers as the metaphysics of Being. Thus, such research is either limited to attempts to define “phaneron,” or to identify whether there is a particular and consistent meaning intention behind Peirce’s use of this term. Another problematic characteristic with such a way of engaging with phaneroscopy is the very anonymity of the schema of “Being.” While all scholars admit to the universality of “phaneron,” rarely, if ever, do we see an account of how such universality can be instantiated. In this paper, I attempt to engage with phaneroscopy differently. Instead of presenting a better version of what phaneroscopy is, or making arguments about what is the case with phaneroscopy, both of which are ways of philosophising with “being,” I attempt to enact phaneroscopy. This would mean to undertake to follow Peirce’s instructions for the phaneroscopist and report the findings. Based on the latter, I shall analogise phaneron with the possibility of understanding

Spotlight on dream recall. The ages of dreams

Brain and sleep maturation covary across different stages of life. At the same time, dream generation and dream recall are intrinsically dependent on the development of neural systems. The aim of this paper is to review the existing studies about dreaming in infancy, adulthood, and the elderly stage of life, assessing whether dream mentation may reflect changes of the underlying cerebral activity and cognitive processes. It should be mentioned that some evidence from childhood investigations, albeit still weak and contrasting, revealed a certain correlation between cognitive skills and specific features of dream reports. In this respect, infantile amnesia, confabulatory reports, dream-reality discerning, and limitation in language production and emotional comprehension should be considered as important confounding factors. Differently, growing evidence in adults suggests that the neurophysiological mechanisms underlying the encoding and retrieval of episodic memories may remain the same across different states of consciousness. More directly, some studies on adults point to shared neural mechanisms between waking cognition and corresponding dream features. A general decline in the dream recall frequency is commonly reported in the elderly, and it is explained in terms of a diminished interest in dreaming and in its emotional salience. Although empirical evidence is not yet available, an alternative hypothesis associates this reduction to an age-related cognitive decline. The state of the art of the existing knowledge is partially due to the variety of methods used to investigate dream experience. Very few studies in elderly and no investigations in childhood have been performed to understand whether dream recall is related to specific electrophysiological pattern at different ages. Most of all, the lack of longitudinal psychophysiological studies seems to be the main issue. As a main message, we suggest that future longitudinal studies should collect dream reports upon awakening from different sleep states and include neurobiological measures with cognitive performance

Outlook Magazine, Autumn 2018

https://digitalcommons.wustl.edu/outlook/1205/thumbnail.jp

Spartan Daily, April 20, 1948

Volume 36, Issue 119https://scholarworks.sjsu.edu/spartandaily/11077/thumbnail.jp

A rhetorical analysis of Christ's sayings

Thesis (M.A.)--Boston Universit

The Crescent Student Newspaper, April 25, 1977

Student newspaper of Pacific College (later George Fox University). 8 pages, black and white.https://digitalcommons.georgefox.edu/the_crescent/1943/thumbnail.jp

Radical Joy Performed into Action: A Study of Feminist Performance Art

Although traditionally excluded from the art world as from all major institutions, women artists staked their claim by revolutionizing performance art as a medium in the 1960s and 70s. By integrating life and art, feminist artists developed the powerful ideology that “the personal is political,” especially in art. From this foundation of radical assertion, feminist artists explored, resisted, and deconstructed their struggles. Contemporary feminist artists not only have different battles to fight, they fight them in a different format: digital media. In this project, I seek to explore the ways performance artists before me have used the medium of performance art for radical change, and the ways it can be used to affect change in the future