Search results for ` Festivus, occasions to tell people ‐ what you actually think of them, engaging in wrestling matches, and showing pagan ancestry`

Psychotherapy in Philosophy of Cognitive Science

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Readymades in the Social Sphere: an Interview with Daniel Peltz.Feliz Lucia Molina - 2013 - Continent 3 (1):17-24.

Since 2008 I have been closely following the conceptual/performance/video work of Daniel Peltz. Gently rendered through media installation, ethnographic, and performance strategies, Peltz’s work reverently and warmly engages the inner workings of social systems, leaving elegant rips and tears in any given socio/cultural quilt. He engages readymades (of social and media constructions) and uses what are identified as interruptionist/interventionist strategies to disrupt parts of an existing social system, thus allowing for something other to emerge. Like the stereoscope that requires (...)

Ethics in Value Theory, Miscellaneous

Filipino Philosophy in Asian Philosophy

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Wise therapy: philosophy for counsellors.Tim LeBon - 2001 - New York: Continuum.

Independent on Sunday October 2nd One of the country's leading philosophical counsellers, and chairman of the Society for Philosophy in Practice (SPP), Tim LeBon, said it typically took around six 50 minute sessions for a client to move from confusion to resolution. Mr LeBon, who has 'published a book on the subject, Wise Therapy, said philosophy was perfectly suited to this type of therapy, dealing as it does with timeless human issues such as love, purpose, happiness and emotional challenges. `Wise (...)

French Philosophy in European Philosophy

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Belief: An Essay.Jamie Iredell - 2011 - Continent 1 (4):279-285.

continent. 1.4 (2011): 279—285. Concerning its Transitive Nature, the Conversion of Native Americans of Spanish Colonial California, Indoctrinated Catholicism, & the Creation There’s no direct archaeological evidence that Jesus ever existed. 1 I memorized the Act of Contrition. I don’t remember it now, except the beginning: Forgive me Father for I have sinned . . . This was in preparation for the Sacrament of Holy Reconciliation, where in a confessional I confessed my sins to Father Scott, who looked like Jesus, (...) at least in Western cultural representations of Jesus since the middle ages, and if Jesus put on a few pounds. Father Scott was long-haired, redheaded, bearded, chubby, and tall. When he left church with the procession of altar servers and Eucharistic ministers, yelling, “Sing a Good Song Unto the Lord,” he smiled, hands folded, and he gazed over his parishioners, and bounced along. For four months every year he lived among the Crow Nation in Montana, where towards the end of his tenure at Our Lady of Refuge, they adopted him as an honorary member of their tribe. * This is the prayer we chanted, holding hands, every night before dinner: Bless us oh Lord, for these our gifts, which we are about to receive, our bounty through Christ, our Lord, Amen. Then we all said, God bless the cook! When we were with my grandparents, Grandpa said, God bless Chicky, and Holly, and Harvey, and Boots—all the dead dogs. * My sister tells me that she sits next to a handsome man on a flight across the country. After chitchat, she withdraws her book. She’s reading Kevin Sampsell’s A Common Pornography . After a few moments, the handsome man also reads from his book—his leather-bound Bible. Sister thinks, Oh, Jesus—too bad. She falls asleep. Later, settled in Nashville, she opens her volume and out falls a Jesus-covered card that reads, You can still find God and Salvation! Because that handsome God-fearing young man saw that word— pornography . * I suppose Father Jim’s dark hair, beard, and glasses made me think doctoral-ly of him. He called while I was in the midst of a breakup, after I’d twice attempted suicide, and my mother was desperate for help. She somehow found and phoned him. And Jim, now years out of Our Lady of Refuge’s parish, twenty years since my baptism, years even since he’d left the priesthood and the Catholic faith, still made the effort to bring me back into the fold. He said, “Have you seen a priest?” I did not respond, as I was more shocked to hear his voice than anything, so I said, “How are you, Father Jim? Sorry, I guess I shouldn’t call you ‘Father.’” And I said, “Why did you leave the priesthood? Do you have a girlfriend?” He said that I should call him just “Jim.” He said, “Do you need someone to talk to?” I said, “Not really.” He said, “Call your mother; she’s worried about you.” That was the last time I talked to Father Jim. * Mother let me know just how disappointed Jesus was. I cried and cried, and said I was sorry. Into my hands she placed my missal, ordered forty Rosaries. She said next Saturday I would go to confession. I hated confession. Who wouldn’t? * I realize, of course, that this page is a kind of confessional. * The Kumeyaay, Ipai, Tipai, Chumash, Esselen, Rumsen—all Native Americans of Alta California—shared similarities in their religions. Southern Californian tribes made use of Datura, or jimpson weed, a hallucinogen, for religious rituals. In the creation, God made brother sky and sister earth. Brother and sister mated, and sister gave birth to all things on Earth, including people, but it was difficult to distinguish people from all other aspects of Earth because everything was alive: granite and obsidian, the Pacific and its waves, the San Diego and Los Angeles Rivers. Wiyot—a hero—was very powerful, born from lightning, the son of the Creator and a virgin. When Wiyot thought that human women’s legs were more beautiful than Frog’s, Frog became jealous and poisoned Wiyot. The dying Wiyot went to all the people’s villages, and he distributed his power among them. He said, “When I die, I should be cremated.” The people built the fire and funeral pyre. When the fire was ready, and the people about to place Wiyot’s body upon it, Coyote came and snatched away Wiyot’s heart. * My friend Nick told me once how he ate some jimpson weed and that he hallucinated for three days. His family took a road trip and, while driving over the Sierra Nevada mountains, he kept seeing dinosaurs roaming the open meadows and charging down snowy slopes. So it’s no wonder that Native Americans who ingested this plant would have developed religion. * Walking Castroville’s streets after school I got into fights but mostly watched other boys scrabbling on the asphalt. I went to Burger King for Whoppers. Me and my friends cussed. Antonio admonished me when I said, “damn,” while strutting a sidewalk alongside the church. He said, “Jaime”—pronounced Hi-May, which was what all the Mexicans called me—“you’re crazy, eh. Don’t cuss at the church.” He meant while at church, as in, within its vicinity. I said, “We’re not in church.” Once we’d crossed the street, Tony said, “Damn dude, you’re fuckin crazy!” * Blessed Father Fray Junípero Serra raised the Eucharistic goblet to his lips, and candlelight danced on the blood’s tiny waves. Incense clouded the church so completely that some of the Pame natives grew nauseous. So, too, felt Blessed Father Fray Junípero Serra later that night, as he bent over a ceramic bowl and vomited blood, not only the Lord’s, but his own, for poison had laced the sacred vessel into which he poured the sacrament. The physician tending to the sick prelate urged him to take the remedy he’d prepared. But Blessed Father Fray Junípero Serra refused, said that he would pray, for he had never taken any medicine in his life, and he never would. * The Chumash of El Valle de Los Osos called themselves the Stishni, separating themselves from Chumash of other regions, those varying tribes of the central California coast that spoke mutually unintelligible dialects of their Hokan language. This made learning their languages impossible for the Spanish friars, to say nothing of translating the Doctrina. Thus the priests baptized few natives, despite the help that the tribes offered the fledgling settlements in the form of meat and acorn meal, which the Spaniards found repugnant. Some from these cultures, feeling threatened by the newcomers, shot flaming arrows into the thatched roofs of the mission structures. And why wouldn’t they feel threatened when priests chastised them for performing, for example, their Coyote Dance, wherein a man donning a coyote-skin-and-skull costume dances while a singer sings his tale, which laments the human feces strewn imaginatively about the Earth? Coyote, meantime, tries to get an onlooker to lick his genitals, and finally engages in public sexual intercourse with a female tribe member or two, then ends the dance by defecating. Though the Franciscans called such forbidden acts devilry , the Chumash maintained their Datura cult religion, along with the enforced Christianity. For the Chumash, the Earth was made of two enormous snakes that caused earthquakes when they slithered past one another—a vast reptilian tectonics. In the 20th century, long after Blessed Father Fray Junípero Serra and his cohorts had died, when asked by an anthropologist about religious contradictions, conflating the Datura and Christian cults, a Chumash man replied, incredulous: “But these are two different religions.” * When Portolá ordered that if by March 19th, the feast day of St. Joseph, the San Antonio had not arrived in San Diego Bay to relieve them, the Sacred Expedition to Nueva California would be abandoned, Blessed Father Fray Junípero Serra prayed a novena for San José’s intercession. And lo, a lookout sighted the San Antonio ’s sails—what seemed to the priest a miracle—that very Saint’s feast day. Europeans would stay in California, and Blessed Father Fray Junípero Serra would continue to reap a great harvest of souls for the Lord. By the end of mission secularization in 1836—sixty-six years after the San Antonio rescued the Spaniards—Native American populations in California had declined by seventy-three percent. * When Peter the Aleut would not renounce his Eastern Orthodox faith the padre of San Francisco had a toe severed from each foot with each refusal, totaling ten. The native Ohlones employed in this gruesome task—their obsidian chiseled knives tearing through skin and grinding bone—continued as per their orders, and cut off also each of Peter’s fingers (equals a total of twenty refusals). They quartered the martyr, spilled his bowels, as if from bear attack, attack by a bear in the shape of a Catholic. * Blessed Father Fray Junípero Serra absolutely believed that the slow rate of conversion for the native people was due to the influence of the Devil, who had been outraged by the coming of the Catholics to California, this region that he had long held in his dominion. * In his reception speech for the Nobel Prize for Literature, John Steinbeck said, “Man himself has become our greatest hazard and our only hope. So that today, St. John the Apostle may well be paraphrased: In the end is the Word, and the Word is Man—and the Word is with Men.” * In 1602, when Sebastián Vizcaíno and his friars sang mass on Catalina Island, as many as a hundred Pimungans witnessed the rite, asking by signs what it was about. According to Vizcaíno’s records, the Californians marveled not a little at the idea of Heaven and at the image of Jesus crucified. * Vizcaíno was brought to a prairie on Santa Catalina Island where the Pimungans worshipped their sun god. Upon the prairie they had placed an icon, a headless figure with horns protruding from the body, a figure that Vizcaíno predictably described as a demon. The Pimungans urged Vizcaíno not to approach the image of their deity, but he ignored them. He placed his crucifix against the wooden figurine and prayed the Our Father. Vizcaíno told the natives that his prayer was from Heaven, and that their god was the Devil. Vizcaíno held out his crucifix, encouraging the Pimungans to touch it and receive Jesus. He pointed at the sky and indicated Heaven. The Pimungans worshipped a sun deity, so they were impressed with this white man and his description of his god, for their gods seemed to be one and the same. It’s no wonder then that Vizcaíno’s diary reports the natives being pleased with this exchange. “Surely,” the diary says, “they will be converted to our Holy Faith.” * The Miwok women wailed and scratched at their faces when their men consorted with Sir Francis Drake and the other Englishmen who had landed on California’s coast in the summer of 1579. “The blood streaming downe along their brests, besides despoiling the upper parts of their bodies of those single coverings . . .they would with furie cast themselves upon the ground . . . on hard stones, knobby hillocks, stocks of wood, and pricking bushes.” Drake and his men fell themselves to their knees in prayer, their eyes Heavenward, so that the natives might see they prayed to God and they too might worship God then their eyes that had been so blinded by the deceiver might be opened. * Father Fray Antonio de la Ascención—Carmelite friar in Vizcaíno’s party—writes that the Indians of California can “easily and with very little labor be taught our Holy Catholic faith, and that they would receive it well and lovingly.” He calls for two hundred older and honorable soldiers to ensure brotherhood during the conquest, so that peace and love—the best tools to pacify pagans—should reign. The religious, the friar says, should likewise be wise and loving to easily quell animosities between Spaniards and the heathen, and therefore avoid war. The Spaniards should bring with them trinkets—beads, mirrors, knives—to distribute amongst the gentiles, so that they might come to love the Christians, and see “that they are coming to their lands to give them that of which they bring, and not to take away the Indians’ possessions, and may understand that they are seeking the good of their souls.” No women are to accompany the conquest, says Father Fray Antonio, “to avoid offenses to God.” * In 1955 Wallace Stevens admitted himself to St. Francis Hospital in Hartford, Connecticut. There, it’s rumored he converted to Catholicism before dying of stomach cancer, exclaiming to his priest after the baptism, “Now I am in the fold.” Stevens’s late-career poems seem less cynical, more in awe of being and death (read “Metaphor as Degeneration” from The Auroras of Autumn ). He could have chosen from at least three secular hospitals in Hartford at the time. * I was reading Stevens’s Collected Poems when I joined eHarmony and listed that as my “currently reading” book among the “more than twelve” books a year that I would read. I fell in love with my wife when she said, “Are you sending your work out to literary journals?” Prior to this, the first girl I talked to on the phone, when I explained my doctoral exams, said, “So, you’re like, reading Stephen King and stuff?” When I said not exactly she responded defensively: “He must be doing something right, since he makes all that money.” * Mom walked me, my brother, and sister, through the Stations of the Cross. We did this on Ash Wednesdays, or whenever she thought we needed extra God after church. It might’ve happened before church, though that’s unlikely because we were always late. Anyway, it’s easiest to walk the Stations of the Cross when there’s no one else around. To walk the actual Stations means one goes to Jerusalem and walks the Via Dolorosa to the Church of the Holy Sepulchre. So the Stations elsewhere—usually paintings, or low-relief sculptures upon church walls—serve as a kind of virtual Dolorosa. Mom held our hands and started from the rear of Our Lady of Refuge: the First Station. Mom said we should say a prayer at each Station and to think of all the pain Jesus went through so that we could go to Heaven. It was hard to keep thinking about that one thing for so long. My mind went to that Saturday’s little league game, to the donut and chocolate milk (our after-church reward from Castroville Bakery), and as I grew older I thought about girls. When you’re thirteen you can’t not think about the girl’s butt in the pew in front of yours as she kneels and stands to pray throughout mass. * It grew increasingly juvenile to lie awake at night daring myself to utter a simple sentence. Even if I said I didn’t believe in God, wouldn’t He know the truth? He was omniscient, like a narrator. Even the idea of Him as a him ceased making sense. Not only did this come with a budding realization of my paternalistic culture, but due to the simple question of why? If God was everything, everywhere, all knowing, then why would he be a man? There’s that question: If God is a man then God must have a penis, and if so, what for? * The Catholic Church incorporates some modern scientific research into its dogma concerning the formation of the Universe, Solar System, and Earth, as well as evolution. According to Catholic doctrine, in approximately the fifth millennia BCE, humans began to worship the one true God. Those humans were Adam and Eve, though the Church says humans had been around for thousands of years prior to Adam and Eve. The Church claims to be infallible. Every time the Church changes its doctrine it remains infallible. * One Catholic writer, Tom Meagher, writes that “Modernism[—]the idea that we come to our beliefs individually through emotional or personal experiences[—]has crept into our Catholic schools.” * Catholics believe that evil spirits, given power through Original Sin, can imbue ordinary inanimate objects of everyday use. Thus, such objects should be blessed in order to induce in them the desire to serve the good. Such objects are not limited to, but include, “new ships and boats, railways and trains, bridges, fountains, wells, cornmills, limekilns, smelting furnaces, telegrams, steam engines, and machines for providing electricity.” * In The Sound of Music Julie Andrews and Christopher Plummer sing together: “Nothing comes from nothing, nothing ever could...” * To explain competing theories on the very early universe, and pre-verse would be another book. What was the inflaton? Did (mem)branes collide, initiating the Big Bang, as opposed to Lemaître’s primordial atom, a singularity? Without a unified theory there’s gravity hanging out there, fucking everything up. We cannot make sense of the mechanics of the Planck Epoch—0-10-34 seconds into the Universe’s creation—named for Max Planck, who stumbled into the discovery of quantum mechanics in the early twentieth century. * My students often ask if I believe in God, since I espouse evolution, the Big Bang, Science, reject a strictly biblical or creationist theory of the Universe. I tell them that yes, I believe in God, though not the God that they imagine one must believe in. * When questioned regarding the rumor that, before his death, founder of quantum mechanics Max Planck had converted to Catholicism, he replied that he did not believe “in a personal God, let alone a Christian God.” * Physicist and Catholic priest George Lemaître, who formulated the theory and wrote the 1946 book The Primeval Atom Hypothesis , was made a household name by then-detractor Fred Hoyle, who pejoratively referred to the idea as a “Big Bang.” * Suicide is a mortal sin. To end one’s own life one must have despair, which is to lose hope, which is to lose faith, and to disbelieve in God. * Archaeology has uncovered graffiti in all of California’s missions—Indian pictographs inscribed into the adobe, covered with layers of whitewash. Native deities and depictions of cultural practices show that tribespeople never fully gave up their native traditions even after baptism and coming to the missions. There was something inside Native Californians that would never die. (shrink)

Christianity in Philosophy of Religion

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An Interview with Lance Olsen.Ben Segal - 2012 - Continent 2 (1):40-43.

continent. 2.1 (2012): 40–43. Lance Olsen is a professor of Writing and Literature at the University of Utah, Chair of the FC2 Board of directors, and, most importantly, author or editor of over twenty books of and about innovative literature. He is one of the true champions of prose as a viable contemporary art form. He has just published Architectures of Possibility (written with Trevor Dodge), a book that—as Olsen's works often do—exceeds the usual boundaries of its genre as it (...)

Poststructuralism in Continental Philosophy

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Meillassoux’s Virtual Future.Graham Harman - 2011 - Continent 1 (2):78-91.

continent. 1.2 (2011): 78-91. This article consists of three parts. First, I will review the major themes of Quentin Meillassoux’s After Finitude . Since some of my readers will have read this book and others not, I will try to strike a balance between clear summary and fresh critique. Second, I discuss an unpublished book by Meillassoux unfamiliar to all readers of this article, except those scant few that may have gone digging in the microfilm archives of the École normale (...)

Filipino Philosophy in Asian Philosophy

Object-Oriented Ontology in Continental Philosophy

Speculative Materialism in Continental Philosophy

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THIS IS NICE OF YOU. Introduction by Ben Segal.Gary Lutz - 2011 - Continent 1 (1):43-51.

Reproduced with the kind permission of the author. Currently available in the collection I Looked Alive . © 2010 The Brooklyn Rail/Black Square Editions | ISBN 978-1934029-07-7 Originally published 2003 Four Walls Eight Windows. continent. 1.1 (2011): 43-51. Introduction Ben Segal What interests me is instigated language, language dishabituated from its ordinary doings, language startled by itself. I don't know where that sort of interest locates me, or leaves me, but a lot of the books I see in the (...)

Ethics in Value Theory, Miscellaneous

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Gonzo Strategies of Deceit: An Interview with Joaquin Segura.Brett W. Schultz - 2011 - Continent 1 (2):117-124.

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...)

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Mad Speculation and Absolute Inhumanism: Lovecraft, Ligotti, and the Weirding of Philosophy.Ben Woodard - 2011 - Continent 1 (1):3-13.

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

Alain Badiou in Continental Philosophy

Gilles Deleuze in Continental Philosophy

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Tell me what you eat, and I will tell who you are: a gastronomical reading of cultural identity in Toni Morrison’s God Help the Child.Soumaya Bouacida & Zeyneb Benhenda - 2024 - Journal for Cultural Research 28 (1):116-128.

This paper sheds light on the significance of gastronomy as an emblem of cultural identity in Toni Morrison’s God Help the Child. It shows how Morrison imbues the narrative with instances of food and drinks which reflect certain racial stereotypes to which Lula Ann is prone during her struggle to reach self-definition. The colour, taste, diversity, quality and manners of food are all rigorously woven to portray Lula’s Journey. Onomastically, some characters and places are purposefully named after food such as (...)

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Political Poetry: A Few Notes. Poetics for N30.Jeroen Mettes - 2012 - Continent 2 (1):29-35.

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...)

Poetry in Aesthetics

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What You Get is What You See: Other-Rated but not Self-Rated Leaders’ Narcissistic Rivalry Affects Followers Negatively.Theresa Fehn & Astrid Schütz - 2020 - Journal of Business Ethics 174 (3):549-566.

Individuals with high levels of narcissism often ascend to leadership positions. Whereas there is evidence that narcissism is linked to unethical behavior and negative social outcomes, the effects of leader narcissism on an organization’s most important resource—its employees—have not yet been studied thoroughly. Using theoretical assumptions of the Narcissistic Admiration and Rivalry Concept and social exchange theories, we examined how leaders’ narcissistic rivalry was related to follower outcomes in a sample of matched leaders and followers. Followers of leaders high in (...)

Business Ethics in Applied Ethics

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The Rich and the Pure: Philanthropy and the Making of Christian Society in Early Byzantium.Paul Stephenson - 2023 - Common Knowledge 29 (1):124-125.

“Give to everyone who begs from you,” Jesus advised his followers. Most of us do not and rush on by, concerned for our safety, for what the beggar will buy with our gift of alms, for who will benefit from our gift. Fewer stop and give something: if not cash, then a snack or beverage, and their precious time. A century since Marcel Mauss published his famous essay, we all feel quite well informed about “the gift.” In this richly (...) detailed study, Caner's achievement is to show how different gift-giving was in the late antique Roman Empire, “the first truly affluent, complex Christian society.” Philanthropy was no longer the ancient “love of humanity,” the imperative to be generous to people, when you thought, or even knew, that they did not deserve it. Yet philanthropy was moreover not, or not only, a series of precisely calibrated acts of reciprocal giving.Caner's focus is on the religious gift. He identifies five distinct categories of religious gift-giving, which others have too easily conflated. The newest of these was the blessing (eulogia), which emerged only in the sixth century, in the thousands of sermons, saintly lives, and letters that Caner consulted. It has been identified similarly in other ascetic cultures, for example in Hinduism and Jainism, as the pure or free gift whose existence Mauss denied. The blessing is a gift of divine benevolence, grace delivered through a human mediator. It is not synonymous with the gift of alms (eleēmosynē), a very human act of mercy from one individual to another. These are in turn distinct from charity (agapē), “self-sacrificial gifts derived from essential resources”; two forms of offering—liturgical offerings (prosphorai), such as the communion bread, on the one hand, and fruit-bearing offerings (karpophoriai), along with agricultural and other gifts to support religious professionals. “Each category,” which has an equivalent in contemporary Syriac and Coptic writings, “was associated with a distinct set of goals, responsibilities, relationships, and material resources.”The late antique city was as busy with organized gangs of professional beggars as any modern downtown, but early Christians could not simply turn away. They were hectored into caring by golden-mouthed preachers like John, bishop of New Rome. Chrysostom insisted that almsgiving should be direct and personal, a source of discomfort for those who offered comfort. The rich might also, as ever, engage in ostentatious acts of giving, the exchange of worldly goods to redeem them from their sins, including the pride associated with ostentatious giving. Transactional gift-giving could end up with everyone insulted: generosity could be refused, donors repudiated, gifts returned. That much seems familiar at a time when museums and universities have felt compelled to remove the names of disgraced donors from their buildings and galleries. Caner's rich analysis, because it is so firmly rooted in early Byzantium, offers reasons, and some new tools, to think again and hard about the complexities of philanthropy. (shrink)

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The Method of In-between in the Grotesque and the Works of Leif Lage.Henrik Lübker - 2012 - Continent 2 (3):170-181.

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

Color in Philosophy of Mind

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Apologizing and Ethics of Apology as a Moral Value.Mustafa Mücahi̇t - 2019 - Cumhuriyet İlahiyat Dergisi 23 (3):1189-1208.

This study points out the importance and meaning of apologizing as a moral value in compensating the imperfections committed by individuals in social relations and correcting the deteriorating relationships. Accepting that every person can make mistakes is the most essential element that paves the way for the emergence of apology as a virtue. It teaches one to accept that he/she may be wrong, not to consider himself superior to anyone, and arouses the will and will not to make such mistakes. (...) Apology tells the necessity to be respectful and to value other people as well as to be honest. Apologizing is like forcing a person to be honest, and it tells you about the need to care about other people and to be respectful. It is seen that different kinds of apologies are made according to the culpable, guilty person, the environment, the victim, and the situation of the defect. This study discusses the meaning of the words used in apologizing whether they mean full apology or not, the meaning of the apology, its moral dimension, and its relationship with repentance. It also discusses the reasons for the apology, apologizing strategies, accountability, assuming responsibility, proposing repairs, and making promises on not doing something wrong again. The similarity of repentance in religious traditions with apologizing was emphasized, and the relationship between forgiveness and apology was evaluated in terms of the attitudes that the parties should adopt. Finally, as a rule of value and courtesy, suggestions were made on how to provide apologies education in the family.Summary: This study draw attention to the meaning and importance of apologizing as a moral value in compensating for the imperfections that individuals have committed against each other in social relations and in correcting broken relationships. Acknowledging that every person can make mistakes is the most important element that paves the way for the emergence of an apology as a virtue. Accepting that one can be wrong teaches that one should not think of himself as superior to anyone and arouses the will and desire not to make such mistakes. Apologizing leads people to be honest and tells them about the need to care about other people and be respectful.Apologizing is admitting that the rhetoric, actions, and practices that lead to apologies are not fair, accurate, and legitimate. First, apologizing means that the person to whom we made a mistake is a human being. It means that accepting anyone can make a mistake, and we can be wrong. It gives this person the understanding that s/he should not be superior to anyone else. It also arouses a desire and will not make such mistakes anymore. Apologizing tells you the necessity of caring and respecting other people as well as forcing people to be honest. The person who apologizes to him is undoubtedly respectable. The respected person will surely appreciate to others. The basis of social order and life is mutual respect. Being able to apologize draws the individual's point of view to the end where he or she should be and provides the basis for the healthy functioning of the social order by gaining the understanding of respect for other people. Also, being able to apologize is an expression of confession, honesty, and sincerity. Apologizing in this respect is a virtue and merit. The society that values are lost and surrounded by selfishness and nihilism must be turned into virtues, and people who know the value of human beings.The good and virtuous person is not without fault, s/he is the one who apologizes for the mistakes, s/he has committed or seeks ways to redeem that mistake, s/he is the one who returns from his/her mistake. Apologizing should be not only a responsibility but also an indicator of self-confidence. It should not be forgotten that conscientious accounting is a self-judgment. S/he can quickly apologize for stepping on someone else's feet, soiling his clothes, but s/he does not think of a full apology consisting of remorse, compensation, and repair for the person who has taken away a person's right, poisoned his life and tarnished his future.When the parent says that the child should apologize, a process will be initiated for the child to consider. If the child apologizes in front of his or her parent, who points to the necessity of this, it is an important step in the child's moral education, and this indicates that the child internalizes these norms and engages in independent moral accounting. Because s/he now realizes that a value s/he defends without dictating from the outside has been violated, and therefore, has the motivation to make an apology.Arrogance is the biggest obstacle to apologizing. In men-women relations, it can be seen that women are more easily able to apologize, they do not consider apologizing as an indicator of as powerlessness and insulted as men. A manager, a boss, a leader, or a president can delay or fail to realize that his/her authority and dignity will diminish when s/he apologizes to his/her subordinate and those under his/her command. Men in the family, teachers at school, managers in the institution, boss and so on leader and authority persons refrain from apologizing by going to show and bless what they say and do to legitimize the past, to forget or reject mistakes, to prevent them from being questioned morally. This tells us the importance of internalizing the understanding of apologetics as a social culture starting with the family.Individual mistakes should be apologized for in daily life, institutional errors, as well as for some unfortunate incidents. Apologies have the potential for establishing a suitable basis for the establishment of a culture of dialogue in inter-communal relations and sharing some common values and interests. Apologies can contribute significantly to the development of a culture of tolerance, cooperation, and peaceful coexistence among communities.When a defect requiring a committed apology, the event must be evaluated not only from a unilateral perspective, but from a whole context and sides so that the perpetrator can adopt the feelings and understanding of the victim.In the apology, there should be a strategy such as an expression of regret, accountability, taking responsibility, offering repairs, and making promises on not happening again. Repentance in religious traditions is similar to an apology. In the face of apology, the victim reduces negative feelings towards the offender by forgiving and repairs the relationship. Apologies are a reputation-protecting action for the victim, while a discreditable step is taking place for the wrong person. It is also important to forgive and protect the reputation of the person who made a mistake. Like the cultural past, gender causes men and women to choose different apology strategies. Various forms of apology are also influenced by factors such as age, income status, occupation, and ethnicity. The time to apologize, the environment, the mood of the interlocutor must be well calculated. If enough care is not given to them, the apology may not reach its purpose, and thus, there is no possibility of correcting the broken relationship. Since childhood, it is important to teach individuals that a person may have been guilty by making mistakes towards others, society and the environment. Also, individuals should be educated on apologizing from others when needed. The child should apologize when he/she makes a mistake by taking the model in his / her family and the people around him and should be forgiving in cases made against him/her. (shrink)

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Religious Experience in Philosophy of Religion

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Investigative Poetics: In (night)-Light of Akilah Oliver.Feliz Molina - 2011 - Continent 1 (2):70-75.

continent. 1.2 (2011): 70-75. cartography of ghosts . . . And as a way to talk . . . of temporality the topography of imagination, this body whose dirty entry into the articulation of history as rapturous becoming & unbecoming, greeted with violence, i take permission to extend this grace —Akilah Oliver from “An Arriving Guard of Angels Thusly Coming To Greet” Our disappearance is already here. —Jacques Derrida, 117 I wrestled with death as a threshold, an aporia, a bandit, (...) a part of life. —Akilah Oliver Moraine in geological lingo is that which is left behind. Moraine- a euphemism for the de-stabilizing referent of the writer-ly body as a “troubled and troubling landscape marked by cultural and historical signifiers, the body as flesh memory [...] the body as transitory” (Oliver, Author Statement). Moraine— a geological metaphor of the poet as a holder of memory, as an accumulation of rocks and debris carried along the edge, terminal, dropped at the foot of language (in language). “Flesh Memory” according to Akilah Oliver is "that which my body recalls [...] everything has to do with the task of remembrance and its narrative reinvention [...] I was always translating an idea of the world as it presented itself at any given time. To write was a choice about how to be seen, how to enter the world as translator, actor, participant, in the dialogues that apparently made the real 'real'" (Levitsky). Flesh. Memory. The stuff some poems are made from. The stuff that gets abandoned, gleaned, and picked up by more flesh and memory. "My body, my life has always felt like a kaleidoscopic rip in the dominant fabric [...] has always been a dialogue with the impossible and the apparent” (Levitsky). The impossible-body or poet's body anticipates and performs (through language) an irretrievable death. IN APORIA I realized everything I must have been doing must have been Death. It was Christmas or Labor Day—a holiday—and every time you turned on the radio they said something like ‘four million’ or ‘going to die’.” — Andy Warhol I’m trying on egos, [a justification for the planet’s continuance]. Oh hello transgressor, you’ve come to collect utilitarian debts, humbling narrative space. Give me condition and wheatgrass, I his body disintegrating. I his body is ossification. Death my habit radius, yeah yeah. I his body can’t refuse this summons. I can’t get out this fucking room. Tell me something different about torture dear Trickster. Tell me about the lightness my mother told me to pick the one i love the best how it signals everything I ever wish to believe true just holy on my ship. I jump all over this house. this is it [what I thought is thought only, nothing more deceptive than]: I his body keeps thinking someone will come along, touch me. As like human or lima bean. I’m cradling you to my breast, you are looking out. A little wooden lion you & Peter carve on Bluff Street is quieting across your cheekbone. Not at all like the kind of terror found in sleep, on trembling grounds. It is yesterday now. I have not had a chance to dance in this century. Tonight I shall kill someone, a condition to remember Sunday morning. To think of lives as repetitions [rather than singular serial incarnations]. To understand your death is as exacerbating as trying to figure out why as schoolchildren in mid-nineteen-sixties Southern California we performed reflexive motions: cutting out lace snowflakes, reading Dick and Jane search for their missing mittens, imagining snow. Disintegrat ing . The -ing gerund catapults from the non-finite verb into past, present, future. The -ing as a tail pinned to death, a dog spinning to bite and never fully reaching itself, always shy of the end, circumreferential; a double copulative: deathing. Possessively AO calls it “habit radius” (a virtual fetish attribute) or an inescapable death presence that “confronts us with the paradox of an unattainable object [...] through it’s being unattainable” (Agamben, 27). A flirtation or dialogue with an unknowable thing and aporia utilized as investigative instrument to engage (death) while (in Southern California) we “perform reflexive motions,” cut lace snowflakes, imagine snow, and pay rent like “yeah, yeah” what else is new. And this too, fiction. The book I wish to right. The restored fallen, heroic. Did you expect a different grace from the world? Or upon exit? I’m working on “tough.” They think I am already. All ready. Who is the dead person? Is "I'm sorry" real to a dead person? Browning grass. My hands on this table. A contentious century. A place to pay rent. Redemptive moments. Am I now the dead person? Dead person, dead person, will you partake in my persimmon feast? The body inside the body astounds, confesses sins of the funhouse. I too have admired the people of this planet. Their frilly, orderly intellects. The use they’ve made of cardamom, radiation as well. How they’ve pasteurized milk, loaned surnames to stars, captured tribes, diseases, streets, and ideas too. The living-body as archive: is it possible to experience the living-body as archive without a (kind of) death? Sifting the rubble, rummaging through hoarded debris, skin sheds, memory-napping, and re-awoken (in flesh and) on terrain. “An investigative poetics seeks to unravel staid communities of thought and grasp at what might always be just beyond reach; a poetics of inquiry that lies between language as meaning, and language as rapturous entry into the world of posited ideas and idealism”( Levitsky). Something snaps. Lights blow out prior to embarking upon an investigative poetics. It begins with a question (often a sexy aporia) that leads to openings. "Every politics of memory [...] implies an intervention of the state. It's a state that legislates and acts with regard to the nonfinite mass of materials to be stored, materials which must be collected, preserved” (Derrida & Stiegler, 62). It seems poetic investigation already contains the potentiality of an (invisible) archive if the writer is “always writing” especially when not. Here’s my stupid digital romantic inclination: the living-body (of a poet) is a self-sustaining archive of non-finite memories. But not even I really believe that. AO innovated and sculpted an investigative poetic praxis. In a conversation with poet Rachel Levitsky, poetic-voice is viewed not as a precious identifier, but as a means to think through/about form, concluding that form is linked to framing. While poetic-voice may have tendency to precede form, it also erupts as a result of framing techniques. “They are frames that hold the shape of thinking (which is also to say of imagining) [...].”7 This reminds me of my rabbit who symmetrically chewed the corners of his hutch, which makes me wonder if it’s an expression of the shape of some animal anxiety tick I won’t ever have access to. Beyond the form/frame, death is an unoriginal yet unique limit; death is a damn deathless thing. It functions as a source of poetic investigation; that thing always “just beyond reach.” And how is death not a fetish (in this case an obsessive reverence for something non-material)? “Insofar as it [death] is a presence, a fetish [...] it is in fact something concrete and tangible; but insofar as it is the presence of an absence, it is, at the same time, immaterial and intangible, because it alludes continuously beyond itself to something that can never really be possessed [...] The fetish is [...] a sign of an absence, it is not an unrepeatable unique object; on the contrary, it is something infinitely capable of substitution, without any successive incarnations ever succeeding in exhausting the nullity of which it is the symbol” (Agamben, 33). AO utilized absence (the absent body [catapulted by the death of a beloved]) as an apparatus to investigate. In the process of conversing with absence or that which is absent, the absent body is affectionately objectified, incessantly summonsed back to a place of recognition, of objects, a desire for the absent body to remain intact while exiting the structural limits of grammar and syntax by moving into chant forms “to say what cannot be said” (Levitsky). from AN ARRIVING GUARD OF ANGELS THUSLY COMING TO GREET dear oluchi- the light is blinking rapidly on the black boxy machine. your room seems bigger than before and i am still planning to read some of those robert jordan books of yours. yesterday at the used bookstore where i was browsing the mysteries to “stall reality” (they are really not mysteries at all, they just employ death as the plot mistress but are unable to grasp its mystery at all)—well the point is, things were calm down here for a while and the world was little. i want to be big like you. or i want you not vast, not dead, not gone, but human small and here. i am so selfish. that is what i really want. to see you again. to oil your scalp. to hear you walk in the door, say ma i’m home . give me a chance to say welcome home son. or when leaving, don’t forget your hat . what do you wear out there? i wish you could have taken your new shoes with you. i’m so proud of you. i’m sorry for the way you died. i miss you all the time. even before, i missed you. out there, one time, some different men said: “shake for me girl, i wanna be your backdoor man.” who dat you love. 5/18/03 A letter-poem in sixteen lines “dear oluchi-” is safe-housed in epistolary form. Poetic voice is rendered as internal thought meanderings, a not-so-much confession, private/(pillow?) talk in the desire to be heard/witnessed by the referent and reader with an intent to absolve. The diminutive “i” bears a relation to poet Fanny Howe’s “little g God” in that “One of the (many) things I like about little g God is that you can have a vodka tonic while you talk to little g God, sing along to Bowie’s “I’m Afraid Of Americans,” and hum Coltrane’s “A Love Supreme,” though maybe not all at the same time” (Oliver, 2009). Towards the middle of the poem AO is at a used bookstore and remarks on the funny employment of death as a ‘plot mistress’ that ‘they’ (the dubious employed mystery authors) are ‘unable to grasp’, thereby giving death a mouthpiece, a modeling job, something to do to pass the time. from THE VISIBLE UNSEEN When I first saw graffiti, I recognized in it an ugly aesthetic, a dialectics of violence, a distortion of limbs, a hieroglyph. It was only later when I read the names of the dead that I then saw the path of ghosts charted there; its narrative of loss for the visible unseen whose place in history has been fictionalized and rendered unseen under the totalizing glare of history. Inscriptions, traces, specters. Graffiti begs a public face just as ghosts require non-ghosts (humans) to sense them. The “visible unseen” is a game of hide-and-seek between public viewer and graffiti-inscriber, an ephemeral-violent aesthetic on an ephemeral-policed canvas. Graffiti-inscribers already submit to being forgotten, expect to be washed away; perhaps it’s a holy urban mandala created by gangster-type monks without Buddhism. [...] in its refusal to disappear it forces a discourse in the public imagination we are forced to see what we would rather not, to make sense of an encoded language that we cannot read on the level of meaning. it irritates, forces its agency on us, speaks outside and beyond semiotic reach. An epic font-size pervading the public’s imagination, illegible, I could just close my eyes, remain passive, drive past, abandon it beyond reach, push it further away beyond death walls. In Barcelona I watched a clean up crew wash walls with an awesome water hose but I was more intrigued by their bodies; not a distortion of limbs, not hieroglyph but also not entirely legible; the laboring body permanently erasing specters of the city, and of course they knew it was also an invitation for the ghosts to return. Graffiti is death’s little sister, is also an aporia. [...] Graffiti (fr GK -graph(os), something drawn or written, to diagram or chart) attempts to stage the impossible: to erase the essence of its own subjectivity. Graffiti is a cartography of ghosts, a mapping of elegiac rapture (the transporting of a person from one place to another, as in heaven) and rupture (the state of being broken open.) Dwelling is a fiction stasis. [...] The notion of the past as being something done with, a look-back event, inhibits the possibility of reading graffiti as rapture, as rupture. If graffiti posits history as always in the process of becoming undone. [...] Because what is the body, if not also a complex temple, an unstable site through which to negotiate subjects, materiality, economies, gods, and modes of representations? The site where we are all already belated. Graphein meaning “to write.” “Derrida says every archive makes a law, and the law of genre is its own rupture” (Bloch, 39). However, graffiti is an (non/anti)-archive of erasure due to (the politics of) washing out its subjectivity, which only adds onto (or is symptomatic of) its character. The inhibition of “reading graffiti as rapture, as rupture” is partly due to it being a “look-back” event in that it’s process involves scratching through layers to reveal previous specters underneath. Graffiti (as an ancient genre) has always been a thing of ‘becoming undone’, and therefore ‘belated and always in arrival’ (Levitsky). It’s a Dionysian activity done at night with it’s back turned toward us. "The specter [...] is of the visible, but of the invisible visible, it is the visibility of a body which is not present in flesh and blood [...] appearing for vision, to the brightness of day [...] something becomes almost visible which is visible only insofar as it is not visible in flesh and blood. It is a night visibility. As soon as there is a technology of the image, visibility brings night. It incarnates in a night body, it radiates in a night light" (Derrida & Stiegler, 115). (shrink)

Medical Ethics in Applied Ethics

The Body in Metaphysics

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19

Theological Incorrectness: Why Religious People Believe What They Shouldn't.D. Jason Slone - 2004 - Oxford University Press USA.

"Ask two religious people one question, and you'll get three answers!" Why do religious people believe what they shouldn't--not what others think they shouldn't believe, but things that don't accord with their own avowed religious beliefs? This engaging book explores this puzzling feature of human behavior. D. Jason Slone terms this phenomenon "theological incorrectness." He demonstrates that it exists because the mind is built it such a way that it's natural for us to (...) divergent thoughts simultaneously. Human minds are great at coming up with innovative ideas that help them make sense of the world, he says, but those ideas do not always jibe with official religious beliefs. From this fact we derive the important lesson that what we learn from our environment--religious ideas, for example--does not necessarily cause us to behave in ways consistent with that knowledge. Slone presents the latest discoveries from the cognitive science of religion and shows how they help us to understand exactly why it is that religious people do and think things that they shouldn't. He then applies these insights to three case studies. First he looks at why Theravada Buddhists profess that Buddha was just a man but actually worship him as a god. Then he explores why the early Puritan Calvinists, who believed in predestination, acted instead as if humans had free will by, for example, conducting witch-hunts and seeking converts. Finally, he explains why both Christians and Buddhists believe in luck even though the doctrines of Divine Providence and karma suggest there's no such thing. In seeking answers to profound questions about why people behave the way they do, this fascinating book sheds new light on the workings of the human mind and on the complex relationship between cognition and culture. (shrink)

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Arthur Schopenhauer in 19th Century Philosophy

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Cosmic Pessimism.Eugene Thacker - 2012 - Continent 2 (2):66-75.

continent. 2.2 (2012): 66–75 ~*~ We’re Doomed. Pessimism is the night-side of thought, a melodrama of the futility of the brain, a poetry written in the graveyard of philosophy. Pessimism is a lyrical failure of philosophical thinking, each attempt at clear and coherent thought, sullen and submerged in the hidden joy of its own futility. The closest pessimism comes to philosophical argument is the droll and laconic “We’ll never make it,” or simply: “We’re doomed.” Every effort doomed to failure, every (...)

Iberian Philosophy in European Philosophy

Pessimism in Normative Ethics

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561

Plato’s Metaphysical Development before Middle Period Dialogues.Mohammad Bagher Ghomi - manuscript

Regarding the relation of Plato’s early and middle period dialogues, scholars have been divided to two opposing groups: unitarists and developmentalists. While developmentalists try to prove that there are some noticeable and even fundamental differences between Plato’s early and middle period dialogues, the unitarists assert that there is no essential difference in there. The main goal of this article is to suggest that some of Plato’s ontological as well as epistemological principles change, both radically and fundamentally, between the early and (...)

Plato: Divided Soul in Ancient Greek and Roman Philosophy

Plato: Metaphysics, Misc in Ancient Greek and Roman Philosophy

Aspects of Emotion in Philosophy of Mind

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130

Emotions and narrative selves.Valerie Gray Hardcastle - 2003 - Philosophy, Psychiatry, and Psychology 10 (4):353-356.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 10.4 (2003) 353-355 [Access article in PDF] Emotions and Narrative Selves Valerie Gray Hardcastle In their commentaries, both Phillips (2003) and Woody (2003) agree that the affective side of personhood needs to be better addressed in narrative views of self. In their arguments, they focus mainly on how a patient or a subject is here and now. In contrast, Kennett and Matthews (2003) take a (...) longer view and argue for the importance of a diachronic unity for selfhood. This commentary seeks to integrate these views by discussing how emotions are central to building our personal sense of unified agency. 1Phillips and Woody are right: most philosophical discussions of the narrative view of self are overly cognitive and focus too much attention on our linguistic story-telling abilities and not enough on what it is like to be a person experiencing the world. This is too bad, for it is our affective reactions that drive our personal life narratives. Consider: of all the experiences in the world, we only chose a small subset to become or represent who we are. I regularly eat cold cereal for breakfast before heading off to work, but if you ask me to describe myself, I describe my work or my children, not my breakfast-eating habits. Why is this? I identify with my work, my family life, or my play, but not with my sleeping patterns, the trajectories I chose when I drive, or how I brush my teeth. How is it that I have selected the former activities to highlight in my self-stories, but not the latter?I maintain that I choose the former because I have strong affective ties to them, ties that I do not have to driving routes or personal hygiene. And these ties are what determine what gets into our narratives of self. Actually, my claim is stronger than that. I believe that our emotions not only color what we do but they also allow us to act in the first place (this discussion is greatly expanded in my forthcoming book).Humans delight in pretending that our most prized and most humanly attribute is our forebrain, which houses, we also pretend, our capacity for rational thought. Since Plato at least we have held that subduing our passions to the iron rule of reason is our supreme aspiration; it is the ideal for human cognition. Ironically, we think that the more we are like Star Trek's alien Mr. Spock, the more human we really are.But what would life really be like with an overdeveloped forebrain and without emotion? Let us consider more carefully what it is we really prize about being human. We can rationalize well, it is true, but we do so in the service of personal goals. As Aristotle reminds us, we have practical rationality; we have means-ends reasoning with a point. This is just another way of saying that it is imperative that we identify what is important to us prior to cognizing.Obviously, one might scoff, we need an end to engage in means-ends reasoning. But often, I think, what having an end entails is not well appreciated. These days it is fashionable to believe that our fundamental ends—survival and reproduction—are set by our biology and that all [End Page 353] other ends (or most other ends) derive from them in some fashion. Maybe this story is true, but it obscures how ends—whether they be hardwired in or they come later—function in the human psyche.At a bare minimum, that we have particular ends tells us that we have to tag our abstractions, interpretations, and matched patterns with valances—some things are good, some things are bad, and some are indifferent. Tagging our experiences thus is just what it means to have emotions; we are reacting affectively to our world around us. And it is these reactions that determine which inputs we respond to and which we ignore. We literally cannot move about in our world without emotion. I think, perhaps, that this fact is what Phillips and Woody are... (shrink)

Emotion and Consciousness in Psychology in Philosophy of Cognitive Science

Mental Illness in Philosophy of Cognitive Science

Narrative Explanation in General Philosophy of Science

Other Mental Disorders in Philosophy of Cognitive Science

Philosophy of Psychiatry and Psychopathology, Misc in Philosophy of Cognitive Science

Psychopathology and Emotion in Philosophy of Cognitive Science

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On being certain: believing you are right even when you're not.Robert Alan Burton - 2008 - New York: St. Martin's Press.

You recognize when you know something for certain, right? You "know" the sky is blue, or that the traffic light had turned green, or where you were on the morning of September 11, 2001--you know these things, well, because you just do. In On Being Certain , neurologist Robert Burton challenges the notions of how we think about what we know. He shows that the feeling of certainty we have when we "know" something comes from sources beyond our (...) control and knowledge. In fact, certainty is a mental sensation, rather than evidence of fact. Because this "feeling of knowing" seems like confirmation of knowledge, we tend to think of it as a product of reason. But an increasing body of evidence suggests that feelings such as certainty stem from primitive areas of the brain, and are independent of active, conscious reflection and reasoning. The feeling of knowing happens to us; we cannot make it happen. Bringing together cutting edge neuroscience, experimental data, and fascinating anecdotes, Robert Burton explores the inconsistent and sometimes paradoxical relationship between our thoughts and what we actually know. Provocative and groundbreaking, On Being Certain , will challenge what you know (or think you know) about the mind, knowledge, and reason. ROBERT BURTON, M.D. graduated from Yale University and University of California at San Francisco medical school, where he also completed his neurology residency. At age 33, he was appointed chief of the Division of Neurology at Mt. Zion-UCSF Hospital, where he subsequently became Associate Chief of the Department of Neurosciences. His non-neurology writing career includes three critically acclaimed novels. He lives in Sausalito, California. Visit his website at http://www.rburton.com/ “What do we do when we recognize that a false certainty feels the same as certainty about the sky being blue? A lesser guide might get bogged down in nail-biting doubts about the limits of knowledge. Yet Burton not only makes clear the fascinating beauty of this tangled terrain, he also brings us out the other side with a clearer sense of how to navigate. It's a lovely piece of work; I'm all but certain you'll like it. “ --David Dobbs, author of Reef Madness; Charles Darwin, Alexander Agassiz, and the Meaning of Coral “Burton has a great talent for combining wit and insight in a way both palatable and profound.” --Johanna Shapiro PhD, professor of Family Medicine at UC Irvine School of Medicine “A new way of looking at knowledge that merits close reading by scientists and general readers alike.” -- Kirkus “This could be one of the most important books of the year. With so much riding on ‘certainty,’ and so little known about how people actually reach a state of certainty about anything, some plain speaking from a knowledgeable neuroscientist is called for. If Gladwell's Blink was fascinating but largely anecdotal, Burton's book drills down to the real science behind snap judgments and other decision-making.” -- Howard Rheingold, futurist and author of Smart Mobs “A fascinating read. Burton’s engaging prose takes us into the deepest corners of our subconscious, making us question our most solid contentions. Nobody who reads this book will walk away from it and say ‘I know this for sure’ ever again.” --Sylvia Pagán Westphal, science reporter, The Wall Street Journal “Burton provides a compelling and though-provoking case that we should be more skeptical about our beliefs. Along the way, he also provides a novel perspective on many lines of research that should be of interest to readers who are looking for a broad introduction to the cognitive sciences.” -- Seed Magazine. (shrink)

British Philosophy in European Philosophy

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Justification and the intelligibility of behavior.Peter H. Barnett - 1975 - Journal of Value Inquiry 9 (1):24-33.

In trying to make sense out of our behavior, we reach a point at which we stop talking about what we did and start talking about what we wish we had done, about what we mean to do next. But we think we are still talking about our motives and intentions in what we did. How do we know when we cross the line between finding out what actually happened and ascribing to a (...) situation what we think ought to have happened?This is a serious question, precisely because we usually do not know the difference between what we do and what we imagine that we do. For since all action is governed by our conception of “how we would have it” and “what we would bring about,” we can always honestly claim to have meant what we did for the best. We frequently find ourselves in the situation in which we don't know why we did what we did, but by casting about, we can always turn up a purpose for which our action must have been meant - a purpose which we now perceive.The reasons we ascribe to our actions, like our excuses, are governed by the demands made on us now, rather than by the factual content of what we did. Thus the behavior of reason-giving or excusing is meant to satisfy the social situation in which we presently find ourselves: the demand for explanation, the need to be “in the right,” the need to reinforce our convictions. The verbal account of what we did is thus literally about (as representing and serving) where we are now rather than what we did then.Our verbal account is about the context of social obligation in which we have to explain ourselves, not about the behavior we claim to interpret. This is why, proverbially, we will give any excuse which will satisfy the accuser and why “understanding” i.e. inventing reasons for our conduct, is no corrective. The addict, alcoholic, neurotic and criminal recidivist are frequently rational and even persuasive in giving reasons for what they do. And we wonder why if they understand their problems so well they can't do something about them. The problem is that the habitué doesn't understand his behavior at all. He is simply trained to give a certain after the fact explanation as a conditioned response to his habitual behavior. What he “understands” is not what makes him go back to the pill, the bottle or to crime, but what to tell people each time after he does. Naturally, when the habit-triggering occasion arises, it is never that reason - the stated one - which leads to repetition, but some new, special crisis, difficulty or impulse.Bluntly stated, our reasons and justifications have little or nothing to do with our actual behavior. We continue to suppose that we intend to do this or that immediately before we do it. But insofar as this intention is expressed it is a separate verbal act having its own conditions and consequences; insofar as it is unexpressed (and in general) intention is disclosed only through conduct. It is only the powerful social convention of justification that supports the illusion that verbal expressions are causal antecedents of acts.Two conclusions follow. First, the “sense” of our activity is either evident in the activity or else it is nonexistent, since not yet discovered meaning is meaning not yet achieved. Second, our verbal justifications are acts having a peculiar sense of their own. They express the relation of our convictions and objectives to the convictions and objectives of those to whom our explanations are addressed. Here is where, in the process of making sense of our activity, the crossover from discovery to invention occurs. This is why we may never discover the extent to which our justifications are inventions superimposed on the conduct they are supposed to represent. Insofar as our justification satisfies those to whom it is addressed, (including ourselves) it is right. But we take this rightness, which is actually the the compatibility of our values and objectives, to be the rightness of the act in question. The reasons we give for our actions make great sense, but despite our invincible “rightness” our actions, taken in themselves, make no more sense.What are our options? They are either to put ourselves in the power of those to whom we explain ourselves, or to take responsibility for our own nonsense. Take our conduct out of the medium of talk - of habitual justification - in which it is suspended and sustained, and what is it? Whatever has become of the “importance” of our appointments, our meetings, our appearances, our obligations, our consistency? Experience, not persuasion and reasoning, is the corrective. Only the direct experience of futility is powerful enough to break our addiction to justification. (shrink)

Self-Knowledge in Philosophy of Mind

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22

The Polemic of an Unknown Jewish Convert to Islam (14th century): Ta’yīd al-millah.Yasin Meral - 2020 - Cumhuriyet İlahiyat Dergisi 24 (2):857-877.

In the polemical literature against Judaism, it is stated that Islam is the last religion, Prophet Muhammad was foretold in the Bible, and the Bible is distorted. Among the authors of such works, there are many who embraced Islam from Jews and Christians. Through their works, these converts show Muslims how serious they are in embracing Islam. In this article, the treatise under the evaluation was first brought to the agenda in 1867 by Gustav Flügel (d. 1870). Flügel claimed that (...) the author of the treatise was a Spanish or Moroccan convert Jew named Rakili. However, recent researches have revealed that Rakili is the name of the copyist and the author is an unknown Jew. Due to the Hebrew words in the text of the treatise, the author is thought to be a Jewish convert. The author of the treatise makes use of intensive quotations from Tanakh. However, it seems that the criticism of the treatise is not as strong as Ibn Hazm. The author also quotes from the Jewish oral tradition. Although the author is thought to be a Jewish convert, it is difficult to say that there is a very strong polemic of Judaism. Rather than showing that the Torah has been tampered with, using the passages of Tanakh, he wants to demonstrate that the Israelites went astray. In doing so, he tries to refute the Jewish claim of chosenness. Instead of stating that the Jews were not at the point of religious representation of God’s message, the author claims that Muhammad's followers were the addressees of this election. This method, which we occasionally encounter in other polemical treatises, appears as a much more intense and central agenda in this treatise. The most original aspect of this treatise at issue is the Ishmael-Isaac, Hagar-Sarah and Moses- Muhammad comparisons. The author insistently emphasizes that the chosen line is not the lineage of Isaac, but the lineage of Ishmael. As a natural consequence of this, he tries to prove that Muhammad is the greatest prophet to be obeyed and followed. What is interesting here is that the author, as a Jewish convert, tried to refute the idea of the chosennes of Jewish nation. According to him, there is an election not through Sarah and Isaac, but through Hagar and Ishmael. It is seen that those who have converted do such things both to prove their sincerity and to be accepted by Muslim administrators. The author’s glorifications of the Prophet Muhammad and his miracles by scorning Moses' miracles and Jewish ancestors can be described as an extreme attitude in this sense. The author also devotes a place to the subject of Biblical prophecies about the Prophet Muhammad. In this part, the author of the treatise stated that the gematria (abjad) value of some words in the Torah and the word Muhammad are equal. He claims that there are passages pointing to Muhammad. However, these passages are known in the polemical literature and are issues that were mentioned before the author. Apart from these widely known passages, there are some other passages he quoted. But these passages are also based on strained interpretations. Again, in some passages he quoted from Tanakh, it is seen that he was flexible and not loyal to the text. One of the points that the author dwells upon is the sins committed by the Israelites and the curses that were inflicted on them. The author of treatise supports this with passages different from Tanakh. Drawing attention to the fact that the Jews were cursed in their own books, which they consider sacred, the author tries to show that a nation so cursed cannot be a chosen people. The author, contrary to the Jews' expectation of the Messiah, points out that Jesus will come back, break the cross, kill the pig, and rule the earth. The writer, who reported the hadith that the Jews would be killed in the End Times, even reports that when the Jews hid behind the stones, the stones would say "There is a Jew behind me, come and kill". According to him, the time for Jews to repent has passed, because they could not take this opportunity by denying Muhammad either. The author has an interesting explanation as to why the hereafter and resurrection are not mentioned in the Torah. According to this claim, when God sent down the Torah to Moses, he ordered the Israelites to keep their orders and refrain from their prohibitions. Since God knows the hardness and stubbornness of the hearts of the Israelites, that most of them are devilish, engaged in magic and pagan cults, and prefer the world to the hereafter, he did not mention the issues such as heaven, hell, reward and punishment in the Torah. On the contrary, in many parts of the Torah, God said to them if you keep my orders, your sustenance will increase, your generation will increase, fertility will increase, and you will win victories over your enemies. (shrink)

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20

A People's History of Classics: Class and Greco-Roman Antiquity in Britain and Ireland, 1689 to 1939.Simon Goldhill - 2022 - Common Knowledge 28 (3):460-462.

This very long book sets out to track and trace the working-class men and, less commonly, women who, against the limited expectations of their social position, learned Greek and Latin as an aspiration for personal change. The ideology of the book is clear and welcome: these figures “offer us a new ancestral backstory for a discipline sorely in need of a democratic makeover.” The book's twenty-five chapters explore how classics and class were linked in the educational system of Britain and (...) in its cultural performativity: Is he a gentleman? Does he have Greek? became the paradigmatic questions, as the study of classics became a sign of cultural attainment and social exclusion. This book sets out to explore the counterstory of the cobblers and shepherds who, like Jude the Obscure, fought against society's oppressiveness to access classical learning.The book's breadth is exemplary. It looks at the issue through genres and media, through different communities and national identities, through the prosopography of ragged-trousered philanthropists, beggar-lecturers, body-building performers, and through other institutions and people who helped, including adult-education teachers, kind bosses, supportive vicars, and fiery communists. This breadth, and the fascinating research that it encapsulates, will make this book a fantastic resource for future scholarship: it outlines the richness of a field that has been all too rarely explored properly. If you do not know Stephen Duck, “the thresher poet,” or Hawkie, the crutch-wielding beggar who performed from the books he sold on the streets of Glasgow, then this book is the place to the meet them. The cast list alone is worth the entrance ticket.Yet this very breadth is also the source of the book's limitations. The sheer number of cases listed, treated at similar length and depth, repeatedly conceals the complexity and even the interest of individual figures or events. So, the numerous representations of Vesuvius in shows around London in the first half of the nineteenth century—after the discoveries at Pompeii—are duly noted as a source of excitement and knowledge about antiquity, but against the recent treatment by Clare Pettitt in Serial Forms (which came out the same year) this mere noting looks desperately thin. There is little discussion of how the characters themselves talked about or negotiated class. This deficiency is particularly important for someone like Charles Kingsley, who was very active in the Chartist movement but also became Queen Victoria's chaplain and the professor of history at Cambridge. There are hilarious descriptions of Kingsley's stammering engagement with the working-class leaders he actively supported, which capture how awkward the interaction of classes could be even and especially when the participants shared a goal of transformation. (Ed Richardson's Classical Victorians: Scholars, Scoundrels and Generals in the Pursuit of Antiquity is good on these moments of awkwardness but is one of several books whose absence from the notes looks pointed.) The authors list cases of working men who were picked up by fashionable society as poets or scholars, many of whom were dropped almost as quickly back into penury—but the telling description of such a case in Kingsley's Alton Locke is passed over, although it reveals an acute self-consciousness about such narratives in a best-selling novel.The very structure of the book tends toward listing cases rather than analyzing them in depth. It is not clear why “Shoemaker classicists” should take up a chapter, bar there having been some. Nor is it clear why some figures are not included. John Brown was an uneducated Scottish shepherd who taught himself Greek, Latin, and Hebrew. He was discovered by a professor, one John Pringle, when he went into a shop to buy a secondhand Greek Testament (though his own church thought this newfound and inexplicable linguistic brilliance suspicious or even satanic). Brown went on to write the wonderfully titled The Self-Interpreting Bible, which remained in print and sold very widely for more than a century after its publication in 1778—especially after it was championed by the evangelical preacher Charles Simeon. It is a pity that Brown escaped the authors’ net, but religion, one of the main reasons to learn the classical languages, is downplayed throughout this study, although its imbrication with classics is everywhere in evidence. The book, significantly enough, leads rather toward a rosy-eyed depiction of posh classical communists like Geoffrey de Ste. Croix and George Thompson, and other such heroes of the authors.The authors are much more at home in the years of ardent republicanism in the decades on either side of the turn of the nineteenth century and in the beginning of the twentieth century, when socialism and communism became embedded in British life. The last half of the nineteenth century, when classics really established itself institutionally as a discipline, and its revolutionary potential moved away from the zeal of the Romantic philhellenists into the artistic idealism of a Richard Wagner or the sexual freedom of an Oscar Wilde, are less adequately explored. The huge attendance at art galleries and the Great Exhibition at Crystal Palace as a route to encountering the past of antiquity in material form are barely addressed (Kate Nichols's Greece and Rome at the Crystal Palace would have helped); nor do shows like Astley's Circus get air time (Rachel Bryant Davies's Troy, Carthage, and the Victorians is revealing). It is particularly noticeable in such a voluminous study that there is no discussion of how turning to Greek was a crucial route for the self-understanding of what was considered transgressive male sexuality—and for a particular engagement between the classes. To understand the social force of classics requires a deeper appreciation of the dynamics between conservatism and transformation, disciplinarity and self-discovery. The big picture of how classics matters is lost in the gems picked out by the authors. Gems they are, but their facets need more attention and their setting a broader perspective. (shrink)

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Community of “Neighbors”: A Baptist-Buddhist Reflects on the Common Ground of Love.Jan Willis - 2014 - Buddhist-Christian Studies 34:97-106.

In lieu of an abstract, here is a brief excerpt of the content:Community of “Neighbors”:A Baptist-Buddhist Reflects on the Common Ground of LoveJan WillisToday we are all aware that the concept of “race” is a mere construction. There is only one “race”: the human race; to think otherwise is like still believing that the earth is flat. But “racism” is a different matter. It exists as a system of beliefs and prejudices that people differ along biological and genetic (...) lines and that one’s own group is superior to another group. When these beliefs and prejudices are coupled with power—especially the power to negatively affect the lives of those perceived to be inferior—we have a serious problem. And no one should downplay or underestimate the harm that such an ideology inflicts upon everyone who participates in it. According to one African American professor of social work, “America’s history is inextricably bound to this racist ideology. From the codifying of slavery, to the belief in ‘Manifest Destiny,’ to the treatment of ‘illegal immigrants,’ many of America’s actions continue to conflict with its creed that ‘All men are created equal.’”1Over the past decade or so, I have written a number of pieces that focus upon racism in America and racism in so-called American Buddhism.2 Being African American myself, my reasons for this focus may perhaps be clear though not necessarily inevitable. I have written on a number of other topics: Buddhist philosophical discourses and life stories of Buddhist “saints,” for example. In my writings on racism, I have tried to communicate something of the emotional and psychic toll it takes to live in this country as a person of color. In a number of these writings, I have called myself a “Baptist-Buddhist,” and thus this is also one of my “dual belongings,” one of my “multiple identities.”When I speak of racism, I am not concerned with garnering pity, or playing the “race card” of guilt, or telling you, from some assumed position of superiority on the matter, that there is simply no way for you to understand this toll. I certainly cannot speak for all African Americans, or even for most of them. Early on in the process of writing this paper, I emailed Jung and Paul to say that I found the title of the panel both much too broad and much too narrow. “Too broad” because one person cannot possibly channel and/or verbalize the countless instances of suffering endured by African Americans (and more broadly, by persons of color) throughout space and over centuries in this country owing to slavery and its aftermath. And “too narrow” [End Page 97] because, ultimately, we want to do more than just rehash our many sufferings. We don’t want to wallow in victimhood. We want to move on—from the recognition of that immense suffering, seen and unseen—and to go out into the world and act to bring about social, economic, and ecological justice. That’s what we are called upon to do: to form a new community wherein there is compassion and caring for one another, where there is love and peace, nonviolence, reconciliation, and justice.So, even though I am quite frankly tired—as are so many people of color—of being the “token” African American who can add visible “diversity” to a group in order to show that it is now more “inclusive” than before, nevertheless, in this so-called postracial society where we have a black president and the demographic of “person of color” now comprises an actual majority of the United States’ population, I must still rise to say that, sadly, racism is not dead in this country! Its painful vestiges exist, and those vestiges are far from being either innocent or unharmful.I truly believe that—for African Americans, in particular—it is the trauma and the legacy of slavery that haunts us in the deepest recesses of our souls. It is hard to imagine what having been bartered and sold as though mere property does to a human being, what being dehumanized, infanticized, and divested of all rights and liberties does to one’s sense of self-worth and well-being. As... (shrink)

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Voices of moral authority: parents, doctors and what will actually help.Richard David William Hain - 2018 - Journal of Medical Ethics 44 (7):458-461.

The public often believes that parents have a right to make medical decisions about their child. The idea that, in respect of children, doctors should do what parents tell them to do is problematic on the face of it. The effect of such a claim would be that a doctor who acted deliberately to harm a child would be making a morally correct decision, providing only that it is what the child’s parents said they wanted. That is (...)

Biomedical Ethics in Applied Ethics

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Romanticism As The Mirroring Of Modernity and The Emergence of Romantic Modernization in Islamism.İrfan Kaya - 2018 - Cumhuriyet İlahiyat Dergisi 22 (3):1483-1507.

The emphasis that the modernity gives to disengagement and beginning leads one to think that the modernity itself is in fact a culture that initiares crisis. Even if there is no initial crisis, it can be created through the ambivalent nature of modernity. Behind the concept of crisis lies the notion that history is a continuous process or movement that opens the door to nihilistic understanding which stems from the idea of contemporary life and thought alienation through the pessimistic (...) meaning of the word. There is a dialectical relationship between the ideas of modernity and progress, and the decadence, and the main theme of Nietzsche's philosophical career. Since the death of Hegel, who made the idea of crisis plausible, everything is nothing but a counter-movement not only in Germany, but also in Europe. The first of these counter-movements is romanticism with its objection to the mind which is liberated from the bonds of tradition. The main thesis of the present article is, between reactiveness of romanticism -on the surface- and the modernity; from one side romanticism's consuming modernity, which is its mirror image, while at the same time feeding from it and modernity's manipulating the ideas developed against it and monopolizing them thanks to its ambivalent nature. For this purpose, following an an anti-enlightenment thinker Nietzsche's, anti-romantic footsteps which at the same time feeds from the romantic heritage, an attempt will be made to analyze the relationship between modernity and romanticism. Another goal of this article is to allow a comparison of how the intellectual development in the West finds its response on the modernization process of our country by probing how the modernization experience of early period Islamist's who experienced this process in a feeling of "backwardness" and with a wounded consciousness and anxiety has led to a shallow romantic worldview. SummaryRomance and romanticism are the main topics of this article. Romanticism is a period, whereas romance is a spiritual attitude not limited to this period, therefore, even today it’s existence is felt. In other words, it is not specific to the Germans. This term is often used to correspond to certain aspects of European intellectual life in the late eighteenth and early nineteenth centuries, for instance between 1790 and 1850. In its extremely diverse definitions, the most "romantic" definition in our opinion, belongs to Novalis: “I'm romanticizing by giving a high meaning to ordinary things, a mysterious reputation to the ordinary, the honor of the unknown to the known, an infinite look to the finite.” The rejection of existing social reality, the experience of loss, the melancholic longing and the search for loss are the main components of the romantic motive. This study is based on the argument that there is a dialectical relation between romanticism and modernity, which is known as an opposing movement against enlightenment thought. The intellectual feature, which contains the opposite of modernity itself, makes this argument plausible. In addition, the view of modernity as a crisis culture due to the emphasis on disengament and beginnings offers us the possibility to establish a relationship between modernity, which accepts itself as decadence, and romance. Behind the concept of crisis lies the idea that history is a continuous process or movement opening the door to the nihilist understanding in which modern life and thought are alienated in a pessimistic sense. Thus, Allan Megill defines historicism as a prerequisite for nihilism. According to the author, Prophets of Extremity, if the history has no direction to be changed, maintained or lost when wandering in history, it also cannot have a "crisis". The suggestion of "God is dead" is the most concise expression of this crisis. In this crisis state of nihilism, it is a completely forlorn condition of living in the present. Today, which is in the absolute forlorn state; the savior declares his belief that he is devoid of all sorts of features, things that let us reconcile with the current situation of things. In the face of this situation, when people see that the present becomes completely forlorn, they move in two opposite directions with a desire to regenerate culturally: They either have to go back to the past or head for the future. However, every attempt to determine what the future or the past posess will require them to be real, belonging to the present. This will return us to the forlorn state. Nietzsche embraces both opposing sides, but does not attempts choose between them. This is the place where Nietzsche dictates that today is corrupt taking a radical attitude against romanticism fed by the notion of crisis. The fact that modernity has given up its critique of reason, which is revealed by its dialectic, had a great influence on Nietzsche's putting distance between himself and romantics. That is to say, in response to enlightened thought, although romantics speak of unity, apparently, they could not prevent emergence of emotion against mind, local against the universal, individual against social, in other words, the emergence of the second values, which they believed that these were belittled and despised by Enlightenment. Therefore, romantics seem like they could not save themselves from being caught in the web of dialectics in the account they entered that is based on the subject-object distinction in cartesian thought. It is because modernity acts with the consciousness that the life is established on the occurrence and decadence. Based on this, we can say that decadence is inevitable. This decadence (distortion) from the outside may be through movements developed against it, or experienced within itself (even if no one attempts to destroy it). Modernity, with the awareness that it cannot escape from the decadence, wants to arbitrate itself by turning this decadence in its favor by manipulating it. In other words, the modernity dramatizes the feeling of crisis considering itself decadence and the seemingly contradictory ideas of avant-garde and decadence become almost synonymous. It must be the reason why Nietzsche identifies modernity with decadence Modernity manages to put the decadence in its body at the center of attraction by producing self-opposing movements, monopolizing and manipulating. In short, both romanticism and avant-garde movements are the movements that are emerged not against modernity but from itself. Just like an apple worm, they both consume modernity and feed on it. They act as a mirror. Although they seem to criticize, as movements that have emerged from it, they allow the modernity to complete and correct the deficiencies. As a result of this, we can say that romantic critical movements are developed against the world and are shaped by modernity, beginning with the idea of enlightenment, and moved forward in the track of modernity.While romanticism developed in the West as opposed to modernity, in Ottoman-Turkish thought, it was seen as the rhetoric of retardation and regretting of backwardness from civilization. It is inevitable that the experience of modernization in a sense of backwardness, with a wounded consciousness and urgency, will open up space for romance. In our modernization adventure starting with Tanzimat, it is a fact that there has not been a drastic reckoning due to Enlightenment on an intellectual basis, industrialization on an economic basis, programs of revolutionary and nationalist formations on a political basis. Therefore, in Turkish thought, it is not possible to talk about a critical tradition developed against modern paradigm. The status of being audience to what was being experienced in Europe, resulting from superiority was transformed into grudge due to the defeats in the military field. Due to the decadence experienced in the present, inability to find the solution to the problems of its age, melancholic state of mind because of being stuck in the golden age experienced in the past, in the case of a preference, led to a romantic world view because of the appeal of its simplicity to imitate what was once lived in the past. Thus, it is very natural that the direction of Namık Kemal, the cult personality of Islamist-Turkish thought, is towards the past even when talking about progress and civilization. Seeing the 19th century Europe as a re-implementation of ideas and institutions that are actually Islamic, Namık Kemal, in our opinion, showed us a clear example of a typical Islamist romanticism and an example of occidentalist approach regarding that the West learned the civilization from Muslims. In fact, the exact equivalent of this approach displayed in Turkish cogito without even knowing that it is romantic, emerging in the personality of Namık Kemal and in the feeling of backwardness,with a hectic and injured consciousness, is kitschization. So much so that, the state of being kitsch also explains the current situation of Islamic geography which is far from creating a tradition for at least a century, and it clearly tells the usual romantic end. (shrink)

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2624

Architecture and Deconstruction. The Case of Peter Eisenman and Bernard Tschumi.Cezary Wąs - 2015 - Dissertation, University of Wrocław

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

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René Descartes in 17th/18th Century Philosophy

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Denying the Body? Memory and the Dilemmas of History in Descartes.Timothy J. Reiss - 1996 - Journal of the History of Ideas 57 (4):587-607.

In lieu of an abstract, here is a brief excerpt of the content:Denying the Body? Memory and the Dilemmas of History in DescartesTimothy J. ReissIn an essay first published in The New York Review of Books in January 1983, touching her apprenticeship as writer, the Barbadian /American novelist Paule Marshall described the long afternoon conversations with which her mother and friends used to relax in the family kitchen. She recalled how they saw things as composed of opposites; not torn, but (...) completed and made whole by them.Theirs was not a Manichean brand of dualism that sees matter, flesh, the body, as inherently evil, because they constantly addressed each other as “soully-gal”—soul: spirit; gal: the body, flesh, the visible self. And it was clear from their tone that they gave one as much weight and importance as the other. They had never heard of the mind/body split. 1This closing claim is surely less than self-evident. Whether or not the companions had heard of the mind/body split depends on the meaning given to the verb “hear.” Certainly it was embedded in their language, however much the phrase “soully-gal” might recombine its parts.Did the split come from Descartes and early European debates, linguistically colonizing all those who came within its sphere—Africans, Barbadians, Brooklynites? Did it come from a Christian heritage, with its haggling over bodily mortality and immortality of soul? Who knows? A first point is that it is still an everyday experience, deeply buried in language and so in the ideas, feelings, and meanings expressed in language. A second point is that the post-Cartesian debates—to simplify for a moment with an overly heavy [End Page 587] hand—were and are themselves but a variant within a much longer received wisdom. Nonetheless, such wisdom is now bound to that variant, which, willy-nilly, does give one set of parameters to a common experience—at least, to that of those of us who dwell under Western hegemonies. It gives them also, no doubt, to many who live within them at once less clearly and more contentiously.I would like to offer a further powerful instance here, simply to emphasize what and how much is at stake in the questions to be addressed. It occurs in a writing by the Guyanese novelist Wilson Harris, his Palace of the Peacock. First in a tetralogy, this novel recounts something like a journey away from a life of colonial and postcolonial violence and oppression towards a hoped-for rebirth in “fulfilment and understanding.” 2 Early on, the harsh protagonist, Donne, mocks the narrator, his mysterious “double” and “brother,” Dreamer, who has remarked their distance from “the folk.” “Is it a mystery of language and address?” asks Donne. Slightly bewildered, Dreamer struggles to suggest that the obstacle is less of language than of a deeper disjunction:“it’s an inapprehension of substance,” I blurted out, “an actual fear of the substance of life, fear of the substance of the folk, a cannibal blind fear in oneself. Put it how you like,” I cried, “it’s a fear of acknowledging the true substance of life. Yes, fear I tell you, the fear that breeds bitterness in our mouth, the haunting sense of fear that poisons us and hangs us and murders us. And somebody,” I declared, “must demonstrate the unity of being, and show...” I had grown violent and emphatic... “that fear is nothing but a dream and an appearance....” 3Recovery of unity might become a way to defeat political and historical violences. In the next novel in the sequence, one of two self-indulgently whining characters, accused of pining for a woman who has run away to seek education, explodes: “I don’t believe you can begin to see how some body like they born seeking for mind.” 4 For peoples of the colonized Americas, imbued with “the great civilization of the American Indian,” this urge, Harris then wrote in a critical essay, was simply the personal form of a social and political necessity to recover still-living elements of a culture for which “matter truly bore the imprint of genius,” refusing “the taboo of spirituality removed from sensuous direction.” 5 Recently, Harris has worried this... (shrink)

Theories of Memory in Philosophy of Mind

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“Destined to Fail”: Carl Seashore’s World of Eugenics, Psychology, Education, and Music by Julia Eklund Koza (review).June Boyce-Tillman - 2024 - Philosophy of Music Education Review 32 (1):83-88.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:“Destined to Fail”: Carl Seashore’s World of Eugenics, Psychology, Education, and Music by Julia Eklund KozaJune Boyce-TillmanJulia Eklund Koza, “Destined to Fail”: Carl Seashore’s World of Eugenics, Psychology, Education, and Music (Ann Arbor, MI: University of Michigan Press, 2021)This is a difficult book to read not only because of its length but also its content. While reading the history of eugenics and how it played out in the (...) invention of the holocaust, I found myself feeling the nausea that I similarly feel when embarking on Margaret Attwood’s Handmaid’s Tale. I also remembered how I had used the Seashore tests of musical ability in my time teaching in London primary schools. I was faced with a common problem in UK State schools–three places for violin tuition and twenty children seeking them. The Seashore tests appeared to be the answer to the problem. The claims made for them were that they would tell me which children were likely to succeed because they had more musical ability than others. It was only in the process of using them that I realized that this was an unjustified claim. Conversations with John Sloboda revealed two other aspects that might play out in musical success. One was a moment/event which made a person fall in love with a particular instrument and want to learn it. The other was the amount of time a person would put in to practice the instrument, which in many London contexts with high-rise flats and no soundproofing [End Page 83] was extremely difficult. All that the Seashore tests showed was the third aspect involved in engagement with music, which was the ability to recognize the musical patterns of a particular culture. But what this book shows us so clearly is the danger of rating this ability to grasp the musical patterns of the Western classical musical traditions as the totality of musical ability. Beneath this is the belief that some people are innately musical but, more significantly, others are not. In my experience, musicality is a difficult area in our UK culture; people are more likely to say that they are not musical in a way that they would not in relation to any other academic discipline such as English, geography or history. In many educational contexts, I have pointed out that, if a teacher believes that some students are musical and some are not, then it is unethical to have class music lessons for everyone in the curriculum. Helpfully, in the final chapter of the book, some of these shades from the past, that still color contemporary thinking about music education, are clearly set out.To turn to the book itself, the first chapter sets out Seashore’s life as a “Mendelian hereditarian who believed that musical talent is biologically inheritable, differently bestowed, and immutable.”1 The author contextualizes the belief system in which this is rooted, discussing the American Eugenics Society, the best baby contests, and the “great man” narratives of the early to mid-twentieth century (first set out in Galton’s idea of genius). Seashore’s legacy figures in a number of academic fields, including audiology, aesthetics, educational reform, the American Psychological Society, and the National Academy of Sciences. She hopes to initiate a debate about how eugenics has, and still does have, a part in stories of both music education and education generally. She situates her work in a view of “‘the past’ as a dynamic construct created and recreated in the present.”2 She sets up a different way of remembering the past by acknowledging that past, present, and future are culturally constructed and bounded, in which she uses Foucault’s concept of power.3 She considers the role of “solid” science in supporting both eugenics and its responsibility for the Holocaust. I would recommend that anyone embarking on historical musicology read this chapter to understand the complex mechanisms which need to underpin such study.My own academic research has been about deconstructing the patriarchal values that filled my own miseducation in music history. The legacy of Galton’s construction of genius dominated my music education and when I took my professorial... (shrink)

Philosophy of Music in Aesthetics

Games in Social and Political Philosophy

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Game Spirituality: How Games Tell Us More than We Might Think.Chad Carlson - 2017 - Sport, Ethics and Philosophy 12 (1):81-93.

While we often see games as less serious or at least less transcendental than religion there is reason to believe that games can evoke similarly meaningful narratives that allow us to learn a great deal about ourselves and our world. And games do so often using the same symbolic and metaphorical mechanisms that generate meaning in religious experience. In this paper, I explore some of the ways in which game myths—the myths created from and through games—generate meaning in our lives. (...)

Philosophy of Sport in Social and Political Philosophy

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"What Will Surprise You Most": Self-Regulating Systems and Problems of Correct Use in Plato's Republic.Patrick Maynard - 2000 - Journal of the History of Philosophy 38 (1):1-26.

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 38.1 (2000) 1-26 [Access article in PDF] "What Will Surprise You Most": Self-Regulating Systems and Problems of Correct Use in Plato's Republic Patrick Maynard University of Western Ontario 1. Republic's Third Wave: "On Philosophers" The title of this paper is taken from a line in Book VI of Plato's Republic that appears to reject not only the accounts of moral justice and (...) other virtues argued in Book IV, but also an axiom of Plato's earlier dialogues: that the virtues are good and beneficial things. It reads: "What will surprise you most, when you hear it, is that each of the things we praised in that nature tends to corrupt the soul that has it and to drag it away from philosophy. I mean courage, moderation, and the other things we mentioned" (491b7-10). Although these other things specifically include justice, magnanimity, grace, love of truth, and a tendency to consider "the form [idea] of each thing that is" (486d10), for their part, commentators have never shown surprise at this passage; indeed they have tended either to neglect or minimize it.1 To recall the context of 491b7-10, it actually comes as a second surprise, hard on the heels of a remarkable admission by Socrates, in early Book VI. The admission came in response to Adeimantus' challenge to Socrates' attempt to show that 'Platonic' philosophers, in the famous Book V sense of those who believe in the [End Page 1] forms, will be just and virtuous people, capable of political leadership (484d8-487a5). Book VI's page 487 thus contains Adeimantus' blistering attack on Socratic method, and a counter-argument against the idea of philosopher-rulers, based on common opinions about philosophers—an argument that should give pause to those who say that Republic left elenctic method behind with Book I. It is Socrates who now faces a forceful elenchus: that is, an inconsistency between the philosopher-rulers position he has just argued and another view he himself accepts, for his reply to Adeimantus is that "they seem to speak the truth" (487d10, 489d5), and "what he says is true, that the best among the philosophers are useless to the majority" (489b2), but that "the greatest and more serious slander on philosophy... results from those who profess to follow the philosophic way of life," especially the "vicious" ones (489cd).Most commentators, teachers, readers, eager to join the account of forms at the end of Book V with that of the form of the good well into Book VI, bridge over this discussion of philosophers' reputations, perhaps noting such of its features as the true pilot, the tinker, the figure in the dust storm, etc., but with little attention to argument structure.2 However, low estimate of structure in Plato's writings is usually a mistake, especially with Republic, and some commentators do make space to shape this bit of text, before getting on to what really interests them. They usually bracket the whole philosophers' reputations discussion, including 491b, as an early part of the so-called "third and greatest wave" (472a, 473c) of objections and replies, regarding the feasibility of the earlier social proposals of Republic: specifically, the objection to the possibility of philosopher-rulers. Socrates' reply to the third wave is usually taken to conclude with the transition at 502c7-503d12, which begins: "now that this difficulty has been disposed of, we must deal with what remains"—that is, with how such rulers could come about, and how they would be educated, a transitional remark that makes the gateway to the scholars' great attractor of the form of the good, with its discussions of the sun, the divided line, the cave of shadows—and few readers ever look back. Thus one recent commentator who does discuss the early part of Book VI moves on to those topics as follows: "Now that the combination of traits required in a philosopher-king has been shown to be a natural possibility... (shrink)

History of Western Philosophy

Plato: Republic in Ancient Greek and Roman Philosophy

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Fiction and Theory of Mind.Brian Boyd - 2006 - Philosophy and Literature 30 (2):590-600.

In lieu of an abstract, here is a brief excerpt of the content:Fiction and Theory of MindBrian BoydWhy We Read Fiction: Theory of Mind and the Novel, by Lisa Zunshine; 198 pp. Columbus: Ohio State University Press, 2006. $59.95Lisa Zunshine's Why We Read Fiction aims "to put the cognitive-evolutionary concept of the Theory of Mind on the map of contemporary literary studies" (p. 84). Any literary critic who has stumbled upon this active research program in recent clinical, cognitive, comparative, developmental (...) and evolutionary psychology will have realized that Theory of Mind (ToM)—our intuitive systems for understanding the minds of others—must be relevant to literature. As someone who has long deplored its neglect in literary studies (often on the very pages of this journal) I regret to report that as a cartographer of this new terrain Zunshine has an unsteady hand.As its title suggests, her book makes a large claim: that we read fiction in order to give ourselves a cognitive workout, to exercise our capacity for ToM. We normally understand readily four levels of embedded intentionality (you doubt that Brian accepts that Lisa knows what Robin says), but we find it rapidly more difficult to handle further levels. Fiction often pushes "our ability to process embedded intentionalities beyond our cognitive zone of comfort" (p. 130). Why We Read Fiction also makes a second, implicit but no less central, claim: that analyzing fiction in terms of ToM offers criticism greater explanatory power, precision, and clarity. [End Page 590]Zunshine's explicit claim seems unlikely. All peoples tell and attend to fictions, but as Zunshine sometimes concedes not all these fictions push the boundaries of ToM. Many individuals and groups, perhaps most, especially enjoy fiction that does not involve high-level ToM, such as myth, fairy tale, and action adventure stories from epics to Westerns or martial arts movies. Children already engage in pretend play and enjoy stories compulsively long before they attain a uniquely human, yet still imperfectly developed, level of ToM in their fifth year. How can fiction be explained in terms of setting stiff challenges to our capacity for ToM, when so many children and adults enjoy fiction that makes no exceptional demands?Fiction can experiment with ToM, with, for instance, multiple levels of embedded intentionality. Barth's virtuoso exercise "Menelaiad" (1968) involves seven degrees of embedding, but the story feels, and is meant to feel, comically overloaded. Less flamboyant but more searching experiment with our capacity to comprehend minds, like Tolstoy's in Anna Karenina, may involve at its most original only one, two or three levels of intentionality: Stiva's thoughts alone, brilliantly evoked in the opening chapter, or his thoughts about Dolly's feelings or his own thoughts, or his thoughts about Dolly's thoughts about his feelings.Zunshine acknowledges that fiction places varied emphases on ToM, but dwells only on examples that support her case, and ignores many kinds of fiction that do not. More damaging still, the examples she does draw on fail to provide the support she thinks they do, thus undermining both her first claim, that fiction provides an intense ToM workout, and her second, that analyzing fiction through ToM sharpens and strengthens criticism. Interpreting fiction with an explicit awareness of ToM can have this effect, but Zunshine inadvertently reveals dangers rather than opportunities.Since texts are the hard evidence in literary study, we need to see in detail how Zunshine handles them. Her first display example comes from Woolf's Mrs Dalloway. She cites:And Miss Brush [Lady Bruton's secretary] went out, came back; laid papers on the table; and Hugh produced his fountain pen; his silver fountain pen, which had done twenty years' service, he said, unscrewing the cap. It was still in perfect order; he had shown it to the makers; there was no reason, they said, why it should ever wear out; which was somehow to Hugh's credit, and to the credit of the sentiments which his pen expressed (so Richard Dalloway felt) as Hugh began carefully writing capital letters with rings [End Page 591] around them in the margin, and thus marvelously reduced Lady Bruton's tangles to sense, to grammar such as the editor of the Times... (shrink)

Fiction, Misc in Aesthetics

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Just say what you really think about Drugs: Cultivating Drug Literacy through Engaged Philosophical Inquiry.Mahboubeh Asgari & Barbara Weber - 2015 - Childhood and Philosophy 11 (22):361-376.

Research has shown that “no use” drug education programs, with the objective of scaring or shaming youth into abstinence, have not been effective in addressing problematic substance use. The ineffectiveness of such scare tactic approaches has led program developers to focus on prevention and harm reduction associated with drug use, or in general, health literacy promotion. While significant ‘discussion-based’ drug education programs have been developed over the past decade and has encouraged students to be expressive and critical thinkers regarding drug (...)

Education in Professional Areas

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A philosophical approach to satire and humour in social context.Daniel Abrahams - 2020 - Dissertation, University of Glasgow

The topic of my dissertation is satire. This seems to excite many people, and over the past four years I have heard many variations of a similar refrain: “Oh, wow. You’re studying satire? That’s very topical. You must have a lot of material to work with.” There is a way in which this is true, though I suspect in a way that diverges from the way that most of my interlocutors believed. I suspect that the material they imagined me (...) to be working with was the output of Donald Trump, first a candidate for and now holder of the office of President of the United States. That is not the material I find interesting. More interesting to me is their statement. It evinces a number of beliefs that I find interesting, chief among them that Trump makes the current period particularly apt for satire, as if a doddery and incompetent ruling class is somehow a recent phenomenon. And I suspect that underneath this belief in the aptness of satire is a belief in the power of satire. Satire is somehow how people are going to strike back at the vice-governed fools who rule us. Those beliefs are the material I want to work with. This is my interest in satire, then: not so much what it is about satire that makes it powerful, but what is it about satire that makes people think it is powerful? And what is it about satire that makes people think it is powerful when there is pretty powerful evidence that it is not? Unfortunately, here is where I run into the problem that in a very important way I do not have a lot of material to work with. There is not an awful lot on satire within the analytic tradition: outside of a few references to satire, analytic discussions of satire are limited to two short articles. Accordingly, I have taken the task of my dissertation to be to create an account of satire that helps to bring forward why satire is a thing that people can imagine to be powerful, that they can imagine to be politically effective. My dissertation will effectively have two halves, one where I build my account and one where I begin to apply it. The purpose of applying my account, which will comprise the final two chapters, will not be to show its implications so much as how it can be used. My goal will not so much be to give definitive answers about the nature of satire, but rather to give a demonstration of how my account facilitates engaging questions about the role of satire in social and political context. (shrink)

Applied Ethics

Humour in Aesthetics

Literary Interpretation in Aesthetics

Literature and Ethics in Aesthetics

Trust in Normative Ethics

Multiculturalism in Social and Political Philosophy

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What Do They Know of Canada Who Only Canada Know? An Immigrant’s Guide to Multiculturalism and Shy Elitism.Daniel McNeil - 2021 - CLR James Journal 27 (1):325-367.

This article examines how multiculturalism has overflowed from its governmental and policy articulations into Canadian society and culture more broadly. In doing so, it brings together three fields of research that are often separated and disarticulated from each other. Firstly, it draws on oft-overlooked archival material from agencies, departments and ministries of anti-racism, heritage, human rights, immigration, labour, multiculturalism, race relations, settlement and the status of women between 1971 and 2001. Secondly, it engages with the political and academic careers of (...)

Husserl: Science, Logic, and Mathematics in Continental Philosophy

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Rhetoric, Narrative, and the Lifeworld: The Construction of Collective Identity.Alan G. Gross - 2010 - Philosophy and Rhetoric 43 (2):118-138.

In lieu of an abstract, here is a brief excerpt of the content:Rhetoric, Narrative, and the Lifeworld: The Construction of Collective IdentityAlan G. GrossAt the beginning of King Lear, at the point of ceding his throne to his three daughters, Lear asks each for a public acknowledgment of her love. Goneril and Regan flatter their father with effusive declarations, but Lear’s youngest, and his favorite, Cordelia, refuses to do so:I love your Majesty According to my bond; no more or less...................... (...) Good my lord, You have begot me, bred me, lov’d me; I Return those duties back as are right fit, Obey you, love you, and most honour you. Why have my sisters husbands, if they say They love you all? Haply, when I shall wed, That lord whose hand must take my plight shall carry Half my love with him, half my care and duty. Sure I shall never marry like my sisters, To love my father all.(1936, 1.1.94–107) [End Page 118]Furious, Lear disinherits his daughter.Cordelia’s speech is remarkable only in its articulation of what Lear should have known; its dramatic impact is a consequence of Lear’s reaction to his daughter’s argument for divided loyalty that is based on a string of commonplaces that are part of the lifeworld that Lear and his daughter—and every other person in the play—inhabit. Any part of this lifeworld may be thematized, of course; it may be brought out into the open as a topic of discussion. That is what Cordelia does; under duress, she shifts from what Jürgen Habermas calls communicative action to a level he calls discourse, a level that reveals the relationship between the personal and the social as well as their underlying cultural presuppositions. Because Lear refuses to grasp the obvious, the narrative progress of the play is temporarily interrupted and permanently veers off course. Although on occasion we can thematize aspects of our lifeworld, the lifeworld as a whole cannot be subject to scrutiny; it is the totality of certainties, skills, practices, and interpretative frames that we take for granted as we each find our way in the everyday worlds that form the changing horizons of our experience. I take it for granted that too many cooks spoil the broth; telephoning is a skill I do not puzzle over; waiting patiently in line is a social behavior I practice without thinking; with no special effort, I interpret the intimacy of a couple’s relationship by the way they publicly behave toward each other.The lifeworld, a concept initiated by Edmund Husserl and elaborated by Alfred Schütz, Martin Heidegger, and Jürgen Habermas, has been largely neglected by rhetorical theorists and critics. It is the purpose of this paper to show that remedying this neglect opens up fruitful avenues of critical practice and theory. I proceed, first, by defining the lifeworld. Next, I shift perspectives: I analyze how collectivities make sense of their lives by telling stories about themselves grounded in their lifeworld values. It is in the lifeworld’s role in storytelling that, I claim, Aristotle’s Rhetoric becomes an important part of the picture. This is because the Rhetoric is, at bottom, a theory of the way lifeworld values enter into the public sphere. This characterization of the Rhetoric permits us to reconcile two important instantiations of the lifeworld, Habermas’s and Aristotle’s, a reconciliation in which communicative action becomes a special case of rhetorical interaction. Finally, from the perspective of the lifeworld, I reflect on the significance of an exemplary case of the construction of collective identity, the Selma march. [End Page 119]Defining the LifeworldEdmund Husserl’s The Crisis of the European Sciences contains the first explicit philosophical analysis of the lifeworld as “the world that is constantly pregiven, valid constantly and in advance as existing.... Every end presupposes it; even the universal end of knowing it in scientific truth presupposes it, and in advance” (1970, 382). Because the lifeworld is presupposed in everyday communication, it can be entered only by disciplined reflection: “Contemplation is privileged to the extent that it reveals the structures of the world and has them as theme” (1973, 65). Although the lifeworld... (shrink)

Narrative Identity in Metaphysics

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No-Self, Dōgen, the Senika Doctrine, and Western Views of Soul.Gerhard Faden - 2011 - Buddhist-Christian Studies 31:41-54.

In lieu of an abstract, here is a brief excerpt of the content:No-Self, Dōgen, the Senika Doctrine, and Western Views of SoulGerhard FadenNo-Self Versus SoulFrom the very beginning of Buddhism, the concept of no-self (P. anattā, J. muga) has been at the heart of Buddhist thought. Based on this concept, Buddhist apologetics rejected the concept of Atman in the Upanishads as well as Western concepts of soul. Christian authors, on the other hand, see an unbridgeable abyss between what they (...) call "Christian personalism" and Buddhist "rejection of souls."1 However, is there really such a clear-cut distinction? Posing this question means denying it. The no-self doctrine is one of the most intricate concepts within philosophy, and words like "self" and "soul" have countless interpretations. It seems to me that the Buddhist tradition itself has not always realized the crucial point of its fundamental doctrine, just as the Western concepts of "person" and "soul" more often than not fell behind the achievements of Plato and the New Testament. Especially the Theravāda line of Buddhism has developed a very counterintuitive picture of what it is to be a human person. "There is suffering, but there is no self who suffers." The most outstanding philosopher of Mahāyāna Buddhism, Nāgārjuna (ca. 150-250), introduced a more convincing interpretation when he said that according to Buddha the self or soul does neither exist nor not exist. This interpretation too, no less than the Theravāda doctrine, can refer to the early epoch of Buddhism. In the Pāli suttas a monk named Vacchagotta asked the Buddha, "Is there a self?" The Buddha gave no response. Then Vacchagotta asked, "Is there no self?" Again the Buddha was silent.2 In any case, the teaching of no-self leaves room for many divergent interpretations. In this paper, I shall propose to understand it as an original view of what is my true being, a view that has analogues in traditional Western philosophy. The truth is one; philosophy has to demonstrate that the different doctrines are nothing but aspects of a single universe. As for the dogmatic tenets of each religion, I would propose to see them like educators of the individual's thought: they set limits, develop abilities, suggest lines of sight, and the like. [End Page 41]The Concept of No-self in Pāli BuddhismIn the limited space of this essay, I can only give some marginal remarks. For a first approach, let us look at the origins of the no-self concept in the scriptures of Pāli Buddhism. They show clearly the aim of that doctrine: it consists in the liberation from objectifying theories of the soul. In the canonical texts, we find repeatedly the formula of rejecting the five aggregates, the so-called "heaps" (Skt. skhandha, P. khandha) that form the phantom of a persistent ego: body, sensation, conceptualization, volitions, and consciousness. None of these things is really mine. The Buddha tells to his disciples as follows: "Suppose, bhikkhus, people were to carry off the grass, sticks, branches, and foliage in this Jeta's Grove, or to burn them, or to do with them as they wish. Would you think: 'People are carrying us off, or burning us, or doing with us as they wish'?" Of course, the disciples do not think so. It is neither their self nor what belongs to their self. In the same way, the Buddha instructs them to think, the ear is not yours, and the mind is not yours, and so on, and to abandon it all.3In other words, by the teaching of anattā the Buddha invites his disciples to cease identifying their true being with things like body or consciousness. Only what really is mine can be my self. The khandhas seem to be mine. To a certain degree, I can dispose of them. However, really they are not mine; on the contrary, they are my master. The teaching of no-self does not originally mean there is no self, but nothing in this world can be my self. What is my self can never be taken from me. I cannot dispose of it, and on the other... (shrink)

Dōgen in Asian Philosophy

20th Century Continental Philosophy in 20th Century Philosophy

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A New Negentropic Subject: Reviewing Michel Serres' Biogea.A. Staley Groves - 2012 - Continent 2 (2):155-158.

continent. 2.2 (2012): 155–158 Michel Serres. Biogea . Trans. Randolph Burks. Minneapolis: Univocal Publishing. 2012. 200 pp. | ISBN 9781937561086 | $22.95 Conveying to potential readers the significance of a book puts me at risk of glad handing. It’s not in my interest to laud the undeserving, especially on the pages of this journal. This is not a sales pitch, but rather an affirmation of a necessary work on very troubled terms: human, earth, nature, and the problematic world we made. (...) It is this world that aspirates the silence (so to speak), and therefore the subject which, along with the development of the “made world” exports the excess augmentation of the cosmically missing, this silence of the natural, et cetera. Had we learned from Locke that lesson of “labor,” to consume what we need… but perhaps we need more than what matters? Serres’ Biogea has several functions on this manner, if it is indeed a book to be consumed. First, readers searching for novelistic entertainment have a place to dwell. Biogea deserves a place in your back pocket; biographical generosity and poetic fluidity should satisfy most textual fetishes. For lay philosophers who want to refresh their acumen, Biogea deserves a place on the book shelf, one already reads a sorely needed postmodern tune-up here. Serres’ style is clearly French; he leaves few cheese crumbs on his words, rather preciseness and breathing in the work give way to a sweeping manner that breaks the narrative line of sight. A circular narrative and anachronistic fragmentation of terms allows an abyssal atmosphere to swell, if only to pump into the book the externality of its broader text. Biogea aspires to a higher standard and the book, at times, is thinking this negentropic problem too. Univocal, the publisher, has crafted a book appropriate for the hands to hold and the translations are an achievement of an otherwise difficult writer to translate. Terms are the conditions of a broader text. It is important to note that Serres’ content is as much a thinking of terminal ports. There is a regard for the transportation technology of the written word. For me, this is the mark of genius, a craftiness that tells of a book device that I may trust. Serres is an accomplished thinker and a necessary voice to check the putative trendiness of anti-postmodernist and market-driven theory of endless cultural liquidation. Offering interventions on subjectivity as an open system we are given a chance to affirm the human, not merely to discard it, but to engage its poetic image emotion, the calibratory silent sense of the analogic world; the terms on which we base our efforts. 1 The human is the center of its own negation, constantly mediating it. Something deeper at stake appears in the work then, and it is quite obvious from the onset. Certainly, a book is an intensification of possible text and those who brought this actual book into existence have captured a rarity in regards to the subject matter and artistic accomplishment. I mentioned terms as conditions, so let us understand Biogea as bio-yea, a yes to bios . An affirmation of living and accepting presence for all of its defiance of images, words, and things temporal. Therefore Serres’ existence and its existants plays parts; out of linearity and still like a porous bone pumping blood it manufactures into the fleshy life it becomes. Starting from a man named silence chaos emerges, or the man “Old Taciturn” takes up a journey anticipating a great flood. In other words, a development akin to the one in Genesis. In dealing with this ancestral occupation, fusing Genesis with contemporary philosophical terms, Serres initiates this anachronistic fragmentation under the forming subjectivity of his own autobiography. This mutation in the open system is precisely one of Serres’ terms. There an abyss is at work, stated, but also measured by heels on the ground—the abyss dispatching earthen tensions, that which plays our tunes, that which we abide by and recognize in volcanoes, rivers, oceans, earthquakes and weaponry in the battles of the world. Set in later stages of the book, such tensions are harnessed through scientific principles in an attempt to unify the terms of natural force if only to terminate the world. Thus the elevation of the earth into the world is clearly set forth. Here already, and few pages in, a resonance is set forth under appellations such as the river Garonne, a subjectivity as much as it is inhuman, the river is the inhuman that makes us human. I get the sense that Serres is taking up a challenge issued by Wallace Stevens; namely, that the great poems of heaven and hell have been written, but that only the poem of the earth has resisted composition. 2 On this level we cannot avoid the killing factor of silence, given that our cognition blocks its pure, radical obliteration. Thus a silence of attunement to the earth is in a novel dialectic of the rithmic and rhythm. A technological world, a triumph of termination is set forth. If a text imposes its will given the reader who authorizes it, it is made to convey or convect a presupposition to a reader or its inhabitant(s). Text is therefore both, in-content, contenting, contentedness, and in reading it, a way to navigate self-destruction (dis-content). Here then would one note that the “inhuman” reveals itself, “an aperiodic rhythm of lovers and beloved…the sea as our friend…but as our enemy…maternal vivifying sea.” The sea is an open book, or vaginal birth canal, where the engagement of text comes forth: “…woman sea, open vulva.” One sees like the sea, but only after it, when the uninhabitable truth of inhabiting it switches the polarity of the sailors soul: “I was seeing like the sea” (9-11). In other words, we are invited to embrace the nonsense of the visible. At this point I am taken to Jean-François Lyotard’s work The Inhuman , specifically the first entry on negentropy that would be congruent with Serres’ thematic. 3 The human being exports, deports, or transplants its relation through text, through the system— and this is its sense or relation to silence, to music. Unaware of Serres’ proximity to this work, the concept of gender interrelation as regards a solar catastrophe runs clear. It would be, on this basis, that Serres references his peers, the other texts that, as mentioned above, are discarded in philosophy today. For students of philosophy what we have here is perhaps a gift, a needed project. If silence and death are at work, there is a political valence to deal with, and here, much like the domain of the text and the dominion of the reader, we confront the world of natural, fluid violence. The anti-postmodernist critique is in part based on a weak idea that the loss of ideology, of a world vision, motivates the “correlationist” project. 4 Serres seems to offer another way to view this when he notes that whereas persons “sometimes kill,” it is clearly “the collective” that “always kills” (17). What is the collective today, if not an organizing function we never see yet acts in its favor in the name of truth? One feels a sense of enigma here, if only to link to what Stevens remarked of communism as a “grubby faith,” providing this applies for capitalism as well, namely any ideology of progress overly interested in absolutes. Here we get the sense that the inhuman, silence, this type of killing, always killing, could not be matched by human-made, political dynamos. Or that if it comes to an equilibrium, a catastrophe is never too far from us to read with our heels. We are left to note that the forces of nature presuppose and permeate political systems, the more these systems obtain force, the more the system takes upon itself the proper name of nature that motivates its dissemination, albeit falsely. This note, that in an age of ecocide and technological captivity (sustainability and transparency) political regimes won’t grow our soul-learning ears any larger than our tongues, stands clear to us. The promise of technological desubjectification is here pushed aside. Regarding politics, Serres illustrates this fact: Where did this corpse come from? Who was it? Who killed it? I don’t know. I won’t try to find out. I refuse to get vengeance for it. And I only see Garonne. For our victims, today, are the rivers, too. Their waters have irrigated my life, enchanted my thought, invigorated my body; I’ve known them to be threatening, untamable, as dangerous as the sea when it rages. Yes, murderous. They decided to control their courses; dams, sometimes senseless, destroying sites and valleys, reduced entire populations to servile displacements; programs for the irrigation of thirsty farmland, often beneficial of course, completed their drying up.(22) Serres enters into his idea concerning the captivity of language from the natural into a world system: For thousands of years, we have been licking things with our tongues, covering and daubing them so as to appropriate things for ourselves. If language boils down to a convention, this convention took place between the speakers without consulting the thing named, become as a result the property of those who covered it in this way with their drawn or voiced productions. Malfeasance analyzes these acts of appropriation. Thus every inert object, every living thing as well, sleeps under the covers of signs, a little in the way that, today, a thousand posters shouting messages and ugly riots of color drown, with their filthy flood, the landscapes, or better, exclude them from perception because the meaning, almost nil, of this false language and these base images forms an irresistible source of attraction to our neurons and eyes. This appropriation covers the world’s beauty with ugliness. (38-39) Technological concealment coming to bear, we begin to get a sense of another commentary on the condition of sensing, driving home the necessity of a text dealing with such subject matter to be what its terms insist. Thus toward new openings: The new opening. As low beneath our feet as you like, the Biogea opens us to another space, high enough for us to be able to acquire a wisdom there, that of redeveloping this same place differently from our fathers, this place that’s still politically cut up by old hatreds, beneath the flood of tears and blood that we call history. Without this soft place, spiritually very old, but newly conceived in this way, without the juridical construction of a common good, opposed to our filthy ownership, I don’t see how our planet, hard, will survive. Hardness that depends on a softness, material belonging that depends on this temporary rented location (51). Serres enters into a summit on the content and the structure of his work. Archimedes is brought in with the concept of three volcanoes. Meaning fire, but as well earth, water, air. For it was Archimedes’ war machines that sought to lift the earth, thus bringing in the question of principles of science: “can a principle be invented while controlling its consequences?” (66-7). May the earth be put in a sentence, terminated by terminology, appellations, gone wild? By means of these element-dominating laws, this old physicist began to tear nature away from the ancient myths; by a strange return, today we’re plunging our successes back into the anxieties and terrors from which that ancient physics was born. Yes, our new history of science and technology is plunging, today, as though in a loop, into the fundamental human myths from which Empedocles’ first laws came. A major progression and a regression on the nether side of the origins. Consequently, the contemporary time requires that we try to return to that unity in which the principles of hate and love are at the same time human, living, inert and global. We will never attain a deontology of our knowledge and actions without thinking the subjective, the objective, the collective, and the cognitive all together simultaneously. Here, hate and love are the result of these four components.(71) Working then on the concept of fire-starting mirrors to the atomic annihilation of the Second War, Serres works into the subjectivity in question on the matter of rhythm—say rithmic— precisely at that point: Knowledge is changing today. The all-political is dying; the monarchy of the sciences said to be hard is coming to a close. The science of the things of the world will have to communicate just as much as the things of the world do, which do it much better than humans do, who don’t always want to do it. Let’s celebrate two changes this morning. The first one strikes a new blow to our narcissism. No, knowledge and the world don’t resemble our analytical enjoyments of refined cutting up, of endless debates and of exclusions full of hate. They, on the contrary, form a bloc and a sum, alliance and alloys. Uniting the fields of knowledge among themselves the way the things are connected among themselves, the second newness puts into place sets united by interlacing, webs and simplexes that combine with the things of the world, themselves combined, the combined knowledge that understands them.(130-1) Biogea closes on its opening flood thematic, approaching the initial telos of Genesis. Here the trees are brought into a position with atmosphere, the opaque abyssal reservoir, the tomb of the sun, sea in the polarity of the earthen heaven and hell. The poem of the earth then is silent but deadly, indeed, as funny as that phrase is, mainly a tomb gas. The meaning of the living and the non-meaning of things converge in the muteness of the world; this meaning and non-meaning plunge there and come out, the ultimate eddy. Mundus patet: through a fissure, through an opening, a fault, a cleft come noises, calls as small as these apertures. I’m listening, attentive, I’m translating, I’m advancing in the scaled-down meaning and science. Mundus patet: should the world open greatly, it will launch me into its silence. The totality remains silent. Knowledge expanded in elation. White origin of meaning, fountain of joy. (198) Final Remarks One test of a review is the long term trajectory the referee thinks the book will have. I see Serres’ text lending greatly into the vision of Biogea . In fact, in the vision of the novel inquiries of Stephen Jay Gould’s work there is something to be thought on the level of the individual and the species; namely, that humanity and its uniqueness is in its deferral, its thinking and naming, a thinking surrounded by silence that filters into everything, that pulls us through the world, the kinetic pulse we recognize, and all of that we cleave away in the base philosophical maxim of difference itself. Unique individuals are spatial creatures: we dwell, and we ought to get good at it. Yet this is an imaginative space that, if you are crazy enough to believe it, de-term-ine the conditions of its own terms. That is why we are not merely creating spaces on the acceleration of time, or so this ignoramus thinks, to accidentally transcend. Imagination already has this insatiable silence that we drink up and fail to manifest. Space is timeless. The imagination itself, shared by humans for themselves, their objects, and the species as a whole, is a non-defined space of relation; a whole human trajectory as part of nature, and part of worlds that are the other side of thinking nature, the consequence of it, at least our attempt to do so. Our survival is based on our deliberation, our caution, our natural deconstructive sense toward this silence that is already part of the song, sung, singing of this century without end. Good books will let us inhabit this space and recognize a form of life. Serres’ text moves toward dwelling, as noted, in masterful and accessible ways. The pitched battles are the falling replays of anemic and dead politics. As soon as we realize there is humanity, we may be able to enjoy the end of it, our inhuman capability of listening to silence. NOTES 1. See Michel Serres. The Parasite . Minneapolis: University of Minnesota Press. 2007. 2. Wallace Stevens, “Imagination as Value” [ca. 1945], in Collected Poetry and Prose . New York: The Library of America. 1997. 724-39. 3. Jean-François Lyotard. The Inhuman: Reflections on Time . Trans. Geoffrey Bennington & Rachel Bowlby. Stanford, CA: Stanford University Press. 1992. 4. See the introduction: Quentin Melliassoux. After Finitude: An Essay on the Necessity of Contingency . Trans. Ray Brassier. New York: Continuum. 2008. EDITOR'S NOTE: This review was updated on August 8, 2012. Substantial edits include block quotes from the book under review as well as the inclusion of comments from the author. (shrink)

Poststructuralism in Continental Philosophy

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“You Would Not Seek Me If You Had Not Found Me”—Another Pascalian Response to the Problem of Divine Hiddenness.Jean-Baptiste Guillon - 2021 - Roczniki Filozoficzne 69 (3):163-214.

One version of the Problem of Divine Hiddenness is about people who are looking for God and are distressed about not finding him. Having in mind such distressed God-seekers, Blaise Pascal imagined Jesus telling them the following: “Take comfort; you would not seek me if you had not found me.” This is what I call the Pascalian Conditional of Hiddenness (PCH). In the first part of this paper, I argue that the PCH leads to a new interpretation of (...)

Divine Hiddenness in Philosophy of Religion

Varieties of Emotion in Philosophy of Mind

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On Love and Poetry—Or, Where Philosophers Fear to Tread.Jeremy Fernando - 2011 - Continent 1 (1):27-32.

continent. 1.1 (2011): 27-32. “My”—what does this word designate? Not what belongs to me, but what I belong to,what contains my whole being, which is mine insofar as I belong to it. Søren Kierkegaard. The Seducer’s Diary . I can’t sleep till I devour you / And I’ll love you, if you let me… Marilyn Manson “Devour” The role of poetry in the relationalities between people has a long history—from epic poetry recounting tales of yore; (...) to emotive lyric poetry; to rude, irreverent limericks; to Hallmark cards which have ditties that allow one to cringe, and somehow fall in love at the same moment. Without going into a notion of aesthetics, or attempting to choose which form of poetry is superior, we might want to consider why the form of poetry itself has long been a part of relationality. And whilst doing so, we might always keep in mind that poetry—especially poetry that moves, transports us—is the form that Plato has been warning us about, particularly if we want to become good citizens.As Avital Ronell teaches us in Stupidity : the poet, irremediably split between exaltation and vulgarity, between the autonomy that produces the concept within intuition and the foolish earthly being, functions as a contaminant for philosophy—a being who at least since Plato, has been trying to read and master an eviction notice served by philosophy. The poet as genius continues to threaten and fascinate, menacing the philosopher with the beyond of knowledge. Philosophy cringes (287). And considering that the philosopher is the lover of wisdom, we might begin to ask ourselves why one lover is warning against another—if the philosopher is in love with wisdom, then is the poet perhaps his rival, his challenger, for that very love? For, one must also remember that Plato—through Socrates—mentions constantly that Homer is his favourite. Moreover, by adopting both his own voice, whilst mixing it with Socrates’, Plato is adopting the form of poetry that he warns most about—the warning almost serves more as a homage to poetry than anything else. Here, we might open the register that one of the main reasons that he ejects a particular kind of poet is on the grounds of effecting effeminacy on the populace—good poetry moves you, affects you, transports you, shifts you beyond reason, puts you “out of your mind.” However, Plato also teaches us that rhetoric in its highest form requires divine inspiration by way of the daemon, or the muse. This moment of divine intervention is one that seizes—perhaps even ceases—you; putting you “beyond yourself.” In other words, a good rhetorician must always already be open to the possibility of otherness—the same otherness that possibly resides in the feminine. One could also trace this back to the poet that he both loved, and feared, most—Homer. Perhaps the effect of effeminacy that Homer's poetry opened is precisely the source of its power: through listening to Homer, one's body, one’s habitus is opened to the possibility of the feminine. And here, one must remember that the source of all learning—and all teaching—also lies in mimesis, in repetition, in habit. Once the habitus is opened to the possibility of invasion, of intervention, of otherness, there is quite possibly no possibility of distinguishing whether the mimesis is that of reproduction, or if there is always already a productive aspect to it. And by extension, if learning cannot be controlled, the very notion of teaching itself is shifted from a master-student relationality to one where the master is potentially changed as well—the relationality between the master and the student is not only inter-changing, but one cannot even know who is teaching, or learning, at any point. All that can be said is that they are in a relationality; which means that one is ultimately unable to locate the locus of knowledge, of wisdom—the site of which Plato is attempting to convince us is the sole domain of the philosopher. And it is this that philosophy is cringing from. To compound matters, philosophy is striving for wisdom; which can only come from the Gods. In other words, this is a gift that has to be bestowed on them—and more than that, wisdom is always already exterior to one’s control and knowledge. At best, it is the role of one to recognise the gift, to answer the call as it were. Here, if we listen carefully, we can hear the echo of Alexander Graham Bell, and the telephone. And as we are attempting to respond to the call of wisdom—the call that both poetry and philosophy are listening out for—it might be helpful to recall the agreement between Alexander Graham Bell and his brother Melville. In the biography, Alexander Graham Bell and the Conquest of Solitude , Robert V. Bruce notes that Aleck and Melly made a “solemn compact that whichever of us should die first would endeavour to communication with the other if it were possible to do so” (63). Since Melville was the one who passed on first, this pact put the onus on Aleck to receive the call of his brother. If you take into consideration the fact that until Melville’s death, both brothers had been working on an early prototype of the telephone, the instrument of distant sound can be read as an attempt by Aleck to maintain the possibility of keeping in touch with Melly, of hearing the voice from beyond. However, this was a connection that was not premised on any knowing, reason, or rationality; it was rather, one that was based on hope, and born out of love. And here, if we eves-drop on a cross-line with The Telephone Book , we can pick up the voice of Avital Ronell once again and hear, “the connection to the other is a reading—not an interpretation, assimilation, or even a hermeneutic understanding, but a reading” (380). In other words, the telephone can be read as the openness to the possibility of responding to the other; one that might always remain unknown. Even in this day of caller-identification, we can never know for sure who the other person on the line is until we pick up: hence, the only decision we can make—the effects of which we remain blind to until it affects us—is to either pick up or not, to either respond or not. And it is not as if the decision to pick up comes without risks: each time we answer a call, we run the risk of it ruining our day. Even when we don’t know who the caller is, perhaps especially when we don’t know who the person on the other end of the line is—and here one only has to think of prank calls—we are leaving ourselves completely open to being affected by another. Thus, philosophy finds itself in the position of Vladimir and Estragon. Since they have no idea who Godot is, they can never know if or when he shows up—thus, if he (and we are taking his gender on the word of the boy, some boy—we don’t even know if it is the same boy—who comes round in the evening) has already come, they would not be in the position to know it. And even if someone comes to them and announces that “I am Godot,” the wait would not be over—without referentiality to the name, they would have to take on faith that that person is indeed Godot. Hence, all they can know is that they are waiting for Godot; and Godot is the name of that waiting itself. All philosophy can know is that it is waiting; and wisdom is the name of that waiting itself. Which brings us to Tina Turner’s eternal question, “what’s love got to do, got to do with it?” In order to begin to consider that, we have to first attempt to examine the notion of love itself. Perhaps we might begin to consider what the difficulty of the statement “I love you.” For, if love is a relationality between two persons—both of whom remain singular, and are attempting to respond to each other—this suggests that neither of them subsume the other under themselves. In other words, the other remains wholly other. If this is so, then the “you” in the statement always remains shrouded in mystery. And even if the “you” was replaced with the name of the person, the veiling remains: for, names refer both to the singularity that is the person, and also every other person bearing that name, at exactly the same time. To compound matters, the only time one has to utter a persons name is in their absence—thus, the correspondence of a name to that particular person is at best an affect of memory. And if we consider the notion of memory, we have to also open the register of forgetting—bringing along with it the problem that there is no object to forgetting. For instance, when one utters “I forgot,” all one is uttering is the fact that one has forgotten, and nothing more—the moment there is an object to the statement, one has strictly speaking remembered what one has forgotten. Moreover, we have no control over when forgetting happens to us. And since it is always already exterior to us, affects us, and has no necessary object, there is no reason to believe that every moment of memory might not bring with it a moment of forgetting. Hence, whenever we utter a name—even if we accept the correspondence between the utterance and the person in front of us—all we are doing is uttering the fact that we are naming. Thus, it is not so much that ‘a rose by any other name would smell as sweet’ but more appropriately, ‘a rose is a rose is a rose’—the relationality between its name and the phenomenon of its sweet smell can only be established after that moment of naming, that instance of catachresis. So, whenever one utters “I love you,” not only is it a performative statement, it is the very naming of that love—all you are doing is establishing a relationality between you and the other. And since there is no necessary referent—one is naming that referentiality as one utters it—this suggests that it is always already a symbolic statement; without which the mystery of the other cannot me maintained. In other words, one cannot love the other without maintaining this symbolic distance—through a ritual; in this case the utterance “I love you.” This might be why Valentine’s Day seems to provoke such a massive reaction: the most common one from people (besides florists) being, Valentine’s Day is mere commercialism. Those among the nay-sayers who maintain a soft spot for Karl Marx would proceed to call it the commodification of relationships; those who prefer the Gods would claim that the sanctity of relationships has been profaned; the gender theorists would note how the fact that males buy the gifts only serves to highlight the unequal power-relation between the genders. Whichever side and variation of the arguments they choose boils down to this: the discomfort lies in the fact that they are confronted with the notion of relationships moving into a mediated sphere. The underlying logic is that love is between two persons only; it should not only remain between them, but more pertinently, be an unmediated experience between two persons. Which of course completely misses the point. For, if we reopen the register that relationships are the result of a negotiation between two persons, there must then be a space between them for this very negotiation to occur. Otherwise, all that is happening is, one person is subsuming the other within their own sphere of understanding; effectively effacing the other. If that were the case, there would no longer be any relationality; all negotiation is gone and the other person is a mere extension of the self—one is in a masturbatory relationality with one’s imaginary. Hence, any relationship must always already carry with it the unknown, and possibly always unknowable. The other person is an enigma, remains—must remain—enigmatic to you. This is the only way in which the proclamation “I love you” remains singular, remains a love that is about the person as a singular person—and not merely about the qualities of the person, what the person is. For, if the mystery of the other is unveiled, then the love for the other person is also a completely transparent love: one that you can know thoroughly, calculate; a check-list. And if they are knowable, this suggests that they can also be negated, and hence, the love can also go away. Only when the love for the other person is an enigmatic one, one that cannot be understood, can that love potentially be an event—and if it is an event, then strictly speaking, it cannot be known before it happens; at best, it can be glimpsed as it is happening, or perhaps even only realised retrospectively. At the point in which it happens, it is a love that comes from elsewhere: this strange phenomenon is best captured in the colloquial phrase, I was struck by love;” or even more so by, “I was blinded by love.” This is a blinding to not only the subject of the encounter—the self—but also of the very object of that encounter, the “you”—all that can be said is that there is an encounter. And it is for this reason Cupid is blind: not just because love is random (and can happen to anyone at any time), but more importantly because even after it happens, both the reason you are in love, and the person you are in love with, remain blind to you. Since there is an unknowable relationality with the other person, the only way you can approach it is through a ritual. This is the lesson that religions have taught us: since one is never able to phenomenally experience the God(s), one has no choice but to approach them symbolically. These rituals are strictly speaking meaningless—the actual content is interchangeable—as it is the form that is important. Rituals allow us momentary glimpses at secrets; and secrets are never about their content(s). Rather, secrets entail the recognition that they are secrets; the secret lies in their form as secret. This can be seen when we consider how group secrets work: since the entire group knows the secret, clearly the content of the secret is not as important as the fact that only members within the group are privy to this secret. Occasionally the actual content can be so trivial that even other people outside the group might know the information; they just do not realize its significance. For instance, if I used my date of birth as my bank-account password, merely knowing when I was born would not instantly give you the key to my life savings. In order for that to happen, you would have had to recognise the significance of the knowledge of my birthday. This means that you have to know that you know something. Since the God(s) are, strictly speaking, unknowable, this suggests that rituals put one in a position to potentially experience the God(s). The meaningless gestures on Valentine’s Day play precisely this ritualised role. It is not so much what you give the other person, but the fact that you give it to them. The gift in this sense is very much akin to an offering; the gift opens the possibility of an exchange. Gift-giving does not guarantee that you will like what is returned; there is always a reciprocation of the gift, but what is returned to you is never known in advance, until the moment it is received. This means that the worst thing that one can do is not give the gift: that would be akin to a cutting off of all possibilities, a complete closing of all communication with the other person. This at the same time also means that you cannot wait for the other person to give you something before you get them their gift: if that were the scenario, the reciprocal gift would be nothing more than a calculated return. The only manner in which both persons can give true gifts is to offer them independently of the other person, whilst keeping them in mind. In this way, the two gifts are always already both uncalculated (in the sense of not knowing what the return is) and also a reciprocation for the other (without knowing whether the other person actually has a gift in the first place). Naturally, this would seem like an irrational, even stupid, way of buying gifts. But it is precisely the stupidity involved that saves the relationship from being banal—more importantly, stupidity prevents it from entering the mere profane. This is not to say that an enigmatic love cannot end—of course it can. However, the difference lies in the fact that if the relationality is wholly transparent, it is subsumed under reason—completely predictable, within the self, and thus never open to the possibility of otherness, exteriority, musing. A love that is an event is one that is also open to the possibility of the divine, the sacred—always already closer to the possibility of wisdom. If we establish that both love and wisdom are exterior, to our knowledge, and the finitude to our selves, this suggests that both are names for the possibility of openness to otherness. In other words, and what choice do we have here but to use the words of the other, the philosopher—the lover of wisdom—is a name for one who is waiting, and nothing more. But that still leaves us with the question of this uncomfortable relationality between philosophy and poetry. But before we address that question, we have to take a momentary detour, and consider the whether it is possible to call one a poet. For, if we take the notion of a poet to be one who reaches the highest levels of rhetoric (beyond the lawyer, and the orator, who only aim to either please the crowds, or convince by way of sophistry), then we must also acknowledge that one can only become a poet at the moment of seizing, the point of inspiration, by the muses. Without this divine moment, all (s)he can do is practice her craft. As no one can control when the muses make their appearance, one could always be practising in vain—in some way, one is always already practising to be least in the way when the muse whispers into one’s ear; one is practising so as not to be vain. And since one cannot know when the muse will appear, there is no time frame to the practising—unlike the lawyer who speaks against a clock, poetry knows no time; the only time that matters is the time appropriate to poetry itself. Thus, all the poet (if one can use this term) is practising for the possibility of effacing her/him self—and waiting. Thus, in order for poetry to occur, in order to be seized, the poet—along with all her concerns—must cease. In other words, there is no poet; there is only the possibility of poetry. However, even as there is no time frame to this waiting, even as all we can say is that poetry is a name for waiting, the one who is practising is always already also in time. And since (s)he is in a symbolic relationality with the possibility of poetry, this suggests that the practising is her sacrifice, and time is precisely what she is sacrificing. Here, it might be helpful to turn to a strange source when it comes to poetry—Georges Bataille—and consider his teachings in the first volume of The Accursed Share where he reminds us that, the “essence [of sacrifice] is to consume profitlessly .” This is where each exchange is beyond rationality, beyond calculability, beyond reason itself, “unsubordinated to the ‘real’ order and occupied only with the present.” He continues: Sacrifice destroys that which it consecrates. It does not have to destroy as fire does; only the tie that connected the offering to the world of profitable activity is severed, but this separation has the sense of a definitive consumption; the consecrated offering cannot be restored to the real order.” (58) Since there is no need for a physical change in the object of sacrifice—“it does not have to destroy as fire does”—this suggests that the tie is severed symbolically. Hence, there is an aspect of trans-substantiation in this sacrifice: the form remains the same; in fact there is no perceivable change—this is the point at which all phenomenology fails—but there is always already a difference, an absolute separation from the “real order,” from logic, calculability, reason. The object of sacrifice, the victim [,] is a surplus taken from the mass of useful wealth…Once chosen, he is the accursed share , destined for violent consumption. But the curse tears him away from the order of things…” (59). And it is this tearing away from the order of things—the order of rationality—that “restores to the sacred world that which servile use has degraded, rendered profane” (55). For, only when it is no longer useful, when it is no longer abstracted—subjected, subsumed under—merely a use-value, can the object be an object as such, can a subject be a subject as such; be a singularity. Thus, it is never so much who or what is sacrificed, but the fact that there is a sacrifice. So even as (s)he is sacrificing her time to poetry, it is always already beyond her knowledge whether what (s)he is doing is actually preparing her for poetry or not—all (s)he can know is that she is sacrificing and nothing more. Hence, all (s)he can do is to open her self to the possibility of this relationality—all (s)he can do is be in love with poetry. At the moment the muse whispers into her ear, (s)he ceases to be, and becomes a medium for poetry—and since this possession is always already beyond our cognitive knowledge, this is also a moment of divine wisdom. In other words, there is no difference between poetry and wisdom—the moment of poetry is the moment of wisdom. And this might be the very reason for the philosopher’s aversion to poets. Not so much because they may corrupt the youth (this is after all the aim of all thinking, all philosophy), but precisely because in order to do so, the philosopher must wait for a moment of possession, for divine musing, for poetry. Hence, all thought, all thinking, all philosophy, is nothing but the waiting for the possibility of poetry itself. (shrink)

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Tell Us What You Really Think: A think aloud protocol analysis of the verbal cognitive reflection test.Nick Byrd, Brianna Joseph, Gabriela Gongora & Miroslav Sirota - 2023 - Journal of Intelligence 11 (4).

The standard interpretation of cognitive reflection tests assumes that correct responses are reflective and lured responses are unreflective. However, prior process-tracing of mathematical reflection tests has cast doubt on this interpretation. In two studies (N = 201), we deployed a validated think-aloud protocol in-person and online to test how this assumption is satisfied by the new, validated, less familiar, and less mathematical verbal Cognitive Reflection Test (vCRT). Importantly, thinking aloud did not disrupt test performance compared to a control group. (...)

Cognitive Sciences

Experimental Philosophy, Misc in Metaphilosophy

Introspection and Introspectionism in Philosophy of Cognitive Science

Measurement in Science in General Philosophy of Science

Reflective Equilibrium in Meta-Ethics

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Texas House Bill 2.Rachel Hill - 2015 - Voices in Bioethics 1.

In 1992, the United States Supreme Court, in Planned Parenthood of Southeastern Pennsylvania v. Casey, upheld the ruling in Roe v. Wade, namely that women have a right “to choose to have an abortion before viability and to obtain it without undue interference from the State.”1 However, since this ruling, some states have imposed regulations that greatly limit this right by restricting access. Texas is a recent example of this. Two proposed restrictions in House Bill 2, which will be discussed (...) in detail below, will force all but eight clinics that are located in metropolitan areas to shut down. The U.S. Supreme Court put the proposed restrictions on hold in October 2014, allowing several clinics to remain open while the restrictions are being appealed in the U.S. Court of Appeals for the Fifth Circuit. If the restrictions are passed, however, those clinics will be forced to shut down and, as a result, many women in Texas will be required to travel more than 100 miles in order to access a safe and legal abortion. Much of the focus of these restrictions has been on women and rightly so. However, I want to turn the attention to physicians. The requirements exacerbate unfair treatment of abortion providers compared with other physicians. Abortion providers face threats from the public—some of which turn into violent attacks—and they are often ostracized by their fellow medical practitioners. There are so few abortion providers to begin with and the proposed requirements limit these physicians’ opportunities to practice the branch of medicine of their choosing. Although the HB 2 requirements may not result in an unconstitutional undue burden on physicians, the challenges created by the bill limit physicians’ abilities to provide abortions. As a result of these limits, HB 2 creates an unconstitutional undue burden for women seeking abortions by creating barriers directed at abortion providers and clinic staff who are willing and able to provide abortions. The first of the two controversial HB 2 requirements is the admitting privileges requirement: “A physician performing or inducing an abortion must, on the date the abortion is performed or induced, have active admitting privileges at a hospital that is located not further than 30 miles from the location at which the abortion is performed or induced.”2 The second requirement is the ambulatory surgical center requirement: “The minimum standards for an abortion facility must be equivalent to the minimum standards adopted under [Texas Health & Safety Code] [...] for ambulatory surgical centres.”3 In order to meet these state-mandated obligations, some abortion clinics would have to spend more than $1 million in upgrades if they wish to remain open. The District Court decided that the ambulatory surgical center requirement places an unconstitutional undue burden on women, and that the two requirements together place an undue burden on women in Texas and especially in the Rio Grande Valley where the nearest clinic is a couple hundred miles away.4 Later, the U.S. Court of Appeals for the Fifth Circuit reversed the District Court’s decision and argued, “the admitting privileges requirement is constitutional on its face.”5 While the regulations are being appealed, the Supreme Court granted a stay of injunction, allowing about twelve abortion clinics to reopen until a final decision regarding the regulations is made. The District Court ruled that the purpose of the two regulations was to create a substantial obstacle for women seeking abortions in Texas. While the defendants argued that the regulations were designed to make abortions safer and reduce risk, the Court decided that this was not the case. An abortion, especially a first-term abortion, is a very safe procedure and is safer than many other routine surgical procedures. As stated in Planned Parenthood v. Casey, “Unnecessary health regulations that have the purpose or effect of presenting a substantial obstacle to a woman seeking an abortion impose an undue burden on the right.”6 The undue burden in this case is imposed, not through restricting women’s access directly, but by restricting physicians’ freedom to perform abortions. The admitting privileges requirement has reduced the number of physicians who can perform abortions and the ambulatory surgical center requirement has reduced the number of clinics where abortions can be performed. The American Medical Association states, “[t]he Principles of Medical Ethics of the AMA do not prohibit a physician from performing an abortion in accordance with good medical practice and under circumstances that do not violate the law.”7 This means that physicians are not required to perform abortions, except in emergency situations, but can as long as the procedure is done safely and does not violate the law. The new Texas regulations, however, are so restrictive that few abortion providers, limited to only four urban areas, can legally perform abortions. Physicians do not have an absolute right to perform abortions as opposed to women who have an absolute right to have access to an abortion. Physicians do face many challenges that other professionals face in terms of obtaining qualifications and finding work. Abortion providers, however, face challenges that most other physicians do not. The restrictions imposed by these regulations exacerbate unfair treatment toward abortion providers and place further obstacles in their path in terms of providing the service they want and are qualified to provide. Both abortion clinics and abortion providers are being treated differently from other medical clinics and physicians. For instance, “grandfathering of existing facilities and the granting of waivers from specific requirements is prohibited for abortion providers, although other types of ambulatory surgical facilities are frequently granted waivers or are grandfathered.”8 Many abortion clinics cannot afford the necessary upgrades. Furthermore, it is extremely expensive to open a brand new clinic that complies with the ambulatory surgical center requirements. Being grandfathered in would be the only option available to abortion clinics that cannot afford the upgrade. However, unfair treatment of abortion clinics and providers is preventing those clinics from being grandfathered into the new system. As a result, many abortion clinics may be forced to close. Admitting privileges are proving difficult or impossible for physicians both to obtain and, for those who have already been granted privileges, to keep. Dr. Sherwood Lynn, an obstetrician-gynecologist who has performed abortions for decades, describes the process of obtaining admitting privileges and the difficulties abortion providers face. After sending in an application a physician must wait for the hospital to send them the required materials, “but if the address of the practice on the application is of an abortion provider or clinic, [the hospital] won’t send [them] the package of materials required. [They] simply can’t apply.”9 Dr. Lynn and several other physicians have surmised that hospitals are only withholding privileges from qualified physicians who perform abortions and that other physicians do not face this discriminatory treatment. Hospitals have also revoked privileges granted to physicians after learning that the physicians perform abortions. For instance, in Texas two doctors, “received notices [...] informing them that their admitting privileges to the University General Hospital of Dallas have been revoked, with the hospital’s CEO claiming the hospital was unaware they were providing abortion care and that the hospital believed such care would damage its reputation.”10 What is curious about this revocation is that, “federal and state laws [...] forbid hospitals from discriminating against doctors who perform abortions,” and yet hospitals are clearly doing just that.11 Dr. Pamela Richter, another abortion provider in Texas, had her temporary admitting privileges revoked with no explanation and because of this, the clinic where she performed abortions, Reproductive Services, can no longer provide abortions at all.12 As the hospital gave no reason for the revocation, it not clear Dr. Richter’s privileges were revoked because she performs abortions. Dr. Richter, however, has performed over 17,000 abortions and her privileges were revoked soon after HB 2 was introduced.13 According to the Texas Hospital Association, giving admitting privileges to doctors who do not work for the hospital is expensive and time-consuming but this does not account for the fact that hospitals are revoking previously granted privileges from physicians whom they learn are providing abortion services.14 As mentioned previously, the District Court found that the admitting privileges requirement and the ambulatory surgical center requirement do not further ensure the health and safety of women undergoing an abortion. Several physicians have testified to this fact. Dr. Lynn stated in an interview: The admitting privileges requirements are [...] absolutely unnecessary. If you have a number of patients waiting for procedures, and something happens and a patient needs to be transferred to a hospital, you’re not going to leave everyone else and go to the hospital. That makes no sense. You’re going to refer that person to a gynecologist at the hospital. There is no safety issue involved here. If a patient shows up with an emergency, every hospital is required to admit that patient. They have to by law.15 It is rare that complications will arise from an abortion performed in a clinic. Dr. Richter, for example, has performed more than 17,000 abortions and not once had to send a patient to a hospital because of complications resulting from the procedure. According to Dr. Lynn even if abortion providers were granted privileges to hospitals, it is unlikely that they will exercise them. In essence, having admitting privileges at a hospital does nothing to further ensure the safety of an already safe procedure. The only result of the admitting privileges requirement is to limit certain physicians’ ability to perform legal abortions. Not only do the HB 2 requirements fail to further ensure the health and safety of women, the HB 2 requirements may actually create more health risks to women who cannot access the eight remaining clinics. The first risk is that the remaining clinics would have an influx of patients that they may not be able to handle, forcing women to wait longer for an appointment. As stated by the District Court, “[e]ven assuming every woman in Texas who wants an abortion [...] could travel to one of the four metropolitan areas where abortions will still be available, the cumulative results of HB 2 are that, at most, eight providers would have to handle the abortion demand of the entire state.”16 Furthermore, “[t]hat the State suggests that these seven or eight providers could meet the demand of the entire state stretches credulity.”17 Abortion is a time sensitive procedure. It is safest when performed early in a pregnancy. The increase in patients to these remaining clinics, assuming all women in Texas can access them, will increase wait times and may force women to have abortions later in pregnancy. In the worst-case scenario, a woman would not see an abortion provider at all before viability. Such instances may be rare, but they are possible. In such cases, women’s access to legal abortions becomes impossible and thereby violate the ruling in Roe. Clinics may be able to avoid the aforementioned problems if they hire more physicians. However, there are two barriers to hiring more physicians. First, as mentioned previously, admitting privileges to Texas hospitals are difficult, if not impossible, for abortion providers to obtain. Second, given the negative treatment of abortion providers by anti-abortion groups, many physicians are not willing to perform abortions. The harassment abortion providers face is unique to those physicians and many physicians will not perform abortions for that reason. In an article published in the Austin Chronicle, anti- abortion activist Abby Johnson, “discusses how her group investigated appraisal district records to find the new location of where an Austin abortion physician plans to work.”18 Johnson states, “These abortionists are feeling the pressure from the pro-life movement in Texas. I think they feel like they’re on the run. And that’s how we want to keep it.”19 If the HB 2 requirements are passed and there remain at most eight abortion providers in Texas, these activists will concentrate on those clinics and, “the dangerous impact of their intimidation tactics will be exacerbated.”20 Even if the number of physicians needed to meet the demand in Texas can obtain admitting privileges and work at one of the remaining clinics, they may choose not to do such work because they are putting themselves at risk. The harm abortion providers face from such anti-abortion groups is not unique to Texas. There are stories from all over the country and from other countries where abortion is legal of physicians receiving death threats. Dr. George Tiller, an abortion provider in Kansas, was killed outside his church and had received numerous death threats prior to this. The HB 2 requirements are making it so that abortion providers either cannot provide their services any longer or will face increased threats and increased danger to themselves. Physicians are allowed to conscientiously object to providing medical interventions in certain circumstances for moral and religious reasons. However, there are limits on this right. According to the American Congress of Obstetricians and Gynecologists, “[w]hen conscientious refusals conflict with moral obligations that are central to the ethical practice of medicine, ethical care requires that the physician provide care despite reservations or that there be resources in place to allow the patient to gain access to care in the presence of conscientious refusal.”21 I would argue fear for one’s safety in the face of immediate threats is perhaps a stronger ground on which to refuse to provide care than a personal belief that abortion is immoral or against one’s religion. ACOG also states, “[p]roviders with moral or religious objections should either practice in proximity to individuals who do not share their views or ensure that referral processes are in place so that patients have access to the service that the physician does not wish to provide.”22 This responsibility has been largely disputed by the medical community but in cases of rape, incest, and health risks to women, referrals must be made without exception. However, under the requirements of HB 2, working in proximity to an abortion provider may not be possible because they are so geographically limited. Referrals are supposed to be made within reason. Some areas of Texas, such as the Rio Grande Valley, are up to 200 miles away from the nearest clinic that would remain open if HB 2 is passed. Referrals may simply not be feasible given the geographical distances and the decreasing number of available physicians. As mentioned above, there are two risks to the health and safety of women as a result of HB 2. The second of these is that if a woman cannot access one of the remaining clinics, she may seek out a more convenient but illegal and unsafe abortion, which is far more likely to result in a dangerous complication. Dr. Lynn states, “[b]ecause of the restrictions lawmakers impose, women will seek abortions illegally, and we’re going to see a rise in septic abortions.”23 Some areas of Texas might effectively revert back to a pre-Roe era where abortions were performed in unsanitary conditions by unqualified people resulting in dangerous medical complications far more often than legal abortion procedures do now. Physicians like Dr. Lynn who want to prevent this from happening generally cannot do so without facing legal sanction. Physicians have a duty to provide safe medical care and if they cannot obtain admitting privileges, they cannot exercise this duty. ACOG released a statement expressing their objections to the new requirements. They state that HB 2 is, “plainly intended to restrict the reproductive rights of women in Texas through a series of requirements that improperly regulate medical practice and interfere with the patient-physician relationship.”24 Executive Vice-President of ACOG, Hal C. Lawrence III stated: The Texas bills set a dangerous precedent of a legislature telling doctors how to practice medicine and how to care for individual patients. ACOG opposes legislative interference, and strongly believes that decisions about medical care must be based on scientific evidence and made by licensed medical professionals, not the state or federal government.25 Abortion is one of only a few areas of medicine where the legislature imposes so many regulations restricting particular physicians’ ability to practice medicine. Not only are abortions providers being regulated by the state, they are also facing clear discrimination from others within the medical community. The state is closing down clinics that do not meet the ambulatory surgical center requirements and hospitals are denying physicians admitting privileges because they perform abortions. In summary, abortion providers are being discriminated against both by the legislature and other members of the medical community. Other physicians who do not perform abortions are not denied admitting privileges on discriminatory grounds. Clinics that cannot afford upgrades to become an ambulatory surgical center are being grandfathered in, while abortion clinics are being forced to close down. Ob-Gyns who conscientiously object to performing abortions and who are not located in close proximity to at least one abortion provider cannot effectively fulfill their duty to refer patients. Lastly, given the barriers these regulations will create, there will likely be a rise in complications resulting from abortions provided under grossly unsafe conditions. Physicians, whose duty it is to provide safe and effective medical care, are being denied the right to exercise this duty. While this denial may not be unconstitutional, it is certainly unjust and discriminatory and creates obstacles that other physicians do not face. Most importantly, these obstacles are creating an undue burden for women. The HB 2 requirements do not increase the health and safety of abortions; all they do is create substantial obstacles for women. In light of these observations, the requirements seem to me to be in clear violation of Casey, in which it was decided that, “[u]nnecessary health regulations that have the purpose or effect of presenting a substantial obstacle to a woman seeking an abortion impose an undue burden on that right.”26 These regulations do just what Casey was meant to prohibit and this is accomplished through limiting physicians’ ability to practice safe abortions across the state of Texas. Therefore, the HB 2 requirements may not impose an undue burden on doctors but they do impose an undue burden on women. PDF available: Rachel Hill, "Texas HB 2," Voices in Bioethics. References: 1 Planned Parenthood of Southeastern Pennsylvania v. Casey, pg. 2. 2 Whole Women’s Health v. Lakey, pg. 2. 3 Ibid. 4 Ibid., 4. 5 Ibid., 2. 6 Planned Parenthood v. Casey, pg. 16 7 AMA Code of Medical Ethics, “Opinion 2.01 – Abortion,” American Medical Association. 8 Whole Women’s Health v. Lakey, pg. 10. 9 Dr. Sherwood Lynn, “A Texas Ob-Gyn Details the Horrific Consequences of Abortion Restrictions,” Cosmopolitan. 10 Feminist Newswire, “Texas Hospitals Revoke Admitting Privileges to Abortion Providers,” Feminist Majority Foundation Blog. 11 Ibid. 12 Ibid. 13 Ibid. 14 Glenn Hegar, “Texas Hospital Association’s Statement of Opposition to Section 2 of the Committee Substitute for Senate Bill 5,” Texas Hospital Association. 15 Dr. Lynn, “A Texas Ob-Gyn.” 16 Whole Women’s Health v. Lakey, pg. 10. 17 Ibid. 18 Mary Tuma, “Undercover Audio Reveals Anti-Abortion Tactics: Anti-abortion activists monitor and track providers, patients,” Austin Chronicle. 19 Ibid. 20 Ibid. 21 Committee on Ethics, “The Limits of Conscientious Refusal in Reproductive Medicine,” The American Congress of Obstetricians and Gynecologists. 22 Ibid. 23 Dr. Lynn, “A Texas Ob-Gyn.” 24 “Ob-Gyns Denounce Texas Abortion Legislation: Senate Bill 1 and House Bill 2 Set Dangerous Precedent,” The American Congress of Obstetricians and Gynecologists. 25 Ibid. 26 Planned Parenthood v. Casey, pg. 16. (shrink)

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20th Century French Philosophy in European Philosophy

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32

Kant without Sade.Francis Edward Sparshott - 1997 - Philosophy and Literature 21 (1):151-154.

In lieu of an abstract, here is a brief excerpt of the content:Kant without SadeFrancis SparshottErmanno Bencivenga’s discussion of “Kant’s Sadism” rests on a misrepresentation of Kant’s enterprise. 1 It presents Kantian morality as a matter of motivation, so that reason has to be pitted against desire. But Kant’s whole point is that, because the psychological causes of one’s actions can never be ascertained, they are irrelevant to morality. Morality is entirely a matter of the reasons for one’s actions, no (...) matter what one’s feelings. It is true that moral questions arise, morality exists, only for finite rational beings, who have inclinations that are relatively independent of the dictates of reason. But that independence does not mean that one should always act against one’s inclinations.The morality of an action depends on the agent’s “maxim”—the subjective practical principle on which one acts, the reasons one has and can give for thinking that what one is doing is right. Kant’s whole discussion is in terms of maxims. The word does occur twice in Bencivenga’s paper, but his account makes no use of it. When he says that “It is the motives of the action, the motives the person actually has—never mind what evidence we have for them—that confer moral content on the action” (p. 41), he does so in flat contradiction of Kant.The confusion underlying Bencivenga’s misunderstanding is most familiar to English-language Kantians from Schiller’s joke: “Gladly I serve my friends, but alas I do it with pleasure. / Hence I am plagued with doubt that I am not a virtuous person. // —Surely, your only resource is to try to despise them entirely, / and then with aversion do what your duty enjoins you.” 2 Both participants in the exchange think [End Page 151] the morality of an action depends on its psychological causes, not on the reasons the agent has for thinking the action right and doing it. Both are wrong.What is revolutionary in Kant’s position is his contention that all a maxim requires to be moral is that agents should really make it their principle at the time of action—that the agent should really stand by it. That means, obviously, that at that moment the agent should be able consistently to will that everyone should act on it. Kant argues that it also means, less obviously, that doing the right thing should be one’s paramount principle, which involves treating humanity and human freedom as an end in itself—ultimately, treating oneself and others as “law-making members of a kingdom of ends.” Thus, for Kant, morality is entirely a matter of rational consistency.Since rational consistency is all that morality requires, morality lays down no plan of action, but presupposes the familiar world in which people already have plans and purposes. What one wills is always some particular thing. Morality has to do with the principles to be followed in pursuing these objectives. 3 Bencivenga’s contention that “making the well-being of some other human, or of one’s own community, or of humankind the goal of one’s action would be relegating rationality to (at best) an instrumental role, and thus denying any ethical value to that action” is wrong. Kant insists that finite rational beings inevitably pursue happiness, 4 and it is their duty to do so for others and (in a sense) for themselves. 5 A leading contention of the Critique is that happiness, like duty, is a component of the summum bonum. Making a principle of maximizing happiness does not destroy the autonomy of the will; the principle is a principle and subject to the critique of consistency, like other principles. Kant explicitly denies what Bencivenga asserts, that it is merely an empirical matter that humans are desirous as well as rational. On the contrary, it belongs to their essence. 6 What is empirical, as Kant explains at some length, is the specific content of a person’s desires.Neither of Bencivenga’s examples tends to show that morality is opposed to inclination. It is true that if the reason moral agents treat people well is really only that, on each occasion, this is... (shrink)

Kant: Moral Psychology, Misc in 17th/18th Century Philosophy

Philosophy of Literature in Aesthetics

The Nature of Justice in Social and Political Philosophy

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582

Justice and the Crooked Wood of Human Nature.Adam Cureton - 2014 - In Alexander Kaufman (ed.), Distributive Justice and Access to Advantage: G. A. Cohen's Egalitarianism. Cambridge University Press. pp. 79-94.

G.A. Cohen accuses Rawls of illicitly tailoring basic principles of justice to the ‘crooked wood’ of human nature. We are naturally self-interested, for example, so justice must entice us to conform to requirements that cannot be too demanding, whereas Cohen thinks we should distinguish more clearly between pure justice and its pragmatic implementation. My suggestion is that, strictly speaking, Rawls does not rely on facts of any kind to define his constructive procedure or to argue that his principles of justice (...)

The Scope of Equality in Social and Political Philosophy

$59.95 used $76.29 new (collection) View on Amazon.com

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Orbital Contour: Videos by Craig Dongoski.Paul Boshears - 2011 - Continent 1 (2):125-128.

continent. 1.2 (2011): 125-128. What is the nature of sound? What is the nature of volume? William James, in attempting to address these simple questions wrote, “ The voluminousness of the feeling seems to bear very little relation to the size of the ocean that yields it . The ear and eye are comparatively minute organs, yet they give us feelings of great volume” (203-4, itals. original). This subtle extensivity of sensation finds its peer in the subtle yet (...)

Visual Arts in Arts and Humanities

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20

Trains of Thought and Afterthoughts.John Martin Ellis - 1996 - Philosophy and Literature 20 (1):197-199.

In lieu of an abstract, here is a brief excerpt of the content:Trains Of Thought And AfterthoughtsJohn EllisWhen I think about how this conference has gone, it’s hard not to begin with the fact that so many came. “We happy few” turned out not to be so few after all.* While I cannot be the most objective judge of a conference that I spent so much time helping to plan, it still seems to me that being able to listen, (...) on two successive evenings, to talks of the quality of Bernard Knox’s and Stanley Crouch’s was a rare treat. Stanley’s talk had the effect that all first-rate criticism must have; it made those who heard it want to rush out and get the book to read or reread it. And I shall long remember Bernard’s anecdote about Aristophanes being subpoenaed, which was just about the funniest and most instructive story I’ve ever heard. Singling out any of the shorter papers is unfair, for I enjoyed all of them, but I have to say that poetry as a genre would not be lagging behind the other genres (fiction and drama) in our age if there were more people who could read poetry like Rosanna Warren.Rather than commenting on how things turned out, I should tell you a little of how we wanted things to turn out, so that you can get your own sense of the relation between our intent and what actually happened. The one stark fact that faced everyone involved in planning this conference was that it was easy to say what we didn’t want to do—we could see examples of that everywhere—but deciding how to chart a new course was an altogether different question. There was one shape [End Page 197] we knew we didn’t want, but there were all kinds of possible shapes we could have chosen to replace it. The program as you heard it was in fact the result of many different trains of thought.Take the panel on poets and critics; it might seem just a nice invention, but was actually the result of a studied train of thought. The most visible sign of what has gone wrong with academic criticism is that it is now largely written for and read by other academic critics. Academic criticism in the process has lost touch with the wider world of readers and writers. Academic critical essays have become a game played on campuses in an increasingly isolated and parochial world where they are heavily involved in matters of professional hierarchy and the place of individuals within it, but in very little else in the real world. The “poets and critics” panel was, in part, an attempt to begin to bring academic criticism back to the reality of readers and writers, to subordinate the unquestionable cleverness and intellectual ingenuity of academics to a common sense and realism that recently seem to have been in somewhat short supply.The panel on how to read a book results from a quite different train of thought. Academic criticism has now assumed a forbidding verbal complexity. A highly elaborate verbal superstructure covers over the essentials of the situation—literature and its readers—to the extent that it becomes a barrier that obscures what is real in it. This panel was in part an attempt to cut through pseudo-complexity and to return to the basic elements of the situation. I might well have said “the basic theory of the situation,” since I’m always reluctant to concede theory to people who have no exclusive claim to it (as they imagine) but merely misuse it.1The notion of “back to basics” really requires no justification. There is a charming story of a man who has played golf all his life, but each year goes back to his first teacher and says to him quite simply: teach me how to play golf. The teacher instructs him as he does anyone else who has never played the game, beginning with how to hold a club, how to stand, and so on. This might seem a rather obsessive habit—unless you know who this man is. One has to assume that this... (shrink)

Philosophy of Literature in Aesthetics

Philosophy of Sport in Social and Political Philosophy

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The Poetry of Jeroen Mettes.Samuel Vriezen & Steve Pearce - 2012 - Continent 2 (1):22-28.

continent. 2.1 (2012): 22–28. Jeroen Mettes burst onto the Dutch poetry scene twice. First, in 2005, when he became a strong presence on the nascent Dutch poetry blogosphere overnight as he embarked on his critical project Dichtersalfabet (Poet’s Alphabet). And again in 2011, when to great critical acclaim (and some bafflement) his complete writings were published – almost five years after his far too early death. 2005 was the year in which Dutch poetry blogging exploded. That year saw the foundation (...)

Poetry in Aesthetics

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‘I can’t outrun a bear, but I can outrun you:’ sport contests, nature challenge activities and outdoor recreation.Poland Lublin - 2023 - Sport, Ethics and Philosophy 18 (2):244-258.

The old adage has two people out hiking who run into a bear. One starts running while the other asks ‘why are you running? You can’t outrun a bear’. To which the other responds, ‘I don’t have to outrun the bear. I only have to outrun you’. Hiking/trekking is not typically a competitive endeavor characterized by contests but, like many endeavors/pursuits/activities, competition can be injected into it; thereby sportifying it. Swimming is a sport (under certain conditions). At the same (...)

Value Theory, Miscellaneous

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33

Introduction.Luk Bouckaert - 1999 - Ethical Perspectives 6 (1):1-3.

In the Thirties, European personalism was an inspirational philosophical movement, with its birthplace in France, but with proponents and sympathizers in many other countries as well. Following the Second World War, Christian-Democratic politicians translated personalistic ideas into a political doctrine. Sometimes they still refer to personalism, but most often this reference is little more than a nostalgic salute. In the mainstream of Anglo-Saxon political philosophy, there are practically no references to personalistic philosophers. Is personalism exhausted as a philosophy or political (...) ideology? Yes and no. Paul Ricoeur, writing in Esprit , summed up the situation like this: “personalism is dead”, but he was careful to mention a “return of the person”. Indeed, no tradition or movement can simply perpetuate itself. It must, in order to continue making history, always abolish itself as a `system' so as to make room for the unsaid and the unthought in its tradition, an idea that Mounier also fervently believed in.To better situate the current discussion of personalism, however, it is necessary to look back to the original characteristics of personalism in the Thirties. As a response to the crisis provoked by the economic depression, failing democracy and existential uncertainty, there arose in France a number of `non-conformist movements' who labelled themselves personalistic. They did not constitute a unified movement with a commonly shared theory. It was rather a collection of `personalisms'. The article by the historian Christian Roy about the ecological personalism of Bernard Charbonneau and Jacques Ellul sheds interesting light on the multiple origins of French personalism, which is all too easily identified with the work of Maritain and Mounier alone. The work of Jacques Maritain, and the network of writers and artists surrounding him, undoubtedly remains a significant historical reference point when speaking of personalism.Another group was formed around Alexandre Marc who, along with Raymond Aron, Arnaud Dandieu, Daniel-Rops and Denis de Rougemont, kept the journal Ordre Nouveau alive for five years . They elaborated the idea of federalism as a way out of liberalism and totalitarianism. The most important and durable group, however, was formed by the movement and journal Esprit, founded in 1932 by Emmanuel Mounier and George Izard. In order to stress the historical importance of Esprit, we are including here a testimony from 1982, written by Paulette Mounier, the founder's wife, in which she looks back on 50 years of Esprit. After the war, some new and related groups formed, such as Economy and Humanism around Louis-Joseph Lebret. An historical survey of the dissemination of personalistic centres and movements, not only in France but over all of Europe, would be material for a stimulating historical research project. In this issue, there will also be mention of, among others, the Prague personalism of Jan Patocka and Vaclav Havel, the Leuven personalism of Louis Janssens, and the Polish personalism of Tadeusz Mazowiecki and others. But this list is far from exhaustive.What unites these various branches of the personalistic tree? It is a certain conception — or better perhaps: a certain attitude to the human person. Personalists were not seeking in the first instance a new academic theory about the person, but rather a practical philosophy of engagement. In the Thirties, quite a few personalists finished their university studies and chose not for an academic career but for non-conformist, demanding and vulnerable commitments with limited financial means. What motivated them? Primarily a strong sense that the time in which they were living was a turning point, one which was being ignored by the academic world. They interpreted the diverse economic, political and cultural crisis phenomena as symptoms of a more global crisis of civilization which demanded a response through radical change.Hence a certain rhetoric of a `new order', `spiritual revolution', `radical reform' and `rebirth'. But the rhetoric was supported by innovative ideas regarding political federalism, the third way economy and human alienation. The motivation for all this derived from a strong commitment to defend the concrete human person against the arrogance of systems, bureaucracies and ideologies, while at the same time avoiding the pitfalls of individualism — the reason why some personalists always qualified personalism as `communitarian'.In fact, much of what presents itself as communitarian philosophy today is a retrieval of personalistic themes from the Thirties applied to the current situation, a situation which is also interpreted by communitarians as a global cultural crisis. One should not forget, however, that alongside and sometimes opposed to the communitarian theme with its call to bring people back to their communitarian roots, personalists underscored the priority of metaphysics over politics, a theme that can likewise be found in the writings of personalistic dissidents in Eastern Europe. In the words of Mounier in Qu'est-ce que le personnalisme : “personalism combines faith in a certain human absolute with a progressive historical experience”.To what extent is personalistic thinking still relevant today? Its current relevance will be examined in three ways. In the first section, a number of articles are presented which illustrate the active presence of personalistic thought in the domains of politics and applied ethics. Vaclav Havel sent one of his recent addresses in which he links the theme of human rights with that of a world spirituality. His article is preceded by an introduction by Guido Van Heeswijck, situating Prague personalism.The need for an orientational philosophy of the person is not only manifest today in the political arena. Developments in economics, ecology, health care, the media, technology and in the world of the professions have had an extraordinarily large impact on the human person's lifeworld. The whole area of applied ethics requires a dynamic and orientational concept of the person. The contributions by Paul Schotsmans and Luk Bouckaert are seeking a personalistic point of departure for applied ethics. The more historical article by Christian Roy on ecological personalism has been included in the first section because it can be inspiring for an environmental ethics.The second section is more philosophical. To what extent does the `personalistic' conception of the person put forward in the Thirties still have any relevance today, following the waves of structuralism, post-structuralism and postmodernism? Paul Ricoeur's article, Approaching the Human Person — originally published in Esprit in 1990 and now translated for the first time — can be seen as a reference text. Ricoeur shows in what sense the concept of the person must be broadened in order to continue functioning. The person as `narrative identity' can only write history through the medium of language and institutions. Starting from very different assumptions, the articles by Louis Janssens & Joseph Selling and the analysis of Roland Breeur also explore the idea that a person is what he is only when his identity is opened up, touched by an exteriority or conceived as a focal point . It is this radical openness and vulnerability that gives the person its historical and transcendent dynamic, and prevents us from encapsulating it in existing systems, theories and power relations. The connection with Emmanuel Levinas and his hermeneutic of the idea of the infinite is an obvious one to draw.The third section contains a historical survey in which a number of active `personalistic' centres and journals are presented.Various European centres that appeal explicitly to some form of personalistic thinking were posed the following questions: What is the main historical reference to personalism at your centre? and How do you implement, today, a personalist credo in your work? John Dick organized the responses to these questions under a number of headings. This survey aims to provide not so much an exhaustive but a representative picture of the ways in which European personalism lives on as a mosaic of centres engaged in everyday history. (shrink)

Value Theory