This chapter contains sections titled: How to Read the Tractatus Recognizing Metaphysics as Senseless Logic as Mirror of the World The Self, the Subject, the I Ethics.

In this paper, I introduce the idea of ‘radical relativity’ to elucidate an undervalued justificatory context for Wittgenstein’s affirmation of radical pluralism. I accept D.Z. Phillips’s definition of radical pluralism as the view that certain radical differences between people’s ordinary practices prevent the latter from being reduced to a necessary set of common interests, meanings, or truths. I argue that radical relativity provides this form of pluralism with the logical justification it requires in that it accounts for how pluralism became (...) radical. More specifically, I argue that the contingent, non-causal, and yet non-arbitrary relation between ordinary concepts and the pluralistic world through which they emerge explains the reality of radical pluralism. Radical relativity is suggested in Wittgenstein’s three notions of ‘concept formation’, ‘agreement in reaction’, and ‘world pictures’, I argue, without endorsing traditional forms of relativism. Finally, I show that although D.Z. Phillips and Hilary Putnam promote notions of pluralism indebted to Wittgenstein, neither philosopher utilizes the radical relativity suggested in his work to justify his respective version of pluralism or Wittgenstein’s version of radical pluralism. (shrink)

“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)

Science and mathematics continually change in their tools, methods, and concepts. Many of these changes are not just modifications but progress---steps to be admired. But what constitutes progress? This dissertation addresses one central source of intellectual advancement in both disciplines: reformulating a problem-solving plan into a new, logically compatible one. For short, I call these cases of compatible problem-solving plans "reformulations." Two aspects of reformulations are puzzling. First, reformulating is often unnecessary. Given that we could already solve a (...) problem using an older formulation, what do we gain by reformulating? Second, some reformulations are genuinely trivial or insignificant. Merely replacing one symbol with another does not lead to intellectual progress. What distinguishes significant reformulations from trivial ones? According to what I call "conceptualism" (or "conceptual empiricism"), reformulations are intellectually significant when they provide a different plan for solving problems. Significant reformulations provide inferentially different routes to the same solution. In contrast, trivial reformulations provide exactly the same problem-solving plans, and hence they do not change our understanding. This answers the second question about what distinguishes trivial from significant reformulations. However, the first question remains: what makes a new way of solving an old problem valuable? Here, a bevy of practical considerations come to mind: one formulation might be faster, less complicated, or use more familiar concepts. According to "instrumentalism," these practical benefits are all there is to reformulating. Some reformulations are simply more instrumentally valuable for meeting the aims of science than others. At another extreme, "fundamentalism" contends that a reformulation is valuable when it provides a more fundamental description of reality. According to this view, some reformulations directly contribute to the metaphysical aim of carving reality at its joints. Conceptualism develops a middle ground between instrumentalism and fundamentalism, preserving their benefits without their costs. I argue that the epistemic value of significant reformulations does not reduce to either practical or metaphysical value. Reformulations are valuable because they are a constitutive part of problem-solving. Both science and mathematics aim at solving all possible problems within their respective domains. Meeting this aim requires being able to plan for any possible problem-solving context, and this requires reformulating. By reformulating, we clarify what we need to know to solve problems. Still, one might wonder whether the value of reformulations requires underlying differences in explanatory power. According to "explanationism," a reformulation is valuable only when it provides a better explanation. Explanationism stands as a rival middle ground position to my own. However, it faces numerous counterexamples. In many cases, two reformulations provide the same explanation while nonetheless providing different ways of understanding a phenomenon. Hence, reformulating can be valuable even when neither formulation is more explanatory. Methodologically, I draw on a variety of case studies to support my account of reformulation. These range from classical mechanics to quantum chemistry, along with examples from mathematics. Symmetry arguments provide a paradigmatic example: the mathematics of symmetry groups radically recasts quantum mechanics and quantum chemistry. Nevertheless, elementary approaches exist that eschew this additional mathematical apparatus, solving problems in a more tedious but less mathematically-demanding manner. Further examples include reformulations of quantum field theory, Arabic vs. Roman numerals, and Fermat's little theorem in number theory. In each case, my account identifies how reformulations change and improve our understanding of science and mathematics. (shrink)

Cosmopolis A Review of Cosmopolitics -/- 2015/3-4 -/- Editorial Dominique de Courcelles & Paul Ghils -/- This issue addresses the general concept of “spirituality” as it appears in various cultural contexts and timeframes, through contrasting ideological views. Without necessarily going back to artistic and religious remains of primitive men, which unquestionably show pursuits beyond the biophysical dimension and illustrate practices seeking to unveil the hidden significance of life and death, the following papers deal with a number of interpretations covering a (...) wide field extending from belief to theory, from emotions to concepts, from the wisdom of personal experience to the most sophisticated doctrines. Spirit and spirituality are indeed many-faceted notions. They may refer to the intricate world of the interacting spirits which inhabit living beings in animistic traditions, without excluding a “grand force” linking human beings within a dynamic whole on which their very existence rely . They also bear upon more atomistic and either/or approaches of Western philosophy, which have become embodied in Cartesian dualism against a monotheist background, to the point of freezing the essence of individuals and culminating in the extreme individualism that characterizes our contemporaries. However, this equally refers to the opposite conception of materialism, across times and cultures, from ancient India and Greece (Cārvāka, originally known as Lokāyata, or some Buddhist doctrines for the former, Democritus or Lucretius for the latter) to more contemporary materialistic schools, whether modern or postmodern. -/- The following papers look at the contrasting forms of the philosophy and spirit of the human factor set into a whole, with no artificial disjoint between the psychical and the physical levels, as Wittgenstein put it: “And how can a body have a soul?”. This approach is not unrelated to the notion of anthropocene examined in a recent issue of Cosmopolis, with provides another comprehensive framework open to a spiritual life emerging from the very environment that generated it. -/- *** The first section of this issue was edited by Dominique de Courcelles, director at the National French Research Centre (CNRS), whom we wish to thank for collecting relevant studies relating to the religious and political questions, with a view to focusing on the war of ideas inevitably waged behind images, concepts and perceptions, taking an asymmetrical approach. To the extent that they are mindful of global/local interactions and include representations, opinions and beliefs, such disciplines as philosophy, philology, history and social sciences can provide useful studies accounting for new practices in geopolitics and a fair diplomacy. -/- In her introduction, Dominique de Courcelles first poses the question of how the religious and political spheres interrelate, with their corresponding religious demands and humanistic values. She then suggests that the right question today may be breaking with the philosophy of human rights concerned with the defense of human beings against the hazards of arbitrary politics or the instrumental use of religion, in favour of a fair philosophy of humankind, a new humanism. This would consist in recognizing a common loyalty of all towards one interhuman, not only interstate community, to protect it from both the autonomy demanded by individuals and the instrumental use of minorities. -/- Considering the fact of diversity, so important today in terms of both politics and religion, Abdelhai Azarkan looks at the conditions under which tolerance could obtain the double status of right and duty. He revisits to two philosophers, John Locke and Voltaire, who thought about it from the historical reality of religious wars. The former made tolerance into a right, basing his analysis on the political-legal level, while the latter saw tolerance as a duty, from an analysis based on ethical-political criteria. -/- Mathieu Guidère examines what he calls semantic denominationalism, a term which implies religious attributes and identities, whichever national loyalties or personal belonging they may have at the same time. Since the early 2000s, thie phenomenon has expanded tremendously, compounded by the “war on terror” and the over media-oriented terrorist actions. Denominational expressions act as formal names for ordinary and high-profile players in domestic and foreign policies of democratic states. These systems reveal a receding secularization, while the powerful comeback of religious identities signals the failure of nation-states and the weakening of the humanist spirit. -/- Barbara De Poli retraces the history of a contemporary jihadism claiming its Islamic essence and asserting the truth of genuine coranic principles via the war on infidels, with a view to restoring the Caliphate. After defining the term jihad, she shows that even if this contemporary jiadism is spreading in the Muslim world, it radically departs from Islamic law and the received use of the term jihad, in so far as it is rooted in the early radical thinking of Islamic ideologues in the 20th century, starting with with Hassan al-Banna, the founder of the Muslim Brotherhood. This current has been fueled by by international conflicts since the outbreak of the war in Afghanistan, in which the so-called Western countries bear a major responsibility. -/- Abderrazak Sayadi starts from the Tunisian experience to ask the question of humanist values and democracy within the relationships between the religious and political spheres. As a historian of religion, he is brought to demystify certain islamic principles and to paying attention to the reform of law, seeing the separation of religion and politics as a precondition to a successful democratic gamble and the establishment of a renewed humanism. -/- Dominique de Courcelles reminds us that getting a better knowledge of narrations and words makes it possible to better understand how logical and rhetorical thinking works for those who wage an asymetriccal war, re-enchanting and mystifying the world to better take control. As soon as 1932, an exchange of letters between Einstein and Freud made it clear that, in order to free man from fatality and war, education understood as culture was fundamental. Such illustrations as the exécution of Oussama ben Laden and the Caliph’s speech in Mossoul show that a premiminary analysis of images and words is essential to a fair diplomacy conducted by people from civil society, whose culture and wisdom allow justice and force to speak together and better resist war. -/- Marcel Boisard thinks that on the day the guns fall silent, exhausted by war, we will not return to the state borders that have prevailed for a century as an outcome of the Sykes-Picot agreement of 1916. It is time to prepare the “day after”, which will be a huge challenge. To this end, a summit of Middle-East nations is urgently needed to globally decide the fate of those peoples. On the condition that we know who the enemy is and accept to name it, to understand the history of the countries, groups and alliances, and to question any false or self-interested sense of certainty. -/- *** In the second section, Paul Schafer provides the author’s experiences to explain how culture, from the artistic to the biological, has the power to to open the doors to spirituality, from the inner self to the global environment. He asks himself whether a relative permanence of spirituality can arise from the specific moments that characterize it. Laurent Ledoux synthesizes the conclusion of a symposium held on 22 January 2015 on the links between philosophy and management, on the basis of the spiritual dimension conceived as “natural” and the answers it may suggest to the issues that face the organizations in a “contemporaniversal” world. Jacques Rifflet makes that question in a secular perspective, based on the wellsprings of personal commitment before it can be caught by any religious creed or scientific theory. In this sense spirituality, in alliance with reason, both inspires human consciousness and illuminates its destiny. Sami Aldeeb asks himself whether Islam can be reconciled with human rights. Caught between the belief in an absolute and final Word descended from the sky, and evidence showing that any religion is the creation of a given culture and a society situated in time and space, the Makkan and … contexts et médinois call for differentiated, if not opposite answers and exegeses. Bernard Carmona provides the outline of a dialogical framework, which is known to be a feature of debates between the various philosophical schools of classical India, exemplified here by the transdisciplinary perspective of debates within a Buddhist context. *** The articles not focused on the previous topic include a study by Landry Signé on China’s strategy, competing with the United States to control African resources. The author deals with the specific case of China’s rapprochement with Southern Sudan since Sudan was broken up. In the last paper, Goran Fejić and Rada Iveković, return to the essential role that women should play, and comments upon the role of some international legal instruments related in particular to the elimination of all forms of discrimination. The perspective is transnational and transethnic and is based on secular criteria, as regards nation-building and more generally society-building. Considering the persistence of widespread violence, whether in times of armed conflict or in times of peace, the question remains whether it is possible to fully implement rights and justice instruments. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:THE THEORY AND PRACTICE OF DISCOMFORT: RICHARD RORTY AND PRAGMATISM 0 VER THE LAST twenty years, one of the most consistently incisive critics of traditional Anglo-American philosophy has been Richard Rorty. Few contemporary writers can match the vigor, breadth, and intelligence of his books and articles, even as few readers can accept the radicality of the views they express. Rorty disturbs and astonishes like spring weather. His pages mount (...) like cumulus clouds in our intellectual sky, saturated by the past and promising (ambiguously) either to irrigate or to inundate the present fields of our culture. Almost everybody complains about him, but can anything be done? This essay is an attempt to come to grips with aat least part of Rorty's multi-faceted and troubling corpus. His diagnosis of the root problems of epistemology and their larger significance (or insignificance) for Western intellectual life is often brilliant, but I shall argue that his prescription for the future is unattractive. His uncompromising war on dogmatism is based on a rejection of conventional notions of objective truth and metaphysical comfort and is presented in the name of human freedom. It represents, however, a potentially disastrous kind of pragmatism which can be criticized on both theoretical and practical grounds. Of the two, the practical considerations may perhaps be the more telling. I. The Problems of Reading Rorty In Philosophy and the Mirror of Nature, Rorty evaluates modern philosophy's comon self-understanding.1 One as1 Richard Rorty, Philosophy and the Mirror of Nature (Princeton: Princeton University Press, 1979). ~70 RICHARD RORTY AND PRAGMATISM 271 sumed occupation of the discipline, on his view, is the discovery of the " foundations " of knowledge and thus the validation or invalidation of specific claims to know made in such various fields as science, ethics, art, and religion. Philosophy can claim to take the measure of these other areas of intellectual life because it claims to understand the nature of the mind and its capacity for accurate representation of reality. Philosophy can claim to be foundational with respect to the rest of culture because it claims to encompass the rest of culture, because it claims to know better than science and religion, for instance, what communion with reality they can and cannot attain to. Or so many modern philosophers would (perhaps only implicitly) believe. Rorty suggests that this conception of philosophy stems largely from intellectual developments beginning in the 17th Century, and in this vein he isolates three key contributions: (1) Descartes's idea of the mind as a separate substance, the " inner" workings of which are uniquely knowable to itself; (2) Locke's idea that a "theory of knowledge" is both necessary and possible on the basis of an understanding of the mind and how it works; and (3) Kant's idea that philosophy both can and should provide other fields with overarching canons of reason by dissecting a priori the structure of reason itself. These three contributions to modern philosophy's self-image are interrelated but nonetheless distinguishable. Each played its own crucial part in suggesting a foundation for that discipline, philosophy, which claimed to be foundational for all others. Over against this common picture of philosophy and its proper labors stand Rorty's "heroes": Wittgenstein, Heidegger, and Dewey. These three men agree, in Rorty's estimation, that the picture (common to Descartes, Locke, and Kant) of knowledge as needing certain foundations and of the mind as locus of privileged epistemic processes, needs to be abandoned. They agree that both epistemology and metaphysics can and should be " set aside as possible disciplines " 272 TIMOTHY P. JACKSON in the name of a therapeutic form of life and a postmodernist self-image.2 It is this deconstructive, therapeutic line that Rorty wishes to champion. Philosophy should no longer conceive of itself as underwriting links between the human mind and the "objective " world; we have no access to the objective world as it is in itself; so most of traditional epistemology is misguided. Rorty characterizes his efforts as more akin to moral surusion than rigorous argument, claiming that the epistemological positions with which he takes exception are immune to such argument but objectionable (or at least optional) even so... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Human Life is Radical Reality: An Idea Developed from the Conceptions of Dilthey, Heidegger, and Ortega y GassetBob SandmeyerHoward N. Tuttle. Human Life is Radical Reality: An Idea Developed from the Conceptions of Dilthey, Heidegger, and Ortega y Gasset. New York: Peter Lang, 2005. Pp. x + 200. Cloth, $59.95.This is a book which seeks to sketch out a coherent philosophy of life. By arguing that (...) "human life is radical reality," Professor Tuttle places the ontological priority of "my life" over and against that of every reality encountered in that life. Yet the life at issue in this book is no solus ipse, and the things or pragmata of this life do not therefore depend on the I for their being. As Ortega y Gasset asserts, I am myself and my circumstances. Neither subject nor substance exists independently of the other. As such, each bears the mark of this bi-polarity (40, 45). Hence human life, "my life," is not conceived here as a subjective immanence but rather as a carnate life that projects itself, i.e., its possibilities, into the concrete situation of its worldly circumstances. Indeed, the narrative structure of this projection expresses a central categorical feature of human life, its historicity. "Human life becomes here conceived as the historical stream of the inner and outer, the 'I' and its world" (155). Every reality takes its meaning from—in truth, has its status as a transcendent reality from—the manner and the guise in which it appears within the narrative of this self-construction of my life (5, 26, 40, 45, 88, 156, 171). This is a thesis, Tuttle argues, that has its roots in the writings of three figures: Wilhelm Dilthey, to whom the author refers as the "founder of the philosophy of human life," Martin Heidegger, the famous German philosopher whose explication of the structure of Dasein is central to the situated intersubjectivity of "my life" articulated in this book, and José Ortega y Gasset, the Spanish philosopher whose writings arguably play the most central role in the work (6, 26, 142, 155, 166).Professor Tuttle ought to be commended for the breadth of his undertaking and the economy of his presentation. Given its ambition, this is a short work of no more than 179 pages excluding notes and bibliography. This pithiness and a general lack of technical jargon speak well of the work, especially as it seems likely to find its way into the hands of young scholars interested in existential phenomenology, Lebensphilosophie, and continental philosophy generally. Indeed, within this broad field there are too few efforts like this one which seek to examine the interconnection of these three philosophers. Yet the very attributes that make this book a favorable addition to any collection also contribute to a serious defect in the work. Where its brevity demands precise articulation, the book often falls into repetition. The discussion of the distinction between clock time and lived time, for instance, comes across as especially belabored. Throughout the work, there are passages which appear virtually identical in different sections. And where its accessible presentation offers an easy introduction to some very difficult material, its lack of focus leaves one to wonder about the efficacy of its message. As Professor Tuttle remarks in the last lines of the work, "this essay is at very best only a collection of abstract and skeletal thought forms that have been generated within my life in its relation to its circumstances" (178).Reading the work, then, one wonders if it is best suited for the young scholar, the accomplished academic, or both. A lack of sufficient background footnoting restricts the acceptability of this work as a tool for serious research. For instance, given the aims of the book one would expect that Heidegger's lectures on "Wilhelm Dilthey's Research and the Struggle for a Historical Worldview" would have a prominent role in the essay, yet it is not even cited. The essay thus seems best directed towards more novice scholars. Yet the skeletal feel of the work and the unfocused integration of many of the themes from the different writings of Dilthey, Heidegger, and Ortega y Gasset... (shrink)

Wittgenstein's views on mathematics are radically original. He criticizes most of the traditional philosophies of mathematics. His views have been subject to harsh criticisms. In this dissertation, I attempt to defend Wittgenstein's philosophy of mathematics from two objections: the objectivity objection and the consistency objection. The first claims that Wittgenstein's account of mathematics is not sufficient for the objectivity of mathematics; the second claims that it is only a partial account of mathematics because it cannot explain the semantic properties (...) of mathematical systems. ;The first chapter outlines Wittgenstein's Philosophy of Mathematics by stressing the differences and similarities with more traditional accounts. The second chapter discusses the objectivity objection. I distinguish epistemic from non-epistemic objectivity and discuss their relation with the issue of realism and anti-realism. I conclude first that either notion of objectivity is insufficient for disparaging anti-realist accounts of mathematics and, second, that Wittgenstein's account is sufficient for both. The third chapter is a detailed discussion of the consistency objection. Some unsuccessful replies are discussed. In the fourth chapter, I reformulate the objection by means of a rather simple axiomatic system that I call theory T. This allows us to see more clearly why the replies considered before are not successful and, furthermore, which view Wittgenstein is actually required to hold in order to reject the objection. In the fifth chapter, I offer a brief outline of Wittgenstein's account of logic and, finally, show how it provides the required answer to the consistency objection. (shrink)

In his lecture “Philosophy and the Unheard,” Cavell invites us to observe a pervasive analogy between Schoenberg’s idea of the twelve-tone row and Wittgenstein’s idea of grammar, which is supposed to encapsulate an expansive, sweeping philosophical program—Cavell’s own. For Cavell, the analogy evinces not only the kind of reading of Wittgenstein’s Philosophical Investigation, which is attuned to Wittgenstein’s seemingly paradoxical amalgamation of embrace and resistance in regarding to the conditions of modernity, but also a kind of philosophy of music, (...) which is illuminated by musical procedure. In this essay I probe into Cavell’s analogy, which, I contend, rests on Cavell’s interpretation (contra Von Wright) of Spengler’s influence on Wittgenstein. I argue that Cavell delineated the analogy in a way which does not consider a deeply felt gradation in Wittgenstein’s philosophical attitude toward modern music. This ultimately renders Schoenberg’s composition with twelve-tone incommensurate with Wittgenstein’s Spenglerian scheme of musical decline. I also argue that “Schoenbergian unheard” is not analogous to its purported Wittgensteinian counterpart. While the former inheres in comprehensibility—namely, correct, conscious application of the kind of contrived rules that would ensure coherence—the latter inheres in transparency, namely, a familiar physiognomy, which is internally related to the preconditions as well as the lived, embodied realities of musical intelligibility. From Wittgenstein’s perspective, the Schoenbergian idea of the row with its unforeseen yet pervasive consequences turns out to be tantamount to an idea of grammar for music for the meaning-blind. I conclude that in this “tale of two unheards,” Cavell invariably remains on the side of Wittgenstein. Philosophy, as it mattered most to him, has no business with music for the meaning-blind. (shrink)

Central to a new, or 'resolute', reading of Wittgenstein's Tractatus Logico- Philosophicus is the idea that Wittgenstein held there an 'austere' view of nonsense: the view, that is, that nonsense is only ever a matter of our failure to give words a meaning, and so that there are no logically distinct kinds of nonsense. Resolute readers tend not only to ascribe such a view to Wittgenstein, but also to subscribe to it themselves; and it is also a feature (...) of some readings which in other respects are clearly not Resolute. This paper forms part of a reply to Hans-Johann Glock's work in which he argues (in part) that Wittgenstein in the Tractatus held a view of nonsense other than the austere view. Instead, Glock argues, Wittgenstein there held that there are many logically distinct kinds of nonsense. Here, I outline and defend the austere view, together with its attribution to the early Wittgenstein, against a number of Glock's criticisms, and focussing especially on Wittgenstein's reformulation in the Tractatus of Frege's context-principle. (shrink)

My dissertation is a critical study of Jose Ortega Y Gasset's attempt to reconcile his notion of lived-experience , which is fundamentally immediate experience, with his idea of life as vital-reason. But life as vital reason is, itself, best understood as consisting of life as a rational-existential project. This, in effect is Ortega's manner of fusing idealism and realism. The result of this mediation is to be interpreted as the self-with-things or what amounts to: I-in-the-world. Man is never what he (...) is in his immediacy and therefore he must create his essence through a self-conscious existential project. Thus, Ortega's notion of life as radical reality is the culmination of an underlying dialectic that is present throughout his work. That is, man's self-awareness of his life as a pre-reflective extranatural phenomenon vis-a-vis the material world can only be understood through reflection and therefore never in its immediacy. Therefore I conclude that for Ortega the synthesis of these apparently antithetical notions culminates in a form of subjective idealism given that primacy is necessarily attributed to the self over the external world. Even though I accept the fundamental tenets of his argument concerning the synthesis of Realism and Idealism and Rationalism and Vitalism, I have focused upon the inherent tension that exists in any such reflective endeavor. I believe that due to Ortega's emphasis that all reflection must originate and therefore concern itself with life as phenomenon, his philosophy necessarily gives primacy to the self over the material world . In arguing "Yo Soy Yo Y Mis Circumstancias" Ortega stresses the character of the Rational Vitalism that results from my self-awareness of my life as a problem for reflection that is forged through my necessary dealings with the world. The result of this self-knowledge is the foundation of a metaphysics of life that is best understood as man as radical reality. (shrink)

This paper takes distances from two influential images of Wittgenstein's philosophy: the image of a primarily ethical philosopher defended by the so-called «resolute» interpreters and that of an ascetically "analytical" philosopher transmitted by the standard interpretation. Instead of contrasting images (that of Wittgenstein as an "aesthetic" philosopher and that of the "ethical" Wittgenstein), this paper focuses on the analysis of the fractures and tensions characterizing not only the relationship between Wittgenstein's philosophy and aesthetics, but also the very style of (...) Wittgenstein's thought. Addressing a specific issue from a conceptual and textual standpoint (the unity of Ethics and Aesthetics in the Tractatus) seems to the author to be a fruitful strategy that allows us not only to understand whether and how determinant and central the aesthetic problem is for Wittgenstein, but also to see how aesthetics itself can be radically reshaped through the filter offered by his thought. In the first place, then, it is clarified what the Tractatus claim that ethics and aesthetics «sind eins» might entail. Secondly, it is checked if and how the conceptual consistency of the «being one» of ethics and aesthetics is transformed during the 1930s, to the point that it requires a different configuration: the metamor¬phosis of the logical unity between the two conceptual fields into an analogical affinity. Analyzing this conceptual metamorphosis the paper considers also the idea of an asymmetry of the aesthetic over the ethical as already evident, despite appearances, in the 1929 Lecture on Ethics. This asymmetry is then developed focusing the image of grammatical mechanism with its degrees of freedom of which Wittgensteins writes from 1930. In connection with this image the author outlines finally the idea of an aesthetic mechanism arising from primitive reactions and strictly related with the genesis of language games. (shrink)

If the radical moment of the inauguration of modern philosophy is the rise of the Cartesian cogito, where are we today with regard to cogito? Are we really entering a post-Cartesian era, or is it that only now our unique historical constellation enables us to discern all the consequences of the cogito? The paper deals extensively with these questions on topics introduced by Catherine Malabou's Les nouveaux blessés (The New Wounded). Malabou proposed a critical reformulation of psychoanalysis, her starting (...) point being external shocks, brutal unexpected encounters or intrusions, due their properly traumatic impact on the way they touch a pre-existing traumatic "psychic reality". Malabou's basic reproach to Freud is that, when confronted with such cases, he succumbs to the temptation of meaning: he is not ready to accept the direct destructive efficiency of external shocks – they destroy the psyche of the victim (or, at least, wound it in an unredeemable way) without resonating in any inner traumatic truth. These cases of post-traumatic subjects show that if we take the "stories they are telling itself about itself," the narrative symbolic texture, away, something (or, rather nothing, a form of nothing) remains, which is nothing but the pure subject of the death drive. This is an idea of cogito at its purest, its "degree zero," and this is also the reason why today we so adamantly resist the spectre of cogito. (shrink)

Philosopher Ludwig Wittgenstein had an enormous influence on twentieth-century philosophy even though only one of his works, the famous Tractatus Logico-Philosophicus, was published in his lifetime. Beyond this publication the impact of his thought was mainly conveyed to a small circle of students through his lectures at Cambridge University. Fortunately, many of his ideas have survived in both the dictations that were subsequently published, and the notes taken by his students, among them Alice Ambrose and the late Margaret (...) Macdonald, from 1932 to 1935. These notes, now edited by Professor Ambrose, are here published, and they shed much light on Wittgenstein's philosophical development. Among the topics considered are the meaning of a word and its relation to common usage, rules of grammar and their relation to fact, the grammar of first person statements, language games, and the nature of philosophy. This volume is indispensable to any serious discussion of Wittgenstein's work. (shrink)

Gottlob Frege’s conception of works of art has received scant notice in the literature. This is a pity since, as this paper undertakes to reveal, his innovative philosophy of language motivated a theoretically and historically consequential, yet unaccountably marginalized Wittgenstinian line of inquiry in the domain of aesthetics. The element of Frege’s approach that most clearly inspired this development is the idea that only complete sentences articulate thoughts and that what sentences in works of drama and literary art express (...) are ‘mock thoughts’ (Schiengedanken). The early Wittgenstein closely followed Frege’s lead on this theme. One sees this, for example, in the Tractatus, where Wittgenstein announces that only sentential propositions model (‘picture’) states of affairs whereas works of art are objects we perceive sub specie aeternitatis (1961, 83). By the 1930s, however, Wittgenstein began to revise his view beyond his initial Frege-inspired standpoint. He came to insist that works of art can convey thoughts as well, but that thoughts do not model (picture) the world of facts and hence do not convey information about measurable objects and events. Rather, his contention was that aesthetically configured thoughts that artworks communicate impart information about our perspective on reality and reconfigure our view of life. To be more explicit, successful (gelungene) or ‘good’ works of art (ibid.), in Wittgenstein’s view, can supply aesthetically instructive ‘gestures’ that open to living experience promising new ways of being. It is in this respect, he held, that artists ‘have something to teach’ (1980, 36). (shrink)

Richard Rorty (1931–2007) was one of the most provocative and controversial philosophers of the past 50 years. He had a rare ability to combine sophisticated arguments with wit, charm, and humor. He was never dull – and he reached a wide public throughout the world. Originally trained in the history of philosophy and the grand tradition of metaphysics, he became fascinated with the linguistic turn in philosophy. During his early philosophical career, he wrote articles that were at the cutting edge (...) of analytic philosophy. He developed a new approach to the mind-body problem and raised troubling questions about the viability of the conceptual analysis of ordinary language. Soon, he began to question what he called the “Kantian foundations” of analytic philosophy. In 1979, he published Philosophy and the Mirror of Nature, a book that became an immediate sensation. Rorty, employing ingenious arguments, questioned the basis of analytic philosophy, and more generally the very idea of systematic philosophy. He called into question the Descartes-Locke-Kant tradition and claimed that the metaphor of the “mirror of nature” had misled philosophers into thinking that the task of philosophy is to “get things right” by representing objective reality. In the mid-twentieth century, the analytic-continental split in philosophy became bitterly entrenched. Many Anglo-American philosophers were convinced that linguistic analytic philosophy is “the only game in town.” They disdained what they took to be the lack of clarity and argumentative rigor among continental thinkers. The “compliment” was returned by continental thinkers who thought that much of analytic philosophy was trivial and insignificant. Rorty employed clever analytic techniques to challenge the pretentions of analytic philosophy. Many of his professional colleagues were furious. At the same time, Rorty engaged thinkers like Sartre, Heidegger, Gadamer, Habermas, Derrida, and Foucault. This delighted aficionados of continental philosophy – although they frequently judged his interpretations of these thinkers to be distorted caricatures. Rorty was one of the rare philosophers who transcended the analytic-continental split. At the same time, Rorty increasingly identified himself with the American pragmatic tradition. He entitled his 1982 collection of essays, “Consequences of Pragmatism,” which included his famous 1979 presidential address to the American Philosophical Association: “‘Pragmatism’ is a vague, ambiguous, and overworked word. Nevertheless it names the glory of our country’s intellectual tradition. No other American writers have offered so radical suggestion for making our future different from the past, as have James and Dewey” (Rorty 1982, p. 160). Rorty helped to revive a serious interest in James and Dewey. In the Introduction to Philosophy and the Mirror of Nature, he declared that the three most important philosophers of the twentieth century were Wittgenstein, Heidegger, and Dewey. Analytic philosophers might agree about the importance of Wittgenstein; continental thinkers might acknowledge the importance of Heidegger; but virtually no professional philosopher (except devotees of Dewey) would have ranked Dewey with the other two. Rorty claimed that each of these three thinkers had originally sought to find a new way to make philosophy “foundational,” but they came to realize that their earlier work was self-deceptive and they spent the rest of their time warning us against the temptations to which they had succumbed. “Their later work is therapeutic rather than constructive, edifying rather than systematic, designed to make the reader question his own motives for philosophizing rather than supply him with a new philosophical program.” (Rorty 1979, pp. 5–6) Rorty acknowledged that Dewey lacked Wittgenstein’s “dialectical acuity” and Heidegger’s “historical learning,” but Dewey articulated a vision of a new type of society. “In his ideal society, culture is no longer dominated by the ideal of objective cognition but by that of aesthetic enhancement. In that culture, as he said, the arts and sciences would be the ‘unforced flowers of life.” (Rorty 1979, p. 13) This was also Rorty’s vision of a liberal utopia. He developed this vision in Contingency, Irony, and Solidarity, where the central figure becomes the liberal ironist. Whereas Philosophy and the Mirror and Nature was filled with brilliant (although controversial) arguments, Rorty now debunked the role of argument in philosophy. “On the view of philosophy which I am offering, philosophers should not be asked for arguments against, for example, the correspondence theory of truth or the idea of the ‘intrinsic nature of reality’.” (Rorty 1989, p. 8) He favored redescription rather than argument. “I am not going to offer arguments against the vocabulary I want to replace. Instead, I am going to try to make the vocabulary I favor look attractive by showing how it may redescribe a variety of topics.” (Rorty 1989, p. 9) Interesting philosophy is not really a matter of argument at all but rather “a contrast between an entrenched vocabulary which has become a nuisance and a half-formed vocabulary which vaguely promises great things” (Rorty 1989, p. 9). Rorty deflated what many philosophers took to be the central concerns of philosophy, the nature of truth, reality, objectivity, knowledge, and morality. He sought to replace the appeal to objectivity with the appeal of solidarity. He is famous for his slogan “Take care of freedom and truth will take care of itself” (Rorty 1989, p. 176). Even admirers of Philosophy and the Mirror of Nature were distressed by the radical turn of Contingency where he suggested that novels, journalism, and literary reflection might be more effective than philosophical argumentation in bringing about his liberal utopia. Some of his fiercest critics claimed that Rorty could no longer be taken seriously as a philosopher. Contingency was savagely criticized and ridiculed, so much so that Rorty was provoked to write his revealing and delightful autobiographical sketch, “Trotsky and the Wild Orchids.” “I am sometimes told, by critics from both ends of the political spectrum, that my views are so weird as to be merely frivolous. They suspect that I will say anything to get a gasp, that I am just amusing myself by contradicting everybody else. This hurts. So I have tried, in what follows, to say something about how I got into my present position—how I got into philosophy, and then found myself unable to use philosophy for the purpose I had originally in mind.” (Rorty 1999, p. 5) What follows is an account of how Rorty grew up in a family that was deeply committed to furthering social justice. (“Trotsky” is a synecdoche for social justice.) Rorty also tells of his early nerdish love of the wild orchids of New Jersey. (“Wild orchids” is the synecdoche for private pleasures.) When Rorty became interested in philosophy, he wanted to find some intellectual or esthetic framework that would hold reality and justice in a single vision – one that would integrate social justice and private idiosyncratic pleasures. He tells the story of his eventual discovery that there was no such overarching framework and his growing realization that there was no need for such a framework. As a public citizen, one can be deeply committed to advancing social justice and at the same time, as a private person, enjoy idiosyncratic pleasures. There is no need to reconcile or synthesize these two incommensurable dimensions of human life. (shrink)

The concept of the 'social Trinity', which posits three conscious subjects in God, radically revised the traditional Christian idea of the Creator. It promoted a view of God as a passionate, creative and responsive source of all being. Keith Ward argues that social Trinitarian thinking threatens the unity of God, however, and that this new view of God does not require a 'social' component. Expanding on the work of theologians such as Barth and Rahner, who insisted that there was (...) class='Hi'>only one mind of God, Ward offers a coherent, wholly monotheistic interpretation of the Trinity. Christ and the Cosmos analyses theistic belief in a scientific context, demonstrating the necessity of cosmology to theological thinking that is often overly myopic and anthropomorphic. This important volume will benefit those who seek to understand what the Trinity is, why it matters and how it fits into a scientific account of the universe. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Wittgenstein’s Reflection in Lewis Carroll’s Looking-GlassLeila S. MayAccording to one tradition in the theory of fiction, there is a kind of fantasy whose function is to invite the reader to "acknowledge the possibility of a different reality."1 In this essay I want to ask whether Lewis Carroll's Alice books fit into this category; that is, I want to explore the possibility that Alice's Adventures in Wonderland and Through (...) the Looking-Glass are not the pure nonsense that many readers take them to be. In considering the Alice books as fantasy offering a view of a "different reality" I do not deny that there are in these stories some mimetic elements alongside the fantastic—representations of things going on somewhere, somehow, in Victorian society—in which case the "different reality" presented will not be so terribly different as to be unrecognizable. For example, the Mad Tea Party in Alice's Adventures in Wonderland is not only an act of fantasy but also an act of mimesis. It certainly imitates the real tea parties often held throughout Victorian England—if caricature is a form of imitation—but it may also mime those mock tea parties held in English asylums whose goal was to model sane-like behavior to the inmates.2 An analogous question can be asked about Carroll's books in general: In addition to the component of fantasy, are they mimetic of Victorian culture itself, or merely of the Victorian conception of madness? Michel Foucault has argued that, while the very idea of la folie is an historical construct, the dialectical relationship between reason and unreason, with each pole parasitic on the other, is a structural constant. Carroll's Alice books produce images that are discharged in the confused nineteenth-century landscape where these two opposites meet. In that respect, his books are not so different from many of the more standard novels written in mid-century England. In this essay I [End Page 79] will explore features of this landscape, using a theoretical framework that has been synthesized from a number of related claims in the work of the linguistic philosopher Ludwig Wittgenstein. In addition to my long-range aim of urging further study of Wittgenstein's work by literary critics, one of my specific goals is to show that the application of Wittgensteinian methods to the works of Lewis Carroll reveals something about the hidden logic of Carroll's stories, and conversely that this procedure tests some of Wittgenstein's intuitions concerning language. Yet another goal is to suggest that the structure of the discourse of domesticity as reflected in many mid-nineteenth-century novels is curiously similar to the structure of discourse in Wonderland and Looking-Glass Land—that the language-games played at these sites are at the same time functional and dysfunctional in much the same way. That may seem like a lot to attempt in a few pages,... but to paraphrase Humpty-Dumpty, when I ask words to do that much extra work, I pay them overtime.In 1965 the philosopher George Pitcher published an essay, "Wittgenstein, Nonsense, and Lewis Carroll," in which he sought to demonstrate "the remarkable extent and depth of affinity between these two great writers with respect to nonsense." In addition, he showed that "the very same confusions with which Wittgenstein charged philosophers were deliberately employed by Carroll for comic effect," and that many of the examples that Wittgenstein used to illustrate his points "resemble, in varying degrees, examples that are found in the works of Carroll."3 While I agree with Pitcher's observation that the examples of nonsense that Wittgenstein offers are very similar to a primary strain of nonsense that runs through the Alice books, in the first section I intend to go beyond that observation and to apply some of Wittgenstein's tools to Carroll's work and show that Wittgenstein's work can be used to reveal features of literary narrative that might otherwise be obscured, and in the second section, to apply these tools to the works of fiction this side of the Looking-Glass.IWittgenstein says that a language is a "language-game." He... (shrink)

Darwinian ideas were developed and radically transformed when they were transmitted to the alien intellectual background of late nineteenth- and early twentieth-century China. The earliest references to Darwin in China appeared in the 1870s through the writings of Western missionaries who provided the Chinese with the earliest information on evolutionary doctrines. Meanwhile, Chinese ambassadors, literati and overseas students contributed to the dissemination of evolutionary ideas, with modest effect. The ‘evolutionary sensation’ in China was generated by the Chinese Spencerian (...) Yan Fu’s paraphrased translation and reformulation of Thomas Huxley’s 1893 Romanes Lecture ‘Evolution and ethics’ and his ‘Prolegomena’. It was from this source that ‘Darwin’ became well known in China – although it was Darwin’s name, rather than his theories, that reached Chinese literati’s households. The Origin of Species itself began to receive attention only at the turn of the twentieth century. The translator, Ma Junwu (1881–1940), incorporated non-Darwinian doctrines, particularly Lamarckian and Spencerian principles, into his edition of the Chinese Origin. This partially reflected the importance of the pre-existing Chinese intellectual background as well as Yan Fu’s progressive ‘evolutionary paradigm’. In this paper, I will elucidate Ma Junwu’s culturally conditioned reinterpretation of the Origin before 1906 by investigating his transformation of Darwin’s principal concepts. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Crushing Pressures and Radical IdeasJohn Z. Sadler, MD (bio)Back in 2011, I wrote a paper for the Journal of Bioethical Inquiry, an Australian journal, for a special issue dedicated to ethical issues associated with psychiatric genetics research. The editor was particularly excited by the recent findings of the 5-HTT allele in psychiatric illness. I had different ideas about what I wanted to write about, and the editor, Michael (...) Robertson, graciously considered them and ultimately published the paper. At the time I was interested in the colossal investment of National Institutes of Mental Health (NIMH) research dollars in psychiatric genetic research; at the time I was troubled at the lack of on-the-ground clinical implications of this research investment, and figured an Australian journal and referees would be more generous to a critical paper on U.S. funding priorities. I dug into the National Institutes of Health (NIH), NIMH, and National Science Foundation websites and found some crude dollar evidence of respective expenditures for research funding in various disorders and focus areas, and compared these investments to psychiatric genetic research funding commitments. I will not go into details (Sadler, 2011), but the gist was that the psychiatric genetics research enterprise was and had been an extraordinarily expensive enterprise, when other research questions that could be immediately implementable into clinical care improvements remained marginally funded at best. The paper was not read widely and other than a couple of annoyed responses from psychiatric genetic researchers, not much came of it.This concern about funding priorities was one of the reasons why I was pleased to see this paper by Turkheimer and Greer which explores the long term results of the Spit for Science (S4S) initiative, which was launched grandly the same year as my paper’s whisper from down under. I hope this Philosophical Case Conference explores the many dimensions of interest for this paper, which is extraordinarily careful and even handed in its attitude, while at the same time being incisive in its analysis.My focus here is not in the science per se, which is beyond my competence. I’m interested in Turkheimer and Greer’s (T&G) conceptual overview of this research program. More specifically, I focus on T&G’s highlighting of the extraordinary willingness of the S4S authors to interpret prevailingly negative results in the most generous, even misleading, degree possible. I try to provide some possible ways of understanding this kind of research rhetoric exhibited by a cohort of highly respected, very successful scientists.I acknowledge the well-described varieties of interpretive bias that all of us are subject to. First on the list must be confirmation bias, our tendency to interpret situations in terms consistent [End Page 447] with our preconceived notions—in this case, the idea that genetics has something important to do with addictive disorders. Another might be epistemic overconfidence—the tendency to fail at interpretive skepticism in favor of one’s preferred conclusion. Related to this may also be interpretive momentum, the tendency to maintain a conviction about the correctness of one’s expectations and disregard inconsistent findings over the course of a research program—in this case, the multiple S4S studies (O’Sullivan & Schofeld, 2018). However, these kinds of biases tend to “blame” the individual authors’ thinking styles. I opine, though, that other vectors shaping the declaring-success rhetoric are more important.These sources have to do with the state of practice in doing biomedical science research in universities and particularly academic medical centers (AMCs) today. I identify several causal vectors that compel, however subtly, researchers to declare success in the face of failure. I have only picked three, and in no order of importance: 1) funding caps for NIH grants, 2) the overleveraging of university budgets and ballooning dependence on soft money, and 3) the incentivizing of intellectual property development within AMCs.Funding Caps for NIH GrantsIf you are a university or AMC, one way you hold onto your most productive scientists (e.g., grants, publications, discoveries, and status) is by paying them well. Single NIH grants today commonly amount to millions of dollars, and often tens of millions. These bring... (shrink)

This paper reconsiders the notion that Nagarjuna and Wittgenstein’s Tractatus may only be seen as comparable under a shared ineffability thesis, that is, the idea that reality is impossible to describe in sensible discourse. Historically, Nagarjuna and the early Wittgenstein have both been widely construed as offering either metaphysical theories or attempts to refute all such theories. Instead, by employing an interpretive framework based on a ‘resolute’ reading of the Tractatus, I suggest we see their philosophical affinity in (...) terms of a shared conception of philosophical method without proposing theses. In doing so, this offers us a new way to understand Nagarjuna’s characteristic claims both to have ‘no views’ and refusal to accept that things exist ‘inherently’ or with ‘essence’. Therefore, instead of either a view about the nature of a mind-independent ‘ultimate reality’ or a thesis concerning the rejection of such a domain, I propose that we understand Nagarjuna’s primary aim as ‘therapeutic’, that is, concerned with the dissolution of philosophical problems. However, this ‘therapy’ should neither be confined to the psychotherapeutic metaphor nor should it be taken to imply a private enlightenment only available to philosophers. Instead, for Nagarjuna and Wittgenstein, philosophical problems are cast as a source of disquiet for all of us; what their work offers is a soteriology, a means towards our salvation. (shrink)

Parts and wholes come in an infinite variety, but in each instance something, namely relations, joins the parts together to make them into a whole rather than an Aristotelian "heap." The ontological status of relations is the subject of this dissertation. ;The question of whether relations are real presupposes some method of determining what is real. A modified version of Whitehead's ontological principle, or the idea that only real things can have effects on other things, serves as the test (...) of the reality. If any effects result from a whole but not from a collection of parts, then a whole differs from its parts and relations are real. Such effects can manifest themselves in two ways: parts themselves may somehow be affected by being joined into a whole or some new property may emerge with a whole that cannot be attributed to the parts taken separately. If one discovers either type of effect, then relations are real. ;The first section of the dissertation is an historical examination on the question of the reality of the relations. In the first chapter, the positions of Hume, Parmenides and Whitehead are considered but ultimately rejected. The second chapter examines the positions of Aristotle and Wittgenstein, thinkers for whom relations are in some cases real, while the third examines Plato's idea on relations. ;In the fourth chapter, a distinction between two types of relations is drawn. The difference between these relations is found in whether or not the parts joined are affected by being in a whole. Static relations are those which join parts into a whole without affecting those parts, while parts joined by dynamic relations are affected by being in a whole. Both static and dynamic wholes possess emergent properties which come into being only when parts are joined into wholes. ;The second section focuses on the consequences of the reality of relations in philosophy, specifically in ethics, logic and the philosophy of space and time. (shrink)

“The longer you work, the more the mystery deepens of what appearance is, or how what is called appearance can be made in another medium."—Francis Bacon, painter This, in a nutshell, is the central problem in the theory of art. It has fascinated philosophers from Plato to Wittgenstein. And it fascinates artists and art historians, who have always drawn extensively on philosophical ideas about language and representation, and on ideas about vision and the visible world that have deep (...) philosophical roots. John Hyman’s _The Objective Eye_ is a radical treatment of this problem, deeply informed by the history of philosophy and science, but entirely fresh. The questions tackled here are fundamental ones: Is our experience of color an illusion? How does the metaphysical status of colors differ from that of shapes? What is the difference between a picture and a written text? Why are some pictures said to be more realistic than others? Is it because they are especially truthful or, on the contrary, because they deceive the eye? _The Objective Eye_ explores the fundamental concepts we use constantly in our most innocent thoughts and conversations about art, as well as in the most sophisticated art theory. The book progresses from pure philosophy to applied philosophy and ranges from the metaphysics of color to Renaissance perspective, from anatomy in ancient Greece to impressionism in nineteenth-century France. Philosophers, art historians, and students of the arts will find _The Objective Eye_ challenging and absorbing. (shrink)

InThe Language Animal, Charles Taylor’s struggle to provide a theoretical framework for his narration of the self finally becomes obvious. About 30 years after he wrote his great and fascinatingSources of the Self, Taylor closes the gap between the self as a radical being-in-the-world and its analytical premises. Even if the main topic of Taylor’s new book may seem to be only a comparison of what he calls ‘HHH-theory’ and ‘HLC-theory,’ there are two other authors, the combination of whose (...) ideas clarifies not only his approach to language but also to his concept of ‘reality’ as such: Gottlob Frege and Ludwig Wittgenstein.DansThe Language Animal, les efforts que doit déployer Charles Taylor pour fournir un point de vue théorique permettant de fonder son récit du soi deviennent finalement apparents. Quelque trente ans après son grand et fascinantLes sources du moi, il comble l’écart qui subsistait entre le soi en tant qu’être au monde radical et ses prémisses analytiques. Même si le principal sujet du nouveau livre de Taylor semble se résumer à une comparaison entre ce qu’il appelle la théorie HHH et la théorie HLC, on y retrouve deux auteurs dont les idées, combinées, permettent de clarifier son approche du langage et du concept de «réalité» : Gottlob Frege et Ludwig Wittgenstein. (shrink)

The question is raised of the source of the extreme verificationist views which Wittgenstein put forward immediately after his return to philosophy in 1929. Since these views appear to be radically different from the ideas put forward in theTractatus some explanation of this dramatic new turn in Wittgenstein''s thought certainly seems to be called for. Wittgenstein''s very low level of interest in philosophy between 1918 and shortly before his return to philosophy is documented. Attention then focuses on the crucial (...) period immediately before Wittgenstein''s return to Cambridge, and it is shown that in this period he encountered only two new philosophical influences. These were the ideas of Brouwer and the ideas of the Vienna Circle. Each of these is examined and neither is found capable of providing an explanation of the source of Wittgenstein''s verificationism. This leads to a reconsideration of the underlying assumption that Wittgenstein''s verificationism does represent the radical departure from the ideas of theTractatus which it appears to. It is argued that the only way we can account for Wittgenstein''s evident approval of the reading of theTractatus which he must have encountered in his meetings with members of the Vienna Circle is by concluding that, far from being incompatible with his earlier ideas, some form of verificationism must always have been implicit in theTractatus. (shrink)

Ontic structural realism refers to the novel, exciting, and widely discussed basic idea that the structure of physical reality is genuinely relational. In its radical form, the doctrine claims that there are, in fact, no objects but only structure, i.e., relations. More moderate approaches state that objects have only relational but no intrinsic properties. In its most moderate and most tenable form, ontic structural realism assumes that at the most fundamental level of physical reality there are (...) only relational properties. This means that the most fundamental objects only possess relational but no non-reducible intrinsic properties. The present paper will argue that our currently best physics refutes even this most moderate form of ontic structural realism. More precisely, I will claim that 1) according to quantum field theory, the most fundamental objects of matter are quantum fields and not particles, and show that 2) according to the Standard Model, quantum fields have intrinsic non-relational properties. (shrink)

In April 1939, G. E. Moore read a paper to the Cambridge University Moral Science Club entitled ‘Certainty’. In it, amongst other things, Moore made the claims that: the phrase ‘it is certain’ could be used with sense-experience-statements, such as ‘I have a pain’, to make statements such as ‘It is certain that I have a pain’; and that sense-experience-statements can be said to be certain in the same sense as some material-thing-statements can be — namely in the sense that (...) they can be safely counted on. When Moore later read his paper to Wittgenstein, Wittgenstein took violent exception to it, and the two entered into a heated exchange. The only known notes of this exchange are a previously unpublished verbatim record of part of it, taken by Norman Malcolm. This paper is an edition of Malcolm’s notes. These notes are valuable for both philosophical and scholarly reasons. They give us a glimpse of a sustained exchange between Wittgenstein and a real-life interlocutor; they contain a defence by Wittgenstein of the idea that a word’s use can illuminate its meaning; and they provide evidence of Wittgenstein’s philosophical engagement with the topic of certainty, and with Moore’s thought on it, long before he began to write the notes which make up On Certainty, in 1949. (shrink)

In _Religion and Nothingness_ the leading representative of the Kyoto School of Philosophy lays the foundation of thought for a world in the making, for a world united beyond the differences of East and West. Keiji Nishitani notes the irreversible trend of Western civilization to nihilism, and singles out the conquest of nihilism as _the_ task for contemporary philosophy. Nihility, or relative nothingness, can only be overcome by being radicalized to Emptiness, or absolute nothingness. Taking absolute nothingness as the (...) fundamental notion in rational explanations of the Eastern experience of human life, Professor Nishitani examines the relevance of this notion for contemporary life, and in particular for Western philosophical theories and religious believes. Everywhere his basic intention remains the same: to direct our modern predicament to a resolution through this insight. The challenge that the thought of Keiji Nishitani presents to the West, as a modern version of an Eastern speculative tradition that is every bit as old and as variegated as our own, is one that brings into unity the principle of reality and the principle of salvation. In the process, one traditional Western idea after another comes under scrutiny: the dichotomy of faith and reason, of being and substance, the personal and transcendent notions of God, the exaggerated role given to the knowing ego, and even the Judeo-Christian view of history itself. _Religion and Nothingness_ represents the major work of one of Japan's most powerful and committed philosophical minds. (shrink)

Gottlob Frege’s conception of works of art has received scant notice in the literature. This is a pity since, as this paper undertakes to reveal, his innovative philosophy of language motivated a theoretically and historically consequential, yet unaccountably marginalized Wittgenstinian line of inquiry in the domain of aesthetics. The element of Frege’s approach that most clearly inspired this development is the idea that only complete sentences articulate thoughts and that what sentences in works of drama and literary art express (...) are ‘mock thoughts’. The early Wittgenstein closely followed Frege’s lead on this theme. One sees this, for example, in the Tractatus, where Wittgenstein announces that only sentential propositions model states of affairs whereas works of art are objects we perceive sub specie aeternitatis. By the early 1930s, however, Wittgenstein began to revise his view beyond his initial Frege-inspired standpoint. He came to insist that works of art can convey thoughts as well, but that thoughts do not model the world of facts and hence do not convey information about measurable objects and events. Rather, his contention was that aesthetically configured thoughts that artworks communicate impart information about our perspective on reality and reconfigure our view of life. To be more explicit, successful or ‘good’ works of art, in Wittgenstein’s view, can supply aesthetically instructive ‘gestures’ that open to living experience promising new ways of being. It is in this respect, he held, that artists ‘have something to teach’. (shrink)

The article examines Ludwig Wittgenstein’s views on the world and human beings in it. It is emphasized that the philosopher, in addition to paying a lot of attention to the study of language, which determined the basis of his method of cognition, followed a number of worldview ideas about reality. They were supported by the achievements of physics of that time, although Wittgenstein himself argued that the study of reality is not possible without understanding the metaphysical issues (...) concerning the unspeakable, supernatural, spiritual, and so on. It shows how Wittgenstein interpreted the world and reality, distinguished between different levels of being, studied logical atoms, not laws, analyzed facts, not things, comprehended not only the macrocosm but also the microcosm, and as a result built a pragmatic ontological-cosmological conception, in which humans and the way of their being in the world occupied a significant place. (shrink)

In this paper, I draw attention to the often-overlooked Tractarian distinction between representing and depicting, provide a clear account of it and examine how it affects our understanding of the notions of ‘being a picture’, meaningfulness, truth, and falsity in the Tractatus. I also look at the recent debate in the literature on the notion of truth and show that Glock’s claim that the official theory of the Tractatus is to be accounted in terms of obtainment only and deflationary (...) accounts such as Hacker’s derive from a failure to notice the distinction between representing and depicting or a misconception of depicting. Finally, I argue against the idea that either representing or depicting should be dispensed with. Both are necessary for Wittgenstein to account for every case of a proposition being a picture of reality. (shrink)

José L. Zalabardo puts forward a new interpretation of central ideas in Wittgenstein's Tractatus Logico-Philosophicus concerning the structure of reality and our representations of it in thought and language. He presents the picture theory of propositional representation as Wittgenstein's solution to the problems that he had found in Bertrand Russell's theories of judgment. Zalabardo then attributes to Wittgenstein the view that facts and propositions are ultimate indivisible units, not the result of combining their constituents. This is Wittgenstein's solution (...) to the problem of the unity of facts and propositions. Finally, Zalabardo shows that Wittgenstein's views on the analysability of everyday propositions as truth functions of elementary propositions arise from his views on the epistemology of logic: this offers a new perspective on the nature of Tractarian analysis. (shrink)

Would you want to be operated on by a surgeon trained at a medical school that did not evaluate its students? Would you want to fly in a plane designed by people convinced that the laws of physics are socially constructed? Would you want to be tried by a legal system indifferent to the distinction between fact and fiction? These questions may seem absurd, but there are theories being seriously advanced by radical multiculturalists that force us to ask such questions. (...) These scholars assert that such concepts as truth and merit are inextricably racist and sexist, that reason and objectivity are merely sophisticated masks for ideological bias, and that reality itself is nothing more than socially constructed mechanism for preserving the power of the ruling elite. In Beyond All Reason, liberal legal scholars Daniel A. Farber and Suzanna Sherry mount the first systematic critique of radical multiculturalism as a form of legal scholarship. Beginning with an incisive overview of the origins and basic tenets of radical multiculturalism, the authors critically examine the work of Derrick Bell, Catherine MacKinnon, Patricia Williams, and Richard Delgado, and explore the alarming implications of their theories. Farber and Sherry push these theories to their logical conclusions and show that radical multiculturalism is destructive of the very goals it wishes to affirm. If, for example, the concept of advancement based on merit is fraudulent, as the multiculturalists claim, the disproportionate success of Jews and Asians in our culture becomes difficult to explain without opening the door to age-old anti-Semitic and racist stereotypes. If historical and scientific truths are entirely relative social constructs, then Holocaust denial becomes merely a matter of perspective, and Creationism has as much "validity" as evolution. The authors go on to show that rather than promoting more dialogue, the radical multiculturalist preferences for legal storytelling and identity politics over reasoned argument produces an insular set of positions that resist open debate. Indeed, radical multiculturalists cannot critically examine each others' ideas without incurring vehement accusations of racism and sexism, much less engage in fruitful discussion with a mainstream that does not share their assumptions. Here again, Farber and Sherry show that the end result of such thinking is not freedom but a kind of totalitarianism where dissent cannot be tolerated and only the naked will to power remains to settle differences. Sharply written and brilliantly argued, this book is itself a model of the kind of clarity, civility, and dispassionate critical thinking which the authors seek to preserve from the attacks of the radical multiculturalists. With far-reaching implications for such issues as government control of hate speech and pornography, affirmative action, legal reform, and the fate of all minorities, Beyond All Reason is a provocative contribution to one of the most important controversies of our time. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 67.1 (2006) 149-179 [Access article in PDF] The Problem of "Misplaced Ideas" Revisited: Beyond the "History of Ideas" in Latin America Elías José Palti Universidad Nacional de Quilmes—CONICET The change that has come over this branch of historiography in the past two decades may be characterized as a movement away from emphasizing history of thought (and even more sharply, "of (...) ideas") toward emphasizing something rather different, for which "history of speech" or "history of discourse," if not unproblematic or irreproachable, may be the best terminology so far found J.G.A. Pocock, Virtue, Commerce, and History1In 1973, Roberto Schwarz published a paper that profoundly marked a generation of thinkers in Latin America: "As idéias fora do lugar" ("Misplaced Ideas").2 It was originally intended to provide a theoretical framework for "progressivist" authors to counter the influence of nationalistic tendencies that, in the 1960s and 1970s, were particularly noticeable among the leftist political organizations.3 Yet, the concept of "misplaced [End Page 149] ideas" soon proved especially productive for theorizing the problematic development of ideas in Latin American history. Schwarz's text thus became the fundamental point of reference for those in the field who intended to question the hitherto predominant paradigms in cultural and literary critique, which were mostly inspired by the Romantic-nationalistic tradition. Notwithstanding, a quarter of a century later, Schwarz's original contribution in this regard needs to be reassessed. In the course of the last twenty-five years, the apparent loss of the national states' centrality helped to reveal the inherent complexity of the processes of cultural exchange hidden behind a perspective that still tended to conceive of them exclusively in terms of inter-national relationships. Furthermore, a series of new developments in the disciplines specifically dedicated to analyzing those kinds of exchange processes compels us to reconsider some of the implicit assumptions in Schwarz's concept and reformulate it.The object of this paper is to explore, in the light of the new realities of the last fin-de-siècle, new perspectives regarding the dynamic of ideas and cultural exchange in peripheral areas (of which Latin American is only a particular case), utilizing the new conceptual tools provided by the recently developed disciplines and theories in the field. Ultimately, the present work intends to raise a broader, epistemological, issue, whose relevance exceeds the local context. As it shows, the shortcomings in Schwarz's theory spring from a crude linguistic view, which is inherent in the "history of ideas," that reduces language exclusively to its referential function. A more precise distinction of the different levels of language will thus help to reveal aspects and problems that Schwarz's perspective obliterates. Yet, as this paper also intends to demonstrate, Schwarz's original intellectual project may be disentangled from its linguistic premises and recovered for cultural critique. Applied in a new way, it can still provide a theoretical framework to comprehend the intricacies of the processes of cultural exchange, and, more specifically, the problematic dynamics of ideas in Latin America that Schwarz intended to analyze. On Places and Non-Places of Ideas In order to understand the sense of Schwarz's notion of "misplaced ideas" we must place it within the conceptual framework in which it emerged. With it, Schwarz aimed to translate into a cultural key the postulates of the so-called "dependency theory," the core of which took shape in the "Seminar [End Page 150] on Marx," organized in São Paulo in the early 1960s (and in which Schwarz participated). As is well known, that theory intended to refute the "dualistic" approaches that viewed the peripheral areas as vestiges of a precapitalistic world that tends historically to disappear. The nations in this area would thus replicate the same pattern of linear development of central countries. On the contrary, dependency theory postulated the existence of a complex dynamic between the center and the periphery, the two representing instances inherent in capitalist development, thus forming a single, interconnected system. According to... (shrink)

In his late works Husserl interprets the crisis of European sciences as the loss of their meaning for life. The diagnosis seems to suggest therapeutic strategy: to overcome the crisis, phenomenology must return to the evidences of the life-world. The article argues that the husserlian strategy of overcoming the crisis consists not in the elimination of the break with the prescientific evidences of the natural attitude, but, on the contrary, in the radicalization of the breach. Thus, I want to show (...) that Husserl seeks to overcome the crisis of sciences by means of more radical crisis of phenomenology. In Husserl’s view, phenomenology must become the only science, which does not presuppose the life-world, since it problematizes it. I am going to argue also, that the counterintuitive strategy is not just of the historico-philosophical interest, but is meaningful for the actual philosophical understanding of the life-world. To justify those claims, I will proceed in three stages. In the first section of the article, I analyze the difference between the objective world and the life-world, which is the point of departure of husserlian interpretation of the crisis of sciences in Crisis. Bringing into correlation the difference between the objective world and the life-world in Crisis with the distinction of the ideal world and the real one in Ideas I, I disclose the ambiguity of husserlian interpretation of the crisis of European sciences. According to Husserl, the crisis arises, when science transcends the life-world through the idealizations, and, at the same time, presupposes the immediate prescientific evidences as something that is taken for granted. In the second section, I argue that the strategy of overcoming the crisis in Crisis is based on the phenomenological epoche, which allows for the porblematization of the life-world without presupposing it, Within this context I demonstrate the motivational unity of two reductions, performed by Husserl in Crisis—the reduction to the life-world, stripping the reality of the garb of ideas mistakingly taken to be the reality itself, and the reduction of the life-world, turning it into horizon and depriving phenomenologist of a right of relying on the life-worldly evidences, which is taken for granted in the natural science and renders it possible. The unity of the reductions indicates that phenomenological descent back down to the life-world is treated by Husserl as the radical break with the evidences of the natural life. The third section discusses the question, whether the problematical character of the life-world can be revealed only from the point of view of disinterested spectator, or it can be discovered, in a way, from within, in pretheoretical experience, which capacitates the life to problematizing itself and motivates phenomenological epoche. I argue that, although the question is not answered in a suitable way within husserlian analyses of the motivation for the epoche, the key to the solution of the problem is provided by the genetic phenomenology, since it thematizes the historicity of the life-world. I interpret the historicity as the ambivalent pretheoretical experience, constituting both the self-evidence and the problematical character of the life-world. (shrink)

In his writings around 1930, Wittgenstein relates his philosophy to the idea of phenomenology. He indicates that his main philosophical project had earlier been the construction of a purely phenomenological language, and even after having given up this project he believed that "the world we live in is the world of sense-data," that is, of phenomenological objects. However, a problem is posed by the fact that he does not appear to have given a full, explicit account of what he means (...) by his 'phenomenology', 'phenomenological language', or 'phenomenological problems'. The aim of this dissertation is to unravel the nature of Wittgenstein's phenomenology and to examine its importance for his entire work in philosophy. ;Phenomenology can be characterized as philosophy whose primary concern is what is immediately given in one's experience. This 'immediately given' is not merely impressions inside one's mind, but includes also the part of objective reality that impinges upon one's consciousness. Thus, an aim of phenomenological enterprise is to grasp this objective reality by attending to immediate experience. Husserl's phenomenology is in fact a case in point. ;Similarly, Wittgenstein's main attention is directed to one's immediate experience. However, the early Wittgenstein's phenomenology is unusual because of the way he views immediate experience. For him, the nature of the immediately given is unique in the sense that the possibility of logic is also based on it. Indeed, the fact that Wittgenstein sees the foundation of logic in immediate experience is what makes his philosophy a kind of phenomenology. In the Tractatus, all logical forms are combinations of the logical forms of immediately given objects of experience. Also, immediate experience can only be grasped and understood by means of language, because Wittgenstein views language as the ultimate medium through which we understand the world. Therefore, the important problem for him is the way we use language to describe immediate experience. In my study, I examine Wittgenstein's concern with immediate experience and the way we describe it, a concern which guides his philosophical journey through the phenomenological problems that pervade his work. (shrink)

In "Wittgenstein in relation to his times" Von Wright1 poses a dilemma regarding the relationship between three wittgensteinian tenets: (i) the view that individual's beliefs and thoughts are entrenched in accepted language games and socially sanctioned forms of life (ii) the view that "philosophical problems are disquietudes of the mind caused by some malfunctioning in the language games, and hence in the way of life of the community". (iii) the "rejection of the scientific-technological civilisation of industrialised societies". The dilemma is (...) the following: is Wittgenstein's rejection of technological civilisation strictly linked to his general view of philosophy? Or is it "only contingently - that is for historical and psychological reasons, connected with the other two in Wittgenstein's thought"? Von Wright argues, even with some doubts, for a strong link between Wittgenstein's rejection of technological society and his general approach to philosophy; the argument is as follows: "because of the interlocking of language and ways of life, a disorder in the former reflects disorder in the latter. If philosophical problems are symptomatic of language, producing malignant outgrowths which obscure our thinking, then there must be a cancer in the Lebensweise, in the way of life itself" (p.119). The argument seems to be not compelling; among some of the main philosophical problems Wittgenstein is willing to "cure" there are misunderstandings lying in the history of our language much time before our technological civilisation (Wittgenstein refers to Augustine and Plato as suffering these disorder of language). We should generalise the criticism to technological society to the effect of enclosing ancient Greece. In this way the criticism seems to loose all its polemical vein, becoming a generic criticism of the structures of western thought since Greece. But probably this was the point Wittgenstein wanted to make in his criticism of the idea of progress and technological civilisation. I will argue therefore for the second horn of the dilemma, relying on another kind of de facto argument: contemporary technological civilisation is embodying some of Wittgenstein's main ideas (we might also note that these ideas are among the strongest points Wittgenstein gives against Greek classical tradition in philosophy).. (shrink)

I do not for a moment question the fact that many people have experiences of a special type which may be termed “religious”, The extent to which religious experience may be regarded as a reasonably common phenomenon in present-day Britain is shown clearly by David Hay in his Exploring Inner Space, Harmondsworth 1982. that such experiences often involve reference to something which appears to display a radical unlikeness to all else and that they are therefore in some sense inexpressible. Doubtless (...) the ideas I have put forward about the possible source of such unlikeness and ineffability might suggest models of God which would not find much theological approval, at least within any mainstream theistic tradition, since some sort of pantheism seems inevitably to be implied. But however this might be, the concept of radical unlikeness as it has been analyzed here can, I think, help us towards understanding certain problematic areas in religion quite apart from the issue of intelligibility, which has been the focus of this discussion. To begin with, radical unlikeness suggests a way in which the historical continuity of concepts of the transcendent might be upheld against the discontinuity suggested by the diversity of interpretations through which they have moved. Ancient and modern outlooks on, say, God differ enormously, as indeed do the range of co-temporal accounts at many particular moments. But, by and large, theologians firmly maintain that it is a single and unchanging phenomenon which is being dealt with. Unless we can point to some common element which is both specific enough to create a binding sense of common tradition, yet never completely expressed by any attempt at understanding it within that tradition (thus persistently demanding new attempts to apprehend it), then given the widely differing views of God within, for example, the Christian community, it is difficult to see how we could assume that in fact they all stemmed from the same source and were talking about the same thing. The idea of radical unlikeness could provide an element with just these required characteristics: it could be seen as what all the accounts attempt to net, with varying degrees of adequacy, within their offered interpretations. It could be seen as what remains constant, constantly elusive yet constantly generative of fresh attempts to apprehend it, throughout a history of intra-religious diversity. This sort of explanation could, presumably, be applied to the intra-religious diversity of the non-Christian traditions too.Secondly, radical unlikeness might suggest a possible way of understanding inter-religious diversity in a way which allows that whilst such diversity exists, whilst the differences between religions are real, they are grounded in a similar root-experience. It may, at first sight, seem difficult to continue thinking of the various religious traditions as truly separate phenomena if they are taken as being grounded on experiences whose ineffability stems from the unlikeness of experiencing things as a whole. Here we must stress again that if they are to be considered intelligible, radically unlike experiences cannot be considered completely so - or putting this another way, we cannot more than approach experience of totality. Sense can be given to religious claims of ineffability by suggesting experience of near totality, where we reach the last point on the scale of inclusiveness which complies with the logical criteria demanded of something for it to be possible for us to be aware of it. We might thus attempt an explanation of inter-religious diversity based on the view that Hinduism, Buddhism, Christianity, Islam etc. acquire their differences from the different elements included in their experience of near totality. Taking totality to be represented by the scale of one to ten, Hinduism might be seen as grounded on experience of 1-2-3-4-5-6-7-9-10, Buddhism on experience of 1-3-4-5-6-7-8-9-10 and so on. The resulting dissimilarities are thus centred not on different types of experience, but on different areas of inclusiveness. This is, of course, to suppose that the various religious traditions are all based on the same degree (as opposed to the same elements) of inclusiveness, but it is by no means clear that such a supposition is justified. Continuing with our decimal analogy, might it not be suggested that whilst Christianity stemmed from experience of 2-3-4-5-6-7-8-9-10, Jainism was founded on a less extensive encounter with the divine (say 4-5-6-7-8-9-10)? It is, however, uncertain how we can compare and evaluate different religious traditions in such a way as to be able to comment on such claims. A definite danger of comparative religion is that by concentrating on establishing and exploring inter-religious likenesses, it may obscure the radical unlikeness of religious phenomena. It should be borne firmly in mind that such likenesses as may be established within comparative studies may not win religious phenomena a place within our understanding comparable to objects of more everyday concern. Statements found in the Old Testament, the Qur'an and the Vedas, for example, may, on occasion, be alike, but at the end of the day such things are often alike only, or chiefly, in so far as they display the same radical unlikeness in relation to the non-religious elements in our outlook.The analysis of radical unlikeness and ineffability which has been advanced might also suggest a way in which certain passages in religious writings could be understood, passages which at first sight can be seriously perplexing. If, for example, to return to the quotation given in the introductory section of this paper, we continue to think of accounts of the nature of Shiva as being attempts to describe some discrete, objective entity, then it is inevitable that either we will share the Puranic writer's puzzlement or that much of what we read about Shiva will appear as the muddled and extravagant thinking thrown up by an uncritical and over-fertile mythological imagination, consisting of little more than a hotch-potch of contradictory elements. But if we see such accounts as attempting to say something about everything, as symbols of near totality stemming from experiences which verge on the holistic, then what we read - with all its ambiguities - may become somewhat more meaningful. Thus W.D. O'Flaherty comments that Shiva “embodies all of life in all its detail at every minute” (Asceticism and Eroticism in the Mythology of Shiva, London 1973, p. 315). Similarly Alain Dani41ou sees Shiva, ultimately, in terms of his being "the supreme state of reality" beyond whom there is only "non-existence" (Hindu Polytheism, London 1964, p. 190).This analysis of ineffability and intelligibility seeks to introduce for debate a possible way of understanding the radical unlikeness which accounts of religious experience apparently attempt to speak about. It does not, however, claim to present an exhaustive treatment of the issues raised, on the contrary, I am conscious of many shortcomings and omissions. For instance, it remains to be seen under precisely what conditions something counts as being an elucidating likeness (presumably all experiences are, for example, temporal, yet temporality alone would not seem to offer a particularly elucidating comparison). Moreover, the degree to which appeal to likeness is allowed operation in actual accounts of religious experience needs to be explored. In addition, the notion of categorizing experiences according to the extent to which they approach a point of total inclusion requires careful clarification. To begin with, according to what criteria could we establish that one experience was more inclusive than another? However, such issues can only be mentioned here, any adequate consideration of them would require a separate paper.In conclusion, I would suggest that to use radical unlikeness and/or ineffability simply as devices by which to halt any process of investigation, proclaiming that the thing in question is not like anything and so is beyond all words, risks making unintelligible and placing beyond all further inquiry an important and extensive area of human experience. As William Alston put it, to label something ineffable in an unqualified way is to shirk the job of making explicit the ways in which it can be talked about. William P. Alston, “ineffability”, Philosophical Review 65 (1956), 522. It is surely more accurate to take ineffability as a “qualifier”I.T. Ramsey, Models and Mystery (Oxford 1964), p. 60. which “multiplies models without end”Ibid. than as an absolute which prevents the construction of any elucidating models. (shrink)

In the paper the author explores the question ‘Did Wittgenstein (re)invent emoticons?’ in three sub-questions. What did he draw and for which purposes? What are emoticons? Are there similarities and differences between his drawings and emoticons? The answers are following. Wittgenstein has drawn faces from the 1930s to the 1940s which are graphically and by use like emoticons. He presented a philosophical problem of interpretation of faces. Emoticons as made of written and typed punctuation marks or as drawings were invented (...) and used centuries before the 1930s, but common and popular use started in the 1960s. Previous inventions were probably unknown to Wittgenstein, and his faces probably didn’t influence later inventions. His faces and emoticons are graphically similar and made with the similar purposes. Differences are that he only used drawings and never written or typed punctuation marks, and he used them to deal with problems of emotions and perception (similar to his problems of the duck-rabbit head). These answers are connected to available textual and interpretative evidence, interpretations are given in propositions from (a) to (p), and summarized in the conclusion (r). Some consequences of visual thinking on philosophical thinking are also drawn in terms of a future research. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 67.1 (2006) 149-179 [Access article in PDF] The Problem of "Misplaced Ideas" Revisited: Beyond the "History of Ideas" in Latin America Elías José Palti Universidad Nacional de Quilmes—CONICET The change that has come over this branch of historiography in the past two decades may be characterized as a movement away from emphasizing history of thought (and even more sharply, "of (...) ideas") toward emphasizing something rather different, for which "history of speech" or "history of discourse," if not unproblematic or irreproachable, may be the best terminology so far found J.G.A. Pocock, Virtue, Commerce, and History1In 1973, Roberto Schwarz published a paper that profoundly marked a generation of thinkers in Latin America: "As idéias fora do lugar" ("Misplaced Ideas").2 It was originally intended to provide a theoretical framework for "progressivist" authors to counter the influence of nationalistic tendencies that, in the 1960s and 1970s, were particularly noticeable among the leftist political organizations.3 Yet, the concept of "misplaced [End Page 149] ideas" soon proved especially productive for theorizing the problematic development of ideas in Latin American history. Schwarz's text thus became the fundamental point of reference for those in the field who intended to question the hitherto predominant paradigms in cultural and literary critique, which were mostly inspired by the Romantic-nationalistic tradition. Notwithstanding, a quarter of a century later, Schwarz's original contribution in this regard needs to be reassessed. In the course of the last twenty-five years, the apparent loss of the national states' centrality helped to reveal the inherent complexity of the processes of cultural exchange hidden behind a perspective that still tended to conceive of them exclusively in terms of inter-national relationships. Furthermore, a series of new developments in the disciplines specifically dedicated to analyzing those kinds of exchange processes compels us to reconsider some of the implicit assumptions in Schwarz's concept and reformulate it.The object of this paper is to explore, in the light of the new realities of the last fin-de-siècle, new perspectives regarding the dynamic of ideas and cultural exchange in peripheral areas (of which Latin American is only a particular case), utilizing the new conceptual tools provided by the recently developed disciplines and theories in the field. Ultimately, the present work intends to raise a broader, epistemological, issue, whose relevance exceeds the local context. As it shows, the shortcomings in Schwarz's theory spring from a crude linguistic view, which is inherent in the "history of ideas," that reduces language exclusively to its referential function. A more precise distinction of the different levels of language will thus help to reveal aspects and problems that Schwarz's perspective obliterates. Yet, as this paper also intends to demonstrate, Schwarz's original intellectual project may be disentangled from its linguistic premises and recovered for cultural critique. Applied in a new way, it can still provide a theoretical framework to comprehend the intricacies of the processes of cultural exchange, and, more specifically, the problematic dynamics of ideas in Latin America that Schwarz intended to analyze. On Places and Non-Places of Ideas In order to understand the sense of Schwarz's notion of "misplaced ideas" we must place it within the conceptual framework in which it emerged. With it, Schwarz aimed to translate into a cultural key the postulates of the so-called "dependency theory," the core of which took shape in the "Seminar [End Page 150] on Marx," organized in São Paulo in the early 1960s (and in which Schwarz participated). As is well known, that theory intended to refute the "dualistic" approaches that viewed the peripheral areas as vestiges of a precapitalistic world that tends historically to disappear. The nations in this area would thus replicate the same pattern of linear development of central countries. On the contrary, dependency theory postulated the existence of a complex dynamic between the center and the periphery, the two representing instances inherent in capitalist development, thus forming a single, interconnected system. According to... (shrink)

How can human experience, vibrant with colours, sounds, flavours, emotions and meanings, arise from the skeletal dance of matter depicted in the physical sciences? Today the mind-body problem confronts not only metaphysicians and moral philosophers, but also workers in the fields of cognitive science, artificial intelligence and neuroscience. Paul Marshall offers a radical solution to the mind-body problem by rejecting the idea of a purely material world and asserting instead the primacy of experience. As many have recognized before, experience (...) is not reducible to material bodies and processes alone. Marshall goes a step further and suggests that the matter investigated by modern science corresponds to structural features of an experiential universe that supports and includes our familiar experiences. Utilizing clues furnished by mystical experience and responding to a challenge posed by the physics of motion, Marshall takes up Leibniz's philosophy of 'living mirrors' and arrives at a holistic world-picture that has suggestive links with quantum physics and the visionary cosmologies of East and West. (shrink)

The received understanding of Winch’s critique of social science is that he propounded a radically relativist, anti-explanatory and a-critical conception of the legitimate task of ‘social studies’. This conception is presumed to be predicated upon an extension of Wittgenstein’s critique of philosophy. I argue, against this view, that Winch reads Wittgenstein through a Kantian framework, and that in fact he advanced a rigorously essentialist and universalist picture of ‘social phenomena’. It is Winch’s underlying Kantian metaphysics that has made his (...) class='Hi'>ideas attractive to contemporary architects of critical social theory, such as Giddens and Habermas. However, in opposition to the latter, and in spite of his Kantianism, I discern in Winch a genuinely critical attitude towards social understanding. (shrink)

Would you want to be operated on by a surgeon trained at a medical school that did not evaluate its students? Would you want to fly in a plane designed by people convinced that the laws of physics are socially constructed? Would you want to be tried by a legal system indifferent to the distinction between fact and fiction? These questions may seem absurd, but these are theories being seriously advanced by radical multiculturalists that force us to ask them. These (...) scholars assert that such concepts as truth and merit are inextricably racist and sexist, that reason and objectivity are merely sophisticated masks for ideological bias, and that reality itself is nothing more than a socially constructed mechanism for preserving the power of the ruling elite. In Beyond All Reason, liberal legal scholars Daniel A. Farber and Suzanna Sherry mount the first systematic critique of radical multiculturalism as a form of legal scholarship. Beginning with an incisive overview of the origins and basic tenets of radical multiculturalism, the authors critically examine the work of Derrick Bell, Catherine MacKinnon, Patricia Williams, and Richard Delgado, and explore the alarming implications of their theories. Farber and Sherry push these theories to their logical conclusions and show that radical multiculturalism is destructive of the very goals it wishes to affirm. If, for example, the concept of advancement based on merit is fraudulent, as the multiculturalists claim, the disproportionate success of Jews and Asians in our culture becomes difficult to explain without opening the door to age-old anti-Semitic and racist stereotypes. If historical and scientific truths are entirely relative social constructs, then Holocaust denial becomes merely a matter of perspective, and Creationism has as much "validity" as evolution. The authors go on to show that rather than promoting more dialogue, the radical multiculturalist preferences for legal storytelling and identity politics over reasoned argument produces an insular set of positions that resist open debate. Indeed, radical multiculturalists cannot critically examine each others' ideas without incurring vehement accusations of racism and sexism, much less engage in fruitful discussion with a mainstream that does not share their assumptions. Here again, Farber and Sherry show that the end result of such thinking is not freedom but a kind of totalitarianism where dissent cannot be tolerated and only the naked will to power remains to settle differences. Sharply written and brilliantly argued, this book is itself a model of the kind of clarity, civility, and dispassionate critical thinking which the authors seek to preserve from the attacks of the radical multiculturalists. With far-reaching implications for such issues as government control of hate speech and pornography, affirmative action, legal reform, and the fate of all minorities, Beyond All Reason is a provocative contribution to one of the most important controversies of our time. (shrink)

We take for granted that only certain kind of things exist - electrons but not angels, passports but not nymphs. This is what we understand as `reality'. But in fact, `reality' varies with each era of the world, in turn shaping the field of what is possible to do, think and imagine. Our contemporary age has embraced a troubling and painful form of reality: Technic. Under Technic, the foundations of reality begin to crumble, shrinking the (...) field of the possible and freezing our lives in an anguished state of paralysis. Technic and Magic shows that the way out of the present deadlock lies much deeper than debates on politics or economics. By drawing from an array of Northern and Southern sources - spanning from Heidegger, Junger and Stirner's philosophies, through Pessoa's poetry, to Advaita Vedanta, Bhartrhari, Ibn Arabi, Suhrawardi and Mulla Sadra's theosophies - Magic is presented as an alternative system of reality to Technic. While Technic attempts to capture the world through an `absolute language', Magic centres its reconstruction of the world around the notion of the `ineffable' that lies at the heart of existence. Technic and Magic is an original philosophical work, and a timely cultural intervention. It disturbs our understanding of the structure of reality, while restoring it in a new form. This is possibly the most radical act: if we wish to change our world, first we have to change the idea of `reality' that defines it. (shrink)

Ludwig Boltzmann is one of the foremost responsible for the development of modern atomism in thermodynamics. His proposition was revolutionary not only because it brought a new vision for Thermodynamics, merging a statistical approach with Newtonian physics, but also because he produced an entirely new perspective on the way of thinking about and describing physical phenomena. Boltzmann dared to flirt with constructivism and realism simultaneously, by hypothesizing the reality of atoms and claiming an inherent probabilistic nature related to (...) many particles systems. Boltzmann faced criticism from the positivists, who rejected the hypothesis of the atom as a matter of principle, and also from physicists, who rejected the idea of a classical bounded system that does not follow deterministic mechanical laws. We consider that Boltzmann thermodynamics has emerged as a systemic theory that deals with macroscopic bodies using collective variables; it was reformulated to a kinetic theory of gases, and subsequently to statistical mechanics. From the theoretical physical point of view, Boltzmann advocates an approach to thermodynamics based on mechanics and was one of the founders of statistical mechanics, together with ideas by Maxwell, Clausius and Gibbs. Subsequently, statistical mechanics has also influenced the development of quantum mechanics and information theory. Using an evolutionary epistemological perspective as a metaphor to describe the physical entities claimed in Boltzmann propositions, we interpret his work as a selected theory that gained attributes of reality and “survived” during a scientific-contextual competition to be more adapted, in the sense that it was able to better explain physical phenomena, and also generated “descendants”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Sunyata and Otherness:Applying Mutually Transformative Categories from Buddhist-Christian Dialogue in ChristologySusie Paulik Babka“The universe is expanding,” the physicists tell us. “But doesn’t an expansion of something mean the presupposition of boundaries?” my naïve mind inquires, thinking too much in terms of discrete substances. Can “something” expand “into” nothing, “into” emptiness? Shot through with “dark energy” (the name an intellectual signifier allowing physicists to speak of the ineffable), the immensity (...) of the universe teaches a lesson in humility before mystery and the radically new. Dark energy makes up 74 percent of the universe and is responsible for increasing the rate of the universe’s expansion; it may be explained as the energy of empty space, or space devoid of matter and gravity. Although an unobservable phenomenon, dark energy penetrates the known universe as that which counteracts gravity’s relationship to matter, causing a negative pressure in regions of the universe devoid of matter to expand. Hence, the energy of emptiness is the reason for the universe’s expansion; emptiness is the reason reality is better described by rapid change and impermanence than stasis and immutability.While it would seem that these developments do not impact religious thinking, the Dalai Lama and others have argued that because science helps us understand the nature of reality, it affects the paradigm in which we consider the veracity of religious ideas. In his words, “if scientific analysis were conclusively to demonstrate certain claims in Buddhism to be false, then we must accept the findings of science and abandon those claims.”1 This is a bold statement, challenging both East and West to consider that when derived from only one source, even our most treasured religious ideas are narrowly conceived.The Western worldview has kept pace neither with the challenges of cosmic and subatomic physics nor with a more sophisticated global community. Since Parmenides in the pre-Socratic era, Western thought has been dominated by Greek philosophical categories, in which the perfection of beings is regarded in immutability and stasis, and things ideally tend toward independence or self-sufficiency. These categories [End Page 73] not only are inadequate to describe reality discovered through scientific means but also fail to articulate the meaning of the religious and cultural encounters taking place between East and West. Writes Joseph O’Leary, “The encounter with Buddhist thought enhances the hermeneutical task of theology, by opening up the possibility that Christian truth today can be more luminously presented in a discourse influenced by Buddhist analytical methods and ontological insights than in the old frameworks formed in dialogue with Greek ontology.”2Deconstructing substance ontology in the West suggests not only that science is a valuable conversation partner to religion but also that religions be conversation partners with each other. Christians should consider how divine or ultimate reality is manifest in other religions and abandon claims to exclusive truth. As Joseph O’Leary argues,The religions need each other, whatever their utter self-sufficiency on the plane of abstruse theological claims. The religions, as human historical trajectories, are inevitably marked by incompleteness and tragic failures. The tensions between them are not to be suppressed by dogmatic self-affirmation, but to be interpreted as the tension of “truth” itself, making itself felt within the finitude and brokenness of the human language striving to express it.3Truth for the Dalai Lama is “pursued by means of critical investigation,” requiring conversation with modern thought forms as well as both religious and secular Western traditions. If Christian theology is to be relevant today, it must continue to deconstruct the classical metaphysical categories that impede the appreciation of what is possible or true, especially in the encounter with non-Christian and non-Western thought, culture, and religious practice. Interreligious encounter necessitates the questioning of ontotheology, the classical metaphysical logic that refers to the rational basis for naming God, the supreme being, with supreme attributes, such as eternity, immutability, omniscience, and omnipotence. Ontotheology is related to the substance ontologies that describe the relation between God and the world and East and West in terms of dualism that according to Paul Knitter “so stresses the difference between two realities, so separates them... (shrink)

In the history of the Indian grammatical tradition, Bhartṛhari (about fifth century C.E.) is the fourth great grammarian - after Pāṇini, Kātyāyana and Patañjali - and the first to make the philosophical aspects of language and grammar the main subject of an independent work. This work, the Vākyapadīya (VP), consists of about 2000 philosophical couplets or kārikās. Since the latter half of the nineteenth century, the VP has been known to Western Sanskritists, but its language-philosophical contents have started to receive (...) serious attention only in the last few decennia. The subject matter of the VP resonates strongly with crucial themes in twentieth-century Western thought, although the background and the way the issues are elaborated are quite different. Scholars have compared and contrasted Bhartṛhari's ideas with those of de Saussure, Wittgenstein and Derrida. A theme which, as a leitmotiv, pervades the entire VP is the relation between language, thought and reality. In several Indian traditions, a proper insight into this relation was (and still is) held to be of importance for attaining 'liberation'. (shrink)

The ontological arguments (OA) discussion is about the relations between essence and existence, and between analytic and synthetic judgments. Rationalists asserts that essence determines existence. Empiricists assert that existence cannot be deduced from thought. However, both made the error of disconnecting the objective existence of God from subjective thought about Him. We propose to demonstrate two interconnected theses: A) In the course of its historical development, the OA did not manage to refute empiricist critiques. B) His existence is only (...) partial, since a full existence needs two sources; an idea and a sense-datum.(edited). (shrink)

Weaving together the great ideas of science, Reality's Frame takes us on a thrilling journey from empty space all the way to the human mind. Acclaimed science writer Brian Clegg builds up reality piece by piece, from space, to time, to matter, movement, the fundamental forces, life, and the massive transformation that life itself has wrought on the natural world. He reveals that underlying it all is not, as we might believe, a system of immovable absolutes, but (...) the ever-shifting, amorphous world of relativity. From religion to philosophy, humanity has traditionally sought out absolutes to explain the world around us, but as science has developed, relativity has swept away many of these certainties, leaving only a handful of unchangeable essentials -- such as absolute zero, nothingness, light -- leading to better science and a new understanding of the essence of being human. This is an Ascent of Man for the 21st century, the gripping story of modern science that will fill you with wonder and give you a new insight into our place in the universe. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)