The first half of this article argues that, like judgments as to whether something smells or tastes good, judgments about works of art ultimately depend on an element of subjective response. However, it shows that, unlike gustatory or olfactory judgments, we can argue meaningfully about our experience of works of art because they have _parts<D>. Because works of art have parts these can be patterned by the imagination, and this patterning can be influenced by what is said to us. The (...) second half considers five conditions that must be met before someone is entitled to assert, 'This is a good poem,' rather than simply, 'I like this poem now.' Finally, the last section considers why a report of an ultimately subjective response is disguised in everyday usage as an objective judgment. (shrink)

The first part of this paper surveys types of olfactory art as well as some of the philosophical denials that odors and the sense of smell can be used for serious art making, raising the paradox that olfactory art seems actual, but the mainstream philosophical tradition has declared that one cannot make genuine artworks from odors. The second and third part of the paper address the primary argument against possibility of an olfactory aesthetics, namely, the claim that the human (...) sense of smell does not have sufficient cognitive capacity to support rational aesthetic discussion and judgment. The second part (The intuitive case for smell’s cognitive powers) examines and answers intuitive philosophical arguments against smell’s cognitive potential and the third part (The empirical case for the cognitive capacity of smell) first surveys evidence from the sciences that could be interpreted as supporting the negative position, before marshalling other empirical evidence in favor of smell’s cognitive powers. I conclude that on balance contemporary neuroscience and psychology support the view that the human sense of smell has the cognitive capacity to sustain rational aesthetic discussion and judgment. (shrink)

This paper provides an account of the nature of our appreciation of wine, and a defence of the aesthetic value of tastes and smells. Focusing primarily on Roger Scruton’s recent claims, I argue against him that our appreciation of wine meets his own constraints on aesthetic interest and, moreover, that the cultural significance he grants to wine is in large part grounded in its aesthetic value. I show that Scruton’s claims are thus in tension with each other, not because he (...) has misunderstood the nature of aesthetic interest, but because he fails to appreciate the aesthetic capabilities of wine. Appealing to a well-known argument of Kendall Walton’s, I defend the aesthetic interest and value of tastes and smells by demonstrating that our judgements of wine can be correct or incorrect relative to the categories that govern its production and proper appreciation and understanding. I thereby show that tastes and smells can attain aesthetic significance in virtue of the types of objects they constitute. In particular, I hold that this significance, in the case of wine, rests in large part on its ability to be expressive and to embody certain kinds of meaning. (shrink)

Abstract Kant claims that the basis of a judgment of taste is a merely subjective representation and that the only merely subjective representations are feelings of pleasure or displeasure. Commentators disagree over how to interpret this claim. Some take it to mean that judgments about the beauty of an object depend only on the state of the judging subject. Others argue instead that, for Kant, the pleasure we take in a beautiful object is best understood as a response to (...) its qualities, and that, accordingly, feelings of pleasure or displeasure are no different from other representations, such as colors or smells. While I agree that the judgment of taste is best understood as asserting a claim about an object's qualities, I argue that the distinction Kant makes between feelings of pleasure or displeasure and other representations should not be ignored. I show that one's liking or disliking for an object is merely subjective in the sense that its significance depends on what one has made of oneself through one's aesthetic education. The judgment of taste, then, is merely subjective because one must first become the kind of person whose feelings have the right significance at the right time before one can determine whether an object's qualities make it beautiful. (shrink)

A complete collection of Frank Sibley's articles on philosophical aesthetics, this volume includes five, remarkable, hitherto unpublished papers written in Sibley's later years. It addresses many topics, among them the nature of aesthetic qualities versus non-aesthetic qualities, the relation of aesthetic description to aesthetic evaluation, the different levels of evaluation, and the objectivity of aesthetic judgement. The later papers constitute both a significant development of Sibley's individual approach to aesthetics, such as his discussion of the distinction between attributive and predicative (...) uses of adjectives and of the aesthetic significance of tastes and smells, a topic Sibley considered to be much neglected. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Catholic Discernment with a View of Buddhist Internal ClarityRafael LuévanoIn January 2004 at the Northern California Ch'an/Zen-Catholic Dialogue I offered a presentation regarding the Catholic spiritual decision-making process called "discernment."1 This article addresses the same topic but with a decidedly broader scope. It weighs the like processes of spiritual decision making in the Catholic as well as the Theravāda Buddhist tradition. On the Catholic side, I begin by referring (...) to selected moments in this long, rich, and developed theology of Catholic discernment, though primarily the discussion focuses on what is referred to as "Ignatian discernment." For the most part, the Ignatian method has become the normative means of discernment for the Catholic spiritual tradition.2 On the Buddhist side, while we might employ various Buddhist terms to discuss the correspondence to Catholic discernment, I have chosen to focus on the term "internal clarity." Further, within the Four Noble Truths, I consider the Eightfold Path, which can be subsumed under the Three Trainings of discernment, virtue, and concentration. These Three Trainings are considered indispensable for self-realization.3To carry on this comparative discussion I have selected what I see as three shared moments in the Catholic and Buddhist theology and practice. First, in both traditions there is a common aim of the practitioner to strive for the spiritual ideal set before him or her, although, understandably, at this beginning stage this ideal may be a concept without experiential content. Therefore, beginners must initiate their spiritual journey by engaging the ordering of the affections toward the higher good. Next, there are the means employed to arrive at this ordering of the affections; both Catholic discernment and Buddhist discernment largely focus on the hard work of dedicated prayer or meditation, respectively. Finally, the outcome for the Catholic discernment and, in fact, the entire spiritual journey itself is to please and serve God and others. Resounding peace and happiness is the fruit of such discernment and practice. For Buddhists, the outcome is an internal clarity that comes with self-realization. The outcome is to be awakened to the truth of one's essential being.Given the comparative nature of this discussion, I must state the obvious: Catholicism and Buddhism are unquestionably distinct spiritual traditions. Therefore it is imperative that a comparative study respects each tradition. I acknowledge that only a relative and inexact comparison is possible between the two spiritual traditions of Catholicism and Buddhism. I must also acknowledge that this article emerges from a [End Page 39] Catholic perspective; such was the origin of this consideration at the Northern California Ch'an/Zen-Catholic Dialogue Buddhist members of the dialogue wanted to understand the processes of Catholic spiritual decision making. I believe that a qualified and respectful comparison responds to that original Buddhist inquiry. I also mention that given the comparative nature of this brief consideration of these encompassing spiritual traditions, what emerges is a reflection on various moments in the process more than a complete and systematic exposition on Catholic and Buddhist decision making. Still, I hope such comparison may help both Buddhists and Catholics gain understanding of one another's spirituality. Of course, advancing this mutual and fertile conversation between Catholics and Buddhists is ultimately the intention of both this comparative study and this article.In the Catholic spiritual tradition, there has been a developing understanding of discernment from the primitive Church to the present. Regarding an early concept of spiritual decision making, Matthew's Gospel states: "every good tree bears good fruit and every bad tree bears bad fruit" (7:16–20). The meaning here seems clear enough: good comes from good decisions and evil results from bad decisions. Implicit in this counsel is a moral choice between good and evil, as well as the inevitable and long-term consequences of a good or bad decision. Thus an early concept of spiritual decision making was initially that of moral choice.Discernment understood as moral judgment remains constant in the early Church. In the fifth century, pope and saint Gregory the Great offered instruction on discernment. In Morals on the Book of Job, Gregory likens the sense of smell to the... (shrink)

Works of culinary expertise are not typically regarded as works of "fine" art, in the way that, say, paintings, etchings, symphonies and sculptures are. I argue, however, that any form of creativity embodied in a perceptible work reflecting it is a subject about which we might exercise "aesthetic judgments" that do not differ fundamentally from the sorts typical with regard to the usual "fine" arts. To reserve a special notion for marking off the latter simply disguises the fact that it (...) is properly a value judgment that one is making. Otherwise it might seem a simple matter of fact that certain works are not works of fine art. I deal with this issue in Chapters Three and Four, in connection with traditional attempts to distinguish art from mere "craft" and more recent efforts to account for a certain "openness" in the concept of art. In Chapter One I consider the work of art as an "aesthetic object" combining sensory qualities into a complex whole, and specific objections against the possibility of composing or constructing, according to artistic principles, complexes of tastes . In Chapter Two the notion of "function" is introduced, since it might be thought that food is too obviously functional, in the face of the apparent irrelevance of functional considerations in artistic appraisal. ;Throughout, the emphasis is on food as specifically edible. In Chapter Two I argue, however, that other aspects of food besides its taste and smell might also be considered as part of that specific emphasis. Even to consider the visual qualities of a dish, for example, does not necessarily reduce it to a case of sculpture or visual design. Rather, I argue, cooking is an art which, in some of its forms, simply happens also to be an art of sculpting or visual design. I make a related point in Chapter Five about works in which food is at most one ingredient, e.g., performances, services or ceremonies. In cases where the whole work actually utilizes potentialities of food in an essential way, I argue that it is at least not clear why we should not regard the work as one of the culinary art that also happens to take the form, say, of dramatic or pictorial art. ;The first two chapters primarily aim to remove objections to regarding food works as art. This of course does not show that any particular food creation ever does in fact reach the level demanded for proper inclusion as "art." However, my more general discussion in Chapters Three and Four are aimed at generating some sympathy for an approach that would simply undercut the feeling that there is any such "level" to be reached in the first place. At best we are dealing with degrees of artistic value. Why not simply grant, then, that creatively produced taste complexes are works of art, and reserve whatever valuations we might come to make for the judgements we make concerning how good any particular work of food art is? In Chapter Five I emphasize the extent to which food works may in fact embody artistic dimensions, specifically with respect to the creative combination of expressive and symbolic elements. This allows for a kind of "composition" involving those elements, over and above the potentialities inherent in taste and smell as such. As for whether such compositions then ever reach a level of excellence sufficiently high for genuine "art"--I try to argue that this is a question that we simply should not ask. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 8.4 (2001) 323-326 [Access article in PDF] The Tacit Dimension Thomas Fuchs Thirty years after its appearance, Blankenburg's "Psychopathology of common sense" has not lost its relevance. In my commentary I will try to illustrate the fruitfulness of his approach by pointing to some connections with the phenomenology of the body as well as with recent memory and infant research.As Blankenburg himself indicates, the notion (...) of common sense developed by a shift of meaning from the classical sensus communis and thus has its original basis in the sensual-bodily experience. By the koinè aísthesis, Aristoteles meant a central sense organ integrating all single modalities of sensation (which he localized in the heart). In German physiology and psychiatry of the nineteenth century, the sensus communis was still translated as "Gemeingefühl" ("common feeling") or "cenesthesia" (Fuchs 1995). This term denoted the inner, proprioceptive bodily sensations, but also an original unity of the senses, which has been rediscovered by recent infant research as intermodal sensory perception. The affection of the body was thus regarded as the common basis of all sensation.Looking on this track for a bodily basis of the common sense, we find it in the habitual structure of the lived-body as analysed by Merleau-Ponty (1945). The body is the primary "matter-of-course," namely, the tacitly functioning medium of our everyday being-in-the-world prior to any subject-object split. The body schema, in Merleau-Ponty's view, is not only a system of familiar units of movement or "kinetic melodies," it also incorporates the surrounding things, tools, and spaces that are familiar to us and that we "inhabit." Thus, the musician "does not only manipulate the instrument like a separate object, but lives in it like a limb and inhabits the expressive musical space it opens" (Behnke 1997). But for Merleau-Ponty, the body schema is also the basis of "intercorporeity," i.e., a prepersonal sphere of reciprocal comportment and understanding prior to any explicit consensus and symbolic communication. In this sphere of elementary contact, the "atmospheric" senses play a major role: The sense of smell (as shown, e.g., by the expression "to scent treason" or in German, "jemand nicht riechen können" [not be able to "smell" or stand someone]) as well as the sense of taste whose ambiguous meaning, mentioned by Blankenburg, points to the bodily basis of the feeling for what is suitable, decent, or aesthetically pleasing. Even the designation of homo sapiens that we give to ourselves is derived from the latin sapere (to taste/to know), and thus shows that the knowledge characteristic for man is not an explicit one, but an intuitive, implicit knowing or "feel" for his surroundings, or as Kant says, an "aesthetic rather than intellectual judgment" (cited by Blankenburg).Polanyi (1967) has analysed this knowledge at the roots of common sense as "tacit knowledge." It is based on processes of Gestalt formation that enable us to grasp unified wholes through their constituting elements without still being aware of the latter. Thus, we understand the facial expression of others immediately but cannot tell from which details. Or we know how [End Page 323] to waltz without knowing the single movements or being able to explain it. Tacit knowledge implies all the taken-for-granted that we have forgotten once it has become our second nature and part of our bodily habits. It is mainly based on the neuronal coupling of single sensori-motor units by repeated perception or action. This unconscious knowing has only recently come to be explored by psychology under the heading of "implicit" or "procedural memory" (Schacter 1987, 1996). It contains familiar styles or "melodies" of moving, perceiving, and being-with-others in which our whole bodily and emotional experience is engaged. There is an atmospheric, "felt" quality about them that cannot be analysed into single elements. Implicit knowledge may, therefore, never be wholly expressed by words—it is only realized in the concrete situation. It may only be circumscribed by expressions such as "how it feels...," "how it is...," e.g., how it is... (shrink)

In the Philebus, Socrates argues that pleasure, like judgment, can be “false”. Most scholars who discuss this claim restrict their interpretation to Socrates’ first argument that pleasure can be “false”, where Socrates uses pseudēs as a synonym of “incorrect”. As a result, scholars have failed to recognize that in the next argument Socrates uses pseudēs to pick out a different problem with pleasure: in certain circumstances, a pleasure can deceptively appear to a subject to be larger or smaller than (...) it really is. As Socrates explicitly distinguishes between these two problems with pleasure, he is guilty of neither confusion nor intentional equivocation in his application of the predicate pseudēs. The distinction also resolves many longstanding interpretive puzzles, including the relationship between mixed and “false” pleasures and why Socrates describes the pleasures of sight, hearing, smell and learning as both pure and “true”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume Studies Volume XXIV, Number 1, April 1998, pp. 71-94 Hume on the Very Idea of a Relation MICHAEL COSTA I think it is a productive strategy in interpreting Hume's philosophy to examine very carefully exactly what constitutes for Hume the cognitive state of having a certain idea or belief. More often than not, interpretive pressures arise almost immediately when one comes to address the details in such cases. (...) Attempting to relieve these interpretive pressures can have substantial payoffs in understanding and evaluating Hume's philosophy, even when the attempts are not entirely successful.1 In this paper, I am going to raise the question, "What is the very idea of a relation for Hume?" which I will understand to mean, "What exactly constitutes the cognitive state of having an idea of a relation for Hume?" First I will argue for a particular account of what an idea of a relation must consist in for Hume. The account that I describe is essentially the same as one that has already been introduced by some recent work of Don Garrett,2 but I will offer here a new way of arriving at it. Also, I will examine in detail the capacity of the account to deal with each of Hume's categories of relation. Hume has extensive discussions of some of these (the "matters of fact" relations of space, time, identity, and causation), but almost nothing to say about some of the others (the "relations of ideas" of resemblance, contrariety, degree of quality, and quantity and number). All of them raise interpretive problems, and attempting to resolve them will suggest new ways of understanding a number of important issues in Hume's philosophy including: the nature of the cognitive process of comparing ideas and Michael Costa is at the Department of Philosophy, University of South Carolina, Columbia, South Carolina 29208 USA. email: [email protected] 72 Michael Costa deriving a general idea from the comparison, the distinction between having a belief and making an assertion or explicit judgment on the basis of one's beliefs, the nature of a fiction or fictitious idea, how Hume thinks that language and symbols enhance cognitive processing, and how we should understand Hume's empiricist criterion of meaning. The obvious place to start in addressing the question of what ideas of relation consist in for Hume is the section "Of relations" that appears early in the Treatise? Just prior to this section Hume indicates that he thinks of relations as complex ideas. He says, "complex ideas may be divided into Relations, Modes, and Substances" (T 13). He goes on in the section to draw a distinction between natural and philosophical relations as a distinction between those relations that are connected to associations in thought (the natural relations) and all relations whatsoever that can be conceived (the philosophical relations) (T 13-14). But that distinction does not in itself shed any light on the nature of our ideas of the latter as complex ideas. Nor, initially, do Hume's brief remarks on each of the seven categories of relations (T 14-15), although we will find some interesting issues to mine here after getting a better understanding of Hume's account of relations as complex ideas. We can get some help by recalling the way in which Hume draws the distinction between simple and complex ideas. This division is into Simple and Complex. Simple perceptions or impressions and ideas are such as admit of no distinction nor separation. The complex are the contrary to these, and may be distinguished into parts. Tho' a particular colour, taste, and smell are qualities all united together in this apple, 'tis easy to perceive they are not the same, but are at least distinguishable from each other. (T 2) A complex idea is one that can be distinguished into parts. Hume's illustration of the apple can easily mislead. He seems to be talking about an apple (physical object) as a collection of qualities. But for this to serve as an illustration of the distinction under discussion we must read him as talking about an impression or idea of an apple being a collection of impressions... (shrink)

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

Imagine an equilateral triangle “pointing upward”—its horizontal base under its apex angle. A semiotic triangle has the following three “vertexes”: (apex) an expression, (lower-left) one of the expression’s conceptual meanings or senses, and (lower-right) the referent or denotation determined by the sense [1, pp. 88ff]. One example: the eight-letter string ‘coleslaw’ (apex), the concept “coleslaw” (lower-left), and the salad coleslaw (lower-right) [1, p. 84f]. Using Church’s terminology [2, pp. 6, 41]—modifying Frege’s—the word ‘coleslaw’ expresses the concept “coleslaw”, the word ‘coleslaw’ (...) denotes or names the salad coleslaw, and the concept “coleslaw” determines the salad coleslaw—recalling Frege’s principle that sense determines denotation. Church [2, p. 6] wrote: -/- We shall say that a name denotes or names its denotation and expresses its sense. […] Of the sense we say that it determines its denotation, or is a concept of the denotation. -/- Aristotle seems cognizant of distinctions going beyond those in semiotic triangles. The expression Aristotle’s semiotic pyramids seem warranted by Aristotle’s Categories, 1a1: -/- When [two] things have a name (onoma) in common and the concept (logos) of being (ousia) which corresponds to the name in each case is different, they are called same-named (homonuma). Thus, for example, both a man and a picture [of an animal] are called animals. These have only a name in common. In each case the name’s concept of being [an animal] is different; for if one says what being an animal is for each of them, one will give two distinct concepts. -/- Semiotic triangles and pyramids in Aristotle’s logic are compared to those in Church’s [2]. [1] JOHN CORCORAN, Sentence, proposition, judgment, statement, and fact, Many Sides of Logic, College Publications, 2009. [2] ALONZO CHURCH, Introduction to Mathematical Logic, Princeton, 1956. -/- The semiotic pyramid in Categories, 1a1 has a square base under the vertex ‘animal’. On the corners of the square are: the concept “animal”, the concept “animal picture”, the animals, and the animal pictures. The animals are homonymous with the animal pictures. People find Aristotle’s example far-fetched or inept even if the experience of pointing to a picture while saying “That is Tarski” is familiar. Imagine looking at a painting while thinking “That is an animal”. Without putting too fine a point on this, notice that in Aristotle’s sense it is individual things that are homonymous, not words. It would be natural to say also in his sense that two things are homonyms if one is homonymous with the other. In contrast, we use the words homonym and homonymous to relate words that are spelled the same and pronounced the same but have different meaning. Consider the noun ‘center’ and the verb ‘center’. Consider the noun ‘smell’ and the verb ‘smell’. The spelling of two homonyms is an ambiguity, or an ambiguous spelling. We need appropriate adjectives to distinguish the Categorical senses of ‘homonym’ and ‘homonymous’ from the current English sense just mentioned. I propose ‘ontological’ for the sense relating things and ‘linguistic’ for that relating words. Given that all words are things but not all things are words, we ask are words that are linguistically homonymous also ontologically homonymous? END OF POST ABSTRACT. (shrink)

This chapter contains sections titled: The Cognitive Background to the Aesthetic Problem Wine, Cognition and Philosophy The Phenomenology of “Projects” The Aesthetic Project Notes.

This book assesses and defends Kant's Critical epistemology, and the rich yet neglected resources it provides for understanding and resolving fundamental issues regarding human experience, perceptual judgment, empirical knowledge and cognitive sciences. Kenneth Westphal first examines Kant's methods and strategies for examining human sensory-perceptual experience, and then examines Kant's central, proper, and subtle attention to judgment, and so to the humanly possible valid use of concepts and principles to judge particulars we confront. This provides a comprehensive account of (...) Kant's anti-Cartesianism, the integrity of his three principles of causal judgment, and Kant's account of disciminatory perceptual-motor behaviour, including both sensory reafference and perceptual affordances. Westphal then defends the significance of Kant's subtle and illuminating account of causal judgment for three main philosophical domains: history and philosophy of science, theory of action and human freedom, and philosophy of mind. Kant's Critical Epistemology will appeal to researchers and advanced students interested in Kant and the relations of his thought to contemporary philosophical debates and to the sciences of the mind. (shrink)

Dienes & Perner's theoretical framework should be applicable to two related areas: technological innovation and the psychology of scientific reasoning. For the former, this commentary focuses on the example of nuclear weapon design, and on the decision to launch the space shuttle Challenger. For the latter, this commentary focuses on Klayman and Ha's positive test heuristic and the invention of the telephone.

Experimental philosophy of aesthetics has explored to what extent ordinary people are committed to aesthetic realism. Extant work has focused on attitudes to normativism – a key commitment of realist positions in aesthetics – the claim that aesthetic judgments/statements have correctness conditions, invariant between subjects, such that there is a fact of the matter in cases of aesthetic disagreement. The emerging picture is that ordinary people strongly and almost universally reject normativism and thus there is no strong realist tendency in (...) ordinary people’s thinking about the aesthetic. This has been taken to dissolve the traditional puzzle in aesthetics of how to best account for the fact that (a) aesthetic judgments seem intersubjectively valid, while (b) aesthetic experience seems subjective. This paper presents studies which further enrich our understanding of ordinary thinking about the aesthetic: ordinary thinking about the aesthetic may not be so vehement in its rejection of normativism; and where previous results suggested that, in many cultures, the dominant trend is to reject correctness conditions for aesthetic judgments, the current results suggest participants think aesthetic judgments have correctness conditions (albeit perhaps very finely relativized to specific circumstances of judgment). (shrink)

Judgment aggregation theory, which concerns the translation of individual judgments on logical propositions into consistent group judgments, has shown that group consistency generally cannot be guaranteed if each proposition is treated independently from the others. Developing the right method of abandoning independence is thus a high-priority goal. However, little work has been done in this area outside of a few simple approaches. To fill the gap, we compare four methods based on distance metrics between judgment sets. The methods (...) generalize the premise-based and sequential priority approaches to judgment aggregation, as well as distance-based preference aggregation. They each guarantee group consistency and implement a range of distinct functions with different properties, broadening the available tools for social choice. A central result is that only one of these methods (not previously considered in the literature) satisfies three attractive properties for all reasonable metrics. (shrink)

Editor’s AbstractIn this essay (adapted from a lecture), Huang Yushun rejects what he calls the trend toward “New Confucian Religion” (xin rujiao), emphasizing the ways that Confucianism as a secular, lived philosophy must develop in the modern world. Echoing Li Minghui's claim that Confucianism and liberalism are compatible, Huang advocates “Confucian liberalism” (rujia ziyouzhuyi) and criticizes many themes central to earlier essays in this volume.

ABSTRACT In order to explore the possibilities of affirmative ethics and algorithmic judgment, this article puts machinic rhetoric in conversation with classical imitation pedagogy. Taking a machine-learning chatbot as my example, I examine how imitation and repetition in a restrictive economy of rhetorical models produces a limited affirmative ethics through dialectical relations. Drawing on Hannah Arendt's concept of representative thinking to theorize a procedure for algorithmic judgment, I argue that rhetorical training requires the affirmation of a plurality of (...) models if it is to generate not only versatility but also ethical repetitions. (shrink)

The reism adopted by Brentano in the later stages of his philosophy led him to advocate a non-propositional theory of judgment. George Bealer, in his book Quality and Concept, charges that Brentano's theory, and indeed all non-propositional theories of judgment are not adequate to certain "intuitively valid" arguments in the realm of intensional logic. I show that Bealer is mistaken when he claims that Brentano's theory cannot offer an adequate rendering of the first two arguments, and I challenge (...) the intuitive validity of the third. I conclude, therefore, that Bealer's arguments against Brentano do not succeed. (shrink)

Review of: Marino, Stefano, Terzi, Pietro, Kant’s “Critique of Aesthetic Judgment” in the 20 th Century. A Companion to Its Main Interpretations, Berlin/Boston, Walter De Gruyter, 2020, pp. 361, ISBN 978-3-11-059613-7.

At a time when the practice of medicine is subject to technical and biopolitical imperatives that give rise to defensive bioethics, it is essential to revitalize the ethical dimensions of care at the very heart of the clinic, in order to give new meaning to the moral responsibility that inhabits it. This contribution seeks to meet this challenge by drawing on the ethical resources of the work of Emmanuel Levinas. In Levinas’ view, ethical responsibility is the response to the injunction, (...) the interpellation, of the other’s face, and humaneness is conceived entangled in the other’s face. Against this background, I suggest that Levinas’ philosophical insight constitutes a turning point from a traditional to a new conception of responsibility that may bear great significance to a renewed understanding of an hermeneutics and an ethics of care. By drawing on this aspect of Levinas’ thought, I would like to reveal the ethical core of an ethics of clinical care that shapes a new insight on medical judgment. (shrink)

Parents’ freedom to choose infant male circumcision is the correct policyIndividuals and groups lobbying to have infant male circumcision prohibited or restricted often argue that the practice of routinely circumcising infants is unjustified. For instance, in this issue of the journal, John Hutson argues that it is virtually impossible to justify a policy in which the medical establishment should be able to embark on a “mass circumcision” campaign of 100% of the infant male population [see page 238].1Indeed, I would be (...) hard pressed to find anyone who could rationally disagree with this contention. However, this is because no one is currently arguing for the enactment of a policy that stipulates that all healthy male infants should be routinely circumcised . Arguments seeking to support a prohibition of “routine infant circumcision”, such as the one by Hutson, are arguing against a straw man—and a pitiful one at that.2 Such arguments only serve to misconstrue the debate and avoid engaging in the real and pressing issues concerning the legitimacy of the provision of this procedure.The questions that should be considered, and the ones which I shall be interested in discussing here, are what reasons are justifiable for allowing parents to choose to have their son circumcised? After well informed and careful deliberation should parents have the freedom to choose to have their son circumcised? These are the most relevant questions to be considered because there is a growing collection of citizens, medical practitioners, and lawyers who are currently lobbying for the practice of infant male circumcision to be outlawed—for example, there is a bioethicist who argues that the criminal law should be used …. (shrink)

Social Judgement Theory (SJT) evolved from Egon Brunswik's Probabilistic Functionalist psychology coupled with multiple correlation and regression-based statistical analysis. Through its representational device, the Lens Model, SJT has become a widely used, systems-oriented perspective for analysing human judgement in specific ecological circumstances. Judgements are assumed to result from the integration of different cues or sources of perceptual information from the environment. Special advantages accrue to the SJT approach when criterion values (or correct values) for judgement are also available, as this (...) permits the comparison of judgement processes to environmental processes and leads naturally to the generation of cognitive feedback as an aid to facilitate learning. In contrast to more prescriptive approaches to decision analysis, the SJT approach analyses judgements by decomposing the judgement process after judgements have been rendered. This a posteriori decomposition is accomplished by first using multiple regression analysis to recover prediction equations for both the judgement and ecological systems and then using the Lens Model Equation to compare those systems. SJT methods maintain close contact with ecological circumstances by employing the principle of representative design (which focuses on how the researcher obtains the stimuli for judgement) and avoiding unwarranted over-generalisations from nomothetic aggregation (e.g. averaging across judges) through the use of idiographic statistical analysis. SJT methods have proven valuable in the analysis of individual judgements as well as groupbased judgements where conflict becomes likely. (shrink)

Hannah Arendt v svoji interpretaciji Kantove teorije »razsodne moči«, le-to vzame iz njenega prvotnega sobesedila, razmisleka o dobrem in lepem, ter ji podeli politični pomen. Po eni strani Kantov pojem »reflektirajoče razsodne moči« Arendtovi omogoči prikaz določene nujnosti v politični presoji, za katero je značilno, da se vedno odvija v singularnih okoliščinah in se ne more sklicevati na nobeno vnaprejšnje, univerzalno ali splošno merilo. Po drugi strani Arendtova interpretira »nezainteresirano ugajanje«, ki je pri Kantu predpostavka za estetsko sodbo, kot nujni (...) pogoj teoretičnega motrenja zgodovine. Pomembni interpreti, kot sta Beiner in Vollrath, so na osnovi tega trdili, da gre za protislovje. V svojem besedilu želim pokazati, da se to protislovje razreši v »hermenevtični etiki«, ki jo je možno pokazati v delih Hannah Arendt, celo v najbolj zgodnjih.Hannah Arendt’s interpretation of Kant’s conception of the »power of judgment« extracts this faculty from its intended context, considerations of the beautiful and of nature, and grants it a political significance. On the one hand, Kant’s conception of a »reflective power of judgment« offers Arendt the possibility of referring to a certain necessity in political judgments; judgments which always take place under singular conditions and which cannot presume a universal or general measure. On the other hand, Arendt interprets »disinterested pleasure«, which is for Kant a presupposition of aesthetic judgment, as a necessary condition for theoretical considerations of history. Between these two aspects of Arendt’s Kant interpretation, important scholars, such as Beiner and Vollrath, have claimed to find a contradiction. In my article I would like to show that this contradiction is dissolved by way of a »hermeneutical ethics«, which can be identified throughout the work of Hannah Arendt, even in its earliest forms. (shrink)