This book constitutes one of the most important contributions to recent Kant scholarship. In it, one of the pre-eminent interpreters of Kant, Henry Allison, offers a comprehensive, systematic, and philosophically astute account of all aspects of Kant's views on aesthetics. The first part of the book analyses Kant's conception of reflective judgment and its connections with both empirical knowledge and judgments of taste. The second and third parts treat two questions that Allison insists must be kept distinct: the normativity (...) of pure judgments of taste, and the moral and systematic significance of taste. The fourth part considers two important topics often neglected in the study of Kant's aesthetics: his conceptions of fine art, and the sublime. (shrink)

SummaryThis paper attempts to develop an interpretation of Kant's transcendental idealism which is based upon his critique of transcendental realism . It is argued that given Kant's transcendental distinction, all non‐ or pre‐critical philosophies, even Berkeleian phenomenalism are transcendentally realistic. This paradoxical result is used as the basis for an analysis of Kant's resolution of the mathematical antinomies, wherein this resolution is seen both as an “indirect proof” of transcendental idealism and as a refutation of transcendental realism. Finally, it is (...) claimed that Kant's idealism, at least insofar as it is established by means of a refutation of transcendental realism, is methodological rather than metaphysical, viz. it involves a claim about how the sensible world is to be considered in transcendental reflection, not a claim about the “real nature” of this world.RésuméCet article essaye de développer une interprétation de l'idéalisme transcendental de Kant, interprétation basée sur sa critique du réalisme transcendental . L'auteur montre que, si l'on accepte la distinction transcendentale de Kant, toutes les philosophies non critiques et précritiques sont transcendentalement réalistes, y compris le phénoménalisme de Berkeley. A partir de ce résultat paradoxal, il analyse la manière dont Kant résoud les antinomies mathématiques: cette résolution apparaît à la fois comme preuve indirecte de l'idéalisme transcendental et comme une réfutation du réalisme transcendental. L'auteur est finalement d'avis que l'idéalisme de Kant, du moins lorsqu'il est justifié par une réfutation du réalisme transcendental, est plus méthodologique que métaphysique, c'est‐à‐dire qu'il déclare comment le monde sensible doit être considéré dans la réflexion transcendentale et non quelle est la véritable nature de ce monde.ZusammenfassungEs wird versucht, eine Interpretation von Kants transzendentalem Idealismus zu entwickeln, die auf seiner Kritik am transzendentalen Realismus — verstanden als derjenige Standpunkt, der systematisch Erscheinung und Ding an sich verwechselt — beruht. Es wird argumentiert, dass — einmal Kants transzendentale Unterscheidung angenommen — aile früheren, vorkritischen Systeme der Philosophie einschliesslich Berkeleys Phänomenalismus transzendental realistisch sind. Dieses paradoxale Ergebnis wird als Basis für eine Analyse von Kants Auflösung der mathematischen Antinomien verwendet, wobei dièse Auflösung sowohl als ein indirekter Beweis für den transzendentalen Idealismus als auch als eine Widerlegung des transzendentalen Realismus gedeutet wird. Es wird schliesslich nahegelegt, dass Kants Idealismus, sofern wenigstens als er sich auf Widerlegung des transzendentalen Realismus abstützt, mehr ein rnethodologischer als ein metaphysischer Idealismus ist. Er statuiert eher über die Art, wie die Sinneswelt in einer transzendentalen Reflexion betrachtet werden soll, als über die Frage, wie die Welt wirklich beschaffen sei. (shrink)

Originally published in 1943, Civilization and Disease was based on a series of lectures that the medical historian Henry E. Sigerist delivered at Cornell University in 1940. Now back in print, the book is a wide-ranging account of the importance of social factors on health and illness and the impact that disease has had on societies throughout human history. Despite considerable advances in both medicine and historiography, Civilization and Disease remains a landmark work in the history of medicine and (...) a fascinating look at, first, civilization as a factor in the genesis and spread of disease, and second, the effects of disease on such aspects of civilization as economics, social life, law, philosophy, religion, science, and the arts. In a new foreword written for this edition, Elizabeth Fee outlines Sigerist's life, works, and legacy as a historian, a teacher, and an advocate for universal health care, hailing Civilization and Disease as "an excellent introduction to Sigerist's work.". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:510 Feminist Studies 46, no. 2. © 2020 by Feminist Studies, Inc. Shelley Streeby Speculative Writing, Art, and World-Making in the Wake of Octavia E. Butler as Feminist Theory The late great speculative fiction writer Octavia E. Butler often referred to herself as a feminist. In an autobiographical note she revised frequently over the course of her lifetime, now held in the massive archive of more than 8,000 individually (...) cataloged items that comprise The Octavia E. Butler Papers (OEB) at the Huntington Library in San Marino, California, Butler called herself a “hermit in the middle of Los Angeles,” a pessimist when she wasn’t “careful,” and “a feminist” as well as “a Black” and “a former Baptist.”1 Throughout her published work, Butler explores intersections of gender, sexuality, race, and class in ways shaped by her life growing up “black, female, and working class” across town in Pasadena, California.2 The keywords “feminism” and “feminist” pop up often in her archive. In 1988, in one of dozens of notebooks Butler filled with writing, she proudly claimed to be writing “true cross-over science fiction ” that reached both science fiction and general audiences, “encompassing feminists and blacks as well,” a claim she often repeated.3 The thousands of clippings Butler kept and annotated on subjects of interest to her included many on feminism, which she organized to emphasize 1. OEB, Folder 95. The OEB collection organized by Curator Natalie Russell, who authored the finding aid. 2. OEB, Folder 3093. 3. OEB, Folder 3239, November 9, 1988. 511 Shelley Streeby Books Discussed in This Essay Migrant Futures: Decolonizing Speculation in Financial Times. Aimee Bahng. Durham, NC: Duke University Press, 2018. Queer Feminist Science Studies: A Reader. Edited by Cyd Cipolla, Kristina Gupta, David A. Rubin, and Angela Willey. Seattle: University of Washington Press, 2017. Emergent Strategy: Shaping Change, Shaping Worlds. adrienne maree brown. Oakland, CA: AK Press, 2017. Octavia’s Brood: Science Fiction Stories from Social Justice Movements. Edited by adrienne maree brown and Walidah Imarisha. Oakland, CA: AK Press, 2015. Radio Imagination: Artists and Writers in the Archive of Octavia E. Butler. Edited by Janet Duckworth and Savanah Wood. Los Angeles: Clockshop, 2018. M Archive: After the End of the World. Alexis Pauline Gumbs. Durham, NC: Duke University Press, 2017. Angels with Dirty Faces: Three Stories of Crime, Prison, and Redemption. Walidah Imarisha. Oakland, CA: AK Press, 2016. Old Futures: Speculative Fiction and Queer Possibility. Alexis Lothian. New York: New York University Press, 2018. Bodyminds Reimagined: (Dis)ability, Race, and Gender in Black Women’s Speculative Fiction. Sami Schalk. Durham, NC: Duke University Press, 2018. intersections among feminist and other struggles. A 1991 piece by Black syndicated columnist Clarence Page, for instance, called “The F. Word to Watch For: Feminists,” which was written in the wake of the HillThomas hearings and speculated that the Bush administration would demonize “feminists” as a “smoke screen” for “real economic problems,” 512 Shelley Streeby was filed under “Economy.”4 Much of the archival material and fiction that Butler produced relevant to the keyword “feminism” addresses intersections of gender, sexuality, race, and class in right-wing projects of the neoliberal era, from the 1970s through the early 2000s. As both a pejorative epithet used by the right to demonize women who deviated from patriarchally defined gender and sex roles as well as a term she counter-valued by claiming it for herself, intersectional “feminism” was central to Butler’s speculative collecting, research, and fiction-writing. Since her untimely death in 2006, Butler’s fame continues to grow as new generations embrace her work, since it speaks to our present in powerful ways. Butler rejected narrow genre categories and was ambivalent about the term “science fiction” as a descriptor for her writing, often expressing frustration with marketing categories and wondering if they stood in the way of reaching a wider audience. The umbrella term “speculative ” is useful both for recognizing the boundary-crossing dimensions of Butler’s writing, in its defiance of narrow definitions of genre, and for describing Butler’s contributions to feminist theories of knowledge production, political leadership, and imagining the future. Since Butler’s archive at the Huntington opened to researchers in 2013... (shrink)

Museums and collecting is now a major area of cultural studies. This selected group of key texts opens the investigation and appreciation of museum history. Edward Edwards, chief pioneer of municipal public libraries, chronicles the founders and early donors to the British Museum. Greenwood and Murray provide informative pictures of the early history of the museum movement. Sir William Flower, Director of the British Museum (Natural History), takes a pioneering philosophical approach to the sphere of natural history in relation to (...) museums. Similarly, Acland and Ruskin discuss and explore the relationships of art and architecture to museums. (shrink)

L'Homme, cet être vivant doué de raison, fabricant d'objets élaborés, doté d'un langage articulé, chez lequel a émergé la pensée conceptuelle et symbolique, se caractérise par une aptitude à l'émerveillement, et une capacité d'espérance accompagnée d'un refus de l'absurde. Avec l'invention de l'outil manufacturé et les premiers témoignages d'une pensée symbolique, comment la fabuleuse aventure culturelle et spirituelle de l'Homme a-t-elle débuté? Pourquoi à travers les temps, même les plus anciens, et dans toutes les cultures, l'émergence du sens de la (...) transcendance n'a-t-il cessé de se manifester et de s'inscrire au coeur de notre humanité? Comment est-il devenu une caractéristique de l'Homme, une de ses aspirations profondes? Comment définir le sens du sacré? C'est de cette dimension intrinsèquement humaine, et des traces qu'elle a laissées, qu'il est ici question. Après L'Univers, la Vie et l'Homme : émergence du sens de la Conscience et Le Beau, l'Art et l'Homme : émergence du sens de l'Esthétique, voici le troisième et dernier opus dirigé par Henry de Lumley, issu d'un cycle de conférences au Collège des Bernardins. L'ambition de ces rencontres? Faire dialoguer physiciens, astrophysiciens, géologues, biologistes, paléoanthropologues, préhistoriens, historiens de l'art, philosophes et théologiens autour de questions qui ont trait à l'essence de l'humanité. (shrink)

Unlock the secrets of the art world and unleash your creative potential with this innovative and inspiring book. Drawing on the principles of vital art education, this book offers a fresh approach to art instruction that emphasizes the importance of creativity, experimentation, and personal expression. Full of practical tips, engaging exercises, and stunning examples of art, this book is a must-read for artists of all levels and backgrounds. This work has been selected by scholars as being culturally important, and is (...) part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Charles Demuth is widely recognized as one of the most significant American modernists. His precisionist cityscapes, exquisite flowers, and free-wheeling watercolors of vaudeville performers, homosexual bathhouses, and cabaret scenes hang in many of the country's most prestigious collections, including the Metropolitan Museum of Art, the Philadelphia Museum of Art, the Columbus Museum of Art, the Amon Carter Museum in Fort Worth, the Art Institute of Chicago, and in Demuth's Lancaster, Pennsylvania, family residence, now home of the Demuth Foundation. At a (...) time when many American artists remained tied to Europe, Demuth "Americanized" European modernism. This collection of 155 of his letters offers valuable views of the arts and letters colonies in Provincetown, New York, and Paris. Besides offering information on Demuth's own works, the letters also shed light on the output of his contemporaries, as well as references to their trips, liaisons, and idiosyncrasies. Demuth numbered among his correspondents some of the most famous artists and writers of his time, inluding Georgia O'Keeffe, Eugene O'Neill, John Reed, Gertrude Stein, Alfred Stieglitz, Carl Van Vechten, and William Carlos Williams. In his travels in the United States and abroad, he encountered many other talented contemporaries: Peggy Bacon, Muriel Draper, Marcel Duchamp, the Stettheimer sisters, artists and writers, patrons, and gallery owners. Whether he is offering to pick up a copy of Joyce'sUlyssesfor Eugene O'Neill or trying to convince Georgia O'Keeffe to decorate his music room, Demuth is always in the thick of art and literary life. Flamboyant in attire but descreet in his homosexuality, Demuth also reveals in his letters the life of a talented homosexual in the teens and twenties. With his best friends Robert Locher and Marsden Hartley, he circulated through the art colonies of Greenwich Village, Provincetown, and Paris, meeting everyone. The book also contains reprints of some short appraisals of Demuth and his work that were published during his lifetime, long out of print, including pieces by A. E. Gallatin, Angela E. Hagen, Marsden Hartley, Helen Henderson, Henry McBride, Carl Van Vechten, Rita Wells, and Willard Huntington Wright. Author note:Bruce Kellneris Emeritus Professor of English, Millersville University, and a member of the Demuth Foundation Board of Directors. He is the author or editor of 10 other books. (shrink)

Taking as a fundamental axis The case Wagner, this article will develop from the relationship between word and music on musical aesthetics late Nietzsche. The use of the Opera Carmen by George Bizet, as possibility of antithesis to the Total work of art program, the composer Richard Wagner, allows one to reflect on the aesthetics-Nietzschean musical of a privileged point of view. Why Nietzsche would have served as a work which he himself considered minor when compared to the Wagnerian musical (...) drama? The answer to that question requires that you understand the deep value is not always clear from the word in musical compositions taken over by Nietzsche at various times of his work. After all, his musical aesthetics favored the word significant or considered mere apparatus of absolute music? (shrink)

In a 1985 article entitled “The Art of Glaukos,” Diskin Clay suggested that the enigmatic passage at the beginning of the geological myth in Phaedoreferred toRepublic10, where the soul is likened to the sea-creature Glaucus whose true nature, like the soul’s, is obscured by the distortions imposed by underwater life. Starting with a defense of Clay’s ingenious suggestion, my purpose is to compare Phaedoto Glaucus, with its true nature obscured by traditional assumptions about the order in which Plato composed his (...) dialogues, and thus how they should be read. At least part of the reason that Clay’s thesis has not been embraced is because it clashes with the dogma that Phaedocannot refer back to Republic; I want to challenge that dogma. Borrowing from Catherine Zuckert the notion that, since Phaedocomes at the end of Socrates’ story, it can usefully be read as the culmination of the Platonic dialogues, I will show how a “late” Phaedo—i.e., a reading of the dialogue that is open to the possibility that it refers to more than one dialogue generally considered to be later than it with respect to composition—recovers its true nature, presently encrusted with the oysters and seaweed of an outdated developmentalism that has obscured this culminating masterpiece of Plato’s dramatic and philosophical art. (shrink)

La médecine personnalisée devrait être renommée "médecine des données". Les finalités de cette médecine sont, à partir d'une quantité importante de données, de déduire ou d'induire différentes informations valorisables à la fois au niveau du soin, de la recherche et de l'industrie. Pour cela, un réseau d'échange ou de partage d'échantillons biologiques, de données génétiques et d'informations entre patients, cliniciens, chercheurs et industriels est développé, grâce à des voies de communication dématérialisées. Ce réseau permet de centraliser le stockage, et une (...) partie du traitement et de l'analyse, au niveau de centres de soin et de recherche académiques et/ou de "plateformes bifaces". Les enjeux éthiques majeurs de cette médecine résident alors dans les moyens et les modalités d'accès, de stockage et d'usage des données génétiques et requièrent des solutions. L'intérêt de cette thèse de doctorat est donc de proposer à la fois une nouvelle méthode de recherche en bioéthique permettant de mieux étudier de tels phénomènes sociaux complexes et une solution possible aux enjeux éthiques identifiés grâce à cette méthode. Il s'agit, respectivement, de la modélisation théorique systémique inductive qualitative et du consentement éclairé exprès dynamique électronique. (shrink)

This landmark book is now reissued in a new edition that has been vastly rewritten and updated to respond to recent Kantian literature.

I interpret Heidegger’s “Origin of the Work of Art” in terms of his contemporaneous lectures on Schelling’s Philosophical Investigations into the Essence of Human Freedom. I uncover several connections and similarities between the two works, which make possible a new reading of the artwork essay: namely, as an “ontodicy.” This term of Jean-Luc Nancy’s denotes the readiness with which Heidegger’s thinking on Being may be used to justify evil. I argue that Nancy’s term may be applied legitimately to the artwork (...) essay also, i.e., that it can be read as a silent justification of evil. (shrink)

So considered, Hume is viewed as a naturalist, whose project in the first three parts of the first book of the Treatise is to provide an account of the ...

This volume presents seventeen essays by one of the world's leading scholars on Kant. Henry E. Allison explores the nature of transcendental idealism, freedom of the will, and the concept of the purposiveness of nature. He places Kant's views in their historical context and explores their contemporary relevance to present day philosophers.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Grammar of Attic InscriptionsHenry R. ImmerwahrLeslie Threatte. The Grammar of Attic Inscriptions. Vol. II, Morphology. Berlin: de Gruyter, 1996. xxv + 839 pp. Cloth, DM 590.After an interval of sixteen years we now have the second volume of Threattes massive grammar of the Attic inscriptions, which follows in all essentials the practices established in 1980 for the phonology. This means that the traditional terminology and organization of (...) the nineteenth century has been [End Page 455] largely adhered to... because the adoption of a more recent system of terminology... would have made this work inaccessible to many classicists and most epigraphers" (1). Thus the greatest importance of this vast and exceedingly careful collection of grammatical material lies not so much in the grammatical explanations (although they were sought by the author from the beginning; see I ix) as in the extraordinary precision with which attention is given to documentation of all aspects of normal morphology and its deviations. Proof of this care can be found in the numerous instances where the reading furnished in publications has been verified by autopsy (marked L.). Hence these volumes will remain an essential part of the library of all practicing epigraphists (that is, if they can afford the high price of the set).One difference between the first volume and the second is that the lists of examples in the second volume are considerably larger than the lists in the first. This is explained on page 3 as necessitated by the greater difficulty of collecting normal morphological examples as compared with the ease of doing the same for normal phonological spellings. Threatte says that he distinguishes between complete lists and lists of selected examples, but in practice some of the select lists are also very large. For example, paragraph 54.03221 (194–99) deals with the genitive singular of – before 300 B.C., – vs. –. To demonstrate his thesis that – is mainly a case of abbreviatory omission of final sigma, twenty–four examples are discussed in detail. This is followed by one and a half pages of selected examples of the normal spelling – in the period 350–300 B.C. While this certainly proves that the ending in sigma is the norm in the fourth century, one wonders whether the length of the list was necessary to demonstrate it. The usefulness of such lists will vary, but in many cases they can, if needed, be found by searching the PHI disk of inscriptions and papyri in the computer (e.g., lists such as the long tally of proper names beginning with τεισ–, 536–38). Further, many of the examples listed are by necessity of fragmentary inscriptions, which means that in a number of instances the restorations will change over time. Hence it is not surprising that volume II contains a very important appendix of about one hundred pages (675–778) dealing with addenda and corrigenda to volume I, some (but by no means all) regarding improved readings.Not the least important feature of the grammar, and one in which it differs markedly from Meisterhans–Schwyzer, is the great attention paid to what used to be called the instrumentum: inscriptions on objects other than stone, including a thorough survey of vase inscriptions culled from scattered publications. Since these are of particular interest to this reviewer (and since they extend the usefulness of the book to archaeologists) I may venture a few comments. It is somewhat unfortunate that most of the citations of Attic vases do not give the current or last–known location, which is the most certain means of identification. Thus on page 207, the fragment with book roll by the Akestorides Painter (ARV2 1670/4 bis) is now in the Getty Museum, Malibu 86.AE.324. On [End Page 456] page 608, middle, the oinochoe related by Schauenburg to the Triptolemos Painter (not just because of the shape of the vase), cited for the form from AM 90, is Hamburg 1981.173.The vase inscriptions (together with other graffiti and inscriptions on lead such as the defixiones) have always been of particular interest as giving possible insight into the actual pronunciation of the Attic dialect. Here it would have been... (shrink)

L'ouvrage regroupe plusieurs chapitres et les notices et photographies de 170 statues et objets présentés lors de trois expositions dans des musées américains, à Yale en 1996, San Antonio et Raleigh en 1997. Après un premier chapitre sur le « genre » (Gender theory in roman art, N.B. Kampen), concept moderne, fruit de plusieurs décades de travail sur la théorie féministe, qui est un chapitre de réflexions sur l'organisation sociale hiérarchisée, fondée sur les différences sexuelles, ..

continent. 1.2 (2011): 141-144. This January, while preparing a new course, Robert Seydel was struck and killed by an unexpected heart attack. He was a critically under-appreciated artist and one of the most beloved and admired professors at Hampshire College. At the time of his passing, Seydel was on the brink of a major artistic and career milestone. His Book of Ruth was being prepared for publication by Siglio Press. His publisher describes the book as: “an alchemical assemblage that composes (...) the life of his alter ego, Ruth Greisman— spinster, Sunday painter, and friend to Joseph Cornell and Marcel Duchamp. Through collages, drawings, and journal entries from Ruth’s imagined life, Seydel invokes her interior world in novelistic rhythms.” This convergence of his professional triumph with the tragedy of his death makes now a particularly appropriate time to think about Robert Seydel and his work. This feature contains a selection of excerpts from Book of Ruth (courtesy of Siglio Press) alongside a pair of texts remembering him and giving critical and biographical insights into his art and his person. These texts, from a former student and a colleague respectively, were originally prepared for Seydel's memorial at Hampshire College and have since been revised for publication in continent. For more information on Book of Ruth, please visit the book's page at the Siglio Press website. —Ben Segal draughty R. * Lauren van Haaften-Schick 2011 “The most apt way to order Smithson's library is with the conjunction 'and'; science and religion; modernism and mass culture; what is present and what is missing.” —Alexander Alberro, 248 Robert Seydel's classes on collage and collecting immersed his students in a curious world of cabinets, oddities, exhaustive archives and obscure histories, explored always with critical rigor and a sincere eye for wonder. His office was a compendium of the ancient, mythic, potential and unworldy, where seemingly unrelated references were endlessly pulled, piled and fused in an ecstatic dance of hyper-annotation. The small room and all its contents overflowed with notes tucked in every margin and corner. Books coated the walls like a switchboard, anxious and humming, waiting for infinite links to be activated. William Blake's books of Job and Urizen summoned Greek mythology and the animal as metaphor, leading to 19th century cryptozoology and the cave paintings at Lascaux, Gaston Bachelard's description of the bird in his garden and Robert Rauschenberg's Canyon . Tracking archetypes and following tangential threads, new revelations and ancient narratives were compiled and ordered to form a new text, a bibliography as assemblage, portrait and poem. Robert's library—one of his many collections—is a portrait, an “artifact, collage of time, a token and remnant” (Seydel, 2007) He is humming with it still. The imagination of this room—of Robert—breathes through the pages of Book of Ruth, as every decision and detail unfolds to a cosmos. Allegory, invention, personal and art histories are entangled and leveled, rendering lived, perceived and absorbed experiences indistinguishable. Anonymous scraps discovered on the street or studio floor, careful clippings and drawn figures are chosen and animated through serendipitous destruction and whimsical, delicate positioning. A precise vocabulary of characters and terms erupts and collapses as personas and passers-by wave and whisper, “Every figure reveals aspects of the total form, which is open and green” (Seydel, 2007). The initials R.S. repeat, a nod to Robert's true family tree and further complicating identification. Robt, Robert's sometimes alter-ego, appears in myriad forms as a trickster “half-wit,” mercurial and skittish, or soft and worn thin. Saul is a solemn tinkerer, parsing the world and sometimes blind. Ruth, the speaker of the book, records and translates all, her voice wavering between poetic verse and a cryptic half-speech as complex as it is sparse. The rhythm of frayed edges sets time - the weight of the world and the lightness of paper. Robert wrote of his process, “Material is essential; scuffings carry history, which wanders throughout” (Seydel, 2007). Collectors, assemblers, sway between careful movements of selection and placement as they pull from the found world, mediating calculated and unconscious association to form a lexicon of gestures, symbols and allusion, the “artifacts of a life... the refuse and rejecta of days” (Seydel, 2007). These assembled fragments shift and chatter, at home in their homelessness, actors performing in their own lives, populating an invented world of similar orphans. Such accumulated, severed parts carry the injury of their cutting and retain the evidence of their source, binding loss to creation in a symbiosis of trauma and repair. Mourning and remembrance are deeply embedded in the histories and acts of such practices. Grievance, acceptance, and the fragility of life are conveyed in the 18th century allegorical arrangements of fetal specimens by Frederik Ruysch. A certain melancholy reverence colors Joseph Cornell's intimately tactile assemblages rendering the universe tangible in miniature, or made in devotion to unrequited loves. Preserved in stasis, these ghosts and idols are kept in a purgatory where fact and fiction, past and present are irrelevant distinctions. Catalogued and contained, the subject of loss is transferred to an artifact. Every thread, scrap and letter may be glued, gathered and placed in a museum, a tomb, a box, a page, ripe and open for possession. Holding on to grief and reveling in disrepair, we opt to be haunted. Forever unbalanced and in flux, the sublime of collage is its resolve to irresolution. For Robert, “Art, as creation and as sign of primary Imagination, is not objects but a state, a kind of fluid” (Seydel, 2007) Reflecting on his work, life, and death, I am drawn to my library and the myriad titles acquired through his inspiration. There is Daniel Spoerri's An Anecdoted Topography of Chance , Susan Stewart's On Longing , various Borges, Barthes, Perec, and especially Life: A User's Manual , which concludes that the perfect puzzle will have no solution. I think of the drawers of miscellaneous swallowed objects at the Mutter Museum, Ray Johnson coding the every day in riddles, Wallace Berman twisting tongues, and Susan Hiller laying every detail to bear. Collectors and makers working in endless cycles of observation, ingestion and display. Every gesture informs and is defined by others, every space is shaped by that which surrounds and fills it, the knot has an inner logic, the gigantic is not so different from the miniature, there is a world in every detail, and “All art is collage” (Seydel, 2011) These thoughts have molded my life, my art, and all the minutia that keep the two so profoundly intertwined; There is no difference between life and what we do with our time. “I write my life. I make me up.” What a gift to share this secret way of knowing the world, and to leave this knowledge for us to do with what we please. “Art begins in admiration” (Seydel, 2011) Lauren van Haaften-Schick is a curator, writer and artist based in New York. Upcoming curatorial projects include "Cancelled" at the Center for Book Arts, and "The Spirit of the Signal" at Nicole Klagsbrun Gallery, New York. Recent activities include the workshops "Market, Alternative" and "Alternative Art Economies" at Trade School and Momenta Art, and the e-flux Time/Store, New York. She is the founding director of two arts spaces in Northampton, MA and Philadelphia, PA. She received a BA in Art History and Studio Art from Hampshire college in 2006. Sura Levine on Robert Seydel If early on in his time at Hampshire College I was officially his “mentor,” Robert Seydel quickly became one of my great teachers. Over the years we talked about everything, from art, music, collage, and poetry, to campus politics, this latter far too often. It was always a sublime pleasure, if all too rarely done, to enter his apartment to look at his work in progress, to peruse his bookshelves where, inevitably, there were always new treats to examine. And, while he was working on his Book of Ruth , I was given the opportunity over the course of many meals at the Korean and other restaurants, to talk with him about image and poem ordering. To see how he thought through each comma, each juxtaposition across the gutters of the Book, was to watch a brilliant curator at work. Each day, I walk past his wonderful collaged portrait of Ruth, purchased, after much haggling, as a birthday present, a couple of years ago. And each day, I think how lucky I am to have known Robert as he produced this magnum opus. One of my greatest pleasures in 24 years at the College was to teach “The Collector” with Robert. One of my greatest regrets is that the magic we created together in the classroom will not, and cannot, be duplicated. Its various incarnations, its utter intelligence and magic, were all so deeply Robert’s. His was a mind that put poetry, philosophy, history of science, and history together with art, and art together with music. His intellect and eye were unparalleled. He introduced us to so many artists. He shared his fascination with the cabinets of curiosity of Aldrovandi, of Seba, and Peter the Great’s collection of fetal anomalies, as well as the Museum of Jurassic Technology in Los Angeles. Robert knew them all and so many more. He was a walking encyclopedia, his home a great archive. Arcane knowledge, perhaps, but oh so important for another of Robert’s heroes, the mid-20th century Belgian artist Marcel Broodthaers, whose name he invariably mispronounced as “Broadthayers.” In speaking his name, Robert would always look in my direction in a panic, and then he go on and maul it. I absolutely loved his various mispronunciations of French names and terms! “The Collector” was always filled with talented young artists, art historians, philosophers and writers who all came to understand the wondrous obsessions of the figure of the collector. Students in this course created dazzling projects each term. He always moved while looking and speaking. He read deeply, and commented on everyone’s work with wonderful generosity. Robert always found something to praise even in the least developed of projects. Robert inspired and mentored all of his students into making work that far exceeded their expectations—and ours. For those of you who were lucky enough to have been touched by or to have had an evaluation written by Robert, savor it, keep it, reread it, and share it. He loved working with you all; it is somehow fitting that he died while prepping yet another new course. Robert, it’s almost impossible to speak of you in the past tense, even though you left us a month ago. No doubt, if you knew about our gatherings and celebrations of you, you would be embarrassed that we are making a fuss over you; you always placed the focus on others rather than on yourself. This trait is exactly why so many people miss you now. We’re here to love you publicly as we all did privately for the eleven years you were among us. Robert, my very dear friend, you were an extraordinary artist—you were my brother of choice. My heart broke when yours did. I miss you profoundly. —Sura Levine, February 26, 2011 Sura Levine is a professor of art history at Hampshire College. Her field of specialty is 19th century Belgian and French art, particularly realism and impressionism. Having worked in museums for a number of years both prior to coming to the College, and, as guest curator and co-author of exhibition catalogues, she became particularly interested in the history of museum and trends in collecting. It was because of their shared interests that she and Robert Seydel developed their course, The Collector, which they co-taught for many years. (shrink)

This landmark book is now reissued in a new edition that has been vastly rewritten and updated to respond to recent Kantian literature. It includes a new discussion of the Third Analogy, a greatly expanded discussion of Kant’s _Paralogisms, _and entirely new chapters dealing with Kant’s theory of reason, his treatment of theology, and the important Appendix to the Dialectic. _Praise for the earlier edition: _ “Probably the most comprehensive and substantial study of the Critique of Pure Reason written by (...) any American philosopher.... This is a splendid book.”—Lewis White Beck “This masterful study... will most certainly join the canon of required reading for future interpreters of Kant’s theoretical philosophy. Superbly organized and lucidly written.”—Garrett Green, _Journal of Religion_. (shrink)

There is a tension between normative and descriptive elements in the theory of rational belief. This tension has been reflected in work in psychology and decision theory as well as in philosophy. Canons of rationality should be tailored to what is humanly feasible. But rationality has normative content as well as descriptive content.A number of issues related to both deductive and inductive logic can be raised. Are there full beliefs – statements that are categorically accepted? Should statements be accepted when (...) they become overwhelmingly probable? What is the structure imposed on these beliefs by rationality? Are they consistent? Are they deductively closed? What parameters, if any, does rational acceptance depend on? How can accepted statements come to be rejected on new evidenceShould degrees of belief satisfy the probability calculus? Does conformity to the probability calculus exhaust the rational constraints that can be imposed on partial beliefs? With the acquisition of new evidence, should beliefs change in accord with Bayes' theorem? Are decisions made in accord with the principle of maximizing expected utility? Should they be?A systematic set of answers to these questions is developed on the basis of a probabilistic rule of acceptance and a conception of interval-valued logical probability according to which probabilities are based onknownfrequencies. This leads to limited deductive closure, a demand for only limited consistency, and the rejection of Bayes' theorem as universally applicable to changes of belief. It also becomes possible, given new evidence, to reject previously accepted statements. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Truth MattersOnce in a while stunning new ideas that energize a scholarly discipline—or even wreck it altogether—come from the outside. The most influential philosopher of science in the last generation was not a philosopher at all, but an historian and physicist, Thomas Kuhn. Ernst Gombrich, an art historian, has deeply informed the philosophy of art, as the linguist Noam Chomsky has affected the philosophy of language. And Jacques Derrida (...) continues to cast his stupefying spell over many a literature department, even if most philosophers remain unimpressed.In a minor but spectacular way (how else to describe an event first encountered on the front page of the New York Times?), Alan Sokal has barged in on this honorable tradition. As a physicist, he successfully placed a barely-coherent, factually ludicrous, jargon-ridden article in a major journal of cultural studies.When we caught up with Sokal’s hoax, our initial reaction was sympathy for the hapless editors of Social Text. They weren’t the first journal editors to be landed with a contribution that went sour (though the only other episodes we could recall were plagiarism, not parody). However, when one of these chaps, Stanley Aronowitz, reacted in the Times by calling Sokal “ill-read and half-educated” (May 18, 1996), editorial fellow-feeling began to evaporate. And when Stanley Fish, executive director of the Duke University Press, which publishes Social Text, launched a bitter counterattack on Sokal three days later, it was hard not to regard Fish’s indignation, as E. D. Hirsch described it in a subsequent letter to the Times, as “the indignation of Tartuffe on being exposed.” [End Page 299]After some tedious preliminaries, Fish accused Sokal of failing to understand that the sociology of science is an enterprise “distinct” from science, “with objects of study, criteria, and goals all its own.” Sokal knows this, naturally, as he had already made clear in his Lingua Franca article on the hoax, and as he explains again in his afterword in this issue of our journal. But Fish went on to a more sweeping generalization. Imagining Sokal believed that cultural studies threaten the stability or integrity of the sciences, Fish said not to worry: “A research project that takes the practice of science as an object of study is not a threat to that practice because, committed to its own goals and protocols, it doesn’t reach into, and therefore doesn’t pose a danger to, the goals and protocols it studies.”With this account of a well-ordered academic world, Fish inadvertently reveals what some see as a serious failing of cultural studies and postmodern theory: it poses a threat to absolutely nothing. Leave science aside for a moment, and consider a sociology of, say, astrology, or medicine, or the fashion industry. Could we envision a proper sociology of astrology which posed no danger to “the goals and protocols” in using planetary/zodiacal patterns to predict the future or retrodict the characters of subjects? Hardly; it’s the business of the sociology of any human activity to identify and question the intellectual claims and practical ambitions of that enterprise. And that is exactly what Alan Sokal did: he invented a clever test of the intellectual rigor of cultural studies in general and its version of poststructuralist sociology of science in particular. He then subjected Social Text—and implicitly in many minds the intellectual standards of the field it represents—to the test. It failed.Sokal’s methodology was not unique; it can be applied in different ways to many other disciplines. If you want to evaluate, for example, the intellectual pretensions of astrologers there is a fine way to do it; it essentially adapts the double-blind placebo procedure used in drug research, another celebrated testing methodology. Allow a group of astrologers to agree on a set of character readings based on accurate birth charts. Give these back, shuffled, with identifying information stripped off, to the subjects of the astrological readings. If the subjects can pick out their own readings from character descriptions alone (descriptions created by astrologers on the basis of birth information only, without meeting the subjects in question), then astrology must possess... (shrink)

In working his way through his complex conception of the relation of fiction and reality, [Henry] James thus found the unconscious moral dimension inextricably embedded within "realism" itself. In following the threads of realism back to consciousness itself, James invariably found there intertwined with its roots those aspects and elements that other theorists kept carefully separate. By exploring experience to its source, he found imagination. By following objective life from "out there" to conception, he found individual vision. By following (...) the seeming oneness of the passing show back to perception, he found infinite variation and multiplicity. By following the uncolored flux and flow of events to their embodiment in the fictional medium, he found coloration of personality. And by following the "felt life" back to the artist's "prime sensibility", James found there the "moral sense" and the "enveloping air of the artist's humanity"—that which gives "the last touch to the worth of a work." James E. Miller, Jr., professor of English at the University of Chicago, is the author of A Critical Guide to Leaves of Grass; Walt Whitman; F. Scott Fitzgerald: His Art and His Technique; J.D. Salinger; Theory of Fiction: Henry James; and numerous articles on American literature and education. He contributed "Catcher In and Out of History" to Critical Inquiry, Spring 1977. (shrink)

Perhaps the ultimate significance of Kant's Copernican revolution in philosophy lies in its attempted reconciliation of the transcendental, logical orientation of continental rationalism with the humanistic, psychological approach of British empiricism. With the rationalists, Kant distinguished sharply between questions concerning the causes and origins of our knowledge and questions about its limits and objective validity. Thus, a rigorous critique of psychologism, i.e. of any attempt to explain, or explain away the validity of either our cognitive or moral principles by means (...) of an analysis of their basis in human nature or their genesis in human experience, is one of the most characteristic traits of the Kantian philosophy. Yet this transcendental, logical investigation of the nature and limits of knowledge, and of the fundamental principles of morality leads Kant back to the human subject, in whose cognitive faculties he finds the a priori principles of human knowledge and in whose autonomy he finds the basis of the categorical imperative. This gives rise to a paradoxical conception of man as on the one hand, together with the rest of creation, a part of nature, subject to its laws, and on the other hand, in his capacity as knower and actor, a rational being who not only transcends nature in the sense that he is not completely determined by its laws, but who is actually the author of these laws. (shrink)

In his new book the eminent Kant scholar Henry Allison provides an innovative and comprehensive interpretation of Kant's concept of freedom. The author analyzes the concept and discusses the role it plays in Kant's moral philosophy and psychology. He also considers in full detail the critical literature on the subject from Kant's own time to the present day. In the first part Professor Allison argues that at the centre of the Critique of Pure Reason there is the foundation for (...) a coherent general theory of rational agency. The second part employs this account of rational agency as a key to understanding Kant's concept of moral agency and associated moral psychology. The third part focuses on Kant's attempt to ground both moral law and freedom in the Groundwork and the Critique of Practical Reason. This is a major contribution to the interpretation of Kant which will be of special interest to scholars and graduate students of Kant's moral theory. (shrink)

Henry Allison is one of the foremost interpreters of the philosophy of Kant. This new volume collects all his recent essays on Kant's theoretical and practical philosophy. All the essays postdate Allison's two major books on Kant, and together they constitute an attempt to respond to critics and to clarify, develop and apply some of the central theses of those books. Two are published here for the first time. Special features of the collection are: a detailed defence of the (...) author's interpretation of transcendental idealism; a consideration of the Transcendental Deduction and some other recent interpretations thereof; further elaborations of the tensions between various aspects of Kant's conception of freedom and of the complex role of this conception within Kant's moral philosophy. (shrink)

To date, our knowledge of Rift Valley fever disease spread and maintenance is still limited, as flooding, humid weather and presence of biting insects such as mosquitoes, have not completely explained RVF outbreaks. We propose a model that includes livestock, mosquitoes and ticks compartments structured according to their questing and feeding behaviour in order to study the possible role of ticks on the dynamics of RVF. To quantify disease transmission at the initial stage of the epidemic, we derive an explicit (...) formula of the basic reproductive number, $$R_0$$ R 0. Using the concept of Metzler matrix, we state necessary conditions for global asymptotic stability of the disease-free equilibrium. Results suggest that although host-ticks interactions may serve as disease reservoirs or disease amplifiers, the Aedes reproductive number should be kept under unity if disease post-epizootics activities are to be controlled. Results of both local and global sensitivity analysis of selected model parameters indicate that $$R_0$$ R 0 is more sensitive to the ticks attachment and detachment rates, probability of transmission from ticks to host and from host to ticks, length of infection in livestock and ticks death rate. Furthermore, when comparing the mean value of $$R_0$$ R 0 with that from previous studies which did not include ticks we found that our $$R_0$$ R 0 is very much larger resulting in an increase in the exponential phase of an outbreak. These findings suggest that if ticks are capable of transmitting the virus, they may be contributing to disease outbreaks and endemicity. (shrink)

Henry E. Allison presents an analytical and historical commentary on Kant`s transcendental deduction of the pure concepts of the understanding in the Critique of Pure Reason. He argues that, rather than providing a new solution to an old problem, it addresses a new problem, and he traces the line of thought that led Kant to the recognition of the significance of this problem in his 'pre-critical' period. In addition to the developmental nature of the account of Kant`s views presented (...) here, two distinctive features of Allison's reading of the deduction are a defense of Kant`s oft criticized claim that the conformity of appearances to the categories must be unconditionally rather than merely conditionally necessary and an insistence that the argument cannot be separated from Kant`s transcendental idealism. (shrink)