This study demonstrates the extent to which academic philosophers and social scientists make philosophy difficult. It highlights the political dimension of the state, law, morality and production, and shows they need to be understood in terms of how a conflict of forces operates.

Illusionism treats the almost universally held belief in our ability to make free choices as an erroneous, though beneficent, idea. According to this view, it is sadly true, though virtually impossible to believe, that none of a person’s choices are avoidable and ‘up to him’: any claim to the effect that they are being naïveté or, in the case of those who know better, pretense. Indeed, the implications of this skepticism are so disturbing, pace Spinoza, that it must not be (...) allowed to see the light of intellectual day, confined to the nether regions of consciousness. Even those who have ‘done the philosophy’ and disabused themselves here should nevertheless (somehow) continue believing in free will, lest they come to regard our lives as meaningless, spreading despair and social upheaval. Thus, the “Illusionists” who propound this view are themselves circumspect in doing so. -/- But is escaping the (putative) truth really possible here? Could a disabused philosopher ever return to something like his former intellectual innocence? Self-deception may not be possible; but would an attempt at it reveal anything significant about choice formation? If one were to try to regain one’s illusion, what would one realize? I shall argue here that one would reflectively discover precisely the opposite of what the Illusionists contend- that there are indeed free choices. Let us begin by considering the inconsistency that supposedly entails the illusion of free will. (shrink)

This is a philosophical discussion of cinema’s power to create positive illusions and myths, drawing on Nietzsche, Kracauer, and Deleuze.

First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

Zygon®, Volume 56, Issue 4, Page 846-873, December 2021.

Illusion und Aufklärung: 1. Apologie der Illusion in Kants Opponenten-Rede gegen Johann Gottlieb Kreutzfeld. 2. Eine heilsame Illusion: wie die Kultur aus der Natur entsteht. 3. Acedia und das radikal Böse -- Praktiken der Illusion in der Moderne: 1. Nietzsches Tanz um die Philosophie. 2. Erzeugung von Zukunft. Sprachformen der Apokalypse bei Hermann Cohen. 3. Zu Benjamins Kritik des Scheins im Wahlverwandtschaftenaufsatz mit einem Exkurs zu Cohens Behandlung des Empfindungsproblems. 4. Heilsame Illusion und auratische Wahrnehmung. (...) 5. Antigenealogische Revolte und Reproduktion -- Nachspiel: Diffraktion Statt Reflexion. Die Fadenspiele von Donna J. Haraway: eine Methode mit kleinem "m.". (shrink)

This project aims to examine whether music has an emotional nature. I use the ancient Chinese text Music Has No Grief or Joy to construct three arguments for the illusion view, according to which music has no emotional nature and the emotional appearances of music are illusory. These arguments highlight representational inconstancy, expressive incapability, and evocative underdetermination as three ways to problematize the idea that music has an emotional nature. I draw on the Confucian tradition to formulate three responses (...) to the illusion view from representational reliability, expressive sincerity, and evocative appropriateness. These responses are shown to be inadequate. To examine the illusion view in detail, I adopt a comparative approach to structure a dialogue between ancient Eastern philosophy and contemporary Western philosophy. Nine arguments are constructed from three prominent approaches in contemporary Western musical aesthetics on the evocation, expression, and representation of emotion. I argue that each of these arguments reads emotion into music. Nevertheless, three insights emerge from the comparative discussion. The autonomy of emotional enjoyment, the possibility of emotional communication, and the function of emotional language in musical experiences call for explanations. I argue that the illusion view are amenable to these insights. The illusion view allows us to claim full ownership of emotional responses, have emotional communication by recognizing intended emotional meanings in music, and appreciate the practical value of emotional language in music industry and education. I formulate a possible objection on the basis of Charles Swann’s musical experience in Marcel Proust’s novel, according to which music has emotional agency in the formation of an emotion. This objection can be met and Swann’s musical experience can be integrated into the illusion view. The illusion view turns out to be experientially richer than it might appear at first. This project liberates musical listening and philosophical thinking from beliefs entrenched in the emotional illusion of music. (shrink)

The Illusion of Doubt confronts one of the most important questions in philosophy and beyond: what can we know? The radical sceptic's answer is 'not very much' if we cannot prove that we are not subject to deception. For centuries philosophers have been impressed by the radical sceptic's move, but this book shows that the radical sceptical problem turns out to be an illusion created by a mistaken picture of our evidential situation. This means that we don't (...) need to answer the radical sceptical problem 'head on', but rather to undermine the philosophical assumptions that it depends on. For without these assumptions, radical scepticism collapses all by itself. This result is highly significant, as it manages to dissolve one of the most intractable philosophical problems that has bedevilled some of the greatest minds until the present day. (shrink)

An examination of the concept of illusion in the writings of Nietzsche, Benjamin, Castoriadis and the Situationists as viewed through the negative dialectics of Theodore Adorno.

This article addresses the notion of “illusions of the multitude”, or the ideas created by the imagination in the analysis that Baruch Spinoza makes in his works. The text aims to explore the following questions: What characteristics reveal the ideas originating from the imagination? What role do these ideas play in the political and so- cial space? First, I emphasize Spinoza’s explanation of the imagination, as a first mode of knowledge. Secondly, I delve into the characteristics of the ideas that (...) stem from it and the affections that accompany them. Finally, I analyze their effects on the political and social space. (shrink)

Amidst all the anticipation, anxiety, and hype swirling around the year 2000, we may find ourselves searching for some sure guidance as we enter the new millennium. Dharma: The Way of Transcendence provides it. Written by His Divine Grace A. C. Bhaktivedanta Swami Prabhupada, whom scholars and spiritual leaders worldwide recognize as the most distinguished teacher of Indian culture and philosophy of the modern age, Dharma answers essential questions thoughtful people ask in every millenium: Who am I? What are (...) my deepest needs? How can I fulfill them? Srila Prabhupada writes, "The body and the mind are but superfluous outer coverings of the spirit soul. The spirit soul's needs must be fulfilled. The need of the spirit soul is that he wants to get out of the limited sphere of material bondage and fulfill his desire for complete freedom. He wants to get out of the covered walls of the greater universe. He wants to see the free light and the spirit." To learn what that free light and spirit are, and how you can see them, read Dharma. Book jacket. (shrink)

This collection of eleven essays, four of them previously unpublished, extends from specific problems in metaphysics and epistemology to Lazerowitz' hypothesis about the hidden nature of philosophy. The book concludes the program of two previous books, The Structure of Metaphysics, and Studies in Metaphilosophy. The hypothesis was developed to explain a puzzle for both its friends and foes, that while it has always commanded great intellectual efforts, "in its 2400 years of existence, technical philosophy has not produced a (...) single uncontroverted proposition." Lazerowitz agrees that the essence of philosophy is not in the descriptive function of its statements. Using some Freudian insights, he helps to show that philosophy is one of those creative activities of man whose matter is language, and that it is similar to and distinguished from poetry and religion. The essays can be read independently of one another and each provides the reader a brisk workout in both scholarship and argumentation, with a provocative application of Lazerowitz' explanatory hypothesis at the end. Although he claims to be exposing what technical philosophers are really up to, and anticipates rejection of his thesis by those whom it most truly describes, this is a book to be enjoyed by accomplished philosophers, who have the erudition and technique to keep up and to appreciate the exercise.--M. B. M. (shrink)

Nietzsche’s Birth of Tragedy overcomes the opposition between scientific optimism and Schopenhauerian pessimism with the image of a music-making Socrates, who symbolizes the aesthetic affirmation of life. This article shows how the aesthetic ideal is an illusion whose metaphysical solace undermines itself in being recognized as such, thereby ceasing to be comforting. While I agree with recent commentaries that contest the pervasive Schopenhauerian reading of The Birth, most of these commentaries still support the view that Nietzsche wishes to communicate (...) some fundamental truth about nature or meaning in life. By contrast, I argue that he treats any such truth as a cultural fiction that emerges from the poetic staging of reality, leaving us with a contradiction of appearances deprived of any intelligible ground. (shrink)

Since the first publication of Insight and Illusion in l972, a wealth of Wittgenstein's writings has become accessible. Accordingly, in this edition Professor Hacker has rewritten six of his eleven original chapters and revised the others to incorporate the new abundant material.Insight and Illusion now fully clarifies the historical backgrounds of Wittgenstein's highly differing masterpices, the Tractatus and the Investigations, and traces the evolution of Wittgenstein's thought. Hacker explains all of Wittgenstein's writings in detail, focusing on his critique (...) of metaphysics, his famous "private language argument," and his account of self consciousness. (shrink)

This book aims to present trompe-l'oeil painting as an ambigous aesthetic ideal offered by early modern theory of art. It embodies the idea of an image identical to what it represents. It is interpreted in terms of perceptual and aesthetic illusion, mimesis, diegesis, play, irony and scientific illustration.

Dans Le Langage de la perception, Austin critique la conception habituelle de la perception qui pose que nous ne percevons pas directement les objets, mais des sense data, nos idées, ou des impressions sensibles. Il souligne, contre Descartes, que nos sens sont muets et il montre que le but de l’argument de l’illusion est de rendre réelles les entités intermédiaires. Dans cet article, j’examine les analyses du bâton qui paraît cassé dans l’eau dans les Sixièmes Réponses pour montrer en (...) quoi elles diffèrent de celles fournies par Austin et je montre que dans la philosophie cartésienne des idées, traiter la perception comme un acte mental n’implique pas de considérer les représentations comme des objets qui sont perçus. Grâce à la notion arnaldienne de « réflexion virtuelle », je présente une conception cartésienne de la réalité objective des idées qui ne pose pas d’« êtres représentatifs » dans la perception. Et c’est à la lumière de la mémoire de soi que j’interroge la radicalité de la conception austinienne de la perception. (shrink)

Since the first publication of Insight and Illusion in l972, a wealth of Wittgenstein's writings have become accessible. Accordingly, in this edition Professor Hacker has rewritten six of his eleven original chapters and revised the others to incorporate the new abundant material. Insight and Illusion now fully clarifies the historical backgrounds of Wittgenstein's highly different masterpieces, the Tractatus and the Investigations, and traces the evolution of Wittgenstein's thought. Hacker explains all of Wittgenstein's writings in detail, focusing on his (...) critique of metaphysics, his famous "private language argument," and his account of self-consciousness. (shrink)

This article intends, firstly, to enrich the study of the role that the concept of tone plays in Kantian idea of reason, by extending it to the analysis of music as art of sounds, which the Critique of Judgment fulfills. Secondly, it aims to determine the grounds that could explain why the mathematics, due to the specificity of the philosophical method and the physical reception of music, respectively, are itself incapable to express the procedures of reason and of the art (...) of sounds. Finally, it points out a similarity between reason and music concerning their common rejection of succumbing to the Schwärmerei, although the distance which divides them as two contrary ways to exercise and promote the life and its feeling.O artigo tenciona, primeiramente, enriquecer o estudo da função que o conceito de tom desempenha na ideia kantiana de razão, ao estendê-lo à análise da música como arte dos sons que a Crítica do Juízo contém. Em segundo lugar, propõe-se determinar os motivos pelos quais a matemática se revela incapaz, devido à especificidade do método filosófico e à corporalidade da recepção musical, respectivamente, de expressar o modo de proceder da razão e da arte dos sons. Finalmente, aponta-se para uma semelhança entre música e razão, no que diz respeito à rejeição que compartilham da queda na Schwärmerei, apesar da distância que se estabelece entre ambas enquanto duas maneiras contrárias de exercitar e fomentar a vida e o sentimento dela. (shrink)

Jean Piaget was one of the most salient and inspirational figures in psychological and educational research this century. He was prolific, authoring or editing over eighty books and numerous journal papers which have spawned a huge and fertile continuation of his research over the decades. A major component of any course on children's psychological development and a research tradition that is expanding, scholars need access to the original texts rather than relying on secondhand accounts. Jean Piaget: Selected Works is a (...) chance to acquire key original texts, most of which have been previously unavailable for several years. (shrink)

Projecting Illusion offers a systematic analysis of the impression of reality in the cinema and the pleasure it gives to the film spectator. Film provides a compelling experience that can be considered as a form of illusion akin to the experience of day-dream and dream. Examining the concept of illusion and its relationship to fantasy in the experience of visual representation, Richard Allen situates his explanation within the context of an analytical criticism of contemporary film and critical (...) theory. He argues that many contemporary film theorists correctly identify the significance of the impression of reality, although their explanation of it is incorrect because of an invalid philosophical understanding of the relationship between the mind, representation and reality. Offering a clear presentation and critique of the central arguments of contemporary film and critical theory, Allen also touches on fundamental issues in current discourses of philosophy, art history and feminist theory. (shrink)

‘You can’t stop progress’, we are endlessly told. But what is meant by “progress”? What is “progress” toward? We are rarely told. Human flourishing? And a culture? That would be a good start – but rarely seems a criterion for ‘progress’. Rather, ‘progress’ is simply a process, that we are not allowed, apparently, to stop. Or rather: it would be futile to seek to stop it. So that we are seemingly-deliberately demoralised into giving up even trying.Questioning the myth of ‘progress’, (...) and seeking to substitute for it the idea of real progress – progress which is actually assessed according to some independent not-purely-procedural criteria – is a vital thing to do, at this point in history. Literally: life, or at least civilisation, and thus culture, may depend on it.Once we overcome the myth of ‘progress’, we can clear the ground for a real politics that would jettison the absurd hubris of liberalism and of most ‘Leftism’. And would jettison the extreme Prometheanism and lack of precaution endemic to our current pseudo-democratic technocracy. The challenge is to do so in a way that does not fall into complete pessimism or into an endorsement of the untenable and unsavoury features of conservatism. The challenge, in other words, is to generate an ideology or philosophy for our time, that might yet save us, and ensure that we are worth saving.This paper is then a kind of reading of Wittgenstein’s crucial aphorism on this topic: ‘Our civilization is characterized by the word progress. Progress is its form rather than making progress being one of its features.’. (shrink)

Written nearly fifty years ago, at a time when the world was still wrestling with the concepts of Marx and Lenin, 'The Illusion of the Epoch' is the perfect resource for understanding the roots of Marxism-Leninism and its implications for philosophy, modern political thought, economics, and history. As Professor Tim Fuller has written, this "is not an intemperate book, but rather an effort at a sustained, scholarly argument against Marxian views." Far from demonising his subject, Acton scrupulously notes (...) where Marx's account of historical and economic events and processes is essentially accurate. However, Acton also points out that Marx is generally right about things that were already widely known and accepted in his own time and indeed had been long understood in the nineteenth century. On the other hand, Acton shows that in many cases Marx either is simply wrong or has stated his views so as to render his theories immune to disproof. Acton also explains why the embodiment of Marxist-Leninist theory in an actual social order would require coercive support if it were not, sooner or later, to collapse of its own contradictions. (shrink)

The founding premise of this book is that the nimbus of prestige which once surrounded the idea of justice has now been dimmed to such a degree that it is no longer sufficient to secure the possibility of a good conscience for those who undertake, in good faith, to make the world a better place in the spheres of politics and law. The many decent human beings who have noticed and experienced this diminishment of justice’s prestige find themselves in a (...) thoroughly disenchanted_ _existential situation. For them the attempt to do justice without the illusion of being grounded in something beyond the sheer facticity of their own performances is a distinctly ethical theme which cries out to be investigated in its own right. Heeding the cry, this book asks and attempts to answer the following fundamental ethical question_: Is a life in the law – even one spent in the pursuit of justice – worth living, and if so, how can a disenchanted person come to bear the living of it without constantly having to engage in self-deception?_ If Nietzsche is right that living without illusions is impossible for human beings, then the most important ethical implication of this essentially anthropological fact goes far beyond the question of what illusions we ought to choose. It must also include the question whether we should succumb to that most seductive and pernicious of all illusions: namely, the belief that exercising great care and responsibility in choosing our illusions – which we might then call our ‘principles of justice’ – excuses us ethically for what we do to others in their name. The culmination of a 10 year legal-philosophical project, this book will appeal to graduate students, scholars and curious non-academic intellectuals interested in continental philosophy, critical legal theory, postmodern theology, the philosophy of human rights, and the study of individual ethics in the context of law. (shrink)

Tibetan Buddhist writings frequently state that many of the things we perceive in the world are in fact illusory, as illusory as echoes or mirages. In Twelve Examples of Illusion , Jan Westerhoff offers an engaging look at a dozen illusions--including magic tricks, dreams, rainbows, and reflections in a mirror--showing how these phenomena can give us insight into reality. For instance, he offers a fascinating discussion of optical illusions, such as the wheel of fire (the "wheel" seen when a (...) torch is swung rapidly in a circle), discussing Tibetan explanations of this phenomenon as well as the findings of modern psychology, and significantly clarifying the idea that most phenomena--from chairs to trees--are similar illusions. The book uses a variety of crystal-clear examples drawn from a wide variety of fields, including contemporary philosophy and cognitive science, as well as the history of science, optics, artificial intelligence, geometry, economics, and literary theory. Throughout, Westerhoff makes both Buddhist philosophical ideas and the latest theories of mind and brain come alive for the general reader. -/- "This delightful book offers a rich and satisfying philosophical feast to anyone interested in the phenomenon of illusion itself or in the Buddhist analysis of the human condition. Westerhoff draws together classical Buddhist scholarship, contemporary cognitive science and his own judicious philosophical reflection in a serious but refreshingly accessible engagement with the Buddhist tradition in the exploration of the role of illusion in our cognitive and emotional lives." Jay L. Garfield, author of Fundamental Wisdom of the Middle Way: Nagarjuna's Mulamadhyamakakarika -/- "Jan Westerhoff creatively juxtaposes an important Buddhist study of illusion with fascinating modern researches on illusory experiences, using the latter to illuminate the former. The result is a revealing account of the pervasiveness of illusion in our cognitive experience and the very structure of our cognitive apparatus. It brings to life the Buddhist discussion of illusion, making it relevant to our everyday experience instead of being high-minded intellectual exercises only." -/- Tao Jiang, author of Contexts and Dialogue: Yogacara Buddhism and Modern Psychology on the Subliminal Mind -/- "The twelve similes for the illusory nature of this world are very profound, and Westerhoff does them wonderful justice in this excellent book." -/- Robert Thurman, Jey Tsong Khapa Professor of Buddhist Studies, Columbia University. (shrink)

Analytic philosophy (AP), some proclaim, is dead or in crisis. It should be so lucky. Its status may be, in fact, much more ephemeral. In this readable and accessible monograph, Preston makes out an interesting and engaging case for the claim that AP has never really existed at all. At first blush this news is a bit hard to swallow. After all there seem to be many, many existing practitioners in our discipline that regard themselves as analytic philosophers and (...) these adherents clearly exert a powerful influence on professional philosophy in Anglophone countries (and this influence is felt elsewhere too, even if only negatively). So, it certainly looks as if there is such a thing as AP, whatever its state of health. (shrink)

This major study of Kant provides a detailed examination of the development and function of the doctrine of transcendental illusion in his theoretical philosophy. The author shows that a theory of 'illusion' plays a central role in Kant's arguments about metaphysical speculation and scientific theory. Indeed, she argues that we cannot understand Kant unless we take seriously his claim that the mind inevitably acts in accordance with ideas and principles that are 'illusory'. Taking this claim seriously, we (...) can make much better sense of Kant's arguments and reach a deeper understanding of the role he allots human reason in science. (shrink)