Perhaps no technological innovation has so dominated the second half of the twentieth century as has the introduction of the programmable computer. It is quite difficult if not impossible to imagine how contemporary affairs—in business and science, communications and transportation, governmental and military activities, for example—could be conducted without the use of computing machines, whose principal contribution has been to relieve us of the necessity for certain kinds of mental exertion. The computer revolution has reduced our mental labors by means (...) of these machines, just as the Industrial Revolution reduced our physical labor by means of other machines. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 125-142 [Access article in PDF] Hölderlin's Poetic Self-consciousness James H. Donelan Nur ihren Gesang sollt' ich vergessen, nur diese Seelentöne sollten nimmer wiederkehren in meinen unaufhörlichen Träumen. I should forget only her song, only these notes of the soul should never return in my unending dreams. Hölderlin, Hyperion I FOR MANY YEARS, Friedrich Hölderlin has occupied a crucial position in both literary and (...) philosophical history. Well-known literary theorists, such as Walter Benjamin, Peter Szondi, and Paul de Man, have described him as the poet who made the transition from German Classicism to Romanticism. Several major philosophers, including Dieter Henrich and Manfred Frank, claim that Hölderlin's insights into Kantian and Fichtean metaphysics were vital to Schelling's and Hegel's far more famous accounts of subjectivity. Either contribution alone would make Hölderlin an important figure in intellectual history; it is almost miraculous that he managed both, especially when one considers the brevity of his career, a span of only ten or twelve productive years.What accounts for this remarkable dual achievement? Historical accident and tremendous talent give us only a partial answer. Hölderlin was fortunate to have Hegel and Schelling as close friends at the Tübinger Stift, and to move to Jena precisely when it had become a center for new thinking in both literary and philosophical circles. He had enormous ability both for ancient Greek and poetic meter, allowing him to benefit from his predecessors and his contemporaries [End Page 125] in remarkable ways. However, his parallel accomplishments in philosophy and poetry are linked by more than just happenstance and genius. In my view, they represent the continuous development of a solution to a single problem, that of self-consciousness, realized in poetic form through an idea of music. For Hölderlin, making the transition from philosopher to poet required him to establish a connection between Idealist theories of self-consciousness and the material world. To meet this challenge, he constituted himself as a self-conscious poet through both theoretical and actual poetic creations, and constituted a musical-poetic voice, or Gesang, within his poetry as a means of joining the abstractions of philosophy with the concrete voice of the poet.The background of this transformation lies in the complex history of the idea of self-consciousness, or subjectivity. In the early Idealist accounts of self-consciousness of Kant and Fichte, the subject recognizes its existence by juxtaposing itself with an object. However, the nature of this object, and the connection between the abstract, theoretical construction of the subject and the actual, practical experience of the conscious self posed a problem that neither philosopher solved definitively. For Kant, self-consciousness emerges from a pre-reflective sense of the self's existence as the subject of different experiences of phenomena over time; self-consciousness therefore arises from a deduction of empirical experience. However, this formulation contains a surprisingly belated and unmotivated version of the self, with no clear account of its origin.Fichte answered the question about the origin of the self by stating that the self posits itself through its opposition to a material object, a non-self he calls the Nicht-ich, and becomes self-conscious by differentiating the Ich from the Nicht-ich and declaring "I am I." Fichte's explanation of self-consciousness as an act rather than an entity nevertheless relies on a kind of solipsism and still does not sufficiently address the ultimate cause of the process. The Ich that declares its own existence must distinguish itself from the Nicht-ich somehow; the relation between the two terms presupposes a subject that already possesses sensory apprehension to create the distinction between Ich and Nicht-ich necessary for the initial positing of the self.Either explicitly or implicitly, both Kant's and Fichte's versions of subjectivity rely on the category of the aesthetic, defined as the experience of precognitive sensation in general, to mediate the encounter between subject and object. Kant later expanded his inquiry [End Page 126] into... (shrink)

The music of Christoph Willibald von Gluck was a revolution for Paris operagoers when his work premiered there in 1774. In a setting known for its restive and often rowdy spectators, Alceste, Iphigénie en Aulide, and Orpheé et Eurydice seized audiences with unprecedented force. They shed silent tears or sobbed openly, and some cried out in sympathy with the sufferers onstage. “Oh Mama! This is too painful!” three girls called out as Charon led Alcestis to the underworld, and a boy (...) pleaded with his father to take him home. A woman who watched the same performance described falling on her knees in her opera-box as the march of the priests of Apollo began, staying in this position “suppliant and with my hands clasped until the end of the piece.”Gluck's streamlined musical language was one reason for these emotional responses. He and his librettist Ranieri de’ Calzabigi simplified the conventions by eliminating extraneous subplots, abandoning the repetitive da capo form, and replacing trills and runs with simpler melodies meant to convey passion. Another reason was the widespread culture of sentimentalism, which equated virtue with sincerity and judged tears to be the natural sign of an open heart. Painters depicted tender and tumultuous family scenes, and friends pledged trembling vows of fidelity. Listeners were also readers, and many described similar tearful responses when they read the century's bestseller, Rousseau's novel Julie; or, The New Heloise.Everist, a musicologist, takes up the story of Gluck in France in the nineteenth century, when the German composer remained a presence in repertoires. No longer prone to tears, the public was often indifferent and sometimes hostile to his works. Conductors and composers nevertheless persisted in promoting Gluck's music. Between 1828 and 1870, operatic excerpts appeared roughly twice a year in performances of the prestigious Société des Concerts, and the charismatic conductor Jules Pasdeloup regularly programmed his music. Many listeners remained unconvinced. A writer in 1861 described the “sepulchral boredom that reigned the length of all five acts” of Alceste. The periodical Monde dramatique used the same language to characterize Gluck's music: it was “profoundly boring.” After a high point of performances in the middle of Napoleon III's reign, Gluck disappeared from the Paris opera and concert stage for some thirty years.Everist's aim in this slim book is to isolate the “agents” involved in the French reception of Gluck. Traditional reception histories might begin with Gluck and his aims, identifying musical features, particular responses of audiences, critics’ accounts, and perhaps the more elusive temper of the times. Everist focuses instead on less conspicuous networks of impresarios, theater directors, and publishers. In his telling, such agents also include journalists and writers of fiction. The avowed effort is to decenter the artist and his art to emphasize the limited role that composers and librettists play in the performance of an opera. A quoted passage in the book reminds us that without parking attendants, stagehands, and ticket sellers the show could not go on. True enough. Genealogies of Music and Memory therefore provides tables listing Gluck arias in anthologies, particular singers’ performances, works by composers other than Gluck who also drew themes from classical antiquity, and works by other foreign-born composers. A section on “material culture” lists paintings and sculptures of Gluck in Paris theaters and museums.As a “genealogy,” the book is a salutary reminder of the web of amateurs and professionals who discuss, promote, and perform works that others have created. Writers such as E. T. A. Hoffmann, Mme de Staël, and Hippolyte Taine held up Gluck as the embodiment of German music. Hector Berlioz wrote frequently and enthusiastically about Gluck, although he was less keen to program his music. The singers François Delsarte and Pauline Viardot aroused temporary interest in Gluck by regularly including his arias in their recitals. Musical anthologies for the bourgeois household included piano arrangements of his best-known arias. Some nineteenth-century adaptations of his works were scored for the military band.Genealogies of Music and Memory is musicology with very little music. Everist's reliance on networks of actors, agents, publishers, pedagogical practices, and archival environments leads him to assert that “multiple agency is endemic in the story told here.” Unfortunately, it is often unclear just what the story is. Carelessness in writing and editing throughout—including a subject-verb clash in the book's final sentence—has rendered key passages obscure. Everist describes Delsarte's voice as feeble, broken, veiled, and ready to be extinguished twice in the same paragraph, first as a paraphrase and again in a quotation (with a misplaced comma).Decentering artists and their work to elevate others responsible for its reception brings attention to the unseen and often unsung. In the absence of particular performance histories, musical analyses and description, or sustained accounts of shared tastes or critical responses, however, conclusions remain piecemeal. Everist claims to have revealed a “Geertzian web of culture” in his study. A more modest account would describe it as an enumeration of references, revivals, editions, excerpts, and arrangements. (shrink)

Some reasons are thought to depend on relations between people, such as that of a promiser to a promisee. It has sometimes been assumed that all reasons that are relational in this way are moral obligations. I argue, via a counter example, that there are non-obligatory relational reasons. If true, this has ramifications for relational theories of morality.

When computing is defined as the causal implementation of algorithms and algorithms are defined as effective decision procedures, human thought is mental computation only if it is governed by mental algorithms. An examination of ordinary thinking, however, suggests that most human thought processes are non-algorithmic. Digital machines, moreover, are mark-manipulating or string-processing systems whose marks or strings do not stand for anything for those systems, while minds are semiotic (or “signusing”) systems for which signs stand for other things for those (...) systems. Computing, at best, turns out to be no more than a special kind of thinking. (shrink)

Offers a vital, unique and agenda-setting perspective for the field of social epistemology – the philosophical basis for prescribing the social means and ends for pursuing knowledge.

This paper is about a Korean Millenarian group called Sion-san cheguk. Contrary to anthropological studies of “millenarian” movements in non-European societies, the study here shows that this Korean millenarian group is neither post-millennial in outlook, nor was it anti-European although it was anti-colonial. More importantly, this paper indicates that it is fundamentally wrong to assume that “millenarian” movements are principally movements of political protest, and not inspired fundamentally by religious beliefs.

There is a recursive set of natural numbers which is the difference set of some recursively enumerable set but which is not the difference set of any recursive set.

Improving a theorem of Gasarch and Hirst, we prove that if 2 ≤ k ≤ m < ω, then the following is equivalent to WKL0 over RCA0 Every locally k-colorable graph is m-colorable.

This edited collection charts the development of, and prospects for, conceiving knowledge as a social phenomenon. The origin, aims and growth of the journal Social Epistemology , founded in 1987, serves to anchor each of the book’s contributions. Each contribution offers a unique, but related, insight on current issues affecting the organization and production of knowledge. In addition, each contribution proposes necessary questions, practices and frameworks relevant to the rapidly changing landscape of our conceptions of knowledge. The book examines the (...) commercialization of science, the neoliberal university, the status and conduct of philosophy, the cultures of computer software and social networking, the practical, political and anthropological applications of social epistemology, and how we come to define what human beings are and what activities human beings can, and should, sustain. A diverse group of noted, international scholars lends necessary, original and challenging perspectives on our collective approach to knowledge. This book was originally published as a special issue of Social Epistemology. (shrink)

Any point of departure for exegesis which ignores God in Christ as the liberator of the oppressed or makes salvation as liberation secondary is invalid. The test of validity lies not only in the particularity of the oppressed culture, but in the One who freely grants us freedom when we were doomed to slavery.

In this paper a conception of rationality is developed which bears on three important issues in the social sciences -- the status of the principle of rationality, the criteria for rational actions, and the nature of rational explanations. It is argued that the principle of rationality should be interpreted as a methodological principle and is valuable only inasmuch as it leads to true hypotheses about human action. Definitions of rational beliefs, rational means, and rational ends are provided. These definitions provide (...) criteria for rational actions which better accord with our intuitive judgments about what should count as rational action than the criteria given in traditional accounts. Finally, the nature of rational explanations is specified and arguments for their usefulness and respectability presented although these explanations do not necessarily fit the standard covering law model. (shrink)

A lineage of prominent philosophers who have discussed the second-person relation can be regarded as advancing structural accounts. They posit that the second-person relation effects one transformative change to the structure of practical reasoning. In this paper, I criticise this orthodoxy and offer an alternative, substantive account. That is, I argue that entering into second-personal relations with others does indeed affect one's practical reasoning, but it does this not by altering the structure of one's agential thought, but by changing what (...) reasons can become available. The importance of second-personal thought for action is heterogenous. Second-person relations make possible the emergence of a wide variety of different kinds of practical reasons: creating some, revealing others. Recognising this diminishes the appeal of the traditional, structural accounts of the practical significance of such second-personal relations. Moving away from structural accounts facilitates a more thorough understanding of the intersubjective form of action. (shrink)

Fix a countable nonstandard model M of Peano arithmetic. Even with some rather severe restrictions placed on the types of minimal cofinal extensions N≻M that are allowed, we still find that there are 2ℵ0 possible theories of (N,M) for such N’s.

The Bible in the Middle Ages, much like the Bible today, consisted for the laity not of a set of texts within a canon but of those stories which, partly because of their liturgical significance and partly because of their picturesque and memorable qualities, formed a provisional “Bible” in the popular imagination. Even relatively devout and educated moderns may be surprised by what is, and what is not, biblical. The medieval popular Bible took shape within an encyclopedic tradition largely responsible (...) for the variety of materials now associated with the Bible. Prior to and even after full-scale Reformation translations, biblical material was disseminated in the vernaculars through sermons, homilies, commentaries, universal histories, picture Bibles, the drama, and a large corpus of biblical paraphrases. Each of those literary forms owes debts to the others, but a significant influence on them all, and especially those produced in thirteenth- and fourteenth-century France and England, is Peter Comestor's Historia scholastica. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Social Epistemologists at the Crossroads:Authorizing Agents of ChangeJames H. CollierIn this issue of Philosophy and Rhetoric, Thomas Basbøll and Christine Isager and Sine Just provide a vital, constructive forum for discussing the first and second editions of Philosophy, Rhetoric, and the End of Knowledge (PREK) and Steve Fuller's broader project of social epistemology. More specifically, both Basbøll's review and Isager and Just's suggest innovative proposals for applying and assessing (...) PREK's ideas and influence. In response, I analyze and counter Basbøll's and Isager and Just's conceptions of how agency is configured, and how criticism is authorized, at the level of textuality. I end by calling for deliberations to sort out what we, as social epistemologists and critical intellectuals, know and what we want to do about it.A Job for Social EpistemologistsIf the reader of PREK wants to "be" a social epistemologist, or "do" social epistemology, what would the job and its duties entail? Thomas Basbøll offers a job description for the social epistemologist as a "postmodern grammarian"—one "who corrects academic texts to suit them for strange times." This description strikes the dissonant chord of being at once pragmatic and abstract. On the one hand, correcting academic texts is a specific task reminiscent of the duties of writing instructors or editors. On the other hand, the specificity of the labor stands in juxtaposition to the surreal working conditions—the "strange times." And in the end, "postmodern grammarian" is hardly a position for which one could apply. Yet the specificity and dissonance in Basbøll's description reveals the difficulty and ambiguity of what Fuller asks the reader to do in PREK. Basbøll gets at this problem by [End Page 269] shifting the subject position of the social epistemologist to the postmodern grammarian. This move is necessary to bring social epistemology down from "the highest level" and make it task oriented. Interestingly, the job that Basbøll describes offers a return to textuality and, I would argue, critical intellectualism. Yet these positions appear somewhat removed from the role of the rhetorician as portrayed in PREK.In proposing a specific job for the social epistemologist, Basbøll develops a microlevel application of Fuller's macrolevel vision. Basbøll's task is not easy: "One of the greatest difficulties encountered in reading PREK is its willingness to make a great many philosophical commitments for openly rhetorical purposes. Not the least of these is the concept of knowledge that a research program and policy platform that calls itself 'social epistemology' is obviously dutybound to provide." The willingness of social epistemologists to occupy many philosophical positions also obscures what labor and service commitments they might make. Moreover, since PREK's initial publication (1993) Fuller has continued to multiply social epistemologists' roles regarding scientific conduct (Science, 1997; The Governance of Science, 2000a; Knowledge Management Foundations, 2002). Further, these commitments shift as Fuller has continued to reinterpret the historical record and to recast philosophical debates (Thomas Kuhn, 2000b; Kuhn vs. Popper, 2003). The ability to both destabilize and maintain such a fluid intellectual environment is something only Fuller, or the postmodern grammarian, could—or would want to—accomplish. More on that idea in a moment.Despite the moving target, defining the subject position of the social epistemologist has been a parallel conversation accompanying much of Fuller's work. I proposed the less "stylish" idea of the social epistemologist as technical communicator in PREK's first edition and in Scientific and Technical Communication (1997). Contemplating the social epistemologist's position as rhetorician, or vice versa, has been taken on by Keith (1995; 1996), Zagacki (1995), and Campbell and Benson (1996) (as summarized by Isager and Just). In contrast to these previous configurations, Basbøll situates the labor of the social epistemologist on the level of reading and writing. As he puts it:And it is precisely because the social epistemologist assists the writer of academic texts in the difficult task of connecting utterances to particular conditions (under which they are read) that social epistemology becomes a critical force. It is not by reconfiguring the knowledge-producing practices themselves [End Page 270] that this... (shrink)