Drawing on broad definitions of technology and engineering as well as precedents in the philosophical literature, this paper makes the novel argument that the purposeful design of one’s unique good life using existing philosophical concepts is an engineering activity. Whether as a metaphor or as an engineering activity in its own right, a sampling of important benefits and perspectives provided for well-being by the presented “life engineering” framework are highlighted. A key strength of the framework is the conceptual simplicity, with (...) minimal sacrifices in completeness or consistency. This necessitates a tradeoff of limited precision for any one practical implementation. Consistent conceptual definitions for wisdom, virtue and the good life are presented within an informative ethics. Only a descriptive evaluation to aid in conceptual understanding is discussed, no prescriptive normative evaluations are made. The good life is defined to be one in which the minimum requirements are met and then performance is good, but no attempt is made to define what is good. A fundamental limitation of the framework stems from the inherent focus of technology on human utility. Although no novel fundamental conclusions are drawn in this paper, the presented framework is demonstrated to correspond with numerous ethical precepts of many existing philosophical traditions. (shrink)

Kenneth Strike’s essay on pluralism, personal identity, and freedom of conscience, takes up the concept of identity, and contrasts cultural and religious pluralism. He argues that the issues of affiliational obligation and recognition are often different in these two types of pluralism, and that religious groups are often asking for something very different from cultural groups. Strike makes a case for a more fluid conception of the idea of identity and against its essentialist form; he holds, e.g. that some (...) of his affiliations are stronger than others and more tied to his sense of a larger self, but it is questionable, he argues, whether any of these affiliations could not be re-evaluated without loss of the larger idea of the self. Strike does allow that members of groups more oppressed than his might certainly rally around the attributes that they hold in common, and he is sympathetic to this strategic function of identity. Nevertheless, he wants to hold onto the individualized and phenomenological conception of identity: identity is whatever the agent feels it to be. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Paradox of Kandinsky's Abstract RepresentationKenneth BerryThere is a paradox in the relationship between Kandinsky's use of the terms, "abstract" and "concrete," which is presented in the expression, "Kandinsky's abstract representation." Thisexpression, while being apparently contradictory, may point to a feature underpinning Kandinsky's art, which is pivotal to a proper experience of his work, just as, in Christopher Middleton's view, a poetic language may be pivotal to the formation (...) of cultures.1 Art and cultural artifacts are vital to aesthetic experience and aesthetic education, and both the language of art and other languages are instrumental to this end. However, how may Kandinsky's mature abstraction, being in essence objectless, have any claim to representation, and consequently the higher cultural goals of aesthetic expression and the aesthetic enrichment of society?According to Thomas M. Messer, the position of centrality that Kandinsky has assumed in our understanding of modern art is largely due to his having brought to bear on his art, an instinctive awareness of what constituted the central aesthetic issues of his era.2 Kandinsky's writings in Concerning the Spiritual in Art elaborate on his aesthetic theories, and, in particular, [End Page 99] present the view that paintings should be looked at as a graphic representation of a mood rather than as a representation of objects. Messer observes that, for Kandinsky, abstraction, defined as a mode of painting extending beyond the depiction of recognizable objects, having gradually stripped itself of mimetic vestiges, thus becomes paramount. Michael Carter has similarly pointed out that with the pure forms of absolute abstraction, the non-objective colors and shapes of Kandinsky's paintings were regarded as distillations of the aesthetic properties of the artistic sign3 — separable from any referential aspect of art.4 This aesthetic aspect of Kandinsky's work, which became known as nonfigurative, nonobjective, or nonrepresentational,goes along with the cultural — and, as sculptor Anish Kapoor has remarked, "in the deepest, deepest depths of human history the cultural has always been a motivator of people," and has the power to transform society through finding visual equivalents for an emotional language.5Much has been written about Kandinsky's use of color, but perhaps the primary innovation that he made, as in the case of Barnett Newman, was in the field of drawing. Kandinsky was influenced by Gauguin's idea that drawing was an abstraction from memory after nature, just as Gauguin had been affected by the simplified contours and flattened forms of Puvis de Chavannes. Drawing did not come so easily to Kandinsky as color — he had to work harder at drawing, but in his early improvisations, forms and their outlines as graphic symbols came welling up from the unconscious, and eidetic motifs only had to be copied — almost as the art of calligraphy. Kandinsky's "organic" drawing developed as an urge to nonnaturalistic impulses, and during the period of Point and Line to Plane became almost a grammar of form, saved from mere pedantry by the living forces or visual tensions that made various kinds of line operate not just as contours but as dynamic or restful elements within themselves. In 1913, Kandinsky wrote in his "Reminiscences" that, "painting is a thundering collision of different worlds, intended to create a new world in, and from, their struggles with one another, a new world which is the work of art."6 It is clear from this that the Modernist work of art was intended to be a "new world" operating according to its own universal aesthetic laws.Kandinsky is not just a painter; he is also a visual poet. Poetry, according to Tony Curtis, involves the expression of the intensification of experience — the elevation of banal facts of life into something beyond the merely prosaic — something unique and perceptively heightened.7 It involves both imagination and poetic license to explore both ambiguity and paradox. As Scottish poet Norman MacCaig observed, poetry renders the ordinary extraordinary, seeing the unfamiliar in the familiar.8 Creative analogical thinking such as evinced in Kandinsky's art, often involves breaking free of a clichéd representation.Malcolm Budd has remarked that, in its most exclusive sense, a work... (shrink)

This collection of essays explores the philosophy of human knowledge from a multitude of perspectives, with a particular emphasis upon the justification component of the classical analysis of knowledge and with an excursion along the way to explore the role of knowledge in Texas Hold ‘Em poker. An important theme of the collection is the role of knowledge in religion, including a detailed argument for agnosticism. A number of the essays touch upon issues in philosophical logic, among them a fascinating (...) new counter-example to Modus Ponens. The collection is rounded out with essays on causality and the philosophy of mind. The author’s perspective on the philosophy of human knowledge is fresh and challenging, as evidenced by essays entitled “On Epistemic Preferability;” “On Being Unjustified;” “The Logic of ‘Unless’” and “Is ‘This sentence is true.’ True?” An interesting feature of The Logic of Philosophy: Pesky Essays is the inclusion of responses to several of its key essays, contributed by such prominent contemporary philosophers as Roderick Chisholm, Ted Sider and Tomas Kapitan. (shrink)

This paper examines Hegel’s ontological revolution in ‘Force and Understanding’. I argue that understanding Hegel’s critical engagement with natural science is important for understanding Hegel’s 1807 Phenomenology of Spirit as well as his mature philosophy as a whole. Already in this chapter Hegel argues that philosophical theory of knowledge must take the natural sciences into close consideration. Hegel disambiguates the standard concept of substance in order to show that relational properties can be essential to particular individuals. He further argues that (...) Newtonian gravitational theory suffices to show that gravitational force is essential to matter. These are important tenets of Hegel’s moderately holistic ontology, according to which individuals and their relations are mutually interdependent for their existence and characteristics. These tenets enable Hegel to expose a number of misconceptions about causal forces central to empiricist causal scepticism, to illuminate the causal realism involved in and justified by Newtonian gravitational theory (once it is recast by Bernoulli on the basis of mathematical analysis), the explanatory power provided by theoretical integration of special theories within more general theories and also the crucial semantic role played by special theories for the general theory which subsumes them. (shrink)

This book argues that Jürgen Habermas’ critical theory can be productively developed by incorporating a wider understanding of fantasy and imagination as part of its conception of communicative rationality and communicative pathologies. Given that meaning is generated both linguistically and performatively, MacKendrick argues that desire and fantasy must be taken into consideration as constitutive aspects of intersubjective relations. His aim is to show that Habermasian social theory might plausibly renew its increasingly severed ties with the early critical theory of the (...) Frankfurt School by taking account of these features of practice life, thus simultaneously rekindling the relevance of the nearly forgotten emancipatory intent in his earlier work and rejuvenating an emphasis on the contemporary critique of reason. This innovative new study will be of interest to those focusing on the early writings of Habermas, the writings of the Frankfurt School, and the relation between critical theory, hermeneutics, and psychoanalysis. (shrink)

Evil: A Critical Primer argues that our colloquial conception of evil, as related exclusively to the moral domain, is usefully illuminated by attending to historical and cultural context and cross-cultural comparison.