There is a striking difference between the methodology of the young Einstein and that of the old. I argue that Einstein’s switch in the late 1910s from a moderate empiricism to an extreme rationalism should at least in part be understood against the background of his crushing personal and political experiences during the war years in Berlin. As a result of these experiences, Einstein started to put into practice what, drawing on Schopenhauer, he had preached for years, namely to use (...) science as his means of escaping from “the merely personal.” Whatever the exact sources of Einstein’s about-face, the older man has left us with a highly misleading picture of how the younger man achieved the successes that we still celebrate today. This has had a harmful influence on theoretical physics. If the young Einstein’s successes are any guide as to how successful theoretical physics is done, close adherence to general features of the empirical data is much more and mathematical elegance is much less important than the old Einstein wanted us to believe. (shrink)

La question du phénomène précède de beaucoup la phénoménologie, elle s'ouvre avec la philosophie et l'accompagne tout au long de son histoire. Mais ce préalable incontournable - car être veut dire apparaître - est surdéterminé par une présupposition irréfléchie. De la Grèce à Heidegger, dans les problématiques classiques de la conscience et de la représentation, dans leurs critiques, dans la phénoménologie de l'intentionnalité et dans ses prolongements, "phénomène" désigne ce qui se montre à l'intérieur d'un horizon de visihilisation, l'Ek-stase d'un (...) Dehors. La mise en cause de ce monisme ontologique établit que l'Ekstase ne subsiste que sur le Fond de son anti-essence : immanence si radicale qu'elle ne se tient jamais à distance, incapable de se voix, âme sans Idée, vie dépourvue d'archétype mais liée à soi invinciblement, s'éprouvant dans le subir, le souffrir et le jouir de son propre pathos. Parce que, avant que ne se lève le monde, une Affectivité transcendantale accomplit en nous son Archi-Révélation en même temps qu'elle engendre notre ipséité, ce sont d'autres catégories, d'autres penseurs, une nouvelle phénoménologie qui sont requis si nous voulons parvenir, enfin, à l'intelligence de ce que nous sommes. (shrink)

Le christianisme bouleverse notre conception de l'homme parce qu'il refuse la manière dont celui-ci se comprend depuis toujours à partir du monde, de sa vérité et de ses lois. Selon le christianisme, l'homme ne procède pas du monde mais de Dieu: il est son " Fils ". Or Dieu est Vie, Vie qui ne se montre en aucun monde, qui s'éprouve elle-même dans son intériorité invisible. L'autorévélation de la Vie est l'essence de Dieu. Cette épreuve de soi de la Vie (...) fonde tout Soi et tout Moi, toute individualité et tout individu - tout " homme " concevable. L'opposition de la Vérité de la Vie et de la vérité du monde permet, d'autre part, de savoir que Jésus est le Christ. Dans le monde, Jésus a l'apparence d'un homme. C'est seulement en se plaçant à l'intérieur du mouvement de la Vie qu'on peut saisir comment celle-ci génère en elle un Premier Vivant et, en lui, tout vivant possible. Ce livre ne demande donc pas si le christianisme est vrai ou faux. Il met à nu le genre de Vérité que le christianisme professe et propose aux hommes. A partir d'une phénoménologie radicale du concept de " Vie ", il donne une idée extrêmement neuve, originale et forte de la Vérité du christianisme. (shrink)

The premise that every work belongs to an art-kind has recently inspired a kind-centred approach to theories of art. Kind-centred analyses posit that we should abandon the project of giving a general theory of art and focus instead on giving theories of the arts. The main difficulty, however, is to explain what makes a given kind an art-kind in the first place. Kind-centred theorists have passed this buck on to appreciative practices, but this move proves unsatisfactory. I argue that the (...) root of this dissatisfaction stems not from the act of kicking the can down the road, but from not kicking it far enough. The missing ingredient, I argue, is a notion of convention which does the work of marking the difference between art and non-art for a given physical medium. (shrink)

This paper explores what happens when artists fail to execute their goals. I argue that taxonomies of failure in general, and of failed-art in particular, should focus on the attempts which generate the failed-entity, and that to do this they must be sensitive to an attempt’s orientation. This account of failed-attempts delivers three important new insights into artistic practice: there can be no accidental art, only deliberate and incidental art; art’s intention-dependence entails the possibility of performative failure, but not of (...) failed-art; and art’s intention-dependence is perfectly compatible with the role that luck plays in artistic creation. (shrink)

It is widely agreed that fiction is necessarily incomplete, but some recent work postulates the existence of universal fictions—stories according to which everything is true. Building such a story is supposedly straightforward: authors can either assert that everything is true in their story, define a complement function that does the assertoric work for them, or, most compellingly, write a story combining a contradiction with the principle of explosion. The case for universal fictions thus turns on the intuitive priority we assign (...) to the law of non-contradiction. My goal in this paper is to show that our critical and reflective literary practices set constraints on story-telling which preclude universal fictions. I will raise four stumbling blocks for universal fictionalists: the gap between saying and making true, our actual interpretive reactions to story-level contradictions, the criteria we accept for what counts as a story in our literary practices, and the undesirability of the universal fictionalist’s closure principles. (shrink)

William James published his classic work on the psychology of religion, "The Varieties of Religious Experience", in 1902. To mark the centenary, leading contemporary scholars reflect on changes in our understanding of the questions James addressed.

L'Histoire occidentale, devenue planétaire, donne aujourd'hui des signes d'épuisement. Elle semble incapable d'imaginer son avenir. Sera-t-il un crépuscule interminable, ou verra-t-il une nouvelle aurore? Depuis longtemps déjà, au-dessus de la " Terre du Soir ", le soleil des grands principes qui firent époque, décline. Sommes-nous sur le point d'entrer dans une longue " nuit du monde ", où seuls nous guideront quelques feux clignotants et nos divers écrans allumés en permanence? Les utopies sur la " fin de l'Histoire " se (...) sont successivement effondrées. -N'est-il pas également utopique d'espérer un " nouveau commencement "? En quel espace une " autre Histoire " se situerait-elle? Par delà celle de l'Etre, qui s'achèverait dans la gigantesque Machinerie technologique ; ou bien, parallèlement à son ultime époque, comme son envers ou son Histoire secrète? Le plus clair de l'interprétation heideggérienne de Nietzsche sert à poser les bases de la " métaphysique achevée ", que régit la " volonté de volonté ". Cette lecture est-elle tenable? Et, bien plus, la métaphysique en son essence est-elle oubliable, achevable? Un tel adieu est-il possible? Si l'on préfère parler ici de " fracture de l'Histoire " c'est que rien de ce qui a fait date de façon essentielle ne s'achève : les brèches de l'Histoire ne se comblent pas, mais se recomposent imperceptiblement, laissant entrevoir de l'extra-historique ou de l'inachevable. Il ne s'agit pourtant pas dans ces essais de simplement " critiquer Heidegger ", mais de réentendre ou de prolonger les questions invieillissables qu'il nous a léguées - afin d'élucider s'il se peut la lente, douloureuse et incertaine mutation de l'époque. (shrink)

Le sens de la mécanique quantique doit être interrogé en revenant au plus près de l'expérience incertaine, à partir de laquelle les possibilités futures sont évaluées. L'idée même d'une pluralité de mondes est reconduite aux situations élémentaires de la vie humaine où s'opposent l'actualité collectivement reconnue et les possibilités intellectuellement envisagées.

According to the traditional view, meaning presents itself under the form of some kind of identity.

This book is the final outcome of two projects. My first project was to publish a set of texts written by Schrodinger at the beginning of the 1950's for his seminars and lectures at the Dublin Institute for Advanced Studies. These almost completely forgotten texts contained important insights into the interpretation of quantum mechanics, and they provided several ideas which were missing or elusively expressed in SchrOdinger's published papers and books of the same period. However, they were likely to be (...) misinterpreted out of their context. The problem was that current scholarship could not help very much the reader of these writings to figure out their significance. The few available studies about SchrOdinger's interpretation of quantum mechanics are generally excellent, but almost entirely restricted to the initial period 1925-1927. Very little work has been done on Schrodinger's late views on the theory he contributed to create and develop. The generally accepted view is that he never really recovered from his interpretative failure of 1926-1927, and that his late reflections are little more than an expression of his rising nostalgia for the lost ideal of picturing the world, not to say for some favourite traditional picture. But the content and style of Schrodinger's texts of the 1950's do not agree at all with this melancholic appraisal; they rather set the stage for a thorough renewal of accepted representations. In order to elucidate this paradox, I adopted several strategies. (shrink)

It is widely believed, among philosophers of literature, that imagining contradictions is as easy as telling or reading a story with contradictory content. Italo Calvino’s The Nonexistent Knight, for instance, concerns a knight who performs many brave deeds, but who does not exist. Anything at all, they argue, can be true in a story, including contradictions and other impossibilia. While most will readily concede that we cannot objectually imagine contradictions, they nevertheless insist that we can propositionally imagine them, and regularly (...) do, simply by entertaining a text which prompts us to do so. I argue that this narrative does not bear scrutiny for two main reasons. First, because propositional imagining is beside the point, where truth in fiction is concerned; evaluating truth in fiction engages the cognitive architecture in ways that prohibit the mobilization of merely propositional imagination to that end. And second, because it is not obvious, given the strategies usually suggested, that we ever propositionally imagine contradictions in the first place—in fact, it seems we go out of our way to avoid directly imagining them. (shrink)

All natural goods perish. Riches take wings; fame is a breath; love is a cheat; youth and health and pleasure vanish. Can things whose end is always dust and disappointment be the real goods which our souls require? Back of everything is the great spectre of universal death, the all-encompassing blackness.

In 1907, Einstein set out to fully relativize all motion, no matter whether uniform or accelerated. After five failed attempts between 1907 and 1918, he finally threw in the towel around 1920, setting himself a new goal. For the rest of his life he searched for a classical field theory unifying gravity and electromagnetism. As he struggled to relativize motion, Einstein had to readjust both his approach and his objectives at almost every step along the way; he got himself hopelessly (...) confused at times; he fooled himself with fallacious arguments and sloppy calculations; and he committed what he later allegedly called the biggest blunder of his career: he introduced the cosmological constant. There is a very uplifting moral to this somber tale. Although Einstein never reached his original destination, the harvest of his thirteen-year odyssey is quite impressive. First of all, what is left of absolute motion in general relativity is far more palatable than absolute motion in special relativity or Newtonian theory. And general relativity does seem to eliminate absolute space. More importantly, from a modern physics point of view, Einstein produced a spectacular new theory of gravity based on what he called the equivalence principle. This principle says that inertial and gravitational effects are due to one and the same structure, the inertio-gravitational field, which in Einstein’s theory is represented by a metric tensor field. In addition to laying the foundations of this theory, Einstein, among other things, launched relativistic cosmology, suggested the possibility of gravitational waves, gave the first sensible definition of a space-time singularity, and caught on to the intimate connection between general covariance and energy-momentum conservation, an example of the general connection between symmetries and conservation laws of Noether’s theorems. These results more than make up for the—at least by the standards of modern philosophy of science—rather opportunistic way in which they were obtained.. (shrink)

I relate the story of how matrix mechanics grew out of the treatment of optical dispersion in the old quantum theory, paying special attention to the contributions of the American theoretical physicists John H. Van Vleck and John C. Slater. Van Vleck shares the credit with Max Born for being the first to publish a full derivation of the crucial Kramers dispersion formula using Bohr’s correspondence principle. Slater was one of the architects of the short-lived but influential Bohr-Kramers-Slater (BKS) theory (...) that helped popularize the so-called Ersatz- or virtual oscillators central both to the treatment of dispersion in the old quantum theory and to the transition to matrix mechanics. (shrink)

It is commonly thought that authors can make anything whatsoever true in their fictions by artistic fiat. Harry Deutsch originally called this position the Principle of Poetic License. If true, PPL sets an important constraint on accounts of fictional truth: they must be such as to allow that, for any x, one can write a story in which it is true that x. I argue that PPL is far too strong: it requires us to abandon the law of non-contradiction and (...) entails a radical revision of otherwise ordinary commitments about truth in fiction. (shrink)

In physics, structures are good candidates for the role of transparadigmatic invariants, which entities can no longer play. This is why structural realism looks more credible than standard entity realism. But why should structures be stable, rather than entities? Here, structural realists have no answer ; they content themselves with the mere observation that this is how things stand. By contrast, transcendental structuralism can easily make sense of this fact. Indeed, it shows that when knowledge bears on phenomena, namely on (...) the emergent byproduct of a relation between the explorer and what is to be explored, this knowledge necessarily bears on relations between such phenomena. After a development on the clarifying power of transcendental structuralism, I turn to an early transcendental structuralist interpretation of quantum mechanics proposed by Jean-Louis Destouches. Destouches, an early French philosopher of physics, was a student of Louis de Broglie. He recasted in the 1940 the very concept of physical theory in the light of quantum physics. According to him, whenever phenomena are inextricably relative to the experimental set-up, a physical theory cannot provide anything beyond a list of interconnected predictions for future facts given a relevant class of past facts. In his general mathematical theory of predictions, the Ψ-functions of quantum mechanics do not refer to some “real” waves; they are shown to be nothing but the formal expression of the phenomena’s being relative to incompatible experimental contexts. Since the quantization of variables can itself be derived from a wave-mechanical formalism, it becomes clear that the most prominent features of quantum mechanics are a mere consequence of contextuality. Destouches thus proved that it is easy to make sense of quantum mechanics provided a reflective attitude is adopted. By contrast, too many difficulties arise when one tries at any cost to make quantum mechanics intelligible within a purely ontological framework. (shrink)

Auguste Comte's doctrine of positivism was both a philosophy of science and a political philosophy designed to organize a new, secular, stable society based on positive or scientific, ideas, rather than the theological dogmas and metaphysical speculations associated with the ancien regime. This volume offers the most comprehensive English-language overview of Auguste Comte's philosophy, the relation of his work to the sciences of his day, and the extensive, continuing impact of his thinking on philosophy and especially secular political movements in (...) Europe, Latin America, and Asia. Contributors consider Comte’s reasons for establishing a Religion of Humanity as well as his views on domestic life and the arts in his positivist utopia. The volume further details Comte's attempt to apply his "positive method," first to social science and then to politics and morality, thereby defending the continuity of his career while also critically examining the limits of his approach. (shrink)

After a presentation of some relevant aspects of Chakravartty's semi-realism (A Metaphysics for scientific realism. Knowing the unobservable. Cambridge University Press, Cambridge, 2007), this paper addresses two difficulties that appear to be inherent to important components of his proposed metaphysics for scientific realism. First, if particulars and laws are concrete structures, namely actual groupings of causal properties as the semirealist contends, the relation between particulars and laws becomes also a relation between particulars with some annoying consequences. This worry—and some others—are (...) resolved if laws are taken to be statements and particulars are construed not only as groupings of properties, but things that contain a non-conceptual ingredient which can be given in perceptual awareness. Second, on the semirealist's view of particulars it becomes difficult to defend an epistemological version of scientific realism according to which we have good reasons to believe that the same things are referred to despite the fact that successive theories may attribute different properties to them. (shrink)