Over the past 50 years, Jorge J.E. Gracia has been a seminal figure in Latin American philosophy, philosophy of race and ethnicity, metaphysics and ontology, medieval philosophy, and the theory of interpretation. This book commemorates Gracia’s legacy with a critical investigation of his deep and wide-ranging impact.

Why doesn't Batman just kill the Joker and end everyone's misery? Can we hold the Joker morally responsible for his actions? Is Batman better than Superman? If everyone followed Batman's example, would Gotham be a better place? What is the Tao of the Bat? Batman is one of the most complex characters ever to appear in comic books, graphic novels, and on the big screen. What philosophical trials does this superhero confront in order to keep Gotham safe? Combing through seventy (...) years of comic books, television shows, and movies, Batman and Philosophy explores how the Dark Knight grapples with ethical conundrums, moral responsibility, his identity crisis, the moral weight he carries to avenge his murdered parents, and much more. How does this caped crusader measure up against the teachings of Plato, Aristotle, Kant, Kierkegaard, and Lao Tzu? (shrink)

Michael A. PetersBeijing Normal UniversityMy deepest condolences to Pepe, Dom and Marcus and to Jim’s grandchildren. Tina and I spent a lot of time at the Marshall family home, often attending dinn...

This dissertation advances a solution to a problem intrinsic to understanding the dialogues of Plato. How are we to understand Plato's thought when he never speaks in his own name in any of his dialogues? Many writers assume that Plato's characters speak for him. With this assumption, they study the thought articulated by Plato's characters as if it were his own, and elaborate a so-called "doctrinal" interpretation. A variety of subjective readings follows, since what Socrates and other characters say in (...) the dialogues is often inconsistent or contradictory. To resolve these problems the dissertation constructs a method for interpreting Socratic dialogue which is true to the genre. Extending the work of Bakhtin, Clay, and Kahn, it develops a metalanguage for specifying the structure, plot, aim , and effect of a dialogue as well as the thought , character , and pathos of its participants, by applying concepts in Plato's dialogues and in Aristotle's Poetics, Ethics, Politics, Metaphysics, Physics, and other works. The dissertation shows that the Republic represents Glaucon as subject to erotic desire and desires for luxury and honor, and that the aim of Socrates' discourse is to induce a catharsis in Glaucon in order to change these states of character. ;To support this interpretation, the dissertation shows: Aristotle does not apply a doctrinal reading to Plato's dialogues; he does not attribute the remarks of the character Socrates to Plato. Irwin's claims in "Plato's Ethics" are not supported by the texts of Aristotle which he cites. Aristotle's treatment of the Republic in Politics II is consistent with a mimetic interpretation of the dialogue. His treatment of the Republic is peirastic: he refutes Socrates' proposals with premisses and arguments that Socrates himself expresses in the dialogue. The dissertation discusses Aristotle's treatment of Socrates' proposals for unity in the city of the guardians, the sharing of women and children, gender, sacrilegious acts and incest, property, and the minimum necessary elements for a city. Aristotle's concept of catharsis can be derived from Sophist 230 and Republic X. (shrink)

Ibn Khaldun: An Intellectual Biography By IrwinRobert, xxi + 243 pp. Price HB £24.00. EAN 978–0691174662.

This volume, emanating from the Fourth Keeling Colloquium in Ancient Philosophy, presents essays and comments by nine outstanding scholars of ancient philosophy, which examine the influence of Plato on the development of Aristotle's ethics. The essays focus on the role of pleasure in happiness and the good life (Christopher Taylor and Sarah Broadie), the irreducibility of ethical concepts to value-neutral concepts (Anthony Price and Sarah Broadie), the relation of virtue to happiness (Roger Crisp and Christopher Rowe, Terry Irwin and (...) Sir Anthony Kenny), the role of the requirement of self-sufficiency in determining the content of happiness (John Cooper and Sir Anthony Kenny), and the question of whether the just man should be a participant in the political life of his city (Richard Kraut and Christopher Rowe). (shrink)

This special supplementary volume of Oxford Studies in Ancient Philosophy contains the proceedings of the Colloquium on Ancient Philosophy held at Oberlin, Ohio in 1986. The exceptionally high quality of the papers, and the format of speaker, reply, and speaker's reply, has resulted in a volume which furthers some issues which are currently the object of keen controversy in ancient philosophy. Contributors include Michael Frede, Terence Irwin, and Martha Nussbaum.

It has become almost _de rigueur_ in contemporary psychoanalysis to cite Freud's positivism-especially his commitment to an objective reality that can be accessed through memory and interpretation-as a continuing source of weakness in bringing the field into the postmodern era. But is it so simple to move beyond Freud and objectivism in general? Or is it the case that even the most astute recent theorizing aimed at this move-and guided by therapeutic sensitivity and a concern with epistemic rigor-still betrays a (...) lingering commitment to objective reality? This is the intellectually exciting and exacting question that Richard Moore poses to his reader-and to the texts of four of the most influential psychoanalytic theorists on the scene today: Donald Spence, Roy Schafer, Robert Stolorow, and Irwin Z. Hoffman. Written with concentration and grace, _The Creation of Reality in Psychoanalysis_ begins with the ambiguities in Freud's founding commitment to a recoverable, objectively verifiable reality before examining the ghost of objectivism that confounds, in surprising and unexpected ways, Spence's, Schafer's, Stolorow's, and Hoffman's recent attempts to move toward narrativist and constructivist views of the analytic encounter. Following his penetrating survey of the contributions of these four major architects of contemporary psychoanalysis, Moore provides a glimpse of what an internally consistent postmodern metapsychology would actually look like. He approaches this task by exploring how our understanding of basic analytic concepts may ultimately be reconciled with the view that the creation of reality is an intrinsic aspect of any therapeutic encounter. Elegantly conceived and beautifully argued, this book guides the reader through the labyrinth of contemporary theory while holding fast to a critical stance toward its overarching goal: the elaboration of a truly thoroughgoing constructivism that is both therapeutically consequential and intellectually defensible. (shrink)

continent. 1.3 (2011): 208-212. … intervals of destructuring paradoxically carry the momentum for the ongoing process by which thought and perception are brought into relation toward transformative action. —Brian Massumi, Parables for the Virtual: Movement, Affect, Sensation 1 Facing a blank canvas or blank page is a moment of pure potential, one that can be enervating or paralyzing. It causes a pause, a hesitation, in anticipation of the moment of inception—even of one that never comes. The implication is that the (...) blank is yours in that moment, and it calls on you to act on it, to think into it, to create on it. Each blank canvas gives you time, of an undefined length, to transform that canvas’ inherent potential into a work. This two-dimensional plane of potential can be projected into a space, which the body can then occupy. When you “destructure” a space in the same way, prepare it to be a blank, much as you build a canvas, you allow your entire body to enter the space of potential, and you rest in anticipation of work, like the hand poised above the page. Artists have found that the deliberate creation of that space of potential through sealing the space and painting it white, thereby erasing details and distractions, can be such a transformative experience as to help define their whole practice. The cessation of distraction, the absence of indicator that a “blanked” workspace provides allows for a new presence of mind, it gives them the room, literally, to move into their work, and from there to move their work into the world. The workspace for the artist, the studio, is often perceived as a lab-like condensation of the gallery or museum, the traditional and idealized white cube. Similarly, with the blank page, a concrete relation between space and time comes forward as the intentional simplification of the architecture changes behavior and perception within the space. The work of “blanking” the studio space is a meditative reduction, an erasure, and in a way, an attempt at drawing away from the world beyond the studio - the sealed space is meant to recede from reality, to become abstracted by its willed lack of details and distractions. Within that space the time for a new beginning is made more present, more attainable, and the focus it fosters becomes another tool to aid creation. At the formative moment of his artistic practice, Tom Friedman used the blank of his studio, saturated in white, sealed off from the world, to fight velocity. He describes how he projected his vision of the end goal, the museum - a place he believes to be defined by slow contemplation - onto his own studio experience. He then sat and reflected on common objects, one by one, framed by the blank box he had created. The domestic objects he brought into the space to study foreshadow his mature works, where often the quotidian object has a single additional element – his intense labor. Friedman makes discrete objects through absurdly intense and focused labor, epitomized, perhaps by his 1,000 hours of Staring , made from 1992-97: Tom Friedman. 1000 Hours of Staring (1992-1997) His labor, to use his own words, is his way to “bring all of who you are to the experience.” Friedman shares his labor, allows the slow, deliberate pace of his work born in the studio to penetrate the museum. Nothing seems effortless, or a gesture, the labor is apparent, displayed, and tangible. He gives us the labor, the personal investment in the physical that saved art for him, that divorced the work from the language he cites as a factor of alienation. When we see his work we do not see words, we see acts, we see objects. He has forced the studio as workspace into the exhibition space, as he stuffs hundreds of more hours of labor into his shows with each new piece, filling the space with material and labor, material and labor – his involvement, his investment, is his gift to us as the viewers, as he introduces the laborious and contemplative pace he feels belongs to the museum. He saves us also from the alienation of language, which first drove him into the sealed studio and away from the discourse of his school. He presents us with his real, the object which stands in stark contrast to the white slate of the studio, the sealed white box he started from, where his individual, self-contained objects begin and end, completed through the intensity of isolation, first of the individual artist, and then of the material he chooses to slowly, slowly, slowly work: Tom Friedman. Untitled (1992) In his in-depth analysis of galleries as a blank white cube, Brian O’Doherty emphasizes the religious connotations implied in the strict laws of the exhibition space and the valuation, aesthetics and elements of control he feels it imposes upon the work. Like Friedman, he recognizes the power of the restricted space – indicating the “perceptual fields of force” – that act on any object introduced into it. Going beyond Friedman’s assessment of the space as highly utilitarian for focusing his perception, O’Doherty emphasizes the rejection of the physical body of the artist or observer, saying that the cube allows for only observation - eyes and mind. He later parallels the picture frame as a psychological container for the artist with the room as the same for the observer. In both cases, this is an emphasis on the alienating nature of the relationship – just as the artist is kept out of the frame by the picture, in the gallery the art forces the body of the spectator out, calling for a self-referential purity. Patrick Ireland. White Cube (1998) O’Doherty makes a point of saying that the installation shot of the gallery without figures is “one of the icons of our visual culture.” In recent years, however, installation shots have begun to include figures, in some cases they are essential to understanding the scale and even the nature of the work, specifically with work that captures the experience of the space and the way that it varies from a white cube. The work of Olafur Eliasson is a case in point, as the Danish artist uses elements of scientific and natural phenomena to alter perception within the controlled gallery environment, tweaking and redirecting O’Doherty’s “perceptual fields of force” to make points about the act of seeing, or seeing yourself seeing, to quote the artist. This indicates a shift in the role of the artwork, not to exclude the body and stand discretely and self-sufficiently, but to include it, to manipulate it and to make the observer aware of the nature of that manipulation and the work’s ability to manipulate. Olafur Eliasson. 360º room for all colours (2002) So though in O’Doherty’s analysis, the intense blankness of the gallery pushed the observer out in favor of the artwork’s isolation, artists can replicate this inhumane sterility in their own workspace to focus their work on the influence of the gallery right from inception. This can be interpreted as an almost opposite understanding of the purpose of sealing and whitewashing the workspace as stated by Friedman. He sought a refuge from the critical language of the art school, and a space that, like the museum, gave him a protracted sense of time, and, he felt, welcomed him in, “to bring all of who you are,” as opposed to O’Doherty’s feeling that the museum was asking you, at least in body, to leave, and allow the work to take on its own life. Friedman does not seem to imply the tension with the cube and critical stance that O’Doherty prioritizes. Where Friedman finds a refuge, O’Doherty defines an opponent. In a third position, Robert Irwin describes his sealed studio space as “the world.” Though he made the same effort as Friedman to seal out all influences and distractions, he implies that he is in dialogue with the world through his own concentration and perception. This is reminiscent of the nature of the monad, as interpreted by Deleuze, a unity that envelops a multiplicity, a sealed container that contains the universe. He went through the same ritual described by Friedman, sealing up the space, painting it white, and then forcing himself to remain inside, staring at his own work, training his concentration relentlessly. But he found that the room became the distraction: …he became aware that a thin crack along the wall a few yards away from the canvas likewise exerted its presence; that when he plastered that crack over and repainted the wall, the canvas itself presented an entirely new aspect.2 The context was in a relentless dialogue with the work, and trying to neutralize that dialogue, to mute the conversation between space and object, became part of his ritual as he “fixed” his space each day in the hope of total concentration on the work. Ultimately, Irwin shaped the trajectory of his art by relinquishing the studio, establishing a post-studio practice, where the work is conceived and created out in the world, in dialogue with the world and reflective of the conditions it finds surrounding it. The white cube failed to ever achieve neutrality, his heightened concentration prevented him from ever neutralizing the space, so, instead of continuing to try to maintain the charade of a perfect blank, he acknowledged the unstoppable voice of place and turned all his efforts onto the object and the world, as a constant dialogue. Some artists push their studio space far from purity, domesticating it like a lair or a living room, and others destroy it, fill it with chaos or detritus, blacken or clutter it so as never to be starting from a blank, and thereby try to avoid the anxiety of facing that void. Similarly artists may never prepare a white canvas, a clean page, a marble block, or other form that is intentionally lacking, in order to try to escape the dialogue with emptiness. But Irwin, like O’Doherty, found an opponent in the white cube, and he learned not to fight it, rather he ended the conflict by making it an ally, an interlocutor, a collaborator. We can vainly strive to start from nothing, to find the lull, the clearing, and to always consider what we do in balance with the empty set. Somehow that intangible cloud of hazy nothingness, that softness of a lapse continually offers a place to bounce off of, to react to, to wrestle with, to rest with, in tension, or a place to begin. Robert Irwin. Excursus: Homage to the Square3 (1998) NOTES 1 Massumi. Parables for the Virtual: Movement, Affect, Sensation. p271. 2 MOMA, NY. Eliasson, 360 ? Room for All Colours . Installation. 2002. (shrink)

La Alhambra, antiguo monumento islámico levantado entre los siglos xiii y xv en la ciudad andaluza de Granada para albergar a la corte real nazarí, ha sido privilegiado objeto de reflexión desde finales del siglo xviii para los orientalistas. Este artículo propone una lectura poscolonial y posmoderna consecuente de la Alhambra con el fin de superar precisamente el horizonte orientalista fijado de manera estereotípica sobre todo por los viajeros románticos. Para ello introduce al lector en qué significa el discurso poscolonial, (...) y cómo la obra del arabista británico Robert Irwin, responde a esa lógica posmoderna. Se finaliza criticando la posición de éste por inconsecuentemente poscolonial al sostenerse en una jerarquía lingüística, donde la lengua inglesa tiene un lugar privilegiado, al haberse abandonado las fuentes del conocimiento locales simplemente por no expresarse en los circuitos académicos anglosajones. L’Alhambra, ancien monument islamique édifié du xiiie au xve siècle dans la ville andalouse de Grenade pour héberger la cour royale nasride, a été un objet privilégié de réflexion pour les orientalistes dès la fin du xviiie siècle. Cet article propose une lecture postcoloniale et postmoderne radicale de l’Alhambra afin de dépasser précisément l’horizon orientaliste fixé de manière stéréotypée, en particulier par les voyageurs romantiques. Pour ce faire, il introduit le lecteur dans le processus de signification du discours postcolonial, et montre comment l’œuvre de l’arabisant britannique Robert Irwin répond à cette logique postmoderne. Il critique en conclusion la position de celui-ci, montrant l’inconséquence de ses positions postcoloniales qui négligent les sources locales de connaissance, simplement parce qu’elles ne s’expriment pas à l’intérieur des cercles académiques anglo-saxons. (shrink)

What is the place of materiality—the expression or condition of physical substance—in our visual age of rapidly changing materials and media? How is it fashioned in the arts or manifested in virtual forms? In Surface, cultural critic and theorist Giuliana Bruno deftly explores these questions, seeking to understand materiality in the contemporary world. Arguing that materiality is not a question of the materials themselves but rather the substance of material relations, Bruno investigates the space of those relations, examining how they (...) appear on the surface of different media—on film and video screens, in gallery installations, or on the skins of buildings and people. The object of visual studies, she contends, goes well beyond the image and engages the surface as a place of contact between people and art objects. As Bruno threads through these surface encounters, she unveils the fabrics of the visual—the textural qualities of works of art, whether manifested on canvas, wall, or screen. Illuminating the modern surface condition, she notes how façades are becoming virtual screens and the art of projection is reinvented on gallery walls. She traverses the light spaces of artists Robert Irwin, James Turrell, Tacita Dean, and Anthony McCall; touches on the textured surfaces of Isaac Julien’s and Wong Kar-wai’s filmic screens; and travels across the surface materiality in the architectural practices of Diller Scofidio + Renfro and Herzog & de Meuron to the art of Doris Salcedo and Rachel Whiteread, where the surface tension of media becomes concrete. In performing these critical operations on the surface, she articulates it as a site in which different forms of mediation, memory, and transformation can take place. Surveying object relations across art, architecture, fashion, design, film, and new media, Surface is a magisterial account of contemporary visual culture. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Particularity, Presence, Art Teaching, and LearningJulia Kellman (bio)The Awful, the Particular, and the TranscendentYears ago in a life drawing class during graduate school, for who knows what reason, I chose to focus my drawing on the model's head and not on her entire form. She was wearing an enormous and elaborate black velvet hat with yards of veiling and several large red silk roses. The combination of textures, shadows, (...) colors, forms, and the suggestion of a story, of meaning beyond the exercise itself, drew me in I think. Using an entire large sheet of tan-colored drawing paper, soft vine charcoal, and a kneaded rubber eraser I began to draw, moving from the impossible hat to the model's high cheekbones, deep-set shadowed eyes, soft cheeks, and curved neck. Somewhere between the top of the paper (the crown of her hat) and the woman's face, however, my hand, my self, the drawing, the young woman, and the hat merged by some means outside my control. I was the act of drawing. I was the charcoal, the curved cheek, the dark eyes, the wonderful hat. There were no boundaries among us. No distances. The drawing, it seemed, drew me at the same time that it revealed an image of the model and her black velvet hat on the paper and tied me to the woman seated before me. I was exalted, transported, amazed.Now, as I think back to that drawing, I understand it as my first clear art experience of doing, not thinking, being, not observing that all artists encounter on their best days. It was, in another way of considering, my initial encounter with the fact that "the imaginative faculty, especially as engaged in the art process is one of the strongest and clearest ways in which we can learn within the qualitative, immediate present, within kairotic as opposed to chronic time, or within the eternal present,"1 as the art educator Kenneth [End Page 51] Beittel explains. Or, put another way, it was my experience with the fact that, as the writer Lawrence Weschler suggests in his biography of the artist Robert Irwin, "Seeing is forgetting the name of the thing one sees."2 Or, as the sculptor Anne Truitt explains, drawing can be "a direct channel between one's [my] experience and one's [my] hand."3This transformation from a distinct see-er and seen to a single entity sharing both time and space, from a distant relationship to intimacy, from a world of the generalized to the place of the particular brings us to the intertwined themes of this article: the importance of the awesome transcendent particularity of the singular—person, creature, place, object, plant, or moment in art and, similarly, religious contemplation and the likeness and/or overlap of artistic engagement with spiritual experience.In order for us to examine the artist in the midst of creating, and to explore our theme of art's relationship to the awful (think of the older usage meaning "full of awe" here) particularity of thisness as John Dun Sotus4 describes the perfection of the particular and specific, as well as to explore the relationship of art making, art learning, art teaching, and spiritual experience, exemplars are necessary. Our first exemplar is Gordie, a member of the art class I teach at a local hospital. He, as much as anyone, exemplifies artistic engagement with the current moment, its thisness in fact, and he illustrates the art maker's/learner's engagement with pure doing in the act of creating an image. Our second exemplar, the filmmaker, writer, and painter Derek Jarman,5 exemplifies by his lifetime of creative accomplishment an artist in the most literal manner. And even in the last years of his life—as sculptor, gardener, landscape designer, writer, and creator of a place of great beauty—he illuminates in both his words and in his garden his engagement with the present moment, with particularity, and with the spiritual quality that permeates his world.Gordie's Tale: Art and FlowersGordie accompanied his friend Roger to the first art class to be held at the hospital for people with... (shrink)

Arthur Danto's work has always affirmed a deep relationship between philosophy and art. These essays explore this relationship through a number of concrete cases in which either artists are driven by philosophical agendas or their art is seen as solving philosophical problems in visual terms. The essays cover a varied terrain, with subjects including Giotto's use of olfactory data in _The Raising of Lazarus; _chairs in art and chairs as art; Mel Bochner's Wittgenstein drawings; the work of Robert Motherwell, (...) Andy Warhol, and Robert Irwin; Louis Kahn as "Archai-Tekt"; and visual truth in film. Also featured are a meditation on the battle of Gettysburg; and a celebration of the Japanese artist Shiko Munakata, an essay that is partly autobiographical. Arthur C. Danto is one of the most original and multitalented philosophers writing today, a thinker whose interests traverse the boundaries of traditional understandings of philosophy. Best known for his contributions to the philosophy of art and aesthetics, Danto is also esteemed for his work in the history of philosophy, the philosophy of history, philosophical psychology, and action theory. These two volumes, each with an introduction by the author, contain essays spanning more than twenty-five years that have been selected to highlight the inseparability of philosophy and art in Danto's work. Together they present the thinking of Arthur C. Danto at his very best. (shrink)

« The destiny of Art—a revenant». « The object of Art might be to seek to eliminate the necessity of the object ». This book’s theme and method stand halfway between these two assertions—the first by the German romantic poet Novalis, the second by the Californian post-minimalist artists Robert Irwin and James Turrell about a research program on art and technology in the late 1960s. Neither of these statements declares that art is dead. On the contrary, they announce (...) that art is not yet present, that it has not yet happened. According to its destiny or to its project, art is always future, and for this very reason it keeps returning from the past and repeating itself in various shapes and embodying itself in diverse media, perhaps not in the expected places but elsewhere—unrecognizable as art, anachronistic and fashionable. Like a revenant going through a wall, the untimely future of art will come across words, things and artworks, subjectiles and gestures, either in the world of art or in ordinary life. Using the tools of aesthetics, visual studies and mediology, the present book seeks to capture some of these ghosts and hauntings. (shrink)

Soon after the book's publication in 1982, artist David Hockney read Lawrence Weschler's _Seeing Is Forgetting the Name of the Thing One Sees: A Life of Contemporary Artist Robert Irwin _and invited Weschler to his studio to discuss it, initiating a series of engrossing dialogues, gathered here for the first time. Weschler chronicles Hockney's protean production and speculations, including his scenic designs for opera, his homemade xerographic prints, his exploration of physics in relation to Chinese landscape painting, his (...) investigations into optical devices, his taking up of watercolor—and then his spectacular return to oil painting, around 2005, with a series of landscapes of the East Yorkshire countryside of his youth. These conversations provide an astonishing record of what has been Hockney's grand endeavor, nothing less than an exploration of "the structure of seeing" itself. (shrink)

Soon after the book's publication in 1982, artist David Hockney read Lawrence Weschler's _Seeing Is Forgetting the Name of the Thing One Sees: A Life of Contemporary Artist Robert Irwin _and invited Weschler to his studio to discuss it, initiating a series of engrossing dialogues, gathered here for the first time. Weschler chronicles Hockney's protean production and speculations, including his scenic designs for opera, his homemade xerographic prints, his exploration of physics in relation to Chinese landscape painting, his (...) investigations into optical devices, his taking up of watercolor—and then his spectacular return to oil painting, around 2005, with a series of landscapes of the East Yorkshire countryside of his youth. These conversations provide an astonishing record of what has been Hockney's grand endeavor, nothing less than an exploration of "the structure of seeing" itself. (shrink)

Throughout the history of psychoanalysis, the study of creativity and fine art has been a special concern. _Psychoanalytic Studies of Creativity, Greed and Fine Art: Making Contact with the Self_ makes a distinct contribution to the psychoanalytic study of art by focusing attention on the relationship between creativity and greed. This book also focuses attention on factors in the personality that block creativity, and examines the matter of the self and its ability to be present and exist as the essential (...) element in creativity. Using examples primarily from visual art_ David Levine_ explores the subjects of creativity, empathy, interpretation and thinking through a series of case studies of artists, including Robert Irwin, Ad Reinhardt, Susan Burnstine, and Mark Rothko. _Psychoanalytic Studies of Creativity, Greed and Fine Art_ explores the highly ambivalent attitude of artists toward making their presence known, an ambivalence that is evident in their hostility toward interpretation as a way of knowing. This is discussed with special reference to Susan Sontag’s essay on the subject of interpretation. Psychoanalytic Studies of Creativity, Greed and Fine Art contributes to a long tradition of psychoanalytically influenced writing on creativity including the work of Deri, Kohut, Meltzer, Miller and Winnicott among others. It will be of interest to psychoanalysts, psychoanalytic psychotherapists, historians and theorists of art. (shrink)

When this book first appeared in 1982, it introduced readers to Robert Irwin, the Los Angeles artist "who one day got hooked on his own curiosity and decided to live it." Now expanded to include six additional chapters and twenty-four pages of color plates, _Seeing Is Forgetting the Name of the Thing One Sees _chronicles three decades of conversation between Lawrence Weschler and light and space master Irwin. It surveys many of Irwin's site-conditioned projects—in particular the (...) Central Gardens at the Getty Museum and the design that transformed an abandoned Hudson Valley factory into Dia's new Beacon campus—enhancing what many had already considered the best book ever on an artist. (shrink)

This essay applies the concept of “fuzzy thinking” to geopolitics, using a curious turn of phrase in a 1914 policy paper (“the Islamic-Israelite world”) to explore paradoxes of German strategy in World War I. To find the origins of this phrase, the article explores the language of prewar Orientalism, especially the potent German variety that was notoriously neglected by Edward Said in his 1979 study decrying Orientalism as the handmaiden of European imperialism. But many prominent German Orientalists were also ignored (...) in Robert Irwin's recent book-length critique of Said's Orientalism, despite the centrality of the German case to Irwin's argument. Just as Said ignored scholarly titans of the German-speaking world such as Carl Heinrich Becker, Ignaz Goldziher, and Theodore Nöldeke — presumably because Germany, unlike France and Britain, never colonized Islamic lands in the Middle East — so, too, did Irwin ignore more worldly German Orientalists such as Max von Oppenheim and Curt Prüfer, whose covert activities on behalf of Berlin did not fit his own counterthesis that Orientalism, pace Said, “in its most important aspect was founded upon academic drudgery.” The “hack” German Orientalists who concocted a Turco-German “jihad” against the Entente Powers in World War I — accompanied by a simultaneous plan to unleash Zionism to destroy tsarist Russia — may not have been scholars of the highest caliber, which helps explain how they could tolerate a fuzzy phrase like “the Islamic-Israelite world.” The essay concludes that, nevertheless, we may learn from and even be inspired by their ideas, however illusory these proved to be in practice. (shrink)

This fresh and original book argues that the central questions in Hegel's practical philosophy are the central questions in modern accounts of freedom: What is freedom, or what would it be to act freely? Is it possible so to act? And how important is leading a free life? Robert Pippin argues that the core of Hegel's answers is a social theory of agency, the view that agency is not exclusively a matter of the self-relation and self-determination of an individual (...) but requires the right sort of engagement with and recognition by others. Using a detailed analysis of key Hegelian texts, he develops this interpretation to reveal the bearing of Hegel's claims on many contemporary issues, including much-discussed core problems in the liberal democratic tradition. His important study will be valuable for all readers who are interested in Hegel's philosophy and in the modern problems of agency and freedom. (shrink)

Robert John Ackermann deals decisively with the problem of relativism that has plagued post-empiricist philosophy of science. Recognizing that theory and data are mediated by data domains (bordered data sets produced by scientific instruments), he argues that the use of instruments breaks the dependency of observation on theory and thus creates a reasoned basis for scientific objectivity. Originally published in 1985. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished (...) backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

Natural selection is commonly interpreted as the fundamental mechanism of evolution. Questions about how selection theory can claim to be the all-sufficient explanation of evolution often go unanswered by today's neo-Darwinists, perhaps for fear that any criticism of the evolutionary paradigm will encourage creationists and proponents of intelligent design.In Biological Emergences, Robert Reid argues that natural selection is not the cause of evolution. He writes that the causes of variations, which he refers to as natural experiments, are independent of (...) natural selection; indeed, he suggests, natural selection may get in the way of evolution. Reid proposes an alternative theory to explain how emergent novelties are generated and under what conditions they can overcome the resistance of natural selection. He suggests that what causes innovative variation causes evolution, and that these phenomena are environmental as well as organismal.After an extended critique of selectionism, Reid constructs an emergence theory of evolution, first examining the evidence in three causal arenas of emergent evolution: symbiosis/association, evolutionary physiology/behavior, and developmental evolution. Based on this evidence of causation, he proposes some working hypotheses, examining mechanisms and processes common to all three arenas, and arrives at a theoretical framework that accounts for generative mechanisms and emergent qualities. Without selectionism, Reid argues, evolutionary innovation can more easily be integrated into a general thesis. Finally, Reid proposes a biological synthesis of rapid emergent evolutionary phases and the prolonged, dynamically stable, non-evolutionary phases imposed by natural selection. (shrink)

Creationists have acquired a more sophisticated intellectual arsenal. This book reveals the insubstantiality of their arguments. Creationism is no longer the simple notion it once was taken to be. Its new advocates have become more sophisticated in how they present their views, speaking of "intelligent design" rather than "creation science" and aiming their arguments against the naturalistic philosophical method that underlies science, proposing to replace it with a "theistic science." The creationism controversy is not just about the status of Darwinian (...) evolution—it is a clash of religious and philosophical worldviews, for a common underlying fear among Creationists is that evolution undermines both the basis of morality as they understand it and the possibility of purpose in life. In Tower of Babel, philosopher Robert T. Pennock compares the views of the new creationists with those of the old and reveals the insubstantiality of their arguments. One of Pennock's major innovations is to turn from biological evolution to the less charged subject of linguistic evolution, which has strong theoretical parallels with biological evolution, both in content and in the sort of evidence scientists use to draw conclusions about origins. Of course, an evolutionary view of language does conflict with the Bible, which says that God created the variety of languages at one time as punishment for the Tower of Babel. Several chapters deal with the work of Phillip Johnson, a highly influential leader of the new Creationists. Against his and other views, Pennock explains how science uses naturalism and discusses the relationship between factual and moral issues in the creationism-evolution controversy. The book also includes a discussion of Darwin's own shift from creationist to evolutionist and an extended argument for keeping private religious beliefs separate from public scientific knowledge. (shrink)

Author Robert Wright shows how Buddhist meditative practice can loosen the grip of anxiety, regret, and hatred, and deepen your appreciation of beauty and other people." -- Adapted from book jacket.

Who can divine the intentions of the human heart, the motives that guide behavior? Some of the reasons for our actions lie on the surface of consciousness, whereas others are more deeply embedded in the recesses of the mind. Recovering motives and intentions is a principal job of the historian. For without some attribution of mental attitudes, actions cannot be characterized and decisions assessed. The same overt behavior, after all, might be described as “mailing a letter” or “fomenting a revolution.” (...) The recovery of intentions is crucial for the historian’s narrative. (shrink)

Important features of the self-concept can be located outside of the individual and inside close or related others. The authors use this insight to reinterpret data previously said to support the empathy-altruism model of helping, which asserts that empathic concern for another results in selflessness and true altruism. That is, they argue that the conditions that lead to empathic concern also lead to a greater sense of self-other overlap, raising the possibility that helping under these conditions is not selfless but (...) is also directed toward the self. In 3 studies, the impact of empathic concern on willingness to help was eliminated when oneness--a measure of perceived self-other overlap--was considered. Path analyses revealed further that empathic concern increased helping only through its relation to perceived oneness, thereby throwing the empathy-altruism model into question. The authors suggest that empathic concern affects helping primarily as an emotional signal of oneness. (shrink)

Jago and Loss have recently used variations on Fitch's paradox to argue that every truth has a truthmaker, and that every fact is grounded. In this paper, I show that Fitch's paradox can also be adapted to prove the exact opposite conclusions: no truth has a truthmaker, and no fact is grounded. All of these arguments are as dialectically effective as each other, and so they are all in bad company.

Mit diesem Buch wird erstmals ein umfassendes und systematisches Referenzwerk zu Christian Wolff vorgelegt, das alle wichtigen Aspekte zu Leben und Werk des Philosophen behandelt. Das Handbuch ist von international renommierten Experten verfasst und behandelt neben der Biographie und der philosophiegeschichtlichen Rolle Wolffs sowohl sein philosophisches als auch sein naturwissenschaftlich-mathematisches Werk.

The dissertation's primary task is to discern to what extent the investigations contained in Aristotle's Metaphysics conform to the model of science developed in the Posterior Analytics. It concludes that the Metaphysics substantially follows the model of the Analytics in studying the causes and attributes of a specific nature, although it makes significant departures especially in its conception of the principles of being and substance. ;Two introductory chapters discuss respectively Aristotle's conception of science in the Analytics and the problems one (...) is likely to face in attempting to apply this conception to the Metaphysics . Chapter 3 clarifies the meaning of the phrase "science of being qua being" by reference to the Posterior Analytics, and introduces the concept of pro&d13;v 3&d3;n equivocity. Chapter 4 considers the role of dialectic in metaphysics with particular reference to the principle of noncontradiction. Chapter 5 argues that the second part of Meta. 4.2 introduces a demonstrative science of the per se attributes of being and unity. ;Chapter 6 introduces the investigation into the principles and causes of being and reviews the aporias about the principles . Chapter 7 offers a hypothesis to explain Aristotle's identification of the science of being with first philosophy. The last two chapters argue that Aristotle is pursuing this investigation in the central books of Melaphysics, but his pursuit of the investigation there is incomplete. ;This interpretation provides an alternative to those of T. H. Irwin and Walter Leszl, who argue that metaphysics is a second-order discipline and not a science after the model of the Analytics. It finds explicit support in recent work by Robert Bolton and Alan Code, while widening the range of issues to include the attributes of being and the importance of first philosophy for understanding the nature of being. It supports many of the conclusions of Joseph Owens's, Urbain Dhondt's, and Frede and Patzig's work on the object of metaphysics. There are also substantial discussions of the contributions of G. E. L. Owen, J. G. Stevenson, Theodore Scaltsas, and John Thorp. (shrink)

The book aims to revitalise the interdisciplinary debate about evolutionary ethics and substantiate the idea that evolution science can provide a rational and robust framework for understanding morality. It also traces pathways for knowledge-based choices to be made about directions for future long-term biological evolution and cultural development in view of adaptation to the expected, probable and possible future and the ecological sustainability of our planetary environment The authors discuss ethical challenges associated with the major biosocial sources of human variation: (...) individual variation, inter-personal variation, inter-group variation, and inter-generational variation. This book approaches the long-term challenges of the human species in a holistic way. Researchers will find an extensive discussion of the key theoretical scientific aspects of the relationship between evolution and morality. Policy makers will find information that can help them better understand from where we are coming and inspire them to make choices and take actions in a longer-term perspective. The general public will find food for thoughts. (shrink)

In a style that is both philosophically sophisticated and accessible to general readers, Robert Almeder introduces readers to the vigorous debate in the scientific community about the possibility of personal survival after death. He argues that belief in some form of personal survival is as empirically justifiable as our belief in the past existence of dinosaurs. Drawing on 21 of the best case studies in reincarnation, apparitions of the dead, ostensible possession, out-of-body experiences, and trance mediumships, Death and Personal (...) Survival offers a comprehensive discussion of the best empirical evidence in each of these areas and refutes alternative explanations offered by sceptics. (shrink)

This book considers the relation between language and thought. Robert Wardy explores this huge topic by analyzing linguistic relativism with reference to a Chinese translation of Aristotle's Categories. He addresses some key questions, such as, do the basic structures of language shape the major thought patterns of its native speakers? Could philosophy be guided and constrained by the language in which it is done? And does Aristotle survive rendition into Chinese intact? Wardy's answers will fascinate philosophers, Sinologists, classicists, linguists (...) and anthropologists, and make a major contribution to the scholarly literature. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Method in Ancient PhilosophyDavid K. GliddenJyl Gentzler, editor. Method in Ancient Philosophy. Oxford: Clarendon Press, 1998. Pp. viii + 398. Cloth, $72.00.The fifteen papers in this collection constitute revisions of conference proceedings and reflect the varied interests of participants. The ensemble exhibits a thoroughly modern methodology. Whatever and however various ancient methods of philosophy may have been, in Anglo-American scholarship it is standard practice to first address established (...) scholarly interpretations as the primary entry point to critical discussionóoften displacing antiquity with a critical vocabulary of philosophical modernity. Scholars may come to understand each other better, but at the risk of asking the wrong questions or sacrificing ancient texts themselves as mere means of producing papers.Most scholars are progressives. They believe philosophy has advanced past the comparatively primitive wisdom of antiquity, and so such scholars feel perfectly entitled to make better sense of ancient texts, by patiently explaining what the ancients would have meant had they only been able to get it right. There are, of course, exceptions. And some papers in this collection suggest deeper faith in our philosophic fathers. So, the battle between the ancients and the moderns is joined once more, between those who would adorn their papers with footnotes for their peers and those who would attempt more anthropological an inquiry into ancient philosophic practices.Ian Mueller and Robert Bolton each address the same passage in Plato's Phaedo, both beginning with an article from Vlastos, first published in 1969. Mueller thoughtfully explores three different yet related accounts of what we might call scientific method in explaining Plato's views on natural change. Bolton wonders whether scholars are asking the wrong questions. Patricia Curd attempts a progressivist account of Eleatic thought, notwithstanding her recognition of the paucity of ancient sources. Complete with elaborately numbered sentences, Gail Fine focuses primarily on Burnyeat (1976) on Plato on Protagoras. Constance Meinwald presents a rather near-sighted account of two passages in the Philebus that employ the peras-apeiron distinction, with a view toward Plato's allegedly modernist mathematization of understanding. Lesley Brown revisits five pages of the Sophist that were hotly debated in the 1960s. With charity and elegance, she offers several plausible solutions to puzzles posed by previous scholars. Sometimes time smoothes over differences.A. A. Long's essay on Plato's presentation of Socrates in the Theaetetus might appear more philosophically anthropological. Yet Long reveals progressive sympathies, suggesting that Plato dispatches Socrates in the Theaetetus, so as to prepare the way for a more rigorously academic form of philosophizing, such as that exhibited in the Sophist. [End Page 111] In this way, Long speculates, Plato abandoned practical ethics for the academic life of research, so familiar to university professors and conference participants. It might be hard to square such speculation with Plato's Laws and the reception of Plato's writings among his own contemporaries. Still, Socrates' shifting role in Plato's dialogues is well worth pondering.By comparison, T. H. Irwin's contribution is wonderfully old-fashioned. His paper addresses the background knowledge to be presumed by ancient readers of Plato's dialogues and how that knowledge is artfully put to use in Plato's depiction of Socrates' reflections on the unity of virtue. By speculating on Plato's relation to his ancient readers, Irwin displaces many modernist preoccupations, though not without himself falling victim to that peculiar scholarly obsession of dating Plato's dialogues by their doctrines.With characteristic conservatism, Gisela Striker cautions scholars not to over-read Aristotle's Prior Analytics. While that extraordinary work may have deep implications for the history of formal logic, it probably was instead intended to be part of a general account of argument. In a similar vein, Charlotte Witt attempts to rescue Aristotle from scholars who would delimit Aristotle's multifarious uses of the "for the sake of" explanation, which altogether pervade his metaphysics, physics, biology and ethics. Yet, Witt soon finds herself competing in a contest over interpretive distinctions, a sport that will certainly never capture Aristotle's own authorial intentions.Facing another mass of scholarship, in this case on Aristotle's dialectic, C. D. C. Reeve sensibly attempts to... (shrink)

In this paper, we will consider a phenomenon known as inverse linking, a term coined by May (1977) to describe the most salient readings of sentences such as “Someone from every city despises it.”.

We are living through a new phase in human development where much of everyday life – at least in the most technologically developed parts of the world – has come to depend upon our interaction with “smart” artefacts. Alongside this increasing adoption and ever-deepening reliance on intelligent machines, important changes have been taking place, often in the background, as to how we think of ourselves and how we conceptualize our relationship with technology. As we design, create and learn to live (...) with a new order of artefacts which exhibit behavior that, were it to be carried out by human beings would be seen as intelligent, the ways in which we conceptualize intelligence, minds, reasoning and related notions such as self and agency are undergoing profound shifts. We argue that the basic background assumptions informing our concepts of mind, and the underlying conceptual scheme structuring our reasoning about minds has recently been transformed in the process. This shift has changed the nature and quality of both our folk understanding of mind, our scientific psychology, and the philosophical problems that the interaction of these realms produce. Many of the traditional problems in the philosophy of mind have become reconfigured in the process. This introduction sets the scene for our book that treats this reconfiguration of our concepts of mind and of technology, and the new casting of philosophical problems this reconfiguration engenders. (shrink)