The sublime has been a baffling concept since its introduction by Longinus nearly two thousand years ago. What do we mean when we say something is sublime? This paper will attempt to answer that question by proposing a radical new theory of the sublime, examining the aesthetic experience called the sublime through the lens of the Madhyamaka Buddhist philosophical view of emptiness (Skt. śūnyatā). Drawing on Guy Sircello’s work (1993), I critique traditional Western accounts of the sublime, with their explicit (...) or implicit—but always problematic—commitments to epistemological and ontological transcendence. A brief summary of the Madhyamaka Buddhist view of emptiness, as elucidated in the Prajñāpāramitā literature, Nāgārjuna’s Mūlamadhyamakakārikā, and elsewhere, provides a context for examining the dialectic of the sublime and emptiness. I make the argument that the sublime experience is, in fact, an experience of emptiness. I conclude by surveying five years of the early work of visual artist Robert Rauschenberg, which express the open, clear, vivid, and unselfconscious space of emptiness in his approach to, and process of, artistic expression. (shrink)

continent. 1.2 (2011): 141-144. This January, while preparing a new course, Robert Seydel was struck and killed by an unexpected heart attack. He was a critically under-appreciated artist and one of the most beloved and admired professors at Hampshire College. At the time of his passing, Seydel was on the brink of a major artistic and career milestone. His Book of Ruth was being prepared for publication by Siglio Press. His publisher describes the book as: “an alchemical assemblage that (...) composes the life of his alter ego, Ruth Greisman— spinster, Sunday painter, and friend to Joseph Cornell and Marcel Duchamp. Through collages, drawings, and journal entries from Ruth’s imagined life, Seydel invokes her interior world in novelistic rhythms.” This convergence of his professional triumph with the tragedy of his death makes now a particularly appropriate time to think about Robert Seydel and his work. This feature contains a selection of excerpts from Book of Ruth (courtesy of Siglio Press) alongside a pair of texts remembering him and giving critical and biographical insights into his art and his person. These texts, from a former student and a colleague respectively, were originally prepared for Seydel's memorial at Hampshire College and have since been revised for publication in continent. For more information on Book of Ruth, please visit the book's page at the Siglio Press website. —Ben Segal draughty R. * Lauren van Haaften-Schick 2011 “The most apt way to order Smithson's library is with the conjunction 'and'; science and religion; modernism and mass culture; what is present and what is missing.” —Alexander Alberro, 248 Robert Seydel's classes on collage and collecting immersed his students in a curious world of cabinets, oddities, exhaustive archives and obscure histories, explored always with critical rigor and a sincere eye for wonder. His office was a compendium of the ancient, mythic, potential and unworldy, where seemingly unrelated references were endlessly pulled, piled and fused in an ecstatic dance of hyper-annotation. The small room and all its contents overflowed with notes tucked in every margin and corner. Books coated the walls like a switchboard, anxious and humming, waiting for infinite links to be activated. William Blake's books of Job and Urizen summoned Greek mythology and the animal as metaphor, leading to 19th century cryptozoology and the cave paintings at Lascaux, Gaston Bachelard's description of the bird in his garden and Robert Rauschenberg's Canyon . Tracking archetypes and following tangential threads, new revelations and ancient narratives were compiled and ordered to form a new text, a bibliography as assemblage, portrait and poem. Robert's library—one of his many collections—is a portrait, an “artifact, collage of time, a token and remnant” (Seydel, 2007) He is humming with it still. The imagination of this room—of Robert—breathes through the pages of Book of Ruth, as every decision and detail unfolds to a cosmos. Allegory, invention, personal and art histories are entangled and leveled, rendering lived, perceived and absorbed experiences indistinguishable. Anonymous scraps discovered on the street or studio floor, careful clippings and drawn figures are chosen and animated through serendipitous destruction and whimsical, delicate positioning. A precise vocabulary of characters and terms erupts and collapses as personas and passers-by wave and whisper, “Every figure reveals aspects of the total form, which is open and green” (Seydel, 2007). The initials R.S. repeat, a nod to Robert's true family tree and further complicating identification. Robt, Robert's sometimes alter-ego, appears in myriad forms as a trickster “half-wit,” mercurial and skittish, or soft and worn thin. Saul is a solemn tinkerer, parsing the world and sometimes blind. Ruth, the speaker of the book, records and translates all, her voice wavering between poetic verse and a cryptic half-speech as complex as it is sparse. The rhythm of frayed edges sets time - the weight of the world and the lightness of paper. Robert wrote of his process, “Material is essential; scuffings carry history, which wanders throughout” (Seydel, 2007). Collectors, assemblers, sway between careful movements of selection and placement as they pull from the found world, mediating calculated and unconscious association to form a lexicon of gestures, symbols and allusion, the “artifacts of a life... the refuse and rejecta of days” (Seydel, 2007). These assembled fragments shift and chatter, at home in their homelessness, actors performing in their own lives, populating an invented world of similar orphans. Such accumulated, severed parts carry the injury of their cutting and retain the evidence of their source, binding loss to creation in a symbiosis of trauma and repair. Mourning and remembrance are deeply embedded in the histories and acts of such practices. Grievance, acceptance, and the fragility of life are conveyed in the 18th century allegorical arrangements of fetal specimens by Frederik Ruysch. A certain melancholy reverence colors Joseph Cornell's intimately tactile assemblages rendering the universe tangible in miniature, or made in devotion to unrequited loves. Preserved in stasis, these ghosts and idols are kept in a purgatory where fact and fiction, past and present are irrelevant distinctions. Catalogued and contained, the subject of loss is transferred to an artifact. Every thread, scrap and letter may be glued, gathered and placed in a museum, a tomb, a box, a page, ripe and open for possession. Holding on to grief and reveling in disrepair, we opt to be haunted. Forever unbalanced and in flux, the sublime of collage is its resolve to irresolution. For Robert, “Art, as creation and as sign of primary Imagination, is not objects but a state, a kind of fluid” (Seydel, 2007) Reflecting on his work, life, and death, I am drawn to my library and the myriad titles acquired through his inspiration. There is Daniel Spoerri's An Anecdoted Topography of Chance , Susan Stewart's On Longing , various Borges, Barthes, Perec, and especially Life: A User's Manual , which concludes that the perfect puzzle will have no solution. I think of the drawers of miscellaneous swallowed objects at the Mutter Museum, Ray Johnson coding the every day in riddles, Wallace Berman twisting tongues, and Susan Hiller laying every detail to bear. Collectors and makers working in endless cycles of observation, ingestion and display. Every gesture informs and is defined by others, every space is shaped by that which surrounds and fills it, the knot has an inner logic, the gigantic is not so different from the miniature, there is a world in every detail, and “All art is collage” (Seydel, 2011) These thoughts have molded my life, my art, and all the minutia that keep the two so profoundly intertwined; There is no difference between life and what we do with our time. “I write my life. I make me up.” What a gift to share this secret way of knowing the world, and to leave this knowledge for us to do with what we please. “Art begins in admiration” (Seydel, 2011) Lauren van Haaften-Schick is a curator, writer and artist based in New York. Upcoming curatorial projects include "Cancelled" at the Center for Book Arts, and "The Spirit of the Signal" at Nicole Klagsbrun Gallery, New York. Recent activities include the workshops "Market, Alternative" and "Alternative Art Economies" at Trade School and Momenta Art, and the e-flux Time/Store, New York. She is the founding director of two arts spaces in Northampton, MA and Philadelphia, PA. She received a BA in Art History and Studio Art from Hampshire college in 2006. Sura Levine on Robert Seydel If early on in his time at Hampshire College I was officially his “mentor,” Robert Seydel quickly became one of my great teachers. Over the years we talked about everything, from art, music, collage, and poetry, to campus politics, this latter far too often. It was always a sublime pleasure, if all too rarely done, to enter his apartment to look at his work in progress, to peruse his bookshelves where, inevitably, there were always new treats to examine. And, while he was working on his Book of Ruth , I was given the opportunity over the course of many meals at the Korean and other restaurants, to talk with him about image and poem ordering. To see how he thought through each comma, each juxtaposition across the gutters of the Book, was to watch a brilliant curator at work. Each day, I walk past his wonderful collaged portrait of Ruth, purchased, after much haggling, as a birthday present, a couple of years ago. And each day, I think how lucky I am to have known Robert as he produced this magnum opus. One of my greatest pleasures in 24 years at the College was to teach “The Collector” with Robert. One of my greatest regrets is that the magic we created together in the classroom will not, and cannot, be duplicated. Its various incarnations, its utter intelligence and magic, were all so deeply Robert’s. His was a mind that put poetry, philosophy, history of science, and history together with art, and art together with music. His intellect and eye were unparalleled. He introduced us to so many artists. He shared his fascination with the cabinets of curiosity of Aldrovandi, of Seba, and Peter the Great’s collection of fetal anomalies, as well as the Museum of Jurassic Technology in Los Angeles. Robert knew them all and so many more. He was a walking encyclopedia, his home a great archive. Arcane knowledge, perhaps, but oh so important for another of Robert’s heroes, the mid-20th century Belgian artist Marcel Broodthaers, whose name he invariably mispronounced as “Broadthayers.” In speaking his name, Robert would always look in my direction in a panic, and then he go on and maul it. I absolutely loved his various mispronunciations of French names and terms! “The Collector” was always filled with talented young artists, art historians, philosophers and writers who all came to understand the wondrous obsessions of the figure of the collector. Students in this course created dazzling projects each term. He always moved while looking and speaking. He read deeply, and commented on everyone’s work with wonderful generosity. Robert always found something to praise even in the least developed of projects. Robert inspired and mentored all of his students into making work that far exceeded their expectations—and ours. For those of you who were lucky enough to have been touched by or to have had an evaluation written by Robert, savor it, keep it, reread it, and share it. He loved working with you all; it is somehow fitting that he died while prepping yet another new course. Robert, it’s almost impossible to speak of you in the past tense, even though you left us a month ago. No doubt, if you knew about our gatherings and celebrations of you, you would be embarrassed that we are making a fuss over you; you always placed the focus on others rather than on yourself. This trait is exactly why so many people miss you now. We’re here to love you publicly as we all did privately for the eleven years you were among us. Robert, my very dear friend, you were an extraordinary artist—you were my brother of choice. My heart broke when yours did. I miss you profoundly. —Sura Levine, February 26, 2011 Sura Levine is a professor of art history at Hampshire College. Her field of specialty is 19th century Belgian and French art, particularly realism and impressionism. Having worked in museums for a number of years both prior to coming to the College, and, as guest curator and co-author of exhibition catalogues, she became particularly interested in the history of museum and trends in collecting. It was because of their shared interests that she and Robert Seydel developed their course, The Collector, which they co-taught for many years. (shrink)

It is an irony perhaps worthy of John Ashbery that the critics who made his reputation as our premier contemporary poet have virtually ignored the innovations which in fact make his work distinctively of our time. The received terms show us how Ashbery revitalizes the old wisdom of Keats or the virile fantasies of Emersonian strength but they do so at the cost of almost everything about the work deeply responsive to irreducibly contemporary demands on the psyche. Such omissions not (...) only distance Ashbery from the urgencies of the present, they also make it far more difficult to appreciate just how the best contemporary art actually defines the challenges and possibilities created by that present. By banishing writers like Ashbery to literary tradition, we leave the domain of the postmodern to two dominant discourses. One is driven by post-structural theory’s idealization of the nomadic, the undecidable, and the profusion of simulacra. The other champions Marxist values which cast as the most significant contemporary art the rather slight oppositional devices of artists like Sherrie Levine, Hans Haacke, and Barbara Kruger. These critical idealizations then ignore what might be the central historical problem facing contemporary art. Can it continue to elaborate new dimensions of that late fifties postmodernism which set the values of Marcel Duchamp, John Cage, and Robert Rauschenberg against the increasingly formalist versions of modernism that then dominated the art world and the poetry workshops? Or does the age demand the emergence of a new sensibility, strands of which are being woven in post-structuralist mills? Charles Altieri is professor of English and comparative literature at the University of Washington. Author of books on contemporary poetry and literary theory, he has just completed a book on abstraction in modern poetry and painting. This essay lays some groundwork for a book, Bourgeois Utopians, attempt to keep the arts central to our discussion of postmodernism. (shrink)

In The Postmodern Animal, Steve Baker explores how animal imagery has been used in modern and contemporary art and performance, and in postmodern philosophy and literature, to suggest and shape ideas about identity and creativity. Baker cogently analyses the work of such European and American artists as Olly and Suzi, Mark Dion, Paula Rego and Sue Coe, at the same time looking critically at the constructions, performances and installations of Robert Rauschenberg, Louise Bourgeois, Joseph Beuys and other significant late (...) twentieth-century artists. Baker's book draws parallels between the animal's place in postmodern art and poststructuralist theory, drawing on works as diverse as Jacques Derrida's recent analysis of the role of animals in philosophical thought and Julian Barnes's best-selling Flaubert's Parrot. (shrink)

Abstract:This article examines the role of maieutic dialogue and exponential power in creative work. Its thesis is that maieutic dialogue is the engine that drives the creative process, and exponential power is the engine that informs maieutic dialogue. The legacy of Socrates is rehabilitated, and then his example is used as a clinic to rehabilitate the legacies of Jackson Pollock, Robert Rauschenberg, and creative artists in general. Implications for aesthetic education are alluded to in a concluding section.

Most artworks—or at least most among those standardly subject to philosophical scrutiny—appear to be singular, stand-alone works. However, some artworks (indeed, perhaps a good many) are by contrast best viewed in terms of some larger grouping or ordering of artworks. i.e., as a series. The operative art-theoretic notion of series in which I am interested here is that of an individual and distinct artwork that is itself non-trivially composed of a non-trivial sequence of artworks (e.g., Walter de Maria’s Statement Series, (...) Krzysztof Kieslowski’s Three Colors)—as opposed to an art-historically informative or art critically productive thematically, stylistically, or formally unified ordering or grouping of individual and distinct artworks within an artist’s larger body of work (e.g., Kiki Smith’s Blue Print series, Dan Flavin’s Monuments to V. Tatlin series, Jeff Koons’ Made in Heaven series, Robert Rauschenberg’s Tribute 21 series). Given this, my aim is simply to sketch a minimal descriptive and classificatory framework for serial art within which certain informative distinctions may be made and further philosophical enquiry may productively take place. (shrink)

A concatenation of forces surrounded the rise of the photographic to the center of contemporary art practice. During the sixties the author-function was seriously critiqued. Roland Barthes announced the death of the author in 1967, and Michel Foucault answered his own question, what is an author? deconstructively in 1969, replacing what William Wimsatt and Monroe Beardsley had already termed the intentional fallacy with a model of the cultural constructedness of all notions of creative agency. At the same time, notions of (...) automatism generated by psychoanalytic models of mind and dada and surrealist conceptions of artistic and literary practice joined forces with sixties anticanonical, postexpressionist notions of the artwork as the deskilled, mechanical product of a consumerist society whose forces yielded the fantasy of individual will. Meanwhile, also during the sixties, painters such as Andy Warhol and Robert Rauschenberg began to use found photographs very overtly either as part and parcel of the generative process of their work or inside their work along with other kinds of materials. And thus the medium-specific boundaries between the photographic and the painterly, just to take the two, began to crumble for good, though the art-school disciplines and museum departments dedicated to these two media continued to hold sway. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.2 (2006) 105-117 [Access article in PDF] Art and Failure Daniel A. Siedell Sheldon Memorial Art Gallery and Sculpture Garden The Genius Decision: The Extraordinary and the Postmodern Condition, by Klaus Ottmann. Putnam, CT: Spring Publications, 2004, 181 pp., $18.50 paperback. Random Order: Robert Rauschenberg and the Neo-Avant-Garde, by Branden Joseph. Cambridge, MA: MIT Press, 2003, 450 pp., $34.95 hardcover. The most optimistic (...) ethics have all begun by emphasizing the element of failure involved in the condition of man; without failure, no ethics. Simone de Beauvoir, The Ethics of Ambiguity1Failure is an inescapable part of the human condition. It is also an inescapable part of extraordinary human achievement. In fact, it is because failure is woven so deeply into their fabric that makes certain endeavors, like the arts, philosophy, science, and even sports, so extraordinary, so compelling, and ultimately so meaningful. There is therefore a close—but often underexamined—connection between extraordinary achievement and failure in the history of the arts and culture in the West. Two very different books, one a work of philosophy and the other a work of art history, converge on the presence of failure in extraordinary human achievement. New York-based art critic and independent curator Klaus Ottmann offers a philosophical study of genius from a postmodern perspective entitled The Genius Decision: The Extraordinary and the Postmodern Condition. Art historian Branden Joseph, who is assistant professor at the University of California-Irvine, offers a revisionist interpretation of Robert Rauschenberg's aesthetic project in Random Order: Robert Rauschenberg and the Neo-Avant-Garde. The Genius Decision offers an illuminating philosophical framework within which to read Random Order.Ottmann begins his study with the following question: "How does one account for those extraordinary and exceptional works of art and literature that set one artist apart from the others; works that most artists, however skilled, would never be able to produce; that exert great influence on others" (13). Ottmann answers this question by interpreting the work of Franz Kafka, [End Page 105] Spinoza, Søren Kierkegaard, Friederich Nietzsche, Ludwig Wittgenstein, and Martin Heidegger through a postmodernist lens provided in part by Jean-François Lyotard, Julia Kristeva, and other theorists. For example, he reads Kafka through Gilles Deleuze and Félix Guattari; Spinoza's Ethics through Deleuze; Kierkegaard through Adorno; Nietzsche through Derrida, Jean-Luc Nancy, and Heidegger; and Wittgenstein through P. M. S. Hacker. Foundational for Ottmann's thesis is theorist Julia Kristeva's concept of the Abject and its relationship to Jouissance—meaning "enjoyment," often connoting a sensual, even sexual pleasure—which has entered philosophical discourse via literary theorist Roland Barthes and psychoanalyst Jacques Lacan. For Kristeva, the Abject is the pressing of the "Unrepresentable" that requires a "sacrifice" of Jouissance; that is, a leap toward or a response to the inability to represent or give adequate form to this primordial ground of pure experiential bliss. For Ottmann, extraordinary achievement in art and philosophy consists of intentional and absolute leaps into certain failure in giving representation to what cannot be represented—despite its impossibility. This is what Ottmann calls the "Genius Decision." In contrast to passive explanations of extraordinary achievement, such as "accidental genius" and "physical genius," in which the individual can claim fortuitous circumstances or innate talent, the Genius Decision involves intentionality; it is a "decision" of some kind. But what kind of decision is it? Ottmann argues that it is an "active-passive" one. He then analyzes each of these influential thinkers as offering unique manifestations of the Genius Decision in their attempt to represent the Unrepresentable.Key to the Abject-Jouissance relationship is Ottmann's understanding of postmodernism. Rather than viewing it as a historical movement, Ottmann, following Jean-François Lyotard, regards it as a "condition," that is, as a nascent state within modernism. Ottmann characterizes the modern as recognizing and dwelling in the Abject, while the postmodern leaves the ambiguity of the Abject behind for the "certainty of failure" (49). The Genius Decision, then, comes out of a postmodern awareness of the impossibility of its... (shrink)

At least within the last century, artists have produced works that seem to have something missing. Salvatore Garau’s sculpture Sono is (apparently) composed of empty space; the original drawing at the heart of Robert Rauschenberg’s Erased de Kooning Drawing is essentially gone; Rauschenberg’s White Paintings are primarily just white canvases. In this paper, I examine this ‘something missing’ – which I call an ‘aesthetic absence’. These absences are aesthetically relevant to the identities, meaning, and value of the works of (...) art where audiences find such absences, but such relevance can only fully be ascertained and assessed once the absence is resolved, and this resolution comes through an act of interpretation. (shrink)

_The Decision Between Us _combines an inventive reading of Jean-Luc Nancy with queer theoretical concerns to argue that while scenes of intimacy are spaces of sharing, they are also spaces of separation. John Paul Ricco shows that this tension informs our efforts to coexist ethically and politically, an experience of sharing and separation that informs any decision. Using this incongruous relation of intimate separation, Ricco goes on to propose that “decision” is as much an aesthetic as it is an ethical (...) construct, and one that is always defined in terms of our relations to loss, absence, departure, and death. Laying out this theory of “unbecoming community” in modern and contemporary art, literature, and philosophy, and calling our attention to such things as blank sheets of paper, images of unmade beds, and the spaces around bodies, _The Decision Between Us _opens in 1953, when Robert Rauschenberg famously erased a drawing by Willem de Kooning, and Roland Barthes published _Writing Degree Zero_, then moves to 1980 and the “neutral mourning” of Barthes’ _Camera Lucida_, and ends in the early 1990s with installations by Felix Gonzalez-Torres. Offering surprising new considerations of these and other seminal works of art and theory by Jean Genet, Marguerite Duras, and Catherine Breillat, _The Decision Between Us_ is a highly original and unusually imaginative exploration of the spaces between us, arousing and evoking an infinite and profound sense of sharing in scenes of passionate, erotic pleasure as well as deep loss and mourning. (shrink)

The Aesthetics and Ethics of Copying responds to the rapidly changing attitudes towards the use of another's ideas, styles, and artworks. With advances in technology making the copying of artworks and other artefacts exponentially easier, questions of copying no longer focus on the problems of forgery: they now expand into aesthetic and ethical legal concerns. This volume addresses the changes and provides the first philosophical foundation for an aesthetics and ethics of copying. Scholars from philosophy of art, philosophy of technology, (...) philosophy of law, ethics, legal theory, media studies, art history, literary theory, and sociology discuss the role that copying plays in human culture, confronting the question of how-and why-copying fits into our broader system of values. Teasing out the factors and conceptual distinctions that must be accounted for in an ontology of copying, they set a groundwork for understanding the nature of copies and copying, showing how these interweave with ethical and legal concepts. Covering unique concerns for copying in the domain of artworks, from music and art to plays and literature, contributors look at work by artists including Heinrich von Kleist, Robert Rauschenberg, Courbet and Manet and conclude with the normative dimensions of copying in the twenty-first century. By bringing this topic into the philosophical domain and highlighting its philosophical relevance, The Aesthetics and Ethics of Copying establishes the complex conditions-ontological, aesthetic, ethical, cultural, and legal-that underlie and complicate the topic. The result is a timely collection that establishes the need for further discussion. (shrink)

The author discusses a previously unremarked pun in which the plane tree (ho platanos) under which the conversation takes place echoes the name Plato, and hence there is the strong suggestion that the conversation in the Phaedrus is particularly close to Plato's own opinion.

Dr. Zaslavsky’s An Introductory Latin Course presents the characteristics of the Latin language in a holistic way, rather than in the fragmented, way that is typical in other Latin textbooks. This mode of presentation allows students to gain a comprehensive conceptual grasp of the linguistic characteristics that are to be learnedIn addition, since there has been a neglect—even an outright abjuration—of the teaching of English grammar in our schools for at least a third of a century, which has left our (...) students grammar poor, this textbook aims to enrich students grammatically by providing a comprehensive explanation of both English and Latin grammar. This makes it as useful for understanding English as it is for learning Latin. (shrink)

Dr. Zaslavsky has gathered together forty essays that represent the fruits of his lifetime of reading and teaching. The essays exemplify a method of reading substantive works that has been called Talmudic. The essays examine works by Homer, Plato, Aristotle, Moses Maimonides, Kant, DeQuincey, Chaucer, Shakespeare, Donne, Milton, Keats, Poe, Melville, Dickinson, Frost, Sherwood Anderson, Fitzgerald, cummings, Neruda, Arthur Miller, and Faulkner. In addition, there are essays on the Bible, the Constitution, and detective fiction. In every instance, the examined author (...) is treated as a highly deliberate, conscious craftsperson whose intention it is the reader’s task to discern. (shrink)

The author offers a fresh solution to the problem of rendering two key Aristotelian uses of the articular infinitive τὸ εἶναι with an embedded modifier, the one τί ἦν, and the other the dative noun and/or adjective, two usages which are clearly meant to be parallel.

This book is a tool intended to give readers a knowledge of, and feel for, the most basic building blocks of vocabulary, namely the roots that are the basis of so many English words. Knowing these roots enables readers to gain greater reading fluency. Armed with these roots, readers can guess the meanings of unfamiliar words without a feeling of helplessness and without unnecessary dependence upon a dictionary. In this way, reading becomes more fluid, more rewarding, less burdensome, and—most important—less (...) frustrating. (shrink)

This dissertation presents evidence that a number of the great traditional Western metaphysicians based their metaphysical systems upon their experiences of altered states of consciousness . It poses the question: what state of consciousness would be necessary for the metaphysician to actually experience "reality" in the way that he describes it? It specifically discusses evidence in the philosophical writings of Plato, Berkeley, Schopenhauer and Hegel which strongly suggests that they experienced various non-ordinary planes of "reality" during certain ASCs. ;Four different (...) metaphysical planes or levels of "reality" are presented: the everyday material world , the eternal soul , the archetypal Platonic Ideas or essences and the Divine Mind of God , which is identified with the mystical godhead. ;It is argued that Plato directly experienced the non-ordinary realm of the eternal Ideas . Berkeley's metaphysical claims about the unreality of matter and the dependence of the entities in the everyday world upon the mind or soul for their existence are grounded in his direct experience of the soul during a worldless ASC. Schopenhauer's description of the aesthetic experience of the Platonic Ideas is discussed as a perceptual form of concentrative meditation. Hegel's fundamental metaphysical concept of the Universal Mind of God or Absolute Spirit is rooted in his mystical experiences of Level Four. His non-Aristotelian form of logic is described as a "state-specific logic," i.e., a form of logic which is rooted in the experience of a specific ASC. ;It is argued that "analytic" philosophers have misunderstood the experiential nature of traditional metaphysical language. Some of the implications of this experiential approach to philosophy are explored in terms of the notion of "state-specific metaphysical systems.". (shrink)

Anhand des phänomenologischen Begriffs der Auffassung soll die Beziehung von Freudscher Psychoanalyse und Husserlscher Phänomenologie näher bestimmt werden. Dabei wird von einer methodologischen Fragestellung ausgegangen, die sich allerdings notwendig auch zu einer inhaltlich bestimmten Perspektive weiten muss. Die These ist, dass die Phänomenologie sich in der Auseinandersetzung mit dem grundverschiedenen Ansatz der Psychoanalyse selbst genauer verstehen lernt, und zwar vor allem in ihrem Anspruch auf Wissenschaftlichkeit, in ihrer Forderung nach anschaulicher Ausweisung von philosophischer Wahrheit und in der Problematisierung des Subjektbegriffs.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

This short and accessible book is designed for those learning about the search for ethical rules that can apply despite cultural differences. Robert Audi looks at several such attempts: Aristotle, Kant; Mill; and the movement known as "common-sense" ethics associated with W.D. Ross. He shows how each attempt grew out of its own time and place, yet has some universal qualities that can be used for an ethical framework. This is a short, accessible treatment of a major topic in (...) ethics by a senior and highly-respected figure. (shrink)

Examining select high points in the speculative tradition from Plato and Aristotle through the Middle Ages and German tradition to Dewey and Heidegger, _Placing Aesthetics_ seeks to locate the aesthetic concern within the larger framework of each thinker's philosophy. In Professor Robert Wood's study, aesthetics is not peripheral but rather central to the speculative tradition and to human existence as such. In Dewey's terms, aesthetics is “experience in its integrity.” Its personal ground is in “the heart,” which is the (...) dispositional ground formed by genetic, cultural, and personal historical factors by which we are spontaneously moved and, in turn, are inclined to move, both practically and theoretically, in certain directions. Prepared for use by the student as well as the philosopher, _Placing Aesthetics_ aims to recover the fullness of humanness within a sense of the fullness of encompassing Being. It attempts to overcome the splitting of thought, even in philosophy, into exclusive specializations and the fracturing of life itself into theoretical, practical, and emotive dimensions. (shrink)

Can it be rational to be religious? Robert Audi gives a persuasive positive answer through an account of rationality and a rich, nuanced understanding of what religious commitment means. It is not just a matter of belief, but of emotions and attitudes such as faith and hope, of one's outlook on the world, and of commitment to live in certain ways.

Robert Cummins argues that any causal theory of mental content (CT) founders on an established fact of human psychology: that theory mediates sensory detection. He concludes,.

Robert Schofield explores the rational elements of British experimental natural philosophy in the 18th century by tracing the influence of two opposing concepts of the nature of matter and its action—mechanism and materialism. Both concepts rested on the Newtonian interpretation of their proponents, although each developed more or less independently. By integrating the developments in all the areas of experimental natural philosophy, describing their connections and the influences of Continental science, natural theology, and to a lesser degree social and (...) institutional changes, the author demonstrates that mechanistic concepts dominated interpretations from about 1687 to 1740, when they were replaced by materialistic concepts. A revival of the mechanistic approach early in the next century made England a fertile field for ideas on the dynamic interaction of forces. Originally published in 1970. 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 paperback editions preserve the original texts of these important books while presenting them in durable paperback 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)

Janna Lea Thompson, one of Australia’s most distinguished philosophers, died on 24 June 2022, only a few months after being diagnosed with multiple brain tumours. She was, fortunately, largely free...

From ancient Greece to 19th-century America, this collection traces the history of civilization through the seminal works of its most influential thinkers ...

Philosophy develops the direction towards the Whole opened up by the Notion of Being that makes the mind to be a mind. It isgrounded in awe that can increase as inquiry continues, though it tends to fall back into the routines of its exercise, like every otherhuman activity. In a time when it is common to think of ourselves as just another combination of elements in the evolutionary universe,reflection upon our own awareness turns the tables on materialists by re-minding the (...) earliest phases called “mere matter” and setting the cosmos back into the encompassing realm of absolute Mystery. (shrink)