This article shows how descriptive imagery can be used to hijack evolved psychological instincts and prejudice the judgment of others, particularly in the legal and political domains. By mimicking the cues that represented threats to our ancestors, those wishing to color the perception of others can subtly trigger the affective responses that evolved to help navigate ancestral threats. When this happens, logic may be unseated in favor of deep-seated instinctual responses, often to a problematic degree. In this way, lawyers, (...) politicians, and activists, taking a page out of the playbook of novelists and other storytellers, can weaponize words, images, descriptions, and narratives to, often improperly, sway the opinions of others. (shrink)

I submit that philosophy makes progress, but it does so in a way that is distinct from the sense in which the word applies to science, and is more akin to what happens in allied fields such as mathematics and logic. I develop a model of philosophy as “evoking” (to use L. Smolin's term) a series of peaks in conceptually defined but empirically constrained, landscapes, or what N. Rescher calls “aporetic clusters.” I also discuss empirical evidence for the existence (...) of such clusters, following a statistical survey of philosophers’ views about their own field, carried out by D. Bourget and D.J. Chalmers. (shrink)

Though my ultimate concern is with issues in epistemology and metaphysics, let me phrase the central question I will pursue in terms evocative of philosophy of religion: What are the implications of our logic-in particular, of Cantor and G6del-for the possibility of omniscience?

This paper contributes to the calculization of evocation and erotetic implication as defined by Inferential Erotetic Logic (IEL). There is a straightforward approach to calculizing (propositional) erotetic implication which cannot be applied to evocation. First-order evocation is proven to be uncalculizable, i.e. there is no proof system, say FOE, such that for all X, Q: X evokes Q iff there is an FOE-proof for the evocation of Q by X. These results suggest a critique of the represented approaches to (...) calculizing IEL. This critique is expanded into a programmatic reconsideration of the IEL-definitions of evocation and erotetic implication. From a different point of view these definitions should be seen as desiderata that may or may not play the role of a point of orientation when setting up "rules of asking". (shrink)

Inferential erotetic logic and inquisitive semantics give accounts of questions and model various aspects of questioning. In this paper we concentrate upon connections between inquisitiveness, being the core concept of INQ, and question raising, characterized in IEL by means of the concepts of question evocation and erotetic implication. We consider the basic system InqB of INQ, remain at the propositional level and show, inter alia, that: a disjunction of all the direct answers to an evoked question is always inquisitive; (...) a formula is inquisitive if, and only if it evokes a yes–no question whose affirmative answer expresses a possibility for the formula; inquisitive formulas evoke questions whose direct answers express all the possibilities for the formulas, and each question erotetically implies a question whose direct answers express the possibilities for the direct answers to the implying question. (shrink)

The concepts of question evocation and erotetic implication play central role in Inferential Erotetic Logic. In this paper, deduction theorems for question evocation and erotetic implication are proven. Moreover, it is shown how question evocation by a finite non-empty set of declaratives can be reduced to question evocation by the empty set, and how erotetic implication based on a finite non-empty set of declaratives can be reduced to a relation between questions only.

It is clear that in the eyes of a growing number of humanitarian fieldworkers and decision-makers, palliative care is something humanitarian organizations should strive to provide as they address the needs of populations affected by crises. What remains less clear are the moral justifications underlying the push to do so. This chapter dives beneath surface prescriptions of what “ought to be” the place of palliative care within humanitarian response. It presents and analyses a series of evocative statements made by (...) 24 humanitarian healthcare actors about why, on what bases, and with what caveats, care for the dying deserves more attention within humanitarian healthcare response. Embedded in these statements are sometimes explicit, sometimes implicit ideas about what it means be a human and a humanitarian, and what humans need and deserve. Clarifying the experiences, practical considerations, understandings of care and responsibility, and norms and values underlying these feelings renders these available for more thorough reflection, discussion, and debate. (shrink)

In recent years, the e ffort to formalize erotetic inferences (i.e., inferences to and from questions) has become a central concern for those working in erotetic logic. However, few have sought to formulate a proof theory for these inferences. To fill this lacuna, we construct a calculus for (classes of) sequents that are sound and complete for two species of erotetic inferences studied by Inferential Erotetic Logic (IEL): erotetic evocation and regular erotetic implication. While an attempt has been (...) made to axiomatize the former in a sequent system, there is currently no proof theory for the latter. Moreover, the extant axiomatization of erotetic evocation fails to capture its defeasible character and provides no rules for introducing or eliminating question-forming operators. In contrast, our calculus encodes defeasibility conditions on sequents and provides rules governing the introduction and elimination of erotetic formulas. We demonstrate that an elimination theorem holds for a version of the cut rule that applies to both declarative and erotetic formulas and that the rules for the axiomatic account of question evocation in IEL are admissible in our system. (shrink)

We are concerned with two modes of describing the dynamics of natural systems. Global descriptions require simultaneous global coordination of all dynamical operations. Global dynamics, including mechanics, remain invariant in the absence of external perturbation. But, failing impossible global coordination, dynamical operations could actually become coordinated only locally. In local records, as in global ones, the law of the excluded middle would be strictly observed, but without global coordination it could only be fullfilled sequentially by passing causative factors forward onto (...) subsequent contiguous operations.The local dynamics of sequential operations would be indefinite with regard to how commitments will be made which will avoid violating the law of the excluded middle, but any resulting record will be as definite as if there had been global coordination. While maintaining an agential capacity for making contingent choices internally, local dynamics could be cumulated into a global record of seemingly simultaneous operations. Natural selection within a framework of local dynamics would have a capacity for making opportunistic commitments, but its effects in a posterior record can be reduced to the mechanistic neodarwinian version as if there had been a global dynamics. However, the resulting global description falsifies the actual material nature of the dynamics. (shrink)

Drawing inspiration from the notion of evocation employed in inferential erotetic logic, we defend an ‘evoked questions norm’ on inquiring attitudes. According to this norm, it is rational to have an inquiring attitude concerning a question only if that question is evoked by your background information. We offer two arguments for this norm. First, we develop an argument from convergence. Insights from several independent literatures (20th-century ordinary-language philosophy, inferential erotetic logic, inquisitive epistemic logic, and contemporary zetetic epistemology) (...) all converge on the evoked questions norm. Second, we show that suitably interpreted, the evoked questions norm correctly predicts several underappreciated kinds of bad questions. It does this, in part, by recovering versions of previously defended ignorance and knowledge norms. Some of those bad questions cannot be predicted by either norm singly, but only when corporately taken to reflect a common normative category. We identify this category as evocation. (shrink)

This is surely a bit of Socrates' famous irony. He draws the analogy to explain how his friends should regard poetry as they regretfully banish it from the ideal state. But lovers were no more sensible then than they are now. The advice to banish poetry, undermined already by Plato's own delight and skill in drama, is perhaps undermined still further by this evocation of a 'sensible' lover who counts love so well lost. Yet Socrates' image is one of avowed (...) rationality and prudence. The sensible lover imitates the older literary example of Ulysses' tying himself to the mast. (The example belongs therefore to the class of problems treated in Elster (1979)). Both this lover and Ulysses foresee that under certain possible future conditions, their opinions, values and preferences will or would differ from what they are now, in a very definite fashion. To what extent is such foresight possible? Correspondingly (when we do not claim foreknowledge) to what extent is such opinion reasonable, rational, coherent, or consistent in some suitably broad sense? It is not easy to understand exactly what is possible or even logically permissible in this respect. In an earlier paper, "Belief and the Will", I argued for a principle ("Reflection") to govern such deliberation. Here I will both generalize the treatment of opinion in "Belief and the Will" and respond to criticism. Critical examples mainly resembled the story of Ulysses who foresaw a period of dysfunction (at the sound 2 of the sirens) in his epistemic and/or doxastic future. Other criticism focused on the model of opinion used (precise numerical subjective probability) and on the merits of Dutch Book arguments. The present argument will not rely on Dutch Book arguments and strategies, and the Reflection principle will be formulated so as to apply also to vague opinion. (shrink)

When celebrated neuropsychologist Paul Broks's wife died of cancer, it sparked a journey of grief and reflection that traced a lifelong attempt to understand how the brain gives rise to the soul. The result of that journey is a gorgeous, evocative meditation on fate, death, consciousness, and what it means to be human. The Darker the Night, The Brighter the Stars weaves a scientist's understanding of the mind - its logic, its nuance, how we think about what makes (...) a person - with a poet's approach to humanity, that crucial and ever-elusive why. It's a story that unfolds through the centuries, along the path of humankind's constant quest to discover what makes us human, and the answers that consistently slip out of our grasp. It's modern medicine and psychology and ancient tales; history and myth combined; fiction and the stranger truth. But, most importantly, it's Broks' story, grounded in his own most fascinating cases as a clinician--patients with brain injuries that revealed something fundamental about the link between the raw stuff of our bodies and brains and the ineffable selves we take for who we are.Tracing a loose arc of loss, acceptance, and renewal, he unfolds striking, imaginative stories of everything from Schopenhauer to the Greek philosophers to jazz guitarist Pat Martino in order to sketch a multifaceted view of humanness that is as heartbreaking at it is affirming. (shrink)

In his latest book Christopher Bollas uses detailed studies of real clinical practice to illuminate a theory of psychoanalysis which privileges the human impulse to question. From earliest childhood to the end of our lives, we are driven by this impulse in its varying forms, and _The Infinite Question_ illustrates how Freud's free associative method provides both patient and analyst with answers and, in turn, with an ongoing interplay of further questions. At the book's core are transcripts of real analytical (...) sessions, accompanied by parallel commentaries which highlight key aspects of the free associative method in practice. These transcripts are contextualised by further discussion of the cases themselves, as well as a wider theoretical framework which places its emphasis on Freud's theory of the logic of sequence: by learning to listen to this free associative logic, Bollas argues, we can discover a richer and more complex unconscious voice than if we rely solely on Freud's theory of repressed ideas. Bollas demonstrates, in an eloquent and persuasive manner, how the Freudian position of evenly suspended attentiveness enables the analyst's unconscious to catch the drift of the patient's own unconscious. He also shows that to stimulate further questioning is often of more benefit to the analytical process than to jump to an interpretation. Yet whatever fascinating course a session may take, neither the patient nor the analyst can halt the progress of the self-propelling interrogative drive. _The Infinite Question_ will be invaluable to both the new student and the experienced psychoanalyst, read either on its own or as a practice-based extension of the theoretical ideas elaborated in its companion volume, _The Evocative Object World_. (shrink)

We present a theory of human artistic experience and the neural mechanisms that mediate it. Any theory of art has to ideally have three components. The logic of art: whether there are universal rules or principles; The evolutionary rationale: why did these rules evolve and why do they have the form that they do; What is the brain circuitry involved? Our paper begins with a quest for artistic universals and proposes a list of ‘Eight laws of artistic experience’ -- (...) a set of heuristics that artists either consciously or unconsciously deploy to optimally titillate the visual areas of the brain. One of these principles is a psychological phenomenon called the peak shift effect: If a rat is rewarded for discriminating a rectangle from a square, it will respond even more vigorously to a rectangle that is longer and skinnier that the prototype. We suggest that this principle explains not only caricatures, but many other aspects of art. Example: An evocative sketch of a female nude may be one which selectively accentuates those feminine form-attributes that allow one to discriminate it from a male figure; a Boucher, a Van Gogh, or a Monet may be a caricature in ‘colour space’ rather than form space. Even abstract art may employ ‘supernormal’ stimuli to excite form areas in the brain more strongly than natural stimuli. Second, we suggest that grouping is a very basic principle. The different extrastriate visual areas may have evolved specifically to extract correlations in different domains , and discovering and linking multiple features into unitary clusters -- objects -- is facilitated and reinforced by direct connections from these areas to limbic structures. In general, when object-like entities are partially discerned at any stage in the visual hierarchy, messages are sent back to earlier stages to alert them to certain locations or features in order to look for additional evidence for the object . Finally, given constraints on allocation of attentional resources, art is most appealing if it produces heightened activity in a single dimension rather than redundant activation of multiple modules. This idea may help explain the effectiveness of outline drawings and sketches, the savant syndrome in autists, and the sudden emergence of artistic talent in fronto-temporal dementia. In addition to these three basic principles we propose five others, constituting a total of ‘eight laws of aesthetic experience’. (shrink)

"This book is a collection of superbly crafted essays on some fundamental texts of modern and contemporary philosophy. All were first published elsewhere in French. The translation here is accurate and graceful. Typically the author comments on works in which one philosopher engages in dialogue with another: Hegel with Hobbes, Hegel and Heidegger with Kant, Heidegger with Husserl, Merleau-Ponty with Husserl.... All of these essays repay a second or third reading, but the pieces on 'Hegel and Hobbes' and 'Heidegger and (...) Husserl's Logical Investigations' seem to have an exceptionally evocative character." --Review of Metaphysics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Daoism, Practice, and Politics:From Nourishing Life to Ecological PraxisEric S. Nelson (bio)I. Daoism's Multiple ModelsManhua Li, Yumi Suzuki, and Lisa Indraccola have offered evocative insights, questions, and alternatives in their contributions concerning the arguments of Daoism and Environmental Philosophy: Nourishing Life (Nelson 2021). The present brief response and sketch of the book will not address every point in their essays, but I will strive to reply, directly and (...) indirectly, to their primary concerns.First, it should be noted that I take a pluralistic conception of 'Daoisms' as my point of departure. This is necessary since Daoist studies have been hampered by overly ahistorical and one-sided definitions that prioritize one philosophical or religious moment (such as skepticism or mysticism) in historically complex and varied transmissions that encompass a multiplicity of texts and perspectives. Due to the fact of the plurality of incompatible kinds of Daoism in Chinese antiquity and in subsequent history, my text considers a range of early Daoist and Daoist-related perspectives in the context of their potential consequences for environmental philosophy, ethics, and politics. Consequently, my approach is primarily philosophical without limiting any text to being exclusively philosophical, religious, or rigidly committed to one perspective, which would be untrue to the sources themselves.Second, examining distinctive tendencies (modifying Graham 1989 and Liu 1994) in the Daodejing 道德經, the Zhuangzi 莊子, and related texts enables us to articulate distinctive and conflicting ecological, ethical, and political paradigms. In place of constructing a mythologizing ideological construction of 'Chinese culture' and Daoism as intrinsically 'Green', a familiar essentializing tendency that has provoked skepticism regarding the very possibility of Daoist environmental philosophy, my book provides a different 'critical Daoist' strategy. This alternative entails that Daoist exemplars can be deployed as therapeutic models in the present, while at [End Page 792] the same time confronting their ideological codifications and uses. Early Daoist sources have roamed on long intercultural journeys. The Daodejing and the Zhuangzi have provided elements for European thinking about civilization, technology, and nature from Martin Buber and Martin Heidegger (Nelson 2017) to Peter Sloterdijk's 'Euro-Taoism' (Sloterdijk 1989) to contemporary progressive Green movements (Joshi 2022) and even ecofascism (Lubarda 2020). Similarly, in the current Chinese context, Green Daoism has both critical and authoritarian ideological functions in visions of 'ecological civilization' (shengtai wenming 生態文明) (Schönfeld and Chen 2019) and fears of a 'green leviathan'. Accordingly, it is not accidental that my anarchistic and participatory democratic interpretation of one key thread, which I call 'ziranist' and clarify below, in early Daoist and Wei-Jin mysterious-learning (xuanxue 玄學) discourses, has led to the most intense discussions and controversies about this book. These include the contributions by Li, Suzuki, and Indraccola that propose questions and alternative possibilities concerning agency and responsiveness, authority and self-determination, freedom and fate, and adaptation and intervention, as well as purposive techniques and anti-purposive uselessness.Third, this hermeneutical strategy points toward the tertiary aspect of our preliminary definition of Daoism. It does not primarily name a philosophical theory or a religious worldview. It concerns shifting, overlapping, and diverging ensembles of discourse and practice. This is not the vague ahistorical idea of 'a way of life' but rather refers to how philosophy is enacted through a specific configuration of—to adopt early Greek expressions—logos as dis-course (e.g., argumentation, hermeneutics, logic, rhetoric), ethos (e.g., comportment, orientation, a way of dwelling), and praxis (practices of the self, with others, and with things and nature). Thus, the Laozi 老子 and Zhuangzi collections can be analyzed textually and conceptually as having multiple threads (drawing on a variety of authors and sources) that form constellations in the received texts with better and worse historical, practical, and conceptual readings. My interpretive strategy in this discussion, which does not exclude other approaches, is that these texts express forms of practical instead of merely speculative philosophy. They are suggestive of an ethos of relational freedom, irreducible to rules and techniques, which dismantles hypostatized experiential and linguistic fixations, including moralistic fixations, in order to freely encounter the myriad things and enact and practice the dao in one's own singular way.'Critical Daoism', therefore, serves as a pluralistic, diagnostic, and practical designation... (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:THE PLACE OF RENE GIRARD IN CONTEMPORARY PHILOSOPHY Guy Vanheeswijck University ofAntwerp and ofLeuven Iwould like to start by quoting a text which is likely to be recognized by everyone, who is even on a superficial level familiar with the work of René Girard: Desire that bears on a natural object is only human to the extent that it is mediated by the desire of another bearing on the (...) same object: it is human to desire what others desire, because they desire it. Thus an object that is perfectly useless from a biological point of view (such as a medal, or the enemy's flag) can be desired because it is the object of other desires. Such a human desire, and human reality as it differs from animal reality, is only created by the action that satisfies such desires. Human history is the history of desires that are desired [Désirs désirés]. Undoubtedly, these could be words written by Girard. However, they are not. These words are quoted from the famous lectures given by Alexandre Kojève on Hegel's Phänomenologie des Geistes at the Ecole pratique des hautes études between 1933 and 1939. They were followed by what would become the crème ofpost-war French philosophy: Raymond Aron, Georges Bataille, Alexandre Koyré, Pierre Klossowski, Jacques Lacan, Maurice Merleau-Ponty, Jean-Paul Sartre.' Kojève's interpretation ofHegel has, as generally known, become the point ofreference to the post-war twentieth ' Although Sartre himselfcould not attend the lectures (at that time he taught philosophy in Le Havre en Laon), he must have heard from it by way of Aron or Merleau-Ponty. 96Guy Vanheeswijck century philosophy in France. Before 1930 the word "dialectic" was burdened with an odium of sin, after 1930 it became a word—thanks to Kojève —radiant with prestige. Before 1930 there had been no talk of an Hegelian school whatsoever in France, after 1930 the situation changed so drastically that Merleau-Ponty was able to write these often quoted lines in 1946: Hegel is at the origin of everything that has been great in philosophy for over a century; for example Marxism, Nietzsche, phenomenology and German existentialism, psychoanalysis. He inaugurates the attempt to explore the irrational and to integrate it within a wider rationality that remains the philosophical task of our century. (Sens et non-sens 109-110) Half a century later, these words have lost their self-evident character. While the generation of French thinkers between 1930 and 1960 stresses its dependence on Hegel, the generation after 1960 heavily reacts against him. In 1970 Michel Foucault gave his inaugural speech at the Collège de France. On behalf of his generation he testified to a generalized antiHegelianism at that moment: "Our entire epoch, whether through logic or epistemology, whether through Marx or Nietzsche, seeks to evade Hegel's Imperium [échapper à Hegel] (L'Ordre du discours 74). Obviously, René Girard belongs to the second generation, which, on the one hand, embroiders on the theme ofdesire, borrowed from Kojève's interpretation ofHegel, but, on the other, in its search for answers precisely wishes to get rid of Hegel. But, is it correct to call René Girard a philosopher? His schooling was that of an historian. In 1947 he graduated in Paris as an archivistepal éographe at the Ecole de Chartres: his thesis was "La vie privée à Avignon dans la seconde moitié du XVe siècle." Three years later—in the meantime he had emigrated to the United States—he received his Ph.D. at the faculty of history of the University of Indiana. The topic of his dissertation was "American opinion ofFrance, 1940-1943." However, he has never worked as a professional historian. He owes his reputation first and foremost to his literary analyses, subsequently to his research in anthropology, finally to his exegesis ofthe Bible. Time and again, Girard has expressed his preference for literature to both humanities and philosophy. Human behavior is, in his view, much less elucidated by the conceptual structures of discursive philosophy than by the evocative force of a Greek tragedy, the Biblical passion story or a modern novel. One might retort that René Girard... (shrink)

Theology usually appears to us to be dogmatic, judgmental, condescending, maybe therapeutic, or perhaps downright fantastical--but seldom enticing. Divine Enticement takes as its starting point that the meanings of theological concepts are not so much logical, truth-valued propositions--affirmative or negative--as they are provocations and evocations. Thus it argues for the seductiveness of both theology and its subject--for, in fact, infinite seduction and enticement as the very sense of theological query. The divine name is one by which we are drawn toward (...) the limits of thought, language, and flesh. The use of language in such conceptualization calls more than it designates. This is not a flaw or a result of vagueness or imprecision in theological language but rather marks the correspondence of such language to its subject: that which, outside of or at the limit of our thought, draws us as an enticement to desire, not least to intellectual desire. Central to the text is the strange semiotics of divine naming, as a call on that for which there cannot be a standard referent. The entanglement of sign and body, not least in interpretations of the Christian incarnation, both grounds and complicates the theological abstractions. A number of traditional notions in Christian theology are reconceived here as enticements, modes of drawing the desires of both body and mind: faith as "thinking with assent"; sacraments as "visible words" read in community; ethics as responsiveness to beauty; prayer as the language of address; scripture as the story of meaning-making. All of these culminate in a sense of a call to and from the purely possible, the open space into which we can be enticed, within which we can be divinely enticing. (shrink)

To examine Heidegger's pedagogy is to be invited into a particular era and cultural reality—starting in Weimar Germany and progressing into the rise and fall of the Third Reich. In his attempt to reform the German university in a strictly hierarchical, authoritarian and nationalistic mold, Heidegger addressed one group of students and professors and not another. The petit‐bourgeois student and the future philosophers he invited with his ‘logic of recruitment’ into the corps of instructors, would share his coded language (...) with its built‐in taboos and censorship. The result was a rhetoric of absolute self‐reference and a semiotic of pure propaganda, based on the evocation of the ancient Greeks in which the philosopher meant to project all that was properly Germanic. Heidegger's rhetoric is exclusionary; its politics and its philosophy are interpenetrating. His lecture courses grew increasingly poeticized, and thus mired in ambiguity, evasion, elision, avoidance, grandiloquence. Parallels are drawn in this essay between Heidegger and our time. Is Heidegger's insistence on autocratic controls within the German university comparable to the corporate positions taken today by some educators? How does the shifting relation between disciplines affect the role of the specialist? How might the sciences morales or humanities, along with the much maligned ‘humanism’, be redefined morally and holistically? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:522 BOOK REVIEWS The Reason of Following: Christology and the Ecstatic I. By ROBERT P. ScHARLEMANN. Chicago: University of Chicago Press, 1992. Pp. 214. $32.50 (cloth). Robert P. Scharlemann is Commonwealth Professor of Religious Studies at the University of Virginia. Writing in the tradition of Bultmann 's observation that speaking of God requires speaking of oneself, he conceives of christology as a distinctive form of reason, a philosophical /theological (...) anthropology in which the logic of discipleship occupies a prominent place. Accordingly, The Reason of Following is a sustained pursuit of " an articulated understanding of the nature and constitution of human being" (p. 1), a theme which Scharlemann sees as a component of christology which has wrongly been eclipsed by other dimensions in more traditional presentations. The goal of Scharlemann's work is to bring into view " the nature of the relation that is implied when it is reported, for example, that Jesus said' Follow me! ' and there were those who 'immediately' followed.... What is the nature of the ' following ' on the part of those who will ' immediately ' follow the summons of one whose name is ' I am '? And who is the ' I ' of the ' I am ' in the person who makes the summons? " (p. 88). Each of the four themes sounded in this cita· tion-the call to discipleship, the immediacy of following, the identification of Jesus as ' I am,' and the designation of the specifics of the disciples' relationship to Jesus as an example, but no more than an ex· ample, of a broader possibility of human existence-is a fundamental element in Scharlemann's conception of christology. Operating on the principle that the traditional definition of a human being as a rational animal can be replaced by the existential definition " ' I ' am here " (cf. p. ix), Scharlemann devotes two lengthy introductory chapters to explicating the significance of this shift from " what " a human being is to " where " and " when " it is. Dr.awing especially on Descartes, Luther, Kierkegaard, Heidegger, and Fichte, his studies of the subjectivity and being of the self accent the import· ance of the I as subject and explore the differences between the I of pure actuality shown in the method of doubt, the I of pure possibility shown in the anticipation of death, and the I of pure freedom shown in the evocation of trust. Against this background, reflections on the na· ture of following envisage an additional possible I, one summoned by the call to be wholly in the world, in finite freedom. Before investigating the christological relation as " a rational form of its own" (p. viii), Scharlemann offers a preliminary analysis of modes of thinking. Distinguishing between thinking ("the openness BOOK REVIEWS 523 of the self to what is other than thinking" [p. 62]) and reason ("the configuration of this openness" [p. 62], i.e., "a definite way in which the self is related to its other through an activity " [p. 103] ), he argues that thinking always appears in one of two basic modes: understanding of being, or faith in God. These two modes-not to he confused with forms of reason-cover the entire field of thinking: " When we trust anyone at all, we are trusting God, just as, when we understand anything at all, we understand being" {p. 76). While aware that his implied definition of faith differs from those of the Christian theological tradition and is not serviceable for purposes of historical theology, Scharlemann opts nonetheless for a terminology which draws " as clearly as possible the parallel between faith and understanding as two modes of thinking whose own object is as such beyond the understanding of being and the faith in God " (p. 77). Turning to the specific form of reason which is the hook's chief concern, Scharlemann devotes a central chapter to " The Exstantial I in Christological Reason." After a critique of traditional christologies, he adumbrates a christology which seeks to depict the self of discipleship as one in which " the other to which the self relates itself is the inwardness of the self without being a projection from that inwardness " (p. 96). Appealing to the principle that the notion of the self as related to... (shrink)

Reasons and reasoning were central to the work of Paul Grice, one of the most influential and admired philosophers of the late twentieth century. In the John Locke Lectures that Grice delivered in Oxford at the end of the 1970s, he set out his fundamental thoughts about these topics; Aspects of Reason is the long-awaited publication of those lectures. This immensely rich work, powerfully evocative of the mind of its author, will refresh and illuminate discussions in many areas of (...) contemporary philosophy. (shrink)

Most Gentzen systems arising in logic contain few axiom schemata and many rule schemata. Hilbert systems, on the other hand, usually contain few proper inference rules and possibly many axioms. Because of this, the two notions tend to serve different purposes. It is common for a logic to be specified in the first instance by means of a Gentzen calculus, whereupon a Hilbert-style presentation ‘for’ the logic may be sought—or vice versa. Where this has occurred, the word (...) ‘for’ has taken on several different meanings, partly because the Gentzen separator ⇒ can be interpreted intuitively in a number of ways. Here ⇒ will be denoted less evocatively by ⊲.In this paper we aim to discuss some of the useful ways in which Gentzen and Hilbert systems may correspond to each other. Actually, we shall be concerned with thededucibility relationsof the formal systems, as it is these that are susceptible to transformation in useful ways. To avoid potential confusion, we shall speak of Hilbert and Gentzenrelations. By aHilbert relationwe mean any substitution-invariant consequence relation onformulas—this comes to the same thing as the deducibility relation of a set of Hilbert-style axioms and rules. By aGentzen relationwe mean the fully fledged generalization of this notion in whichsequentstake the place of single formulas. In the literature, Hilbert relations are often referred to assentential logics. Gentzen relations as defined here are their exactsequentialcounterparts. (shrink)

This book's quirky title and strikingly beautiful cover will grab attention on any bookshelf. The image comes from an old watercolor tourism advertising poster, dreamily evocative of paradisiacal pristine lakes and towering mountains. The title comes from a supposed quote by an early nineteenth-century female convict who declared that what would make her life perfect would be "Duck and Green Peas! For Ever!".1There is much to enjoy about this book. It is written in a nonacademic, at times humorous, manner; (...) is well illustrated; and follows a logical format.The book opens with early explorers' fantasies of the lives of indigenous Tasmanians. While some regarded them as debased, not-quite-human, others thought... (shrink)

This article develops an existential perspective on what has been called ‘narcissism’. Using both the psychoanalytic tradition and the literary myth of Narcissus as ‘touchstones’, it unfolds a view of existential dilemmas and possibilities that are announced by this discourse. As such, it seeks to clarify the existential task of embodying human vulnerability – a journey that is potentially the source and depth of human compassion. With the help of the perspectives of A. H. Almaas and Eugene Gendlin, the phenomenon (...) of ‘soulful space’ is named, and pursued in both logical and evocative ways. 'Soulful space' is articulated as an existential achievement and an alternative response to the call of Narcissus: an embodiment of both vulnerability and freedom; a freedom-wound that grounds interpersonal empathy and openness. Indo-Pacific Journal of Phenomenology , Volume 4, Edition 1 July 2004. (shrink)

There is a structural proximity between the concept of the sublime and that of anguish; a proximity that, however, does not prevent the scene from being very different in terms of the affects involved. With regard to structure, at stake is a field that involves the pulsating, differential simultaneity of absence and presence, death and life. The principle of mutual exclusion is replaced by the logic of contradictory inclusion. I will limit myself, in this context, to recounting a brief (...) stretch of the history of the sublime, little travelled, in which the juxtaposition with anguish, a heterozygotic twin, brings to the fore the sameness of their structure - centred on the synchrony of opposites - and the inversion of the affects involved. The authors I will summon, in this brief stretch, are Jean-François Lyotard, as regards the sublime, and Jacques Lacan, as regards anguish. The theory of the sublime and that of anguish are frequently accompanied by the metaphorical evocation of membranes, tissue partitions. In what sense do the feeling of the sublime and the affection of anguish have to do with these tissue lacerations that, although belonging to the body, are, in truth, hors-corps? They are organs or parts of organs with such a slender structure as to be almost unreal, they are freed and go their own way, bearers of a pure life that slips and swirls, to the point of disquieting for a trait of immortality that they carry with them. (shrink)

Il XII secolo rappresenta per il mondo monastico un periodo di grande splendore dal punto di vista culturale e filosofico, in particolare grazie a figure come Bernardo di Chiaravalle e Guglielmo di Saint-Thierry, la cui riflessione rappresenta da una parte la maturità della tradizione monastica altomedievale, dall’altra il coronamento e la chiusura di un periodo, più che l’apertura di uno nuovo.Paradossalmente il XII secolo segna anche un periodo di crisi profonda, in cui i monaci, che per secoli sono stati al (...) centro dei dibattiti teologici e filosofici, sembrano lasciare il posto agli ordini mendicanti. Nel secolo successivo i francescani raccolgono in un certo senso l’eredità monastica, riprendendola in modo originale, come Guglielmo ha fatto con Agostino, riuscendo così a renderla capace di partecipare ai nuovi dibattiti filosofici e a trovare posto all’interno degli ambienti universitari. Un esempio chiaro è offerto da Bonaventura da Bagnoregio, uno dei più grandi rappresentanti nel XIII secolo della tradizione agostiniana rivista alla luce dell’ispirazione francescana. Bonaventura riprende dalla tradizione monastica alcuni temi: la superiorità dell’amore, della volontà e del bene sull’intelletto, la centralità della relazione e dell’analogia nel rapporto tra uomo e Dio. Il linguaggio del filosofo francescano è in un certo senso simile a quello usato da Guglielmo: non è semplicemente evocativo, letterario e platonico, in quanto condivide le forti esigenze logiche e la nuova terminologia caratteristica dell’aristotelismo diffuso nell’università parigina.Prendendo in esame la riflessione di Bonaventura, con particolare riferimento a Legenda maior e a Itinerarium mentis in Deum, e prestando attenzione ai temi riconducibili alla tradizione agostiniana e monastica, si può cercare di chiarire fino a che punto esista un legame con tale tradizione e quanto ci sia invece di originale e tipicamente francescano. The twelfth century is a period of great splendor for the monastic world from the cultural and philosophical point of view, thanks to philosophers like Bernard of Clairvaux and William of Saint-Thierry in particular. Their philosophical thought represents not only the maturity of the early medieval monastic tradition and its crowning achievement, but also the closing of a period, rather than the opening of a new one.Paradoxically, the twelfth century is also a period of profound crisis, in which the monks, who for centuries have been at the center of theological and philosophical debates, seem to leave their place to mendicant religious orders. In a sense, during the following century the Franciscans collect the monastic legacy, recovering it in an original way, as William of Saint-Thierry did with Augustine’s philosophy. The Franciscans also succeed in making this inheritance capable of participating in the new philosophical debates, also in university environments. A clear example is Bonaventure from Bagnoregio, one of the most important philosopher in the thirteenth century that recovered the Augustinian tradition reconsidering it thanks to his Franciscan inspiration. Bonaventure picks up from the monastic tradition some themes: the superiority of love, of will and of good over the intellect, the importance of relationship and of analogy in the link between man and God. In a sense we can say that the language of the Franciscan philosopher is similar to William’s language: it isn’t simply evocative, literary and platonic, because it shares the strong logical requirements and the new terminology of Aristotelianism spread in Parisian university.Considering Bonaventure’s philosophy, focusing on Legenda maior and Itinerarium mentis in Deum, and paying attention to the themes related to the Augustinian and monastic tradition, we can try to clarify the link with this tradition and what on the contrary is original and “typically Franciscan”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Heidegger’s Craving Being-on-SchellingDavid L. Clark (bio)What we call spirit exists by virtue of itself, a flame that fuels itself. However, because as something existing, it is opposed by Being, the spirit is consequently nothing but an addiction to such Being, just as the flame is addicted to matter. The most base form of the spirit is therefore an addiction, a desire, a lust.—Friedrich Schelling, Stuttgart Private Lectures1. Just Say (...) NoHow not to speak of addiction? We know from Derrida that in talking this way we are always asking two overlapping questions, 1 both of which remind us that what is still confusedly called “addiction”—and with it, a host of related concepts ranging from “drugs” and “toxicity” to “dependence” and “simulation”—is perhaps best held open as a question or, rather, in the strange space between two questions, quite possibly more. First, an interrogative: a query that calls for a certain vigilance and responsibility when it comes to thinking about addiction, and that draws attention to the ways in which addiction is figured, the rhetorics or tropologies as well as the knowledges of addiction. Like mourning and longing, Schellingian philosophemes to which it is closely related and to which I will return in this essay, addiction is among other things a figure of understanding, to use Tilottama Rajan’s evocative phrase. 2 As a figure, so the first question goes, “addiction” deserves to be written and to be read slowly, not only for what might be called “political” reasons, which is to say, reasons having to do with the normalizing efficiency that comes of speaking the word too quickly, of claiming to know “who” the addict is as such and “what” it means to be addicted, but also because when it comes to addiction—again, like mourning and longing—we are dealing with a term that is irreducibly allegorical in nature, a term that inevitably says more than it says. One could almost say that “how not to speak of addiction” means “let us try to speak well or properly of addiction, even and especially if this means speaking properly of addiction’s multiple improprieties.” One could almost say this, if “addiction,” understood as a fundamental structure of desire that “holds valid for all possible contents of the world” [Slawney 42], were not precisely that which displaces and disorganizes firm oppositional limits between [End Page 8] propriety and impropriety, as it does between responsibility and irresponsibility, voluntarity and compulsion, delinquency and productivity, sickness and health, the very limits that the medical, juridical, and criminal discourses of addiction often seem most in the service of inscribing and enforcing. But of course the inability unequivocally to speak well (or, for that matter, unwell) of “addiction” in no way suggests that we have nothing to say about it—the collection of papers of which this one forms a small part is proof of that—and this goes to the heart of my second question, not interrogative but rhetorical in kind. “How not to speak of addiction?” also means that there is no way not to speak of it; insofar as addiction names a structure that precedes and exceeds the knowing subject (and is thus “older” than it), that subject is always “speaking” of it, as if answering and answerable to an imperious law, the law of addiction that amounts to an addiction to the law. Addiction there is: that is the strange, anonymous, and always anterior logic of craving, a craving no longer necessarily in thrall to the thought of self-possession and sobriety that Schelling scandalously evokes and explores, and that Heidegger directly pursues in his lectures on Schelling. More: where the human is, so too is “the deepest self-craving [der tiefsten Eigensucht]” [Heidegger, ST 140; 42, 244]. 3 Under these maximally habituated conditions, “how not to speak of addiction?” means that we are not unwilling but incapable of just saying no to a form of radical intoxication. Instead we find ourselves, as ourselves, whether speaking specifically about addiction or not, responding in a kind of passive affirmative to an originary craving, saying yes to addiction even when, in the name of an... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:SHE WHO IS: WHO IS SHE? * ROBIN DARLING y OUNG The Catholic University of America Washington, D.C. WHEN ON AN ordinary Sunday morning in any Catholic church, women sign themselves with the cross, eciting the Trinitarian names of Father, Son, and Holy Spirit as they do it, are they unwittingly, or perversely, conspiring in their own oppression and suffering? What of their prayers to God the Father, or (...) to Jesus their Lord and brother, or their communion with him in the sacrament of the Eucharist? Or what of their salutation and veneration of Mary, called the Blessed Mother? She Who Is begs these particular questions because its author has neglected to consider the import of the Christian sacramental life as she forms a theology which primarily aims to benefit women. But the ·entire direction of the work makes it hard to conclude anything but that the answer to the above would be "yes." Women who profess and practice a Catholicism unreformed by feminist theory must by implication be deluded (at best) or malicious (at worst) because they have failed to realize the connection, personal and communal, between a " classical theism " which has produced masculinized language for God supported by a consonantly oppressive institution, and the worldwide political and economic domination which has yielded massive human suffering, most notably among women. Extend the logic, and it is not too much to say that the hypothetical women of the first paragraph might as well consume without objection every papal pro- *This essay is a review of Elizabeth A. Johnson, She Who Is. The Mystery of God in Feminist Theological Discourse. New York: Crossroad, 1992. Pp. xii + 316. $24.95 (cloth). 323 324 ROBIN DARLING YOUNG nouncement along with right-wing political policy: traditional language for the Godhead is an analogue for the politics of imperialism in church and world. Of course, this connection is only hinted at in the book; references to political realia are allusions only, such as in the following evocation of a feminine God's revolutionary power: [The theological symbol of] She Who Is challenges every structure and attitude that assigns superiority to ruling men on the basis of their supposed greater godlikeness. If the mystery of God is no longer spoken about exclusively or even primarily in terms of the dominating male, a forceful linchpin holding up structures of patriarchal rule is removed (p. 243). The book's actual purpose is to promote a revisionist theological (or thealogical) language in order to repair the damage purportedly done to women by centuries of the other. If the pretended area of discussion is the language we employ to designate the mystery of the Godhead, the actual theater of operations is the language used in the church to communicate the faith and to evangelize. Johnson's book wishes to promote, not primarily theological reflection, but a program of revision in which-based on the premise that since God is unknowable, one set of terms is as good as another-" masculine " language for God will give way to feminized language, in which the deity appears in the image of the female human being. As opposed to the projected imago viri who presides over creation as a remote and unresponsive God, the mother God of Johnson's proposal is essentially a manifestation of the eternal feminine : in a panentheistic theology, She Who Is both plays and suffers with her wounded creatures. When She is recognized, Johnson asserts, " theology will have come of age." Not only that, but justice is more likely to be accomplished on earth. But will the faith of those women, not all of whom are subservient, who live and thrive within the Catholic tradition, have been counted? This is unlikely, because those who have not experienced the feminist "awakening" are in the view of this book primarily missionary objects who remain to be converted. Women who are unaware of their oppression by " classi- SHE WHO IS 325 cal theism " are presumably afflicted by the " false consciousness " with which leftists of this century have characterized those potentially liberated souls who have not yet realized their enslavement. As Johnson herself says, those who disagree exhibit the symptoms of blindness, or "scotosis... (shrink)

The aim of the article is to characterise and analyse Paul Amselek’s research approach to legal hermeneutics. The text provides an outline of Amselek’s assumptions and theses about legal interpretation, considered in the broad context of hermeneutics, and in the narrower context of legal logic and argument. In point of fact, one of the methodological aims of Amselek’s philosophical reflection is to harmonise the two indicated contexts for framing interpretation — the wide context of hermeneutics, and the more narrow (...) context of legal logic and argument. Amselek refers to issues in communication theory, reaching beyond the hermeneutic concept of text interpretation and evocation of the original authorial intention. He analyses the legal text-message in its content and argument layers, he also endeavours to specify the methodological possibilities of interpreting the attitudes and motivations of subjects — participants in communication situation. He also inquires about the ethical attitudes of jurisdiction authorities, performing the interpretation of a body of law — the subjects responsible for lawmaking and the execution of law. Adopting post-Enlightenment anthropological assumptions, Amselek accepts the primacy of rationality in cognition, decision making, and activity of the human individual. However, in his considerations on interpretation he concurrently underscores the role of affective factors, motivating many choices and actions made by legal subjects. (shrink)

The objection raised by Davidson against Kuhn in article "On the Very Idea of Conceptual Scheme" that the argument presented in "The Structure of Scientific Revolution" was inconsistent is incorrect. Kuhn's conception belongs to psychology and sociology and his work could be titled "An Outline of Psychology and Sociology of Scientific Research". Consequently he is interested only and only in psychologi-cal reasons that affect scientists' theoretical decisions. E.g. his considerations concerning neutral observational language are polemous against thesis that language like (...) that could be somehow useful for interpretation of what scientists do and also against thesis that it could be useful for scientists themselves. The difficulty of un-derstanding above paradigmata does not consist on conceptual schemata meant logically as Davidson reads it but on different cognitive attitude and different manual sets of concepts. To explain the controversy logical and psychological concepts of meaning are distinguished. Davidson means the proper, Kuhn does the latter. Psy-chological meaning concists on what associations and feelings are evocated by utterances in the recever's mind. When Kuhn says that after a revolution scientists live in another world he means only that the language with witch they describe the reality has different psychological meaning. And this is that kind of meaning that cannot be translated and is lost when you discuss above paradigmata. From Kuhn's point of view it is possible to translate logical meaning of scientific utterances from before a revolution, and he does it. The psychological meaning can be only described but not translated. (shrink)

Reasons and reasoning were central to the work of Paul Grice, one of the most influential and admired philosophers of the late twentieth century. In the John Locke Lectures that Grice delivered in Oxford at the end of the 1970s, he set out his fundamental thoughts about these topics; Aspects of Reason is the long-awaited publication of those lectures. This immensely rich work, powerfully evocative of the mind of its author, will refresh and illuminate discussions in many areas of (...) contemporary philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.1 (2003) 1-20 [Access article in PDF] Crime, Compassion, and The Reader John E. MacKinnon IN "WRITING AFTER AUSCHWITZ," Günter Grass describes how at the age of seventeen he stubbornly refused to believe the evidence arrayed before him and his classmates of Nazi atrocities, the photographs showing piles of eyeglasses, shoes, hair, and bones. "Germans never could have done, never did do a thing like that," (...) he recalls thinking. And "when the Never collapsed," he and other young Germans were assured that they were free of responsibility. "It took several more years," Grass reports, "before I began to realize: This will not go away; our shame cannot be repressed or come to terms with." Later, he confesses that those of his age "belonged to the Auschwitz generation—not as criminals, to be sure, but in the camp of the criminals." 1Although one would be hard-pressed to find a novel more dramatically different in style and narrative development than Grass's own dark, audacious fables, Bernhard Schlink's The Reader 2 nonetheless shares this fascination with the notion of collective guilt, in particular the burden of inheritance endured by Germany's "second generation." Set in a university town in the late 1950s, the novel tells the story of a high school student, Michael Berg, who falls in love with Hanna Schmitz, a woman twenty years his senior. Though capable of genuine concern and deep affection, Hanna is oddly secretive, often brusque and officious, occasionally given to cruelty and sarcasm, and prone to unpredictable fits of pique. She also has an endearing quirk: she likes Michael to read to her. Eventually, and without explanation, she vanishes from Michael's life. It is seven years before he sees her again, when, as a law student, he attends a trial of concentration-camp guards, one of whom is Hanna. She stands accused, along with four other [End Page 1] women, of serving at both Auschwitz and a satellite camp near Cracow, of being actively involved in the selection of prisoners for almost certain death, and of locking several hundred women in a church, where they burned to death during a bombing raid.In light of testimony given at trial, Hanna's puzzling conduct, and his own recollections of their time together, it finally dawns on Michael that Hanna cannot read, that she was and remains illiterate. But while in retrospect this may explain certain episodes of frustration, incomprehension, and overreaction on her part, does it have any bearing on her guilt? What would Michael himself have done if similarly situated, and similarly limited? Thus, the story of Michael and Hanna serves as an allegory of the relation between the two generations of Germans, those who were Nazis, or who at least assisted or accommodated them, and the "lucky late-born." It is against this background that Schlink is able most searchingly to investigate questions of complicity, recrimination, and atonement.As much courtroom drama as rite-of-passage tale, The Reader is also something of a philosophical investigation. According to Eva Hoffman, in fact, Schlink has managed to compose "a fictionalized essay... a kind of philosophical parable." For all the briskly evocative prose, she adds, The Reader "gradually acquires some of the severity of a legal or logical argument, in which propositions are set forth and then tested from various points of view." 3 In a recent article, Jeremiah P. Conway offers a sympathetic interpretation of the novel, attending in particular to the philosophical issues that it raises. Conway challenges Martha Nussbaum's claim that it is logically incoherent for us to feel compassion for one whom we hold responsible for a morally reprehensible act. 4 For in Hanna, he suggests, we have a compelling counterexample, a fit object of our compassion no less than our condemnation. And yet, Conway's challenge is grounded in an even more fundamental denial that The Reader is at all concerned to establish the circumstances of Hanna's life as mitigating her crime.In what follows, I will argue that this interpretation is untenable... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Foucault's Bad Angels of HistoryLynne HufferDo not believe everything I say.... Look for multiple, resistant, rhizomatic readings. This is not the text I intended to produce, and it is not the same as the text you are reading. Read the white spaces, hear the silences, peer into the shadows, look beyond the margins. Reach for "[t]hat voice at the edge of things." I am there as well.—Juana María RodríguezWhat (...) I put into words is no longer my possession.—Susan HoweIn Mad for Foucault, I make much of the Foucauldian image of book-as-firecracker, bomb, or little explosion, something that lights up for a moment and then disappears into the series of events to which it belongs. If we take this seriously, it amounts to saying, as Rodríguez implies: there are multiple books here, or multiple bits of book, swirling through the ether like meteors. But if we think we might still find the "I" who wrote it, even "at the edge of things"—"I am there as well," Rodríguez says, in the spaces, the silences, and the shadows of the book—that "I" is fractured and dispossessed: "What I put into words is no longer my possession."I begin with an evocation of shattered light and the negative spaces it leaves in its wake as a way to organize my response to these inspiring and challenging commentaries on my engagement with Foucault and queer theory in Mad for Foucault. Both Hengehold and Winnubst offer a double focus, one that splits into questions directed at both the positive and the negative spaces of the book. [End Page 239] The positive space—that which leaps off the page, that which makes Winnubst squirm and raises disagreements for Hengehold—is my discussion of the place of Freudo-Lacanian psychoanalysis in Foucault and in queer theory. I will treat this question of queer Freudo-Foucauldianism in Part 1 of my remarks below. But I also want to heed my interlocutors' invitation to enter the spaces opened up by the book's unsaids. In Part 2 I will address some of Hengehold's concerns about my silence on Foucault and Kant, and in Part 3 I will explore another silence, the historicity of race, in response to Winnubst's questions. This is not to imply that everything has to be said, as if there were some absolute limit between speech and silence. Nor is it to suggest that, once spoken, the silence that haunts me will disappear, like "a shadow in a daydream" (Foucault 1978, 19) dispelled.1. Queer Freudo-FoucauldianismNeither Foucauldian philosophy nor queer theory has paid much attention to History of Madness, despite its obvious importance in Foucault's thinking and in the story he tells about sexuality. One of the effects of bypassing Madness in both fields has been a lack of clarity about the role of psychoanalysis in Foucault's critique of the Western subject and in queer antifoundationalist thinking about sexuality. In that context, Winnubst raises some questions to contest my claims about the place of psychoanalysis in queer theory. Hengehold, for her part, provides a link between psychoanalysis and Kant via a queer Lacanian, death-driven antisocial thesis with "the austerity of a proto-Kantian code."First, regarding Winnubst's assertion that many psychoanalytic concepts work toward the same desubjectivation I find in Foucault: I agree that from a certain perspective, the Lacanian Real, the Borromean knot, the objet a, and the drive can be deployed in myriad contexts for desubjectivating projects of various kinds. As Foucault puts it in The Order of Things, along with anthropology, psychoanalysis is an "inexhaustible treasure hoard of experiences and concepts" (Foucault 1970, 373). But as I insist in my engagement with Judith Butler in Mad for Foucault, the performative, psychoanalytically driven disruption of identity is not the same as Foucauldian desubjectivation; we can see this most clearly if we contrast the undoing of subjectivity that madness signals with a Butlerian dialectical logic whereby the political agency of a subject is achieved by virtue of that subject's failure to cohere as an identity. That dialectical logic is reinforced by... (shrink)

When we view Chopin's later works in the context of his biography, we find a conjunction of real-life machines (trains, the telegraph), mimetic mechanical music (music boxes), and prolific textual variants. Particularly fascinating are several late pieces that feature canons, a form of strict counterpoint that at once evokes the notion of “machine music”—the leading line seems automatically to generate the following line—and produces relatively few textual variants that concern pitch. Variants in the realm of performing indications, though, occur frequently. (...) Chopin worked hard to ensure fidelity of pitch, but—this article shows—in giving the performer leeway to choose among various modes of performance, he ensured a role for individual expression in musical textures otherwise evocative of notions of science and logic. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Solon and Early Greek Poetry: The Politics of ExhortationGregory HaysElizabeth Irwin. Solon and Early Greek Poetry: The Politics of Exhortation. Cambridge Classical Studies. Cambridge: Cambridge University Press, 2005. xiv + 350 pp. Cloth, $90.Thirty years ago we understood archaic Greek elegy pretty well—or so we imagined. The elegists sang of the new developments of the archaic period, above all the rise of the polis. They wrote first-person poetry (...) celebrating their own individuality; most modern anthologies open emblematically with Archilochus's... They invoked the phraseology of epic only to reject its values: Homer's aristocratic warriors retreated in disarray before the bandy-legged general of the mercenary Archilochus. The arrival of the citizen soldier was reflected in Tyrtaeus and Callinus, whose exhortations hoplites chanted as they marched into battle. Solon was a little harder to accommodate in this picture: an odd hybrid of Jeremiah and Polonius, rising to occasional grandeur, but weak on logic and organization. Still, his praise of Eunomia helped bridge the gap between Homeric naiveté and the abstract thinking of the fifth century. And of course there was that law code...This explanatory model reflects the Geistesgeschichte approach of Bruno Snell, Hermann Fränkel, and Werner Jaeger, and it has been notably tenacious. But as a tool for explaining elegy (and lyric generally) it has come to seem pretty dated. Archilochus's "I" was problematized as early as 1964 in K. J. Dover's contribution to the Fondation Hardt Archiloque volume. But it was in the 1980s that the ice really started to break up. In an influential article (JHS 106 [1986] 13-35), [End Page 427] Ewen Bowie stressed the symposium's centrality as the performative context for elegy, thus making conservative aristocrats the genre's primary consumers (so much for the citizen soldier and the rising middle class!). The rise of "cultural poetics" left archaic society—and its poets—looking much less familiar. Finally, the conventional relationship between elegy and epic was being reexamined. Many supposed Homeric allusions melted away under closer examination (notably in Robert Fowler's The Nature of Early Greek Lyric [Toronto, 1987]). Recent scholarship has proposed dramatically later dates for the stabilization of the Homeric poems, calling into question their priority to lyric even in a chronological sense. The old picture of elegy as an archaic response to a monolithic "epic" has given way to theories of an ongoing and dynamic dialogue between (and within) both genres.These trends are reflected in Elizabeth Irwin's study of Solon, a revised version of her 1999 Cambridge dissertation. It also reflects renewed interest in the poet, appearing soon after commentaries by Maria Noussia (2001) and Christoph Mülke (2002) and almost simultaneously with a collective volume edited by Josine Blok and André Lardinois (Solon of Athens: New Historical and Philological Approaches [Leiden, 2006]), to which Irwin has contributed. Along with Solon, Irwin focuses on Callinus and Tyrtaeus, and one of her stated goals is "to help us unlearn what we think we know about this poetry and its historical significance" (18).The book is divided into three parts. In part 1 ("The Politics of Exhortation") Irwin examines the tradition of martial exhortation represented by Tyrtaeus and Callinus. The conventional view had these poets discarding Homer's individualistic front-fighters in favor of the new citizen-armies of the polis— is now a civic virtue. But as Irwin observes, "fighting for one's fatherland" is not alien to Iliadic values. For her, the similarities between martial elegy and epic outweigh any differences. As she notes, the evocation of future warfare in sympotic elegy mirrors a corresponding appeal to past feasting in the exhortations of the Iliad. Martial elegy provides (or sees itself as providing) an off-duty complement to Homeric warriors' battlefield vaunts—the sort of thing Sarpedon might have directed to Glaucus back in Lycia while the slave-boys were refilling the goblets. Such Iliadic self-fashioning constructs its sympotic audience not simply as heroic, but specifically as a heroic elite. While martial elegy may pay lip service to the polis, its center of gravity is elsewhere. Thus Tyrtaeus fragment 11W can conclude with patronizing advice to the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Beardsley for the Twenty-First CenturySusan L. Feagin (bio)When I was a graduate student in the early 1970s, Nelson Goodman's Languages of Art,1 published originally in 1968, was all the rage, eclipsing Beardsley's monumental Aesthetics: Problems in the Philosophy of Criticism as the most important book in the field at the time. Goodman's book veered decidedly away from aesthetics and toward the philosophy of art; insofar as "the aesthetic" remained, (...) it was explained in cognitive terms. However, Beardsley's Aesthetics continued to provide a valuable resource for those of us who took questions about value and evaluation to be central to the philosophical enterprise, even if we chose to focus on the philosophy of art more or less independently of the aesthetic. Beardsley's functionalist account of aesthetic value is adaptable as a framework for understanding artistic value and evaluation, as is his opposition to (what also seemed to me to be) the too-easy ploy of attributing intrinsic value to our experiences of art. I ended up writing my dissertation on general criteria of criticism—with a chapter devoted to Beardsley's views—arguing that once one employs the notion of artworks having a function, general criteria are not needed to provide a logical connection between a work's good-making or bad-making qualities and its value as a work of art.Nevertheless, Beardsley's instrumentalist view that the value of an artwork resides in its capacity to provide an aesthetic experience contains a major structural problem—what I shall call "Beardsley's dilemma," which he continued to struggle with in his later work.2 The problem lies in the tension between the claim that the value of a work resides in its capacity to evoke an experience having a certain phenomenological quality, and the claim that the properties or qualities of the work are valuable not merely as a means for producing such an experience. [End Page 11]Fifty years on, philosophers of art continue to struggle with this dilemma in various guises. Though the nature of aesthetic experience is still a lively topic of debate, it is just as common to find the evocation of emotions and other affective responses—from Aristotelian pity and fear; to anger and pride and horror; to moods such as sadness and melancholy—touted as among the functions of art.3 In the first section of this essay, I describe why understanding Beardsley's dilemma is important if one takes having emotions and other affective responses to art as part of what is valuable about it. Emotions, after all, are typically alleged to be "in us," not in the object; simply jettisoning the concept of aesthetic experience or aesthetic emotion does not make the dilemma go away. In the second section I distinguish between Beardsley's instrumentalism and a noninstrumentalist version of functionalism as two different models for understanding art's value. Noninstrumentalist functionalism involves the idea that the value of a work lies in the activity of appreciating what is (aesthetically or artistically) valuable about it, rather than in an experience that occurs as a result of perceiving the work. Some exercises involving the evaluation of art and nonart objects—exercises that might usefully be undertaken by students using objects of their own choosing—illustrate how functionalism skirts Beardsley's dilemma and better explicates the nature and locus of the values concerned.I: From Aesthetic Experience to Garden-Variety EmotionsThe view that at least some artworks have as part of their function the production of emotions or other affective responses is a contemporary analogue of Beardsley's instrumentalist view that the function of artworks is to provide an aesthetic experience. The contemporary analogue, however, is not committed to the view that all artworks have, in some abstract sense, the same function but only insists, minimally, that it is at least part of the function of some works of art to produce some variety of emotions and other affective responses. That is, producing emotions may be conceived of as part of the function of a work, and a perceiver's having them as part of appreciating its value.Beardsley's dilemma arises when (at... (shrink)

A substantial literature on risk perception demonstrates the limits of human rationality, especially in the face of catastrophic risks. Human judgment, it seems, is flawed by the tendency to overestimate the magnitude of rare but evocative risks, while underestimating risks associated with commonplace dangers. Such findings are particularly relevant to the problem of crafting responsible public policy in the face of the kinds of threat posed by climate change. If the risk perception of ordinary citizens cannot be trusted, then (...) it would seem logical to base policy decisions on expert judgment. But how rational, how trustworthy, are expert assessments of catastrophic risk? I briefly review the limitations of conventional models of expert risk analysis, especially in dealing with the large uncertainties endemic to the risk of low-probability, high-impact events in the distant future. The challenges such events pose to the underlying assumptions of these analyses are severe enough to question their basic rationality. I argue that a conception of rationality premised on the bounded knowledge of experts and lay citizens alike, based on context-appropriate heuristics, may help us in the search for a more trustworthy basis for decision making. (shrink)

We can attend to the logic of Anselm's ontological argument, and amuse ourselves for a few hours unraveling its convoluted word-play, or we can seek to look beyond the flawed logic, to the search for God it expresses. From the perspective of this second approach the Ontological Argument might be seen as more than a mere argument - indeed, as something of a contemplative exercise. One can see in the argument a tantalizing attempt to capture in logical form (...) the devotee’s experience of the presence of God in the contemplation of God. It is a peculiarity of the argument that it can seem hopelessly silly or richly evocative depending upon which of these approaches one takes. In this essay I examine the flawed logic of the Ontological Argument, but then attempt to reflect upon the contemplative experience that may underlie it. (shrink)

"This book is a collection of superbly crafted essays on some fundamental texts of modern and contemporary philosophy. All were first published elsewhere in French. The translation here is accurate and graceful. Typically the author comments on works in which one philosopher engages in dialogue with another: Hegel with Hobbes, Hegel and Heidegger with Kant, Heidegger with Husserl, Merleau-Ponty with Husserl.... All of these essays repay a second or third reading, but the pieces on 'Hegel and Hobbes' and 'Heidegger and (...) Husserl's Logical Investigations' seem to have an exceptionally evocative character." --Review of Metaphysics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Creativity in Teaching and Building a Meaningful Life as a TeacherDavid T. HansenMy point of departure in this essay is the idea that creativity in teaching often has less to do with inventiveness per se than it does with responsiveness. To draw on terms from John Dewey, creative teachers "rise to the needs of the situation" presented in the educational setting.1 They respond well to circumstances not because they (...) necessarily have the pedagogical equivalent of Twyla Tharp's talent for choreography or B.B. King's brilliance on the blues guitar; rather, I want to suggest that creative teachers, at least in many cases, "rise" and do what is needed because they have learned to pay attention both to students and to the subject(s) at hand. In other words, I propose that we consider the idea that creativity in teaching often manifests itself most vividly, if also subtly, in a kind of ongoing attentiveness, by which I mean a dynamic combination of patience, listening, and initiative.I will begin the discussion by first sketching a conception of creativity in teaching centered around the idea of attentiveness. Then I address two [End Page 57] consequences of this conception. The first is that the most suitable models of good practice for new teachers to start with are not the profession's versions, presuming such exist, of Pablo Picasso, Marie Curie, or Michael Jordan. I do not mean that it is uniformly inappropriate to place such models in front of teacher candidates, any more than it would be wrong to put before art students the work of a Cassatt or Rembrandt. However, I will argue that among the best and most consequential initial models are those experiences in which teacher candidates themselves truly listened to the doings of the world around them and heeded what was said, whether the latter "spoke" in the form of a work of art, a human voice or gesture, or the play of wind in the trees. If new teachers take seriously this kind of experience, they can gain a valuable perspective for approaching the long and often difficult process of appreciating teaching's details and engaging them in educational settings. I illustrate these claims by examining a field-based activity that was part of a teacher education program I used to direct.The second consequence of the conception of creativity in teaching I will put forward points to the title of this essay. If new teachers deepen their ability to pay attention and to engage in creative work, they position themselves to receive one of teaching's primary offerings to its practitioners, namely, a life of meaning."Ordinary" Pedagogical CreativityCreativity in teaching can take many forms. We witness it in the structuring of an artful lesson plan; in the logic, flow, and pacing of a dynamic lecture; or in a timely and evocative example or illustration the teacher employs to clinch a point in the midst of a class. All of this is familiar and an important, indeed indispensable, way to think about good teaching. Creativity in practice is associated here, among other things, with notions of expertise and of knowledge gained through experience.However, I want to add to this portrait the notion that creativity in practice can also spring from responsiveness. Rather than issuing solely from what the teacher brings to the educational setting — consider again terms such as expertise and knowledge — creativity can point to what the teacher is capable of deriving or drawing from it. Creativity as responsiveness denotes a form of openness to the setting, which may or may not complement or fit harmoniously with what is preset, prefigured, or anticipated. Experienced teachers would be the first to say that there are times when it becomes educationally vital to shelve a preset plan. There are times when one form of creativity in teaching, embodied in a well-wrought lesson plan, must give way to another form, embodied in what I am calling responsiveness. The art of teaching consists, in part, of balancing these expressions of pedagogical creativity.Let me share the following vignette as a basis for elucidating this point. One morning in March 2002, during which... (shrink)

The question in the background of this article is what kind of epistemology can emerge on the basis of the philosophy of life. To answer this question, the theories of Georg Misch and Josef König have been analysed. Both authors differentiate between the analytic discourse of theoretical approaches to the world and the synthetic discourse of non-theoretical objectifications of life which create a human semantic environment. For Misch, the former is constituted with “discursive” and the later with “evocative” utterances. (...) For König as developed in his work “Sein und Denken”, “determining” and “modifying” predicates oppose each other as cardinally different cognitive and epistemological entities. The article focuses on König′s analysis of the genesis and logics of “determining” and “modifying” predication following the strategy of his book. In conclusion some controversies between Misch′s and König′s conceptions of a language constitution of the world are represented and discussed. (shrink)

The article employs music to describe the dynamics of Central European identity at the turn of the 20th century. Conceptually, the analysis is based on the notion of cultural resonance and the distinction between political territories, which isolate identity, and cultural landscapes which let it escape. This theoretical understanding is derived from the acoustic philosophy and musical practice of two Central European composers, Leoš Janáček and Béla Bartók. Exemplified here is artistic ‘extra-territorial’ identity, which is indeed how Theodor Adorno at (...) one point referred to the ‘peripheral’ sound coming from the region. This process of identity construction amplifies paradoxical middle spaces, which Jean Luc Nancy describes evocatively as a cultural mêlée. The vitality of cultural resonance is fuelled by this primary contact with mundane reality and the ‘navigational hesitation’ underpinning identity and its many trajectories. (shrink)

Theorists often associate certain “poetic” qualities with metaphor – most especially, producing an open-ended, holistic perspective which is evocative, imagistic and affectively-laden. I argue that, on the one hand, non-cognitivists are wrong to claim that metaphors only produce such perspectives: like ordinary literal speech, they also serve to undertake claims and other speech acts with propositional content. On the other hand, contextualists are wrong to assimilate metaphor to literal loose talk: metaphors depend on using one thing as a perspective (...) for thinking about something else. I bring out the distinctive way that metaphor works by contrasting it with two other poetic uses of language, juxtapositions and “telling details,” that do fit the accounts of metaphor offered by non-cognitivists and contextualists, respectively. (shrink)

The Editors express their gratitude and appreciation to the indi-viduals listed below who served as referees for Informal Logic for Volumes 31 (2011) and 32 (2012).