Physical theories give us the best available information about what there exists. Although physics is not ontology, it can be ontologically interpreted. In the present study, I propose to interpret physical theories à la Quine, i.e. not to speculate about what really exists, but rather to identify what a given physical theory presupposes that exists. I briefly suggest how Quine’s program should by adapted to this goal. To put the idea to the test, I apply it to the famous (...) Hartle–Hawking model of the quantum creation of the universe from nothing, and try to discover what kind of nothingness the model presupposes. I also make some remarks concerning ontological commitments of the method of physics itself. (shrink)

The article considers the authentic and extreme forms of metaphysics. Antonin Artaud’s personality is at the center of attention. The author endeavors to verbally explicate his metaphysics, which is not strictly verbal. The explication of Artaud’s modern metaphysics is carried out in comparison with the triad of the “ancient modernist” Gorgias. The role of nothingness and the ambivalent attitude of contemporary metaphysicians to Artaud are examined. In the author’s opinion, the position of A. Artaud can be expressed in the (...) following theses: 1) nothingness is the speculative side of the border that does not unite but separates the being; 2) the incarnation of nothingness is fraught with both an irrevocable fall into nihilism and an annihilation of nothingness; 3) during the incarnation-annihilation of nothingness, the disunity of being is ousted and its fullness is reached; 4) the sought-after fullness is different from amorphous totality and from law-abiding structuredness; 5) anarchic, in some sense, fullness of being demands a unique language which is free from repressive unification. Understanding the experience of Antonin Artaud allows to answer the questions: “What it means to be a metaphysician? Who is he, a metaphysician? What is he like?” He is the one who emphatically appeals to the flesh ; who, moreover, is not limited to the physical as well as is not alienated from it for the sake of the technical; who does not deny the role of praxis but subordinates it to poiesis; who does not seclude himself in verbal being but appeals to being as such, to its boundaries and limits. (shrink)

Nishida Kitarō1, the founder of the Kyoto school of philosophy, often stated that his philosophy of Absolute Nothingness, which had in part been inspired by Zen Buddhism, was not a kind of mysticism. In his last unfinished essay, Watakushi no ronri ni tsuite he complained that his logic of absolutely contradictory self-identity had not been understood by the academic world, and its meaning had been distorted. Nishida decided that the only way of clarifying his philosophical standpoint was to redefine (...) the concepts of 'mind' and 'logic' by showing the relation of the philosophy of Absolute Nothingness to the... (shrink)

Explores the cosmological and metaphysical thought in the Zhuangzi from the perspective of nothingness. Zhuangzi and the Becoming of Nothingness offers a radical rereading of the Daoist classic Zhuangzi by bringing to light the role of nothingness in grounding the cosmological and metaphysical aspects of its thought. Through a careful analysis of the text and its appended commentaries, David Chai reveals not only how nothingness physically enriches the myriad things of the world, but also why the (...) Zhuangzi prefers nothingness over being as a means to expound the authentic way of Dao. Chai weaves together Dao, nothingness, and being in order to reassess the nature and significance of Daoist philosophy, both within its own historical milieu and for modern readers interested in applying the principles of Daoism to their own lived experiences. Chai concludes that nothingness is neither a nihilistic force nor an existential threat; instead, it is a vital component of Dao’s creative power and the life-praxis of the sage. “Chai provides an elaborate philosophical meontological interpretation of the ontology/cosmology found in the Zhuangzi and the implications for existential practice. It’s a close, careful, but in many respects quite original reading of the classic that contributes significantly to the field of philosophical Daoist studies.” — Geir Sigurðsson, author of Confucian Propriety and Ritual Learning: A Philosophical Interpretation. (shrink)

Human suffering is a complex phenomenon that can manifest physically or psychologically. As the negative valence of affective phenomena, with the positive being pleasure or happiness, human suffering could easily be interpreted as something to avoid. Sartre explored existential aspects of human suffering in Being and Nothingness. Examining each occurrence of the word suffering in that work provides a basis for understanding the roles Sartre assigned to it within the human experience and consequently provides a more nuanced appreciation of (...) this complex phenomenon. An electronic copy of Being and Nothingness was searched for all occurrences of the word suffering (N = 50), tabularized using the Key Word In Context (KWIC) approach at the sentence level, resulting in 40 sentences for thematic analysis. That analysis resulted in 5 themes, showing the complexity of suffering in Sartre’s major philosophical work and suggesting that suffering is quintessentially human, unavoidable, and potentially liberating. (shrink)

In in the second half of the 1940s, Jan Patočka emphasized the essentially negative character of human existence. He thus found himself in the neighborhood of Sartre’s existentialism, Heidegger’s philosophy of being, and Hegel’s dialectic, and at the same time in opposition to schools of thought which either completely reject the substantive use of “the nothing,” such as Carnap’s positivism, or relativize it, like Bergson. It is the latter polemic, Patočka’s with Bergson, which is discussed in this article. The concept (...) of negativity in Patočka basically refers to the idea that human existence is defined by a capacity to adopt a distance toward what is pre-given, be it the reality of the physical world or the established habits and rules of a particular society. Negativity qua distance has in Patočka an absolute character. It is this claim that he defends in his critique of Bergson. The article attempts to reconstruct Patočka’s position. I claim that the wager on absolute negativity does not make Patočka a nihilist, but a philosopher of a negative holism, and, in a sense, even a moralist. Above a reconstruction of Patočka’s stance, I spell out some reservations focused especially on the systematic meaning of Patočka’s recourse to negativity. I suggest that negation is an indispensable part of a more complex existential structure Patočka is aiming at. The terms he uses for this structure include “thirst for the absolute,” “thirst for reality,” “restlessness of the heart” and “desire.” To translate these allusions onto a general plan, it is useful to talk about the capacity to establish differences that matter. As general as it seems, this turn of phrase can grasp both Patočka’s emphasis on negativity, and his emphasis on the absolute, the latter – nevertheless – not residing in a distance from being, but in differences established, maintained and abandoned by ourselves within being. (shrink)

This article aims to bridge quantum physics, human cognition, and Kitarō Nishida's logic of basho. The primary claim is that the indeterminacy underlying both quantum and cognitive phenomena is synonymous with Nishida’s “absolute nothingness”, the ontological basis of the logic. By interpreting Nishida’s soku hi dialectic in terms of phenomenal appearances in awareness, Nishida’s term “basho” is equated with this place where awareness actualises thereby allowing Nishida’s three basho to be framed in terms of the degree of subjectivity (...) present within awareness. Connections between logic of basho and the theory of enactive cognition are set out with emphasis on how cognitive representation can be placed in the human’s enactive engagement with reality. As the logic of basho accounts for the dialectical nature of both quantum reality and cognitive reality, the article concludes that his logic can be seen as encompassing physical reality as well as the reality of (non-)subjective awareness. (shrink)

If spacetime does not exist, it does so in a very unusual way. It curves in response to massive objects. It warps in response to high velocities. The Substance of Spacetime treats spacetime, not merely as a geometric abstraction, but as a real physical substance, opening a window onto reality that would otherwise be impossible to even contemplate.

This paper is a sequel to my 'Theological Misinterpretations of Current Physical Cosmology' (Foundations of Physics [1996], 26 (4); revised in Philo [1998], 1 (1)). There I argued that the Big Bang models of (classical) general relativity theory, as well as the original 1948 versions of the steady state cosmology, are each logically incompatible with the time-honored theological doctrine that perpetual divine creation ('creatio continuans') is required in each of these two theorized worlds. Furthermore, I challenged the perennial theological (...) doctrine that there must be a divine creative cause (as distinct from a transformative one) for the very existence of the world, a ratio essendi. This doctrine is the theistic reply to the question: 'Why is there something, rather than just nothing?' I begin my present paper by arguing against the response by the contemporary Oxford theist Richard Swinburne and by Leibniz to what is, in effect, my counter-question: 'But why should there be just nothing, rather than something?' Their response takes the form of claiming that the a priori probability of there being just nothing, vis-à-vis the existence of alternative states, is maximal, because the non-existence of the world is conceptually the simplest. On the basis of an analysis of the role of simplicity in scientific explanations, I show that this response is multiply flawed, and thus provides no basis for their three contentions that (i) if there is a world at all, then its 'normal', natural, spontaneous state is one of utter nothingness or total non-existence, so that (ii) the very existence of matter, energy and living beings constitutes a deviation from the allegedly 'normal', spontaneous state of 'nothingness', and (iii) that deviation must thus have a suitably potent (external) divine cause. Related defects turn out to vitiate the medieval Kalam Argument for the existence of God, as espoused by William Craig. Next I argue against the contention by such theists as Richard Swinburne and Philip L. Quinn that (i) the specific content of the scientifically most fundamental laws of nature, including the constants they contain, requires supra-scientific explanation, and (ii) a satisfactory explanation is provided by the hypothesis that the God of theism willed them to be exactly what they are. Furthermore, I contend that the theistic teleological gloss on the 'Anthropic Principle' is incoherent and explanatorily unavailing. Finally, I offer an array of considerations against Swinburne's attempt to show, via Bayes's theorem, that the existence of God is more probable than not. (shrink)

In 1981 S. W. Hawking and J. Hartle presented a quantum mechanical description of the early stages of possible cosmological evolution. Their proposal was interpreted by many authors as a pattern of cosmic creation from nothing in which no divine Creator is needed. In this approach, physically defined “nothing” was identified both with the empty set of set theory and with metaphysical nothingness. After defining philosophical presuppositions implicitly assumed in Hawking's paper, one discovers that this alleged nothingness has (...) all properties of the philosophically conceived Logos accepted by Hellenic philosophers of the Neoplatonic tradition. Consequently, Hawking's theory of creation remains consistent with Christian theism, and its only theological opponents can be found among defenders of Samuel Clark's God of scientific gaps. (shrink)

Welcome to the world of cutting-edge math, physics, and neuroscience, where the search for the ultimate vacuum, the point of nothingness, ground zero of theory, has rendered the universe deep, rich, and juicy. "Modern physics has animated the void," says K. C. Cole in her entrancing journey into the heart of Nothing. Every time scientists and mathematicians think they have reached the ultimate void, new stuff appears: a black hole, an undulating string, an additional dimension of space (...) or time, repulsive anti-gravity, universes that breed like bunnies. Cole's exploration at the edge of everything is as animated and exciting as the void itself. Take Cole's hand on this adventure into the unknown, and you'll come back informed, amused, and excited. (shrink)

It has been argued, most famously by David Chalmers, that all objects of the so-called traditional sciences (from physics to neuroscience) are analysable in structural terms, whereas consciousness has qualitative properties that are irreducibly non-structural. From that it has been concluded that consciousness cannot be explained by traditional sciences. Some illusionists have responded by proposing that the apparently non-structural features of consciousness are in fact fully structural and merely seem to be non-structural. I argue that such a position is (...) tenable, but only if the non-structural 'seemings' are interpreted as perspectival phenomena and not as theorists' fictions or absolute nothingness. The resulting view allows us to ignore sensory qualities in the context of natural sciences while acknowledging their importance in the moral and philosophical domains. The proposed perspectivist interpretation also provides an account of how sensory qualities can be observed and talked about despite having no autonomous causal powers. (shrink)

This article gives a general introduction to reasons why metaphysics might be considered a human constant. The basic metaphysical stance is rooted in human nature and human consciousness, being open to change and continually challenged. The biological rootedness of metaphysics relates to human consciousness, human dualisms, language (especially metaphor) and the fact that humans are self-transcending beings. It is suggested that the dualisms humans experience and express are not foreign to nature and part of the knowledge process. It is argued (...) that metaphysical concepts such as unity, holism and relatedness are still necessary for human self-understanding and understanding of reality. The focus on the exclusivity of the human mind (Kant) contributed to the objectification and eventual manipulation of nature in science and technology and culminated in modernism. The existentialist and nihilistic responses that followed were inevitable. The tacit role of metaphysics in physics is indicated with reference to concepts such as nothingness and the quest for unity. Humans are destined to update their metaphysics in an ever-changing world. (shrink)

Using contemporary physics, narrated at a popular science level, Ransford shows why full nothingness--a nothingness within which even the disembodied laws of mathematics would not exist--cannot possibly exist, and what most likely underpins and enables reality.s reality.

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

This paper deals with the philosophical issues of the notion of nothingness and pre-inflationary stage of the universe in physical cosmology. We presuppose that, in addition to cosmological limits, there may be both anthropic and computational limits for our ability to understand and replicate the conditions before the Big Bang. That is, the very notion of nothingness and pre-Big Bang state may be conceptually, but not computationally grasped.

Against the “universal consent of the people” and “the crowd of philosophers”, Pascal proves the existence of the void, thus re-establishing the truth where only the force and falsity of opinions had prevailed. Nature “has no repugnance for the void”, it “makes no effort to avoid it” but “admits it without difficulty or resistance”. Pascal defines the void as neither matter nor nothingness. Can this definition be found in Philosophy, in the Anthropology of the Pensées? We would like to (...) show the importance of the notion of the capacity of empty nature, which is decisive when it comes to describing the condition of man, troubled by a desire for truth and happiness that he cannot satisfy. Nature is thus, for him, what is “most contrary” to him, depriving him of what is rightfully his. The void has a cardinal function in Physics, but also in Philosophy. (shrink)

In modern physics, the properties like charge, spin, etc. of elementary entities like electron, proton, photon, etc. are considered to be “intrinsic properties” of the entity. Intrinsic properties are those properties that a thing possesses, irrespective of whether or not there are other contingent things. In Buddhist philosophy especially in Mādhyamik philosophy, no such concept of “intrinsic property” or svabhāva exists. The problem of origin of the universe baffled the scientists and philosophers for many centuries. Within the framework of (...) general theory of relativity as discovered by Einstein, the origin and structure of the universe were discussed in a comprehensive manner. According to the recent formulation of cosmology, the universe originates from the fluctuations of the quantum vacuum. Vacuum in modern physics is not exactly nothing but rather a “something called nothing,” meaning that it is replete with activity governed by the principle of quantum theory. From philosophical perspective, what is significant is the division of creative conceptions into those which assume that the universe arose from “nothingness” in the strong ontological meaning of the word vs. those which lead to the conclusion that it was originated from a certain “poorer” physical reality, usually called “quantum vacuum” or space-time endowed with fluctuation. This vacuum or ontologically speaking a substratum exists which is devoid of any matter but full of activities or full of potentialities. Special theory of relativity is based on two axioms, one of which is the speed of light taken as constant and maximum. (shrink)

The philosophy of superdeterminism is based on a single scientific fact about the universe, namely that cause and effect in physics are not real. In 2020, accomplished Swedish theoretical physicist, Dr. Johan Hansson published a physics proof using Albert Einstein’s Theory of Special Relativity that our universe is superdeterministic meaning a predetermined static block universe without cause and effect in physics. The unity of our universe originates from its creation from the same nothingness under the zero (...) energy universe theory. However, nothingness cannot actually cause a universe to exist on its own under superdeterminism due to the absence of cause and effect in physics. Moreover, nothingness is the absence of anything real and cannot logically be the reality underlying our universe. Consequently, our universe must exist from the reality of the logic or Logos underlying our physical reality resulting from the origination of our universe from the same nothingness or common creation. Because logic allows for a definer of logical states to the exclusion of other logical states, such as “if A, then not B,” then a supremely intelligent definer of those logical states must have the ability to define logical states to the exclusion of other logical states resulting in the creation of physical reality. (shrink)

Can one deny the intelligibility of “extramental nonbeing” in pure ontology while affirming its intelligibility in physics? When one sweeps the heavens clean of matter does one also necessarily affirm the existence of absolute nonbeing in those “clean” spaces? Does talking about space necessarily mean talking about nonbeing? How could there possibly be “space” which is not absolute nothingness? How, if at all, can statements about space be reconciled with such self-contradictory statements as “What is not, is“?The purpose (...) of this brief paper is not to argue, within the context of the physical sciences, about whether or not there exist voids or absolutely empty spaces in the universe. Neither is it to discuss the existence or nonexistence of the aether. And although I shall be using texts taken from several famous historical figures, my purpose is not primarily historical. (shrink)

A re-evaluation of the notion of vacuum in quantum electrodynamics is presented, focusing on the vacuum of the quantized electromagnetic field. In contrast to the ‘nothingness’ associated to the idea of classical vacuum, subtle aspects are found in relation to the vacuum of the quantized electromagnetic field both at theoretical and experimental levels. These are not the usually called vacuum effects. The view defended here is that the so-called vacuum effects are not due to the ground state of the (...) quantized electromagnetic field. Nevertheless it is possible to maintain an empirically demonstrable notion of vacuum state that is consistent with the interpretation of the formalism of the theory. (shrink)

In the field of philosophy, the common view of philosophy as an essentially Western discipline persists even today, while non-Western philosophy tends to be undervalued and not investigated seriously. In the field of Japanese studies, in turn, research on Japanese philosophy tends to be reduced to a matter of projecting existing stereotypes of alleged Japanese cultural uniqueness through the reading of texts. In Nothingness in the Heart of Empire: The Moral and Political Philosophy of the Kyoto School in Imperial (...) Japan, Harumi Osaki resists both these tendencies. She closely interprets the wartime discourses of the Kyoto School, a group of modern Japanese philosophers who drew upon East Asian traditions as well as Western philosophy. Her book lucidly delves into the non-Western forms of rationality articulated in such discourses, and reveals the problems inherent in them as the result of these philosophers' engagements in Japan's wartime situation, without cloaking these problems under the pretense of "Japanese cultural uniqueness." In addition, in a manner reminiscent of the controversy surrounding Martin Heidegger's involvement with Nazi Germany, the book elucidates the political implications of the morality upheld by the Kyoto School and its underlying metaphysics. As such, this book urges dialogue beyond the divide between Western and non-Western philosophies, and beyond the separation between "lofty" philosophy and "common" politics. (shrink)

It is said that the theory of relativity and quantum theory are independent of each other. Their relationship is like water and oil. Now, it is very important for modern physics to synthesize them. In Physics and mathematics, Super String theory is studied, but instead of it, the tendimensional world appears. Our world is a three-dimensional world. What is the ten-dimensional world? It is more difficult than the string which is of Plank length. In the ten dimensional world, (...) physics is facing darkness and nothingness which man can not explain with the traditional physical words.The solution depends upon philosophy. I tried to synthesize themand succeeded.The following is an outline of my synthesis. 1. Utility and relativity of mathematical truth Mathematical truth is not absolute but relative. In the universe ( outside the solar system ), there is no perfect line. Because, by the gravitation of large astronomical bodies, space and lines are curved. Mathematical figure and numeration depend upon the promise of mankind. These are not absolute. Physics, which is grounded upon mathematics in certainty, is also relative. It expresses not the whole of the universe but a part of the universe. 2. Community and difference between the theory of relativity and quantum theory Community is the negation of absoluteness of physical attributes. Difference is the assessment for mathematics. The theory of relativity relies on mathematics but quantumtheory does not always rely on it. According to circumstances, Niels Bohr and quantum physicists abandoned a frame of reference. 3. The origin of the theory of relativity 4. The origin of quantum theory In short, the theory of relativity and quantum theory are not perfect, they only irradiate a part of the universe. Man can reach the whole of the universe only by the philosophical intuition of nothingness and infinite (the principle of nothingness and love). (shrink)

"Nothingness lies coiled in the heart of being like a worm."The John Donne of "A Valediction: Of Weeping" prefers the picture to the real. For Donne and for Jean-Paul Sartre, with whom he is aligned in this essay, the preference principally involves issues of control. As Sartre writes, "It's not enough that a certain picture which I have in mind should exist; it is necessary as well that it exist through me."1 While the more conventional predilection for the virtual (...) over the actual assumes the durability of art, Donne's sequential portraits in the poem confirm, as Sartre puts it, that "man's relation with being is that he can modify it". The vanishing... (shrink)

Presents German physicist Werner Heisenberg's 1958 text in which he discusses the philosophical implications and social consequences of quantum mechanics and other physical theories.

Steven French and Decio Krause examine the metaphysical foundations of quantum physics. They draw together historical, logical, and philosophical perspectives on the fundamental nature of quantum particles and offer new insights on a range of important issues. Focusing on the concepts of identity and individuality, the authors explore two alternative metaphysical views; according to one, quantum particles are no different from books, tables, and people in this respect; according to the other, they most certainly are. Each view comes with (...) certain costs attached and after describing their origins in the history of quantum theory, the authors carefully consider whether these costs are worth bearing. Recent contributions to these discussions are analyzed in detail and the authors present their own original perspective on the issues. The final chapter suggests how this perspective can be taken forward in the context of quantum field theory. (shrink)

Art interprets the visible world, physics charts its unseen workings--making the two realms seem completely opposed. But in Art & Physics, Leonard Shlain tracks their breakthroughs side by side throughout history to reveal an astonishing correlation of visions. From teh classical Greek sculptors to Andy Warhol and Jasper Johns, and from Aristotle to Einstein, aritsts have foreshadowed the discoveries of scientists, such as when Money and Cezanne intuited the coming upheaval in physics that Einstein would initiate. In (...) this lively and colorful narrative, Leonard Shlain explores how artistic breakthroughs could have prefigured the visionary insights of physicists on so many occasions throughtout history. Provacative and original, Art & Physics is a seamless integration of the romance of art and the drama of science...and exhilarating history of ideas. (shrink)

Most physics theories are deterministic, with the notable exception of quantum mechanics which, however, comes plagued by the so-called measurement problem. This state of affairs might well be due to the inability of standard mathematics to “speak” of indeterminism, its inability to present us a worldview in which new information is created as time passes. In such a case, scientific determinism would only be an illusion due to the timeless mathematical language scientists use. To investigate this possibility it is (...) necessary to develop an alternative mathematical language that is both powerful enough to allow scientists to compute predictions and compatible with indeterminism and the passage of time. We suggest that intuitionistic mathematics provides such a language and we illustrate it in simple terms. (shrink)

Bewildering features of modern physics, such as relativistic space-time structure and the peculiarities of so-called quantum statistics, challenge traditional ways of conceiving of objects in space and time. Interpreting Bodies brings together essays by leading philosophers and scientists to provide a unique overview of the implications of such physical theories for questions about the nature of objects. The collection combines classic articles by Max Born, Werner Heisenberg, Hans Reichenbach, and Erwin Schrodinger with recent contributions, including several papers that have (...) never before been published. -/- The book focuses on the microphysical objects that are at the heart of quantum physics and addresses issues central to both the "foundational" and the philosophical debates about objects. Contributors explore three subjects in particular: how to identify a physical object as an individual, the notion of invariance with respect to determining what objects are or could be, and how to relate objective and measurable properties to a physical entity. The papers cover traditional philosophical topics, common-sense questions, and technical matters in a consistently clear and rigorous fashion, illuminating some of the most perplexing problems in modern physics and the philosophy of science. (shrink)

In this article we set out to understand the significance of the process matrix formalism and the quantum causal modelling programme for ongoing disputes about the role of causation in fundamental physics. We argue that the process matrix programme has correctly identified a notion of ‘causal order’ which plays an important role in fundamental physics, but this notion is weaker than the common-sense conception of causation because it does not involve asymmetry. We argue that causal order plays an (...) important role in grounding more familiar causal phenomena. Then we apply these conclusions to the causal modelling programme within quantum foundations, arguing that since no-signalling quantum correlations cannot exhibit causal order, they should not be analysed using classical causal models. This resolves an open question about how to interpret fine-tuning in classical causal models of no-signalling correlations. Finally we observe that a quantum generalization of causal modelling can play a similar functional role to standard causal reasoning, but we emphasize that this functional characterisation does not entail that quantum causal models offer novel explanations of quantum processes. (shrink)

It is usual to identify initial conditions of classical dynamical systems with mathematical real numbers. However, almost all real numbers contain an infinite amount of information. I argue that a finite volume of space can’t contain more than a finite amount of information, hence that the mathematical real numbers are not physically relevant. Moreover, a better terminology for the so-called real numbers is “random numbers”, as their series of bits are truly random. I propose an alternative classical mechanics, which is (...) empirically equivalent to classical mechanics, but uses only finite-information numbers. This alternative classical mechanics is non-deterministic, despite the use of deterministic equations, in a way similar to quantum theory. Interestingly, both alternative classical mechanics and quantum theories can be supplemented by additional variables in such a way that the supplemented theory is deterministic. Most physicists straightforwardly supplement classical theory with real numbers to which they attribute physical existence, while most physicists reject Bohmian mechanics as supplemented quantum theory, arguing that Bohmian positions have no physical reality. (shrink)

By defining consciousness as nothingness or simply as “nothing,” Sartre plays with several meanings of these terms: negativity and negation, distance, indetermination, irreducibility. The nothingness of consciousness takes on an ontological meaning: it is a “tearing away” from being-in-itself, a transcendence understood as the capacity to transcend what is, while retaining an epistemological meaning: it is what cannot be positively determined as “something” or as a property of being. Still, on the epistemological level as well as on the (...) ontological level, it is indeed from “something,” from physical and social being, that the nothingness of consciousness draws its existence and its capacities. In my article, I examine different meanings that can be given to the “nothing” of consciousness in the light of the thought of Sartre himself, emphasizing the difference between two major meanings of negation: as opposition and as indetermination. Then I confront Sartre’s concept of consciousness with more recent considerations of different inspiration, notably from researchers like Chalmers, Damasio, Gallagher, and Zahavi. My thesis is that the Sartrean concept, semi-transcendental and semi-naturalist, does admit the search for a naturalist explanation of consciousness, but assigns its limit precisely through the concept of nothingness. En définissant la conscience comme néant, néantisation, ou simplement comme un « rien », Sartre joue avec plusieurs acceptions de ces termes : négativité et négation, distance, indētefmination, irréductibilité... Le néant de la conscience prend un sens ontologique : c’est un « arrachement » à l’être-en-soi, une transcendance entendue comme capacité de transcender ce qui est, tout en gardant un sens épistémologique : c’est ce qui ne peut pas être déterminé de manière positive comme « quelque chose » ou comme une propriété d’être. D’autre part, sur le plan épistémologique comme sur le plan ontologique, c’est bien de « quelque chore », de l’être physique et social, que le néant de la conscience tire son existence et ses capacités. Dans mon article, j’examine différents sens qu’on peut donner au « rien » de la conscience à la lumière de la pensée de Sartre lui-même, en mettant l’accent sur la différence entre deux sens majeurs de la négation : comme opposition et comme indétermination. Ensuite je confronte le concept sartrien de la conscience avec les considérations plus récentes et d’inspiration différente, notamment chez les chercheurs comme Chalmers, Damasio, Gallagher et Zahavi. Ma thèse est que le concept sartrien, semi-transcendantal et semi-naturaliste, admet bien la recherche d’une explication naturaliste de la conscience, mais lui assigne la limite précisément par le concept du néant. (shrink)

This is the first part of a two-tier overview article on fundamentality in metaphysics and the philosophy of physics. It provides an introduction to the notion of fundamentality in metaphysics, as well as to several related concepts. The key issues in the contemporary debate on the topic are summarised, making systematic reference to the most relevant literature. In particular, various ways in which the fundamental entities and the fundamental structure of reality may be conceived are illustrated and discussed. A (...) final brief section looks at the methodological issue of naturalism, paving the way for the survey of fundamentality in the philosophy of physics, which is carried out in the second part. (shrink)

A variety of crucial and still most relevant ideas about nothingness or emptiness have gained profound philosophical prominence in the history and development of a number of South and East Asian traditions—including in Buddhism, Daoism, Neo-Confucianism, Hinduism, Korean philosophy, and the Japanese Kyoto School. These traditions share the insight that in order to explain both the great mysteries and mundane facts about our experience, ideas of "nothingness" must play a primary role. This collection of essays brings together the (...) work of twenty of the world’s prominent scholars of Hindu, Buddhist, Daoist, Neo-Confucian, Japanese and Korean thought to illuminate fascinating philosophical conceptualizations of "nothingness" in both classical and modern Asian traditions. The unique collection offers new work from accomplished scholars and provides a coherent, panoramic view of the most significant ways that "nothingness" plays crucial roles in Asian philosophy. It includes both traditional and contemporary formulations, sometimes putting Asian traditions into dialogue with one another and sometimes with classical and modern Western thought. The result is a book of immense value for students and researchers in Asian and comparative philosophy. (shrink)

Defining ‘presentism’ in a way that saves it from being trivially false yet metaphysically substantively distinct from eternalism is no mean feat, as the first part of this collection testifies. In Wuthrich (forthcoming), I have offered an attempt to achieve just this, arguing that this is best done in the context of modern spacetime theories. Here, I shall refrain from going through all the motions again and simply state the characterization of an ersatzist version of presentism as it has emerged (...) from considerations there. Any acceptable formulation of presentism should remain neutral among competing spacetime theories in order to enable the present project of assessing the compatibility of presentism with various theories of modern physics, including both spacetime theories and theories of physical processes situated in a spatiotemporal setting. (shrink)

A new trade edition of Sartre's magnum opus. First published in 1943, this masterpiece defines the modern condition and still holds relevance for today's readers.

What can fashionable ideas, blind faith, or pure fantasy possibly have to do with the scientific quest to understand the universe? Surely, theoretical physicists are immune to mere trends, dogmatic beliefs, or flights of fancy? In fact, acclaimed physicist and best-selling author Roger Penrose argues that researchers working at the extreme frontiers of physics are just as susceptible to these forces as anyone else. In this provocative book, he argues that fashion, faith, and fantasy, while sometimes productive and even (...) essential in physics, may be leading today's researchers astray in three of the field's most important areas--string theory, quantum mechanics, and cosmology... The result is an important critique of some of the most significant developments in physics today from one of its most eminent figures."--Jacket. (shrink)

Fundamental theories are hard to come by. But even if we had them, they would be too complicated to apply. Quantum chromodynamics (QCD) is a case in point. This theory is supposed to govern all strong interactions, but it is extremely hard to apply and test at energies where protons, neutrons and ions are the effective degrees of freedom. Instead, scientists typically use highly idealized models such as the MIT Bag Model or the Nambu Jona-Lasinio Model to account for phenomena (...) in this domain, to explain them and to gain understanding. Based on these models, which typically isolate a single feature of QCD (confinement and chiral symmetry breaking respectively) and disregard many others, scientists attempt to get a better understanding of the physics of strong interactions. But does this practice make sense? Is it justified to use these models for the purposes at hand? Interestingly, these models do not even provide an accurate description of the mass spectrum of protons, neutrons and pions and their lowest lying excitations well - despite several adjustable parameters. And yet, the models are heavily used. I'll argue that a qualitative story, which establishes an explanatory link between the fundamental theory and a model, plays an important role in model acceptance in these cases. (shrink)

The concept of Nothingness—Japanese mu or Chinese wú 無—is central both to the Kyoto School and to important strands of Chinese philosophy. The Kyoto School, which has been active since the 1930s, is arguably modern Japan’s most philosophically sophisticated challenge to Western thought. Further, as contemporary East Asia continues to rise in importance, East Asians and Westerners alike are beginning to consider anew the contemporary philosophical relevance of Confucianism, Daoism, and East-Asian Buddhism. These originally Chinese traditions were certainly important (...) influences directly and indirectly on Kyoto School philosophy itself. At the very least, Kyoto thought and Chinese thought share foundational structural resemblances, especially regarding the concept of Nothingness. This study summarizes the concept of Nothingness in the Kyoto School and in Chinese philosophy, and then offers an evaluation of the contemporary relevance and general coherence of this concept. (shrink)

Imposition of lockdown restrictions during the coronavirus disease 2019 (COVID-19) pandemic was sudden and unprecedented and dramatically changed the life of many people, as they were confined to their homes with reduced movement and access to fitness training facilities. Studies have reported significant associations between physical inactivity, sedentary behavior, and common mental health problems. This study investigated relations between participants’ reports of change in physical activity (PA; i.e., Reduced PA, Unchanged PA, or Increased PA) and levels of anxiety and depression (...) symptoms during the COVID-19 pandemic lockdown in Norway in the time period from March 12, 2020 to June 15, 2020. The relations between age and gender and levels of anxiety and depression symptoms as well as how different levels of resilience influenced the relation between changes in PA and levels of anxiety and depression symptoms were also investigated. A cross-sectional survey design was used. Participants (N= 1,314; females = 31%) were members of an endurance sports organization aged between 18 and 81 years (M= 49 years;SD= 11.50 years). Participants completed the Resilience Scale for Adults and the Hospital Anxiety and Depression Scale and reported their changes in PA after lockdown restrictions were implemented on March 12, 2020. Regression analysis, independent samplest-test, and two-way multivariate analysis of variance were conducted. Reduced PA was associated with a higher risk of anxiety and depression symptoms. Younger participants in Reduced PA and Unchanged PA subgroups scored significantly higher on levels of anxiety symptoms and significantly higher on depression symptoms in Unchanged PA subgroup. Females in Unchanged PA and Increased PA subgroups scored significantly higher on levels of anxiety symptoms, whereas no gender differences were found for depression symptoms. The main and interaction effects of change in PA and resilience were significantly associated with depression symptoms. For anxiety symptoms, only the main effect of resilience, but not PA, and the interaction effect were significant. Results further showed that resilience was an important factor that influenced the levels of change in PA. High levels of resilience were associated with lower anxiety and depression symptoms in Reduced, Unchanged, and Increased PA subgroups during the COVID-19 lockdown. Promoting PA while boosting resilience factors such as confidence in own ability and drawing on the social support of even reduced social networks or connections while under lockdown can protect against common mental health problems. (shrink)

This paper begins by tracing interest in emergence in physics to the work of condensed matter physicist Philip Anderson. It provides a selective introduction to contemporary philosophical approaches to emergence. It surveys two exciting areas of current work that give good reason to re-evaluate our views about emergence in physics. One area focuses on physical systems wherein fundamental theories appear to break down. The other area is the quantum-to-classical transition, where some have claimed that a complete explanation of (...) the behaviors and features of the objects of classical physics entirely in quantum terms is now within our grasp. We suggest that the most useful way to approach the emergent/non-emergent distinction is in epistemic terms, and more specifically that the failure of reductive explanation is constitutive of emergence in physics. (shrink)

Among the beliefs related to teaching work, self-efficacy stands out and encourage innovation across the global education systems. Specifically, the lack of interest among instructors in introducing innovative techniques in physical education is a concern across China. Therefore, this study intends to investigate the role of cognitive indicators of innovation in physical education across China. This study opted for quantitative techniques, including using a structured questionnaire to collect data from targeted respondents through the survey techniques. Moreover, 800 questionnaires were circulated, (...) and as a result, 420 usable responses were attained, making the overall response rate stand at 40%. The results indicate that the above-stated cognitive factors, along with self-efficacy, have a positive role in causing innovation across the physical education exchequer of China. Likewise, self-efficacy played the mediating role between cognitive indicators and innovation in physical education in China. The study has notable theoretical and practical implications for the policymakers in terms of introducing policies that could help increase the cognitive state of educationists, which in turn possibly will help make them pursue innovation within the education system of China. (shrink)

It is difficult to evaluate the role of activity - of force or of that which has causal efficacy - in Descartes’ natural philosophy. On the one hand, Descartes claims to include in his natural philosophy only that which can be described geometrically, which amounts to matter (extended substance) in motion (where this motion is described kinematically).’ Yet on the other hand, rigorous adherence to a purely geometrical description of matter in motion would make it difficult to account for the (...) interactions among the particles that constitute Descartes’ universe, since the notions of extension and kinematical motion do not in themselves imply any causal agency. There is, after all, no reason to expect that a particle whose single essence is extension, even if we suppose it to be moving, should impart motion to another particle, while conversely, there is no reason to expect a resting particle to hinder the motion of an impinging one. Descartes' hankering for an austere ontology of matter in motion is in danger of excluding causal agency (force, conceived dynmically) from matter. To the modern reader it may seem obvious that Descartes did not get himself into such a fix, since matter in motion so readily reminds us of kinetic energy or of some more primitive notion of force. Yet by no means is it obvious that Descartes attributed causal efficacy to matter in motion per se. Serious scholars have held opposite positions on this issue. Westfall, Gabbey, and others’ have argued that although on the metaphysical plane Descartes attempted to eliminate force from his mechanical universe, nonetheless ‘force is a real feature’ of his mechanical world. The thrust of this view is that Descartes conceived of force as ‘the capacity of a body in motion to act’, by means of impact, upon other bodies. An opposing interpretation, defended here, is that Descartes did in fact deny causal agency to moving matter per se, restricting agency to immaterial substances such as the human mind, angels, and God. The intention of this interpretation is not to de-emphasize the role of matter in motion in Descartes’ explanation of nature, but rather to stress the fact that Descartes did not conceive of this moving matter dynamically. -/- Reprinted in Descartes, ed. by J. Cottingham, Oxford Readings in Philosophy (Oxford: Oxford University Press, 1998), 281–310. (shrink)

We describe a set of two computer‐implemented models that solve physics problems in ways characteristic of more and less competent human solvers. The main features accounting for different competences are differences in strategy for selecting physics principles, and differences in the degree of automation in the process of applying a single principle. The models provide a good account of the order in which principles are applied by human solvers working problems in kinematics and dynamics. They also are sufficiently (...) flexible to allow easy extension to several related domains of physics problems. (shrink)

It is commonly held that there is no place for the 'now’ in physics, and also that the passing of time is something subjective, having to do with the way reality is experienced but not with the way reality is. Indeed, the majority of modern theoretical physicists and philosophers of physics contend that the passing of time is incompatible with modern physical theory, and excluded in a fundamental description of physical reality. This book provides a forceful rebuttal of (...) such claims. In successive chapters the author explains the historical precedents of the modern opposition to time flow, giving careful expositions of matters relevant to becoming in classical physics, the special and general theories of relativity, and quantum theory, without presupposing prior expertise in these subjects. Analysing the arguments of thinkers ranging from Aristotle, Russell, and Bergson to the proponents of quantum gravity, he contends that the passage of time, understood as a local becoming of events out of those in their past at varying rates, is not only compatible with the theories of modern physics, but implicit in them. (shrink)

This article offers a reading of Sartre's phenomenological ontology in light of the pre-modern understanding of ‘transcendentals’ as universal properties and predicates of all determinate beings. Drawing on Sartre's transcendental account of nothingness in his early critique of Husserl as well as his discussion of ‘determination as negation’ in Being and Nothingness, this article argues that Sartre's universal predicate of ‘the not’ (le non) could be understood in a similar light to the medieval scholastic conception of transcendentals. But (...) whereas the scholastics saw the transcendental properties of oneness, truth, and goodness as reflections of God's divine perfections, Sartre's predicate of the ‘not’ operates as an atheistic transcendental which signifies the non-being of God – that God is not. By comparing Sartre's phenomenological ontology to medieval theological metaphysics, this article not only highlights the atheist underpinnings of Sartre's entire ontological schema in Being and Nothingness but also offers a new way of interpreting Sartre as a systematic transcendental metaphysician. (shrink)