Twitter makes conversation into something like a game. It scores our communication, giving us vivid and quantified feedback, via Likes, Retweets, and Follower counts. But this gamification doesn’t just increase our motivation to communicate; it changes the very nature of the activity. Games are more satisfying than ordinary life precisely because game-goals are simpler, cleaner, and easier to apply. Twitter is thrilling precisely because its goals have been artificially clarified and narrowed. When we buy into Twitter’s gamification, then (...) our values shift from the complex and pluralistic values of communication, to the narrower quest for popularity and virality. Twitter’s gamification bears some resemblance with the phenomena of echo chambers and moral outrage porn. In all these phenomena, we are instrumentalizing our ends for hedonistic reasons. We have shifted our aims in an activity, not because the new aims are more valuable, but in exchange for extra pleasure. (shrink)

This book represent the diversity and interdisciplinary nature of the conference itself covering topics such as historical and theological concepts of evil, media representations of evil, contemporary debates surrounding the Bosnia war and woman perpetrators in Birkenau, and the construction of the Other as evil in the face of the continuing hysteria over AIDS.

According to most accounts of trust, you can only trust other people (or groups of people). To trust is to think that another has goodwill, or something to that effect. I sketch a different form of trust: the unquestioning attitude. What it is to trust, in this sense, is to settle one’s mind about something, to stop questioning it. To trust is to rely on a resource while suspending deliberation over its reliability. Trust lowers the barrier of (...) monitoring, challenging, checking, and questioning. Trust sets up open pipelines between yourself and parts of the external world. Trust permits external resources to have a similar relationship to one as one’s internal cognitive faculties. This creates efficiency, but at the price of exquisite vulnerability. We must trust in this way because we are cognitively limited beings in a cognitively overwhelming world. Crucially, we can hold the unquestioning attitude towards objects and technologies. When I trust my climbing rope, I stop worrying about its reliability. When I trust my online calendaring system, I simply go to the events indicated, without question. But, one might worry, how could one ever hold such a normatively loaded attitude as trust towards mere objects? How could it ever make sense to feel betrayed by an object? Trust is our engine for expanding and outsourcing our agency — for binding external processes into our practical selves. Thus, we can be betrayed by our smartphones in the same way that we can be betrayed by our memory. When we trust, we try to make something a part of our agency, and we are betrayed when our part lets us down. To unquestioningly trust something is to let it in—to attempt to bring it inside one’s practical functioning. This suggests a new form of gullibility: agential gullibility, which occurs when agents too hastily and carelessly integrate external resources into their own agency. (shrink)

There seems to be a deep tension between two aspects of aesthetic appreciation. On the one hand, we care about getting things right. On the other hand, we demand autonomy. We want appreciators to arrive at their aesthetic judgments through their own cognitive efforts, rather than deferring to experts. These two demands seem to be in tension; after all, if we want to get the right judgments, we should defer to the judgments of experts. The best explanation, I suggest, is (...) that aesthetic appreciation is something like a game. When we play a game, we try to win. But often, winning isn’t the point; playing is. Aesthetic appreciation involves the same flipped motivational structure: we aim at the goal of correctness, but having correct judgments isn’t the point. The point is the engaged process of interpreting, investigating, and exploring the aesthetic object. Deferring to aesthetic testimony, then, makes the same mistake as looking up the answer to a puzzle, rather than solving it for oneself. The shortcut defeats the whole point. This suggests a new account of aesthetic value: the engagement account. The primary value of the activity of aesthetic appreciation lies in the process of trying to generate correct judgments, and not in having correct judgments. -/- *There is an audio version available: look for the Soundcloud link, below.*. (shrink)

What is a game? What are we doing when we play a game? What is the value of playing games? Several different philosophical subdisciplines have attempted to answer these questions using very distinctive frameworks. Some have approached games as something like a text, deploying theoretical frameworks from the study of narrative, fiction, and rhetoric to interrogate games for their representational content. Others have approached games as artworks and asked questions about the authorship of games, about the ontology of the (...) work and its performance. Yet others, from the philosophy of sport, have focused on normative issues of fairness, rule application, and competition. The primary purpose of this article is to provide an overview of several different philosophical approaches to games and, hopefully, demonstrate the relevance and value of the different approaches to each other. Early academic attempts to cope with games tried to treat games as a subtype of narrative and to interpret games exactly as one might interpret a static, linear narrative. A faction of game studies, self-described as “ludologists,” argued that games were a substantially novel form and could not be treated with traditional tools for narrative analysis. In traditional narrative, an audience is told and interprets the story, where in a game, the player enacts and creates the story. Since that early debate, theorists have attempted to offer more nuanced accounts of how games might achieve similar ends to more traditional texts. For example, games might be seen as a novel type of fiction, which uses interactive techniques to achieve immersion in a fictional world. Alternately, games might be seen as a new way to represent causal systems, and so a new way to criticize social and political entities. Work from contemporary analytic philosophy of art has, on the other hand, asked questions whether games could be artworks and, if so, what kind. Much of this debate has concerned the precise nature of the artwork, and the relationship between the artist and the audience. Some have claimed that the audience is a cocreator of the artwork, and so games are a uniquely unfinished and cooperative art form. Others have claimed that, instead, the audience does not help create the artwork; rather, interacting with the artwork is how an audience member appreciates the artist's finished production. Other streams of work have focused less on the game as a text or work, and more on game play as a kind of activity. One common view is that game play occurs in a “magic circle.” Inside the magic circle, players take on new roles, follow different rules, and actions have different meanings. Actions inside the magic circle do not have their usual consequences for the rest of life. Enemies of the magic circle view have claimed that the view ignores the deep integration of game life from ordinary life and point to gambling, gold farming, and the status effects of sports. Philosophers of sport, on the other hand, have approached games with an entirely different framework. This has lead into investigations about the normative nature of games—what guides the applications of rules and how those rules might be applied, interpreted, or even changed. Furthermore, they have investigated games as social practices and as forms of life. (shrink)

Games occupy a unique and valuable place in our lives. Game designers do not simply create worlds; they design temporary selves. Game designers set what our motivations are in the game and what our abilities will be. Thus: games are the art form of agency. By working in the artistic medium of agency, games can offer a distinctive aesthetic value. They support aesthetic experiences of deciding and doing. -/- And the fact that we play games shows something remarkable about (...) us. Our agency is more fluid than we might have thought. In playing a game, we take on temporary ends; we submerge ourselves temporarily in an alternate agency. Games turn out to be a vessel for communicating different modes of agency, for writing them down and storing them. Games create an archive of agencies. And playing games is how we familiarize ourselves with different modes of agency, which helps us develop our capacity to fluidly change our own style of agency. (shrink)

The current debate over aesthetic testimony typically focuses on cases of doxastic repetition — where, when an agent, on receiving aesthetic testimony that p, acquires the belief that p without qualification. I suggest that we broaden the set of cases under consideration. I consider a number of cases of action from testimony, including reconsidering a disliked album based on testimony, and choosing an artistic educational institution from testimony. But this cannot simply be explained by supposing that testimony is usable (...) for action, but unusable for doxastic repetition. I consider a new asymmetry in the usability aesthetic testimony. Consider the following cases: we seem unwilling to accept somebody hanging a painting in their bedroom based merely on testimony, but entirely willing to accept hanging a painting in a museum based merely on testimony. The switch in intuitive acceptability seems to track, in some complicated way, the line between public life and private life. These new cases weigh against a number of standing theories of aesthetic testimony. I suggest that we look further afield, and that something like a sensibility theory, in the style of John McDowell and David Wiggins, will prove to be the best fit for our intuitions for the usability of aesthetic testimony. I propose the following explanation for the new asymmetry: we are willing to accept testimony about whether a work merits being found beautiful; but we are unwilling to accept testimony about whether something actually is beautiful. (shrink)

Our life with art is suffused with trust. We don’t just trust one another’s aesthetic testimony; we trust one another’s aesthetic actions. Audiences trust artists to have made it worth their while; artists trust audiences to put in the effort. Without trust, audiences would have little reason to put in the effort to understand difficult and unfamiliar art. I offer a theory of aesthetic trust, which highlights the importance of trust in aesthetic sincerity. We trust in another’s aesthetic sincerity when (...) we rely on them to fulfill their commitments to act for aesthetic reasons — rather than for, say, financial, social, or political reasons. We feel most thoroughly betrayed by an artist, not when they make bad art, but when they sell out. This teaches us something about the nature of trust in general. According to many standard theories, trust involves thinking the trusted to be cooperative or good-natured. But trust in aesthetic sincerity is different. We trust artists to be true to their own aesthetic sensibility, which might involve selfishly ignoring their audience’s needs. Why do we care so much about an artist’s sincerity, rather than merely trusting them to make good art? We emphasize sincerity when wish to encourage originality, rather than to demand success along predictable lines. And we ask for sincerity when our goal is to discover a shared sensibility. In moral life, we often try to force convergence through coordinated effort. But in aesthetic life, we often hope for the lovely discovery that our sensibilities were similar all along. And for that we need to ask for sincerity, rather than overt coordination. (shrink)

The feeling of clarity can be dangerously seductive. It is the feeling associated with understanding things. And we use that feeling, in the rough-and-tumble of daily life, as a signal that we have investigated a matter sufficiently. The sense of clarity functions as a thought-terminating heuristic. In that case, our use of clarity creates significant cognitive vulnerability, which hostile forces can try to exploit. If an epistemic manipulator can imbue a belief system with an exaggerated sense of clarity, then they (...) can induce us to terminate our inquiries too early — before we spot the flaws in the system. How might the sense of clarity be faked? Let’s first consider the object of imitation: genuine understanding. Genuine understanding grants cognitive facility. When we understand something, we categorize its aspects more easily; we see more connections between its disparate elements; we can generate new explanations; and we can communicate our understanding. In order to encourage us to accept a system of thought, then, an epistemic manipulator will want the system to provide its users with an exaggerated sensation of cognitive facility. The system should provide its users with the feeling that they can easily and powerfully create categorizations, generate explanations, and communicate their understanding. And manipulators have a significant advantage in imbuing their systems with a pleasurable sense of clarity, since they are freed from the burdens of accuracy and reliability. I offer two case studies of seductively clear systems: conspiracy theories; and the standardized, quantified value systems of bureaucracies. (shrink)

In our life with science, we trust experts; we form judgements by inference from past evidence. We conduct ourselves very differently in the aesthetic domain. We avoid deferring to aesthetic experts. We form our judgements through direct perception of particulars rather than through inference. Why the difference? I suggest that we avoid aesthetic testimony and aesthetic inference, not because they’re unusable, but because we have adopted social norms to avoid them. Aesthetic appreciation turns out to be something like a (...) game. We have laid down certain rules and restrictions in order to shape a kind of activity we cherish. And aesthetic properties turn out to be a kind of social construct. Much like the goal of a game, they are constituted in part by our obedience to certain rules. The norms of aesthetic life are different from those of science because our purposes are different. We engage in science to get the right answers; we engage in aesthetic appreciation to be absorbed in the activity of the sensuous perception of particulars. Our aesthetic practices are a constructed shelter from science; they restore to us a small domain where we may once again engage in our own sensuous perception of particulars. (shrink)

Is there a right or wrong way to play a game? Many think not. Some have argued that, when we insist that players obey the rules of a game, we give too much weight to the author’s intent. Others have argued that such obedience to the rules violates the true purpose of games, which is fostering free and creative play. Both of these responses, I argue, misunderstand the nature of games and their rules. The rules do not tell us how (...) to interpret a game; they merely tell us what the game is. And the point of the rules is not always to foster free and creative play. The point can be, instead, to communicate a sculpted form of activity. And in games, as with any form of communication, we need some shared norms to ground communicative stability. Games have what has been called a “prescriptive ontology.” A game is something more than simply a piece of material. It is some material as approached in a certain specified way. These prescriptions help to fix a common object of attention. Games share this prescriptive ontology with more traditional kinds of works. Novels are more than just a set of words on a page; they are those words read in a certain order. Games are more than just some software or cardboard bits; they are those bits interacted with according to certain rules. Part of a game’s essential nature is the prescriptions for how we are to play it. What’s more, we investigate the prescriptive ontology of games, we will uncover at least distinct prescriptive categories of games. Party games prescribe that we encounter the game once; heavy strategy games prescribe we encounter the game many times; and community evolution games prescribe that we encounter the game while embedded in an ongoing community of play. (shrink)

This work is a revision of the False Dilemma Fallacy (FDF). The formalized model (FM)of this fallacy has as its centerpiece a valid disjunctive syllogism, but the disjunctive premise is presumed to be false, thus making the argument unsound. Our revised model (FM2.0) focuses on the formal structure by comparing the given vs. the real argument, which is unsound because of its invalidity. This approach we believe is more pedagogically useful and a better explanation of the fallacious (...) nature of the FDF. It extends the identity of “formal fallacy” to the FDF. The abstract is formatted in two columns. The English abstract goes on this side. (shrink)

The interplay of philosophical ambitions and technical reality have given birth to rich and interesting approaches to explain the oft-claimed special character of mathematical and logical knowledge. Two projects stand out both for their audacity and their innovativeness. These are logicism and proof-theoretic semantics. This dissertation contains three chapters exploring the limits of these two projects. In both cases I find the formal results offer a mixed blessing to the philosophical projects. Chapter 1. Is a logicist bound to the (...) claim that as a matter of analytic truth there is an actual infinity of objects? If Hume’s Principle is analytic then in the standard setting the answer appears to be yes. Hodes’s work pointed to a way out by offering a modal picture in which only a potential infinity was posited. However, this project was abandoned due to apparent failures of cross-world predication. I re-explore this idea and discover that in the setting of the potential infinite one can interpret first-order Peano arithmetic, but not second-order Peano arithmetic. I conclude that in order for the logicist to weaken the metaphysically loaded claim of necessary actual infinities, they must also weaken the mathematics they recover. Chapter 2. There have been several recent results bringing into focus the super-intuitionistic nature of most notions of proof-theoretic validity. But there has been very little work evaluating the consequences of these results. In this chapter, I explore the question of whether these results undermine the claim that proof-theoretic validity shows us which inferences follow from the meaning of the connectives when defined by their introduction rules. It is argued that the super-intuitionistic inferences are valid due to the correspondence between the treatment of the atomic formulas and more complex formulas. And so the goals of proof-theoretic validity are not undermined. Chapter 3. Prawitz (1971) conjectured that proof-theoretic validity offers a semantics for intuitionistic logic. This conjecture has recently been proven false by Piecha and Schroeder-Heister (2019). This chapter resolves one of the questions left open by this recent result by showing the extensional alignment of proof-theoretic validity and general inquisitive logic. General inquisitive logic is a generalisation of inquisitive semantics, a uniform semantics for questions and assertions. The chapter further defines a notion of quasi-proof-theoretic validity by restricting proof-theoretic validity to allow double negation elimination for atomic formulas and proves the extensional alignment of quasi-proof-theoretic validity and inquisitive logic.Abstract prepared by Will Stafford extracted partially from the dissertation. (shrink)

Purpose The purpose of this paper is to suggest a definition of genetic information by taking into account the debate surrounding it. Particularly, the objections raised by Developmental Systems Theory to Teleosemantic endorsements of the notion of genetic information as well as deflationist approaches which suggest to ascribe the notion of genetic information a heuristic value at most, and to reduce it to that of causality. Design/methodology/approach The paper presents the notion of genetic information through its historical evolution and (...) analyses it with the conceptual tools offered by philosophical theories of causation on one side and linguistics on the other. Findings The concept of genetic information is defined as a special kind of cause which causes something to be one way rather than another, by combining elementary units one way rather than another. Tested against the notion of “genetic error” this definition demonstrates to provide an exhaustive account of the common denominators associated with the notion of genetic information: causal specificity; combinatorial mechanism; arbitrariness. Originality/value The definition clarifies how the notion of information is understood when applied to genetic phenomena and also contributes to the debate on the notion of information, broadly meant, which is still affected by lack of consensus. (shrink)

To allow us to live well into the future, Curren and Metzger aim to ‘clarify the nature and normative aspects of sustainability’. Setting aside discussion of the specifically ethica...

Nineteenth-century literary criticism read literature as a commentary on the world it inhabited. Thecommentators understood what they read in terms of the judgments and values they registered in it, andwhich they themselves, as commentators, as critics, made explicit - as if, somehow, the literary textunder investigation always fell short in this regard. Their criticism, then, took up, or extended, theintention of the texts they engaged, as they understood it: to say something significant about the world.In this climate, (...) the literary object, as literary, scarcely existed. Where successful, it was a transparency,in itself barely visible, so well did it convey a world.This is, briefly, the caricature of this period of literary criticism produced by those polemicists who,coming after, were keen to situate themselves in the vanguard of a new critical method. (shrink)

This paper contributes to the long-running debate over Thomas Nagel’s claim that, although we cannot conceive of what it is like to be another type of conscious organism , there most certainly is something it is like. Peter Hacker has examined Nagel’s claim from the perspective of Wittgensteinian analysis, and has argued that the claim is conceptually confused: it makes no sense to say there is ‘something it is like’ to be a person, or a bat, or (...) to be oneself, and hence there can be no place for such expressions in our language. While taking seriously Wittgenstein’s approach to the investigation of language, I propose that Hacker has been too hasty in declaring the phrase ‘something it is like’ to be nonsensical. I put forward three distinct, but mutually supportive, arguments to substantiate my proposal. (shrink)

Sometimes I dream that I am an astronaut. I land my spaceship on a distant planet. When I tell me children on that planet that on earth school is compulsory and that we have homework every evening, they split their sides laughing. And so I decide to stay with them for a long, long time… Well anyway… until the summer holidays. Each state of the mind is irreducible. The mere act of giving it a name, that is of classifying it, (...) implies a falsification of it. From all this, it would be possible to deduce that there is no science in Tlon, let alone rational thought. The paradox, however, is that sciences exist, in countless number… The metaphysicians of Tlon are not looking for truth, nor even for an approximation of it; they are after a kind of amazement. They consider metaphysics a branch of fantastic literature. They know that a system is nothing more than the subordination of all aspects of the universe to some one of them. Even the phrase ‘all the aspects’ can be rejected, since it presupposes the impossible inclusion of the present moment, and of past moments. (shrink)

This paper discusses the concept of nothing (nothingness) from the point of logic and ontology (metaphysics). It is argued that the category of nothing as a denial of being is subjected to various interpretations. In particular, this thesis concerns the concept of negation as used in metaphysics. Since the Leibniz question ‘Why is there something rather than nothing?’ and the principle of sufficient reason is frequently connected with the status of nothing, their analysis is important for the (...) problem in question. Appendix contains a short critical analysis of Heidegger’s famous statement Das Nichts nichtet. (shrink)

This article is intended to examine the lines 1006a34-b9 of Metaphysics Γ 4, where Aristotle conjectures and discusses an objection to the very first step of his proof of the principle of the most universal science. As we shall see in detail, this objection consists in claiming that the meaning of a word is multiple, so that it is not possible for a word to have one single meaning, contrarily to what it seems to be required for one (...) to say something. As we shall also see, some crucial aspects of aristotelian notion of meaning emerge in this context, among which those related to the unity proper to it. (shrink)

Experiments demonstrating entanglement swapping have been alleged to challenge realism about entanglement. Seevinck claims that entangle- ment “cannot be considered ontologically robust” while Healey claims that entanglement swapping “undermines the idea that ascribing an entangled state to quantum systems is a way of representing some new, non-classical, physical relation between them.” My aim in this paper is to show that realism is not threatened by the possibility of entanglement swapping, but rather, it should be informed by the phenomenon. I (...) argue—expanding the argument of Timpson and Brown —that ordinary entanglement swapping cases present no new challenges for the realist. With respect to the delayed-choice variant discussed by Healey, I claim that there are two options available to the realist: deny these are cases of genuine swapping ) or allow for existence of entanglement between timelike separated regions. This latter option, while radical, is not incoherent and has been suggested in quite different contexts. While I stop short of claiming that the realist must take this option, doing so allows one to avoid certain costs associated with Egg’s “orthodox” account. I conclude by noting several important implication of entanglement swapping for how one thinks of entanglement generally. (shrink)

This paper proposes and defends an account of what it is to act for reasons. In the first part, I will discuss the desire-belief and the deliberative model of acting for reasons. I will argue that we can avoid the weaknesses and retain the strengths of both views, if we pursue an alternative according to which acting for reasons involves taking something as a reason. In the main part, I will develop an account of what it is to (...) take something as a reason for action. On the basis of this, I will then offer a new account of what it is to act for reasons. (shrink)

An intuitive view is that creativity involves bringing together what is already known and familiar in a way that produces something new. In cognitive science, this intuition is typically formalized in terms of computational processes that combine or associate internally represented information. From this computationalist perspective, it is hard to imagine how non-representational approaches in embodied cognitive science could shed light on creativity, especially when it comes to abstract conceptual reasoning of the kind scientists so often engage (...) in. The present article offers an entry point to addressing this challenge. The scientific project of embodied cognitive science is a continuation of work in the functionalist tradition in psychology developed over a century ago by William James and John Dewey, among others. The focus here is on how functionalist views on the nature of mind, thought, and experience offer an alternative starting point for cognitive science in general, and for the cognitive science of scientific creativity in particular. The result may seem paradoxical. On the one hand, the article claims that the functionalist conceptual framework motivates rejecting mainstream cognitive views of creativity as the combination or association of ideas. On the other hand, however, the strategy adopted here—namely, revisiting ideas from functionalist psychology to inform current scientific theorizing—can itself be described as a process of arriving at new, creative ideas from combinations of old ones. As is shown here, a proper understanding of cognition in light of the functionalist tradition resolves the seeming tension between these two claims. (shrink)

In the contemporary world, voices are caught up in fundamentally different realms of discourse, practice, and culture: between sounding and nonsounding, material and nonmaterial, literal and metaphorical. In The Voice as Something More, Martha Feldman and Judith T. Zeitlin tackle these paradoxes with a bold and rigorous collection of essays that look at voice as both object of desire and material object. Using Mladen Dolar’s influential A Voice and Nothing More as a reference point, The Voice as Something (...) More reorients Dolar’s psychoanalytic analysis around the material dimensions of voices—their physicality and timbre, the fleshiness of their mechanisms, the veils that hide them, and the devices that enhance and distort them. Throughout, the essays put the body back in voice. Ending with a new essay by Dolar that offers reflections on these vocal aesthetics and paradoxes, this authoritative, multidisciplinary collection, ranging from Europe and the Americas to East Asia, from classics and music to film and literature, will serve as an essential entry point for scholars and students who are thinking toward materiality. (shrink)

This paper studies consumers’ reactions and resistance to being responsibilized for making climate-friendly food choices. While resistance to consumer responsibilization has been studied from an individual experiential perspective, we examine its collective characteristics. We do this by tracing the controversial marketing campaign of a Swedish poultry producer, encouraging consumers to “do something simple for the climate” by eating chicken rather than beef. In our analysis of social media comments and formal complaints to the consumer protection authority, we (...) mobilize Foucault’s notion of counter-conduct to analyse subtle forms of resistance to consumer responsibilization. We identified four interrelated yet distinct forms of consumer counter-conduct: _challenging truth claims, demanding ‘more,’ constructing ‘the misled consumer,’_ and _rejecting vilification._ By theorizing these counter-conducts, we demonstrate how consumers collectively contested both the means and ends of responsibilization—but not the underlying premise of individualized responsibility. Thus, our study helps to explain how consumers’ resistance reproduces, rather than undermines, responsibilization. (shrink)

Bruce Ackerman, Before the Next Attack: Preserving Civil Liberties in an Age of Terrorism New Haven: Yale University Press, 2006, pp. 240.

If God commanded something that was obviously evil, would we have a moral obligation to do it? I critically examine three radically different approaches divine-command theorists may take to the problem posed by this question: (1) reject the possibility of such a command by appealing to God's essential goodness; (2) avoid the implication that we should obey such a command by modifying the divine-command theory; and (3) accept the implication that we should obey such a command by appealing (...) to divine transcendence and mystery. I show that each approach faces significant challenges, and that none is completely satisfying. (shrink)

Representation is a central part of models in cognitive science, but recently this idea has come under attack. Researchers advocating perceptual symbol systems, situated action, embodied cognition, and dynamical systems have argued against central assumptions of the classical representational approach to mind. We review the core assumptions of the dominant view of representation and the four suggested alternatives. We argue that representation should remain a core part of cognitive science, but that the insights from these alternative approaches must be (...) incorporated into models of cognitive processing. (shrink)

This chapter concentrates on the nature of the image as it presents itself in experience, with its remarkable capacity to represent within itself people, events, emotions, and many other things, and with its place in art. The Husserlian perspective has many affinities with more recent investigations of images. The physical dimension of image plays an important role in imaging and has been largely neglected by philosophers, though not by artists. The uniqueness of image consciousness rests in its ability to (...) see something in something else. Then, the chapter assesses the differences between image consciousness and symbolic or signitive consciousness. The resemblance in image consciousness must precisely not be perfect; it must be paired with and permeated by difference and even conflict. Images improve experience by folding into themselves the world. (shrink)

In _This Strange Idea of the Beautiful_, François Jullien explores what it means when we say something is beautiful. Bringing together ideas of beauty from both Eastern and Western philosophy, Jullien challenges the assumptions underlying our commonly agreed upon definition of what is beautiful and offers a new way of beholding art. Jullien argues that the Western concept of beauty was established by Greek philosophy and became consequently embedded within the very structure of European languages. And due to its (...) relationship to language, this concept has determined ways of thinking about beauty that often go unnoticed or unchecked in discussions of Western aesthetics. Moreover, through globalization, Western ideals of beauty have even spread to cultures whose ancient traditions are based upon radically different aesthetic foundations; yet, these cultures have adopted such views without question and without recognizing the cultural assumptions they contain. Looking specifically at how Chinese texts have been translated into Western languages, Jullien reveals how the traditional Chinese refusal to isolate or abstract beauty is obscured in translation in order to make the works more understandable to Western readers. Creating an engaging dialogue between Chinese and Western ideas, Jullien reasseses the essence of beauty. (shrink)

The basic idea motivating this paper is that something can be done intentionally even when it is not done with the intention of doing it. An implication of this idea is that the distinction between doing what one intends and doing something as a foreseen avoidable consequence of doing what one intends cannot be used to exonerate agents for misdeeds.My immediate purpose here is to illustrate these points and show how they pertain to the morally relevant (...) difference between active and passive euthanasia, and to the exoneration of God for the production of evil. In particular, I shall try to show, first, that the American Medical Association's recent attempt to distinguish between active and passive euthanasia is seriously defective. Second, I shall try to show that a popular version of the so-called Free Will Defense of God for Evil is also seriously defective. (shrink)

In an important article, Chris Hart makes the case that CDA needs to draw on a wider range of theoretical sources in Cognitive Linguistics and Cognitive Science, giving particular attention to Evolutionary Psychology. While I support Hart’s case for this approach to CDA, and also support his argument, as a corrective to Chilton, that Evolutionary Psychology actually shows the need for something like CDA, this present article advances three further points, aimed to supplement the cognitive approach to (...) CDA. The first is that CDA could fruitfully draw on Cognitive Linguistics in a more detailed way than it has hitherto, and in particular on work that articulates Cognitive Linguistics with Cognitive Psychology of the kind developed by Tomasello. The second is that the insights of Habermas, much mentioned in CDA, need to be better integrated within a linguistic approach to CDA. The third and most important point is that the question of the underlying moral values of the critical stance in CDA now need to be explicated in view of the global context in which CDA operates. I also show, using Hart’s own data, how values are presupposed in many types of utterance. Hart is right to focus on evidentials in his data, as evidence of the critical abilities of human communicators. But there is something important missing for CDA to explore further: the presence of contestable values. (shrink)

This chapter contains sections titled: The 1970s: Adult Film Theatres The 1980s: Home Video/VHS The 1990s: DVD The Oh‐Oh Age of the Internet Notes.

Berto’s highly readable and lucid guide introduces students and the interested reader to Gödel’s celebrated _Incompleteness Theorem_, and discusses some of the most famous - and infamous - claims arising from Gödel's arguments. Offers a clear understanding of this difficult subject by presenting each of the key steps of the _Theorem_ in separate chapters Discusses interpretations of the _Theorem_ made by celebrated contemporary thinkers Sheds light on the wider extra-mathematical and philosophical implications of Gödel’s theories Written in an accessible, (...) non-technical style. (shrink)

In this paper, I discuss the problem of how empty persons can make distinctions between right and wrong within the two-truths doctrine of the Buddhist tradition. To do so, I rely on the teachings of the fifteenth- century founder of Tibetan Buddhism, Tsong kha pa Lo sang drak pa. I summarize Tsong kha pa’s exposition of the Buddhist tradition on this question, and then show how he held that profound emptiness, the ultimate truth found under scrupulous analysis of (...) how things exist, must be understood as complementing and fulfilling, rather than canceling, the principles of moral action, based as they are, primarily, on valid conventional distinctions. Along the way, I highlight Tsong kha pa’s major contribution to the history of Tibetan philosophy, namely, that conventional realities are not obviated by their profound emptiness of essence but have their own kind of validity; I then outline his criteria for saying that something exists conventionally. (shrink)

It is sometimes supposed that, in principle, we cannot offer an explanation for why there is something rather than nothing. I argue that this supposition is a mistake, and stems from a needlessly myopic conception of the form explanations can legitimately take. After making this more general point, I proceed to offer a speculative suggestion regarding one sort of explanation which can in principle serve as an answer to the question “why is there something rather than (...) nothing?” The suggestion is that there may be something rather than nothing in virtue of the truth of certain sorts of subjunctive conditionals. (shrink)

In this paper, I want to focus on the claim, prominently made by sensorimotor theorists, that perception is something we do. I will argue that understanding perceiving as a bodily doing allows for a strong non-dualistic position on the relation between experience and objective physical events, one which provides insight into why such relation seems problematic while at the same time providing means to relieve the tension. Next I will show how the claim that perception is something (...) we do does not stand in opposition to, and is not refuted by, the fact that we often have perceptual experience without moving. In arguing that cases of motionless perception and perception-like experience are still doings it will be pointed out that the same interactive regularities which are engaged in in active perception still apply to them. Explaining how past interactive regularities can influence current perception or perception-like experience in a way which remains true to the idea that perception is a doing, so I will argue, can be done by invoking the past -- the past itself, however, not its representation. The resulting historical, non-representational sensorimotor approach can join forces with Gibsonian ecological psychology -- provided that such is also understood along lines that don't invoke externalist remnants of contents. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Something to do with Demeter:Ritual and Performance in Aristophanes' Women at the ThesmophoriaAngeliki TzanetouLike his character the Kinsman, Aristophanes invades Athenian women's religious space. He puts onstage for the whole city a religious festival restricted to women. He suggests that women use this occasion to drink and plot against men, and he portrays them as carrying on adulterous affairs and duping their husbands. As a result of (...) this negative portrayal of women, scholars have concluded that the play undermines women's position in the festival and in the city. Elizabeth Bobrick (1997), for example, argues that the play misrepresents women's experience in ritual. Lauren Taaffe (1993) insists the play shows that women are only men in disguise, that it is not really about women at all but rather uses them to highlight male concerns. And Angus Bowie (1993, 227) concludes that in this play Aristophanes demonstrates that comedy, not tragedy, has the right to "give an accurate and fulsome picture of female villainy."On the face of it, Women at the Thesmophoria satirizes women's real ritual experience and does not respectfully depict the Thesmophoria-a very important festival celebrated throughout Greece, which promoted agricultural and human fertility. And yet, despite the Kinsman's invasion and his mockery of women, the role of women in ritual is not really undercut in this play. The female characters who inhabit the comic stage and protest their portrayal in drama do not aim to redefine their social roles as wives and mothers. Instead, they use the authority of their roles to mount a successful attack against Euripides because he undermines these functions. In fact, the play acknowledges and validates women's contribution to the fertility of the polis in two different ways.After the Kinsman is unmasked and taken captive by the women, four different strategies for rescuing him are staged. After all these strategies, derived from plays by Euripides, fail, a fifth strategy succeeds. As scholars have noted, the Kinsman's captivity and rescue parallel the founding myth of the Thesmophoria festival, the story of Persephone's [End Page 329] abduction and imprisonment by Hades and her rescue by her mother Demeter.1 My reading of Women at the Thesmophoria builds on this analysis by demonstrating how each of the Euripidean parodies moves closer to the myth of Demeter and Persephone. Moreover, with each of the parodies the actors become increasingly feminized. In the final scene of the play every character onstage but one is wearing female dress. Ironically, structurally and theatrically, Aristophanes' play celebrates women's power, as it is demonstrated in Demeter's rescue of her daughter and the rebirth of human and agricultural fertility.Moreover, the play affirms the centrality of women to the fertility of Athenian drama. Earlier studies have seen Women at the Thesmophoria as a competition between Euripides and Aristophanes and between tragedy and comedy (e.g., Hubbard 1991, Henderson 1996, Zeitlin 1996b, Gibert 1999-2000). The play's movement from male to female, especially in the arrangement of the parodies, is also a move from Dionysus to Demeter. The captivity/rescue plot is associated with not only Demeter and Persephone but also Dionysus, the presiding deity of Athenian theater. The stories of Dionysus' captivity and rescue are different, however; in these the god rescues himself and punishes his captors (e.g., Pentheus and Lycurgus). As the rescue strategies in Women at the Thesmophoria [End Page 330] unfold, they move from the Dionysian pattern of self-liberation and punishment of opponents to a Demetrian one of cooperation and reconciliation. This is also a movement from tragedy to comedy, in which tragedy fails to liberate while comedy succeeds. The four parodies and the final scenario move from explicitly tragic situations, including the threat of human sacrifice, to love/marriage plots and finally to men dressing as women to deceive a parodically hypermasculine male, thereby achieving a return to normality. By the end of the play, male cross-dressing does not show how easy it is to become female, but how essential women are to comedy-not only to creating laughter but also to the basic function of comedy: affirming and celebrating the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:“Something Breaks Through a Little”: The Marriage of Zen and Sophia in the Life of Thomas MertonChristopher PramukThe fact that you are a Zen Buddhist and I am a Christian monk, far from separating us, makes us most like one another. How many centuries is it going to take for people to discover this fact? 1Though Merton’s “turn to the East” began well before Vatican II would (...) turn the eyes of Roman Catholics toward the ecumenical and non-Christian world, its fruits would not generally appear in published form until after the Council. In works such as Mystics and Zen Masters (1967) and Zen and the Birds of Appetite (1968), Merton spends much labor correcting caricatures of Eastern spirituality prominent in the West, especially in the American counterculture. These remain vital texts today because they give us the mature Merton at his best, pressed to the limit of discursive communication on vexatious systematic and epistemological problems—and this after more than a decade of reflection and growth with respect to interfaith dialogue. Indeed, brilliantly realized essays such as “The New Consciousness” and “A Christian Looks at Zen” reveal Merton to be much more “conservative” than conservative caricatures make him out to be, and much more “liberal” than most progressives. Merton writes with the authority of a committed Christian immersed in serious dialogue, with all its challenges and risks, and not just as one who talks about it.Few serious students of Merton’s life and writings—whether inspired by his universal scope of vision or scandalized by it—would dispute that his conception of the divine changed as he allowed deeper encounters with Eastern traditions to interrogate his faith. What is less commonly understood, however, is how closely Merton’s engagement with Zen corresponded with his internalization of a deep thread in the Christian East, namely, the Sophia tradition of Russian Orthodoxy, or “sophiology” as known in its speculative form, associated with thinkers such as Vladimir Soloviev (d. 1900), Sergius Bulgakov (d. 1944), and Paul Evdokimov (d. 1970). What attracted Merton to these thinkers was their recasting of the Christian narrative of salvation in the boldest imaginative and metaphysical terms; from biblical, patristic, and modern philosophical sources they had fashioned a “positive theology,” a theology brimming with content. Though Merton himself would never develop a formal [End Page 67] sophiology, his internalization of Russian imagery is amply evidenced in journals, letters, notes, and in seminal works such as The Behavior of Titans (1961), The New Man (1961), and New Seeds of Contemplation (1961). The prose poem Hagia Sophia (1962), still one of Merton’s most understudied and “secret” works, is by far the most realized, lyrical, and daring of his meditations on the Wisdom figure of Sophia.In this article I wish to suggest that the striking “coincidence” of Zen and Sophia in Merton’s life during the late 1950s was not merely a coincidence, but hinged in part on epistemological difficulties he was wrestling with in the midst of radically shifting cultural, ecclesial, and political horizons. While in one sense the irruption of Sophia into Merton’s consciousness in the late 1950s was just one thread woven into the larger mosaic of his “turn to the world,” it was, I believe, the golden thread that helped him to hold the fabric together, ever more centered in Christ. In other words, this “bringing together” of apparent opposites does not end with epistemology. What emerges in Merton’s concurrent study of Zen and Russian sophiology is a kind of “story-shaped” Christology, a story told through the life of Merton but haunted more and more by the mysterious figure of Sophia.2Nondualism: A Zen and Ancient Christian “Way of Seeing”In a letter dated March 12, 1959, Merton introduced himself to Zen scholar D. T. Suzuki, then known worldwide for his gift for translating the teachings of Zen Buddhism to the West.3 After receiving a warm reply and some poems from Suzuki, Merton wrote a second letter. His tone is warm and forthright, written as one might address a respected mentor or a long-time friend. What is most striking is the intimacy with which... (shrink)

This paper is about the question: what is it for a mental state to mean (or present) something as an intentional object? This issue is addressed from a broad perspective, against the background of Brentano’s philosophical programme in Psychology from an empirical standpoint, and the controversy between the proponents of a non-canonical interpretation of Brentano’s theory of intentionality, and the so-called orthodox interpretation advocated namely by R. Chisholm. My investigation is divided into six parts. In the first (...) section, I explain the meaning and function of the notion of phenomenon in light of Brentano’s philosophical programme, and I briefly elucidate the notion of physical phenomenon which, in Brentano’s Psychology, constitutes the primary object of consciousness. In the next two sections, I look at two aspects of Brentano’s criticism of the identity thesis that he attributes to British empiricism, namely the psychological aspect, which concerns the identification of the two classes of phenomena, and the metaphysical aspect relating to the relationship between physical phenomena and the reality of an extramental world. Once this double distinction will be established, I will turn to the relation of intentional objects to presentations and put forward the hypothesis that intentional objects are conceptually dependent upon presentations and that this dependence rests, in turn, upon the content of the mental phenomena. The next step concerns Brentano’s theory of primary and secondary objects, and one of the main non-orthodox arguments against the canonical interpretation, namely that the latter conflates primary and secondary objects. In this context, I examine a second hypothesis: that the secondary object, or intentional correlate of an act, is an intentional content, which is distinct both from the intentional object and from the reality to which it relates, and I maintain that the intentional content has the function of mediating the mental acts’ relation to their objects. Finally, I shall examine some objections against the hypothesis of intentional content in Brentano’s Psychology, and I will conclude with a brief commentary on the bearing of this investigation with regard to the interpretation of the genesis of Brentano’s theory of intentionality, before and after the reistic turn of his philosophy. (shrink)

Modalists think that knowledge requires forming your belief in a “modally stable” way: using a method that wouldn't easily go wrong, or using a method that wouldn't have given you this belief had it been false. Recent Modalist projects from Justin Clarke-Doane and Dan Baras defend a principle they call “Modal Security,” roughly: if evidence undermines your belief, then it must give you a reason to doubt the safety or sensitivity of your belief. Another recent Modalist project from Carlotta (...) Pavese and Bob Beddor defends “Modal Virtue Epistemology”: knowledge is a belief that is maximally modally robust across “normal” worlds. We'll offer new objections to these recent Modalist projects. We will then argue for a rival view, Explanationism: knowing something is believing it because it's true. We will show how Explanationism offers a better account of undermining defeaters than Modalism, and a better account of knowledge. (shrink)

This article offers a new argument that there must be something rather than nothing, grounded in the PSR. Inspired by the rationalist tradition running from Parmenides to Spinoza and Leibniz, I argue that there must be something rather than nothing because the contrary would constitute a violation of the PSR. In particular, I argue that, if there was nothing, there could be no sufficient reason for it, since nothing at all would exist to serve as a sufficient (...) reason. Therefore, given the PSR, something must exist after all. After presenting and explaining this new argument, I consider a series of objections and replies, and develop some of its broader philosophical implications. (shrink)

Our know-it-alls, the new spirits, assert that faith alone saves and that works and external things contribute nothing to this end. We answer: It is true, nothing that is in us does it but faith, as we shall hear later on. But these leaders of the blind are unwilling to see that faith must have something to believe—something to which it may cling and upon which it may stand. Thus faith clings to the water and believes it (...) to be Baptism in which there is sheer salvation and life, not through the water, as we have sufficiently stated, but through its incorporation with God's Word and ordinance and the joining of his name to it. When I believe this, what else is it but believing in God as the one who has implanted his Word in this external ordinance and offered it to us so that we may grasp the treasure it contains? 1. (shrink)

The long history of the overlap of science and philosophy finds a focal point in cosmology. In an effort to examine what happens when science and deconstruction encounter, this essay thus begins with, and follows the path of, cosmology. I start by suggesting a new solution to the oldest question in cosmology: why is there something rather than nothing? From this, I attempt to outline the way in which necessity is thought to operate by means of natural (...) laws, tracing the sense in which science's demand for falsifiable claims creates an aporia in which its truths are not ultimately truthful and its necessity is not necessary. Focusing on the ways in which différance and the autoimmune can help us open up the work of science, I come to suggest two new tropes, that of apoptosis and the remainder, arguing that the inherent openness of science can be one of its strengths, especially if we ask the question of what remains to be asked once science has answered a question. (shrink)