This chapter contains sections titled: Romeo and Juliet Talking about Sex and Love Plain Sex Loving Sex between Non‐Lovers Being Embodied A Primary Emotional Awareness Back to Romeo and Juliet: A Variety of Attitudes towards Sex without Love.

The magical number three has provided the template for this comparative study of Freudian psycho-analysis and Husserlian phenomenology. "Three" should be considered the number of dialectics; the method in the study to let three distinct thematisations succeed each other should find its legitimation in dialectics. The relationship between psycho-analysis and phenomenology as that between two dialectic theories might well call for a dialectic interpretation. It should be difficult from a straightforward and unambiguous interpretation to give full credit to the rich (...) and equivocal meaning of psycho-analysis and phenomenology. I hope to have shown in the presentation above, that it is possible by accentuating different sides of the two scientific disciplines to reach different conclusions regarding their relationship. For a full account of this relationship these different conclusions should be placed together and viewed in their internal coherence as a dialectical unity. Thus none of the three sections of the text should be considered apart from the others. In the first section of the paper, the first thematisation, I tried to spell out the discrepancies between Freud and Husserl as clearly as possible. The point of departure here was the Freudian notion of the "psychical apparatus," and Husserl's doctrine of "intentional consciousness." The models built around these central notions can be shown to have a paradigmatic meaning for the development of Freud's and Husserl's psychological projects. Conceiving the subject as psychical apparatus, Freud thought it possible to make psychology a natural science. The subject could be treated like a mechanical apparatus, that is a machine admitting the general laws of motion. - In contrast, Husserl thought psychology should depart from natural science in its scientific selfunderstanding, and join the humanities instead. Psychology's departure from natural science, Husserl found legitimized in the subject's essential character of intentional consciousness. According to Husserl, man as a conscious being could not be reduced to a thing in the natural world. On the contrary, the aprioric basis for the world should be found in intentional consciousness, which constitutes the "world" as a meaningful coherence related to the subject. Freud's and Husserl's conceptions of psychology were traced to historical roots in respectively positivism, naturalism and mechanical materialism on the one hand, and rationalism, humanism and idealism on the other. In this first interpretation the relationship between psycho-analysis and phenomenology seemed to be antithetical, the two theoretical projects representing opposite poles with regard to cartesian dualism. Although in some ways caricaturing the theories in this one-sided interpretation, I tried to show, that such interpretation is possible with bases in the texts of Freud and Husserl. The decided one-sidedness of the first thematisation should, however, be balanced by the competing interpretation in the second section of the paper. In the second thematisation, I tried to show, that both psycho-analysis and phenomenology in their concrete psychological projects went beyond their points of departure. Although Freud as a scientist of the 19th century naturally found his theoretical language in the successful natural sciences, from which his scientific career started, he decisively broke with this frame of reference in his descriptions of the pathological problems from his clinical praxis. In contrast to the abstract metapsychology of the psychical apparatus, Freud in his clinical psychology departed from mechanism in his attempts to interpret the meaning of the patient's neurotic symptom. The clinical attitude of Freud might resemble phenomenologists' openness towards the meaning of the phenomena, and the case-histories of Freud often read like clinical analyses stemming from existential- phenomenological psychiatrists. - Correspondingly, although Husserl started from the tradition of German philosophy of consciousness, also he can be seen to go beyond the premises of his wellsprings. Starting with a notion of intentionality as consciousness's active positing meaningful objects, Husserl later was led to consider a deeper level of intentionality, a "functioning intentionality," that would situate the subject in a "world" prior to any thematic perceptual act. With the notion of functional intentionality and its further development in Merleau-Ponty's philosophy of the "body-subject," phenomenology seems to have come close to the Freudian doctrine of the unconscious. From this second interpretation it seemed to follow, that a meeting between psycho-analysis and phenomenology should be possible, by cutting off the mechanistic parts from psychoanalysis and the idealistic parts from phenomenology. The hindrance for such meeting should apparently be found in the divergent theoretical prejudices stemming from the ideological climates in which the theories were hatched. None of these two apparently contradictory interpretations, that of the first and second thematisation, should, however, rule out the other. To the question which interpretation is the right one, we should answer "both... and," or perhaps better "Neither... nor." Freud and Husserl in fact held contradictory views in their explicit scientific self-understanding. On the other hand, much of the controversy was caused by theoretical prejudices not essential to the central enterprise of psycho-analysis and phenomenology. And yet, the theoretical work of Freud and Husserl should be considered in its entirety, not omitting parts that do not fit the interpretative context. Freud's mechanistic theories must be read in connection with his clinical/phenomenological psychology, Husserl's doctrine of transcendental consciousness together with his concrete analyses of the world and the body. Freud sticked to his mechanistic metaphors throughout his life, not just because mechanic materialism was his scientific point of departure, but also because he found the models of the psychical apparatus useful to picture the subject-matter of psycho-analysis, the unconscious as it is discovered by the analytic method. Correspondingly, Husserl found in transcendental idealism a metaphysical horizon apparently suited for his main theoretical project, to un-cover by phenomenological reflexion man in his free and conscious being. In this way Freud's materialism and Husserl's idealism might find their limited justification, not in the absolutistic sense set forth in the first section, but in relation to their weighting different aspects of the subject/object dialectic of man. This point of view I tried to explicate in the third section of this paper. In the subject/object dialectic Freud seems to underline man's existence as object, his being ruled by the mechanic, the irrational, the infantile, the unconscious. In contrast, Husserl underlines man's existence as subject, his free and conscious openness towards the world and the future. This difference I characterized with the notions of Ricoeur as respectively an "archeology" and a "teleology" of the subject. And yet the difference between Freud and Husserl is that of a weighting different sides of the subject/object dialectic, not of an exclusive thematisation of man as either subject or object. Freudian archaeology is supplemented by an implicit teleology, Husserlian teleology by an implicit archeology. On the background of such interpretation the relationship between psycho-analysis and phenomenology should be seen neither as the polarity of the first thematisation, nor as the synthesis of the second. Psycho-analysis and phenomenology both contradict and imply each other in a relationship that should be termed dialectical. With this third interpretation the paper ended. At last I noted that the problems raised by the controversy on the subject/object dialectic of man should not easily be solved. Instead, the question "what is man" should have to be answered continuously in a concrete historical reflextion or dialogue. Yet I think it safe to conclude, that any psychological consideration has to take into consideration, both man's archeological and his teleological features, thus not allowing the one perspective completely to rule out the other. (shrink)

As Kant claimed in the Groundwork, and as the idea has been developed by Korsgaard 1997, Bratman 1987, and Broome 2002. This formulation is agnostic on whether reasons for ends derive from our desiring those ends, or from the relation of those ends to things of independent value. However, desire-based theorists may deny, against Hubin 1999, that their theory is a combination of a principle of instrumental transmission and the principle that reasons for ends are provided by desires. Instead, they (...) may say, there is just one principle, a principle of, if you will, instrumental transmutation: if one desires the end, then one has reason to take the means. See the discussion of General Production, in section 8, for a doubt about this. (shrink)

How, if at all, does one's intention to realize an end bear on the justification for taking the means to that end? Theories that allow that intending an end directly provides a reason to take the means are subject to a well-known "bootstrapping" objection. On the other hand, "anti-psychologistic" accounts—which seek to derive instrumental reasons directly from the reasons that support adopting the end itself—have unacceptable implications where an agent faces multiple rationally permissible options. An alternative, predictive, role for (...) intention in means-end reasoning is considered and rejected. A new proposal is then developed, according to which instrumental reasons are not merely reasons to perform an act necessary for a given end, but to perform the act for the sake of that end. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:MEANING IN A '.REALIST PERSPECTivE STEPHEN THERON National University of Lesotho Lesotho I DISCUSSION OF meaning and ref,erring in the terms laid down in a classic article of Frege's has generated a stereotyped attitude to the question in the minds of many. It is simply assumed that meaning is, as it were, the contrary of reference. In logic this is 11eflected by the assumed pamdigm of there being formal (...) systems which al'e.called purely formal to the extent that they are ' uninterpreted ', i.e. ·divol'ced from all questions of reference.1 If as a matter of history we accept that modern logic has grown basically out of Kantian soil, then it should not surprise that it is generally linked with a form of apriorism. The violence of the movement against ' psychologism ' shows how strong the danger is of linking the necessities of logic with those supposed epistemic necessities the non-Kantian realist can only regard as spurious. Anyhow this paper will be less·directly about logic than about those supposed necessities. I mean such constraints as Jonathan Bennett calls in general the " veil of perception " 2, ·as if perceiving, which should be an un- :veiling or bringing to lighrt, at the same time obscures what is seen or thought. The same idea recurs in the recent theory of 1 Of. Henry Veateh, Intentional Logic (Yale, 1952): In trying to subsume ordinary intentional relations like that of subject. predicate under the more abstract forms of a completely uninterpreted relational pattern... treated simply as a one-term relation on a par with all the... n-term real relations •. • mathematical logicians have in effect changed the character of such intentional relations completely.... (pp. 7778 ) :i See J. L. Mackie's Problems from Locke. ~9 30 STEPHEN THERON 'internal realism', just a more confusing name for transcendental idealism so far as I can see. There is of course no sense to the idea of checking what we claim to know against what we do not yet know. Yet he:re we should not be discussing precisely truth but the quite separate ontological question whether " THE WORLD is independent of any particular representrution we have of it" (Putnam's notion of the 'metaphysical realism' he rejects), whether "reality is altogether independent of experience," as Michael Devitt argues.3 This is a question of the being of the world, which existed before I d1d. Even as concerns the present moment, the wor1d is such that I or you might not exist, and this contingency of cognitive beings, severally or generally, to the actual world, as a possibility inherent in it, may not without more ado be identified with the quite different possibility of another world, like to this e.x:cept for the absence of me or you. For the former is a real if passive possibility in a thing, viz., the world, the latter is merely an alternative conception or idea of a different and merely possible thing. The concept of my dog with a broken leg is a different concept from that of my dog as healthy, but it is of the same dog, and that is why I don't want him to break his 1eg. The world without me was and would be the same world, though differently conceived. This is the basic requirement of realism, which philosophers have often violated, confusing the metaphysical with the epistemological, the real with the certain. For example Descartes reasoned fallaciously from his being certain, as he thought, of the soul's but not of the body's existence to the ontological separateness of these two. Kant, again, seemed to reason from duty as a pure concept or epistemic entity to the real separwteness, as a positivie value, of the motive of duty from any motive of pleasure or aspiration to happiness. Yet it is possible, indeed probable, that in reality soul and body, a M. Devitt," Realism and the Renegade Putnam," Nous 1983, p. 297. MEANING IN A REALIST PERSPECTIVE 31 though distinguishable, do not have separate acts of existence,,and, in any human existence, that the motive of duty both cannot and ought not to be separated from the distinguishable... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Anonymous Versus Open Donation and Queerness as Political:Comments on Groll's Conceiving PeopleAmanda Roth (bio)1. IntroductionIn this commentary on Daniel Groll's 2021 book Conceiving People: Genetic Knowledge and the Ethics of Sperm and Egg Donation, I examine a number of the book's major themes, especially around the idea that donor-conceived children have a significant interest in genetic knowledge and therefore, donor-conceiving parents are morally required to use an open (...) donor.1 I point to some concerns about Groll's case for this view and, in doing so, highlight the way in which taking up an LGBTQ+ perspective complicates and undermines the case against anonymous donation. The major theme of my comments is that the open versus anonymous decision is not merely an ethical decision, but a political one.My comments are organized around a few of the book's major themes, so I'll begin with laying out the most relevant themes in some detail. I then take up four points to consider in more depth. In so doing, I'll be drawing on my own scholarly perspective on issues of nontraditional reproduction, which is informed by my own social positionality in relation to family matters; this means that I (not so subtly) bring a queer perspective to the discussion of Groll's book. The through-line of my comments is this: While I agree with and appreciate much of Groll's approach, I want to stress the sense in which gamete donation is not just an ethical issue, but a political one, given its implication in bionormativity (and heteronormativity). I wonder if a deeper acknowledgment of the political nature of the issues might lead to moral conclusions that are different from those that Groll comes to, even assuming similar ethical values as starting points.2. Groll's major claims(1) Claim 1: Disclosure to donor-conceived offspring—in the usual case at least—is morally required given the intimacy argument: [End Page 166]The intimacy argument suggests that keeping "the secret" about donor conception involves intentional deception and undermines the proper intimacy of parent-child relationships (Groll 2021, 36–49).(2) Claim 2: Anonymous donor conception is (generally) morally impermissible because of the significant interest view.Donor-conceiving parents can reasonably foresee that their children will likely develop a significant interest in genetic knowledge. Significant interests "matte[r] quite a lot to the person who has [them]," "tak[e] up a space … in a person's mental economy" and/or "pla[y] a structuring role in a person's life and self-conception" (Groll 2021, 62–3). But not all donor-conceived people take such an interest in genetic information, and this information is not necessary for identity construction or psychological wellbeing (Groll 2021, 58, 61).2 Rather, multiple routes to self-identity exist, the genetic route being one among the options. Moreover, one needn't experience any loss in not taking this route; however, for those who take it up, genetic knowledge is objectively valuable and nonfungible (Groll 2021, 81–9). This is because genetic knowledge is uniquely relevant to the identity-related question "Who am I?" (Groll 2021, 112–3).3Groll argues that donor-conceiving parents should assume that their child will form such an interest because this is empirically a "good bet." Further, significant interests—at least when they are worthwhile (that is, not trivial and not morally objectionable)—are connected to one's wellbeing by the wellbeing principle: In satisfying a non-instrumental significant worthwhile interest, one's life goes better (Groll 2021, 62). It follows, then, that parents ought to choose open donors since (to simplify) parents are obligated to promote their children's wellbeing (ibid).4Counter to what one might expect, Groll does not take his ethical case against anonymous donor conception to justify prohibition of the practice. This is because wronging children in this way is within the realm of (unethical) choices we allow parents to make without societal interference.5 Moreover, to aim regulation at anonymous donor conception could reinforce bionormativity and target already marginalized families for special negative attention (Groll 2021, chapter 8).(3) "Claim" 3: Groll's own personal... (shrink)

IntroductionIn May 2006, the small group of doctoral students working on ecophilosophy at the Higher Institute of Philosophy at K.U.Leuven invited the Dutch environmental philosopher Martin Drenthen to a workshop to discuss his writings on the concept of wilderness, its metaphysical and moral meaning, and the challenge social constructivism poses for ecophilosophy and environmental protection. Drenthen’s publications on these topics had already been the subject of intense discussions in the months preceding the workshop. His presentation on the workshop and the (...) three critical responses by Wim Bollen, Glenn Deliège, and Richard Kover are published here in a thoroughly revised form on the basis of further and ongoing discussions about the issues involved. Three further contributions to the discussion are added: one by Nathan Edward Kowalski, a young Canadian philosopher who studied in Leuven and wrote his as yet unpublished dissertation on “Evil in Nature,” a second one by Kingsley Goodwin who is currently writing a dissertation on deep ecology at University College in Dublin and, finally, my own unsystematic thoughts inspired by Martin Drenthen’s provocative and stimulating hermeneutics of our postmodern understanding of nature and wilderness, as well as the diverse critical responses to Drenthen’s views by the other contributors. I owe gratitude to all of them for enriching my own ecophilosophical thought and enlarging its horizon although as my fragmentary reflections show at the cost of yet greater uncertainty and more questions about the possibilities of arguing for a radical environmentalist position. Such a position would somehow connect or ground our moral obligation to preserve genuine non-human otherness, wild and free nature, in the non-human meaning of such nature and in our essential need to be in direct and concrete contact with that field of wild non-human meaning because we ourselves belong to nature, because we are not only and purely civilized but are also and most fundamentally wild and free. Three fundamental questions need to be distinguished: the question about our moral obligations regarding nature and its preservation, the metaphysical question about the nature of nature or the meaning of nature, and the question of the metaphysical grounding of our morals in general, and of our moral obligation regarding nature in particular, in the nature or meaning of nature. The complex intertwinement between these three questions is at the heart of Martin Drenthen’s reflections.The authors contributing to the present discussion approach the various issues from markedly different philosophical backgrounds and concerns: critical theory, anthropology, analytic philosophy, phenomenology, hermeneutics, and deep ecology are all to some degree or other brought to bear on the question of what wilderness means for us, why we are fascinated by it and what it actually and in the first place is.Another interesting difference between the five respondents to Martin Drenthen’s wilderness-philosophy relates to the place from which they write: while the Canadians Richard Kover and Nathan Edward Kowalski have wilderness of some sort still close at hand, the Belgians Wim Bollen and Glenn Deliège write from a place which has been thoroughly domesticated, cultivated, and industrialised for a long time. Martin Drenthen himself, of course, writes from the same kind of place as these last two, which explains why he only refers to the wilderness that he has read about in novels, seen in movies, or experienced as recreated in the reserves of the Netherlands. The Irish Kingsley Goodwin writes perhaps from a third, intermediate place that is not wild anymore but still much more natural than Belgium or the Netherlands are.The differences in philosophical approach and concern combined with the difference of place generate a rich tapestry of perspectives and voices wrestling with the fundamental questions of our perceived homelessness and alienation from nature, our cultural discontent, our longing for and need for radical alterity, of immanence and transcendence, of who we are and where we belong, and more concretely of whether there is more to ground our efforts to preserve nature than enlightened self-interest and subjective preference. Martin Drenthen deserves praise for inaugurating this fruitful discussion with his intriguing and highly paradoxical effort to hybridize a postmodern deconstruction of the idea and ideal of wilderness as unspoilt and true nature on the one hand with a new metaphysics of wilderness on the other. Arne Naess, who is generally regarded as the founding father of deep ecology, pointed out the positive and stimulating role that vagueness in the expression of ideas can play in political and philosophical debate. Such general and vague but highly suggestive expressions as ‘all life is one’ are not empty at all, as is often claimed; they are rather full of possibilities of ‘precisation’ and differentiation. Drenthen’s wilderness-philosophy is certainly not vague to the degree of ‘all life is one,’ but his expositions are similarly pregnant with a wealth of further questions, precisations, distinctions, and conceptual clarifications. Good examples of different kinds are to be found in the contributions of Nathan Edward Kowalski and Richard Kover. Kowalski points out that Drenthen’s notions of culture and wilderness need to be made more precise by distinguishing them from the notions of civilization and wildness such that wild cultures become a conceptual possibility. Richard Kover takes the lead from Drenthen’s question about the reason for our postmodern fascination for wilderness to confront it with our primordial fascination in terms of the dependence in the evolution of our subjectivity and our consciousness on the focused perceptual attention on wild forms.Glenn Deliège situates Martin Drenthen’s wilderness-philosophy in its original context of the Dutch debate on the preservation of nature, in particular on the new wilderness paradigm. According to this paradigm, the nature to be preserved should be true and pure, truly natural and wild nature, that is nature outside of and free from the cultivating and domesticating influence of humans. In the Netherlands, however, such nature no longer exists; it can only be preserved after it has first been artificially recreated. Deliège gives an informative summary account of the highly charged three-cornered debate between the adepts of this wilderness-paradigm, the proponents of the more traditional form of conservation of remnants of the typical European landscapes created by pre-industrial farming practices and the modern technocratic functionalists. This debate makes obvious that there are quite different views of the nature of nature and its value. Enter social constructivism: the contested nature of nature is nothing more than a social construct, an idea in a collective mind. The contestation itself is a struggle for authority and power between different such social constructs, any claim to scientific objectivity and objective truth for one’s image of nature is an arrogation of a truth which doesn’t exist and is potentially oppressive by silencing other views. Nature then is up for the grabs of politics, political negotiation, and compromise between various interest groups who all want to get some benefit from nature, some use-value.The problem with Drenthen’s effort to articulate a normative concept of nature which cannot be deconstructed in this way is the extreme formality and emptiness of his metaphysical concept of wilderness as that which is always ‘beyond’, always ‘more’ and which can never be exhausted by any image and construction of nature. Any more concrete determination is mere appearance; the thing in itself is a border concept of that which in fact cannot be grasped conceptually. Glenn Deliège is critical of this formality and emptiness from which it will be impossible to derive any concrete guidance for our conservation practices. He then goes on to defend the Arcadian tradition of our appreciation of nature as giving us a historically well-grounded orientation for those practices. Of course that Arcadian tradition is obviously a cultural construction but that doesn’t make it completely arbitrary and contingent since it is itself ultimately grounded in and open to modification by our concrete sensuous experiences of nature.Deliège here raises the very important issue of the relation between our concrete perceptual and bodily experiences in and with nature and our concepts and metaphysical images of nature. Drenthen himself approaches this issue from the hermeneutical perspective of our need to make sense of our experiences and to articulate their meaning. His confrontation with social constructivism and his effort to salvage something from its relativizing acid lead him, however, into the direction of a highly abstract and empty concept of wilderness.Richard Kover shows that perception is, indeed, the key to a radical critique of social constructivism. He does this with the help of the ecological anthropology of Paul Shepard, the structuralist anthropology of Claude Levi-Strauss and the phenomenology of Maurice Merleau-Ponty. It needs to be said here that Kover takes his leave from an unpublished paper by Martin Drenthen with the title “How to appropriate wilderness appropriately?” – the paper is accessible though on Drenthen’s web-site - in which Drenthen comments and reflects upon three contemporary wilderness-tales, one of them being Werner Herzog’s much-discussed documentary on Timothy Treadwell, an American environmentalist drop-out who lived thirteen summers among wild grizzlies in the Alaskan wilderness before being killed together with his girlfriend by a grizzly bear.Kover tries to show that we are not imprisoned in the mirror-cabinet of our mind or of our human sociality. To make his case, he starts from Paul Shepard’s thoughtful observation that the evolutionary emergence of the mind did not remove us from the natural world but actually connected us deeper with it. Through our mind we evolved more fully into it because our mind is primordially in our senses and in the ability to articulate a perceptual world. The natural world in the form of the system of natural species and their relations is the primary model for perceptual discriminations, for the fundamental discovery of order with its twin-aspects of distinction and discontinuity on the one side and relations and continuity on the other side. Our cognition is essentially perceptually based, our subjectivity is primordially informed by our inherence in the sensible world. Perceptual cognition is inherently intentional and relational, it is not an autonomous mental construction, it is rather in the world and informed by that which is perceived. The other is always intertwined with the subject. We are always already hooked up with the world, with the others, before we start reflecting, thinking, and conceptualizing. This is one of the major themes in Shepard’s work: what this insight means with regard to our relations to non-human otherness, in particular to our perceptual encounter with wild animals. In our encounter with non-human otherness, we are confronted with an essentially ambiguous sense of both affinity and disjuncture. Wild animals demonstrate to us that we are not homeless or alien to this world, that we fundamentally belong to it and are part of it. Their difference, however, shows us that there are different perspectives and ways of being in the world. “Thus the encounter with non-human others inform humans that we are both of the world and simultaneously not the world and there are horizons of significance beyond our own perspective.”Nathan Edward Kowalski comes to a similar conclusion when he situates our morality in the larger moral order of wild nature. According to Kowalski it is indeed a moral order though not our own, an Other to our morality but not simply a negative one. It is, as Drenthen says, a highly paradoxical amoral morality. But what can it mean to speak of morality here? For Kowalski it means that the issue is not merely the theoretical recognition and acknowledgment of axiological transcendence, of non-human values out there, but whether we will appropriately conform to and comport ourselves towards that axiological transcendence so that we can find a human homeland in wild nature instead of turning it into a wasteland. The question then is, how to fit our own human morality into this larger order and greater reality, to subordinate it to that greater reality as a part of it and encompassed but not denied by it so that we can be moral and natural at the same time, tender carnivores hunting the sacred game. Indigenous people follow a moral protocol in their relationship with non-human others which acknowledge and respects their autonomy, their alterity, and the sacred mystery of their different ways of being. They are not befriended but some of them are hunted and eaten – as an exchange in the gift-economy of nature.The problem of the homelessness and alienation from nature is discussed by Wim Bollen from the radically different vantage point of critical theory. In Adorno’s and Horkheimer’s Dialectic of Enlightenment the human story unfolds as a tragic effort to liberate ourselves from nature and to become fully human through rational control when in the end this effort turns against ourselves and instead of liberation and human flourishing we get social domination and repression of our natural needs. The frustrations and mutilations imposed upon us by a repressive civilization give rise to the regressive desire for a return to a natural existence. Referring to the myth of Odysseus and Circe as interpreted by Adorno and Horkheimer, Wim Bollen equates such a natural existence with animal life. In the light of contemporary knowledge about primitive existence, however, this equation is highly problematic. Palaeolithic foragers were already fully human in all respects. A life without civilization need not be an animal-existence.According to Adorno/Horkheimer, our subjectivity and autonomy have to be wrested from animal-nature through an exertive struggle that cannot but proceed by a threefold strategy of domination: the domination of non-human otherness, of human others, and of our own inner nature. The siren song of nature consists in the temptation to give up that struggle for the promise of an unreflective, non-alienated natural existence without toil.When Odysseus’ men give in to Circe’s seduction they are, however, not transformed into wild animals but into swine. According to Bollen this signifies that we cannot re-wild ourselves, that we remain imprisoned in civilization, either as master-subjects or as domesticated animals. Bollen, by the way, like Drenthen, does not distinguish conceptually between civilization and culture. Since re-wilding for Bollen means the impossibility of returning to animal-existence, which is actually the impossibility of becoming another species since biologically we are animals already, to be imprisoned in civilisation means nothing else than to be imprisoned in our humanity. The fact that we cannot become wild animals again – according to Paul Shepard, however, we are still wild animals – is indeed, as Bollen stresses, a trivial form of alienation. A more meaningful concept of alienation which can be put to critical use must refer to a culturally and historically determined frustration and deficit inside the cultural order that is to be overcome not by an impossible regression but by progressive politics leading beyond the three intertwined forms of domination. Not back to nature but forward towards a reconciliation of culture with nature! Such a reconciliation would neither collapse culture into the immanence of nature nor submerge nature into the transcendence of culture. According with the three forms of domination it would be a three-dimensional form of reconciliation.Odysseus’ men did not got what they thought were promised them: the complete liberation from the burden of being autonomous subjects, of being civilized, but they got something worthwhile, namely a certain from of pleasure, a limited and provisional relief and escape. Bollen sees a critical potential in these piggish pleasures after all and consequently even in the siren song of nature since these pleasures were only experienced because Odysseus’ men gave in to it. But one has to give in to this siren song critically if it is to unfold its liberating potential. The problem with pleasure though in bourgeois society is that it is necessarily betrayed, instrumentalized and sold.Kingsley Goodwin’s paper starts by defending deep ecology against the charge of asserting a naïve and dogmatic metaphysics of nature. For convenience sake, but not quite unproblematically, he identifies deep ecology with the environmental thought of Arne Naess. A metaphysics of nature for Naess is always part of a personal worldview. Worldviews which are partly inspired by ecology Naess calls ecosophies. Naess always stresses the personal character of such a worldview and the irreducible plurality of them. It used to be a common misunderstanding of the platform of deep ecology which Naess conceived together with George Sessions that it expressed in a condensed form the metaphysical beliefs of deep ecology. Naess’ intention, however, was to try to articulate in a general fashion the basic viewpoints on which the supporters of the deep ecology movement agreed. It would be possible then to derive these viewpoints from quite different worldviews. In light of this, I think, that Goodwin’s characterisation of the platform as “pragmatic and activist” is not quite appropriate.Goodwin goes on to compare Drenthen’s conception of wilderness and wildness with the similar position developed by Neil Evernden in his book The Social Creation of Nature. He like Naess in his personal ecosophy stresses the crucial role of perceptual experience of wild otherness to find an antidote to the relativity and contingency of our interpretations of nature. Evernden refers to studies on child development to argue for a non-dualistic and relational conception of the self, similar to Naess’ relational ontology. According to Goodwin, Drenthen, in spite of his hermeneutical approach remains too much indebted to the Western subject/object-dualism. The object, in this case wild nature, is pure otherness.With regard to a compost heap, Goodwin shows that we are not separated from nature by an inseparable gulf, that nature is close at hand, and that we can experience and explore it, appreciate the complex play of identity and difference it consists of, the exchanges and transformations and that we can identify with the organisms involved in these exchanges.*The proceeding remarks only highlight some of the prominent themes and considerations in the various contributions to this topical issue of Ethical Perspectives. Hopefully the reader will feel invited and enticed to read the articles themselves, starting, preferably of course, with the essay by Martin Drenthen, who sparked off this lively discussion on the moral meaning of wild nature. I am honoured and pleased to be able to introduce these rich explorations by such talented young environmental philosophers who are eager to develop environmental philosophy further and lead it into new directions. They all have to wrestle with and find answers to the challenge postmodern deconstruction and social constructivism pose for environmental philosophy. In the face of that challenge, it is even more difficult than it already was to provide solid and convincing arguments for the defence of wild and free nature beyond merely pragmatic arguments in terms of its utilitarian value for us. The reason for that defence is not clear-cut and proves to be just as evasive as the moral meaning of nature itself. But neither that reason nor that meaning are mere phantoms and mirages that vanish when we approach them and try to grasp them. They are more substantial, even if they will never have the solidity of a mathematical proof or a scientific measurement. Their locale is the lifeworld which from the point of view of scientific and logical precision and clarity is a messy place where subject and object, reason and heart, fact and value, experience and thought and, yes, nature and culture cannot be clearly separated. This has important consequences for environmental philosophy and its methodology. Conceptual analysis and logical argumentation have to become sensitive to the richness of experience in the lifeworld and to the diverse efforts of its articulation: i.e., they have to open themselves up and maybe even to subordinate themselves to phenomenological and hermeneutical approaches. For me personally this is one of the most important conclusions I draw from the discussion presented here. (shrink)

This article proposes the use of temporal logic for an analysis of instrumentality inspired by the work of G.H. von Wright. The first part of the article contains the philosophical foundations. We discuss von Wright’s general theory of agency and his account of instrumentality. Moreover, we propose several refinements to this framework via rigorous definitions of the core notions involved. In the second part, we develop a logical system called Temporal Logic of Action and Expectations (TLAE). The logic is inspired (...) by a fragment of propositional dynamic logic based on indeterministic time. The system is proven to be weakly complete relative to its given semantics. We then employ TLAE to formalise and analyse the instrumentality relations defined in the first part of the paper. Last, we point out philosophical implications and possible extensions of our work. (shrink)

Properly understood, the instrumental rule says to take means that actually suffice for my end, not, as is nearly universally assumed, to intend means that I believe are necessary for my end. This alternative explains everything the standard interpretation can—and more, including grounding certain correctness conditions for exercises of our will unexplained by the standard interpretation.

Decision theory, understood as providing a normative account of rationality in action, is often thought to be an adequate formalization of instrumental reasoning. As a model, there is much to be said for it. However, if decision theory is to adequately account for correct instrumental reasoning, then the axiomatic conditions by which it links preference to action must be normative for choice. That is, a choice must be rationally defective unless it proceeds from a preference set that satisfies the axiomatic (...) conditions. -/- The crucial feature of standard decision theory for present purposes is that it conceives rational action as maximizing, as doing the best that one can in terms of satisfying one’s preferences. For maximizing to be possible, the preference set in question must completely order a person’s options. But I have argued elsewhere that that condition is often unmet by actual preference sets, so maximizing is not always available. Given that it is not, satisficing deserves attention, both as the most important alternative to maximizing and for the lessons it can yield with respect to goal-directed action. With those lessons in hand, standard maximizing decision theory is reconsidered, with the aim of showing that it does not adequately represent the normative distinction between means and ends. (shrink)

The article explores the unique character of international commercial arbitration as a globalized phenomenon, where universalizing and harmonizing effects have largely been achieved by private means and spontaneous expansion, outside the States’ direct intervention and control. The evolution of arbitration in recent decades from an alternative to the core mechanism of deciding cross-border commercial controversies is considered. Privatization of this area of dispute resolution is examined in the context of its growing autonomization, marked—as observed by Emmanuel Gaillard—by notable changes (...) in its theoretical representations and narratives. This specific conceptual, institutional, and procedural framework of commercial arbitration reflects the demands of decision-making exercised in a legally, linguistically, and culturally diversified environment. Interpretation and application of law in arbitral cases requires skillful navigation between the rules of domestic, international and transnational origin, performed not only on the level of substantive norms, but also on those involving conflict of laws and procedure. As a consequence, comparative analysis plays a critical and complex role in arbitral decision-making, reaching beyond the mere demands of rendition of relevant provisions, and has been defined sensu largo as a ‘comparative mindset’, characteristic to international commercial arbitration. The article examines this phenomenon and its mechanics, challenges for legal professions and the effect of transnationalization of relevant domestic rules. It also explains the role of comparative analysis as an important instrument, used strategically in the processes of autonomization of commercial arbitration. (shrink)

continent. 2.1 (2012): 40–43. Lance Olsen is a professor of Writing and Literature at the University of Utah, Chair of the FC2 Board of directors, and, most importantly, author or editor of over twenty books of and about innovative literature. He is one of the true champions of prose as a viable contemporary art form. He has just published Architectures of Possibility (written with Trevor Dodge), a book that—as Olsen's works often do—exceeds the usual boundaries of its genre as it (...) explores his interests in narrative theory and pedagogy. The book is a kind of “anti-textbook;” a performative polemic against the stale, conservative and monolithic conception of the literary that so often dominates institutional discourse around creative writing. The following interview takes the occasion of AoP's publication as a chance to speak with Olsen about the book itself as well as to engage with larger, unanswerable, questions about the futures and intersections of literature and education. —Ben Segal INTERVIEW: 1) First, I want to start before the beginning, with the title. I’m really fascinated by the concept it conjures. Can you say something about innovative/experimental/(choose your adjective) literature in relation to both ideas around architecture and possibility? Innovative or experimental are tremendously fraught adjectives, needless to say. But for the purposes of my book, they modify a fiction concerned with the questions: What is fiction? What can it do, and how, and why? Now, of course, what looks “innovative” or “experimental” to one at 17 may not be what looks “innovative” or “experimental” to one at 27 or 57, and what looks “innovative” or “experimental” in 1812 may not be what looks “innovative” or “experimental” in 2012. A certain existential and historical perspectivism is always at work. But I think it’s fair to say that innovative and experimental usually refer to a narrativity that includes a self-reflective awareness of and engagement with theoretical inquiry, concerns, and obsessions, as well as a sense of being in conversation with fiction across space and time. One can't create challenging writing in a vacuum; it has to challenge in relation to something. So contemporary writers interested in the subject are not only in pursuit of the innovative, but are also always-already writing subsequent to it—writing, that is, in its long wake. Architectures of Possibility conceives of creativity as a possibility space, a locale just outside our comfort zones where we can and should take multiple chances in order to imagine in new ways, explore fresh strategies for finding and cultivating ideas, re-view what it is we’re doing and why, better understand what Samuel Beckett meant when he wrote: “Try again. Fail again. Fail better.” It reminds us that there are other ways of narrating our worlds and ourselves than those we have inherited from the entertainment industry, the government, academia, previous writing, and so on. 2) AoP seems to be directed at several audiences (and purposes) simultaneously. What I mean is that it seems at times a polemic in favor of innovative literature, at other times a creative writing textbook, and still other times a guide to the network of publishers, journals, and programs that make up the current world of non-mainstream literary art in the U.S. In my mind, Architectures is a theorized anti-textbook about writing. Most textbooks on the subject (think of Janet Burroway’s Writing Fiction: A Guide to Narrative Craft , taught in most creative-writing classroom across the country) orchestrate how to construct conventional stories. They instruct from a place of power how to generate familiar stories that are repeated so often that many of us begin to take them as the primary model for narrativity, if not unconsciously as a kind of truth. The result, as Brian Kiteley points out in 3 A.M. Epiphany (one of the only other alternative textbooks about innovative writing around, by the way, and a tremendous repository of exercises), is merely competent texts. Architectures problematizes that gesture by outlining what conventional narrativity looks like, urging writers to think about its ideology of form as well as content, and invites them to imagine writing, not as a set of relatively stable conventions, but, rather, as a possibility space where everything can and should be thought, tried, challenged. It thereby rhymes with Roland Barthes’s definition of literature: the question minus the answer—which is to say Architectures poses complications to the act of writing rather than solutions. 3) One of the most notable things about the book is the use of interviews. This is also one of the reasons that I think the book works so well for a variety of audiences—that anyone with even a passing interest in the state and future of literature will have an interest in your conversation with people like Ben Marcus, Samuel Delany, and Lydia Davis. I was hoping you could just talk a little about how you chose these subjects to interview, how you edited the interview material, and which answers you received struck you the most. Experimentalism , like realism , wants to appear in the plural. The idea of gathering more than forty interviews (with the help of my awesome collaborator, Trevor Dodge, himself a fine innovative author) represents an attempt to suggest that: the wide, rich, exciting opportunities inherent in the term. There are interviews with younger writers, elder statesmen in the field, publishers, editors, hypermedia artists, comic book makers, and so on: Joe Wenderoth, Carole Maso, Scott McCloud, Nick Montfort, Kathy Acker, et al. Trevor and I decided to do flash interviews: short, concentrated Q&As, each focusing on a particular troubling of writing. We only lightly edited the results to match the manuscript’s overall style, and every interview arrived as a surprise housing several unexpected insights. Three brief examples: Michael Mejia, when asked about what he dreads when setting about writing: “Dread is an interesting word here. I associate it less with loathing or aversion, I suppose, than with a kind of productive fear. Do I dread a project’s failure? Sure, who doesn’t? Who wants to waste time on something that comes to nothing, or is unreadable? But then, what do these terms mean, and who or what defines a work as a ‘failure,’ as ‘waste,’ as ‘unreadable’? Should a work actually try to interrogate and exceed these conceptual limitations? My tendency is to write into dread in order to reveal to myself, as much as to any reader that may come after, the varied complacencies that make other, mostly more conventional writings, readable. It’s at the frontier between readability (security) and unreadability (terror) that I want to live creatively.” Carole Maso, when asked what she’d like a sentence to accomplish: “I think a sentence can if allowed carry emotional and intellectual states as they flee, as they come and go, an escaping essence difficult to hold in other ways. In this way I think the sentence can work as a phrase of music does, sounding something large and elusive in us. Alternatively it can provide sometimes a stability, an essence, a moment of being. Unlike music the sentence also of course carries language with all its potential for meaning making and memory traces and association with it as well. I probably love the accretion of sentences most—those patterns, that shimmer, that resonance.” Shelley Jackson, when asked what is innovative about the innovative: “The purpose of the innovative is, I think, to wake us up. We are not quite alive, most of the time; we occupy a sort of cartoon version of our lives, its lines made smooth by repetition. Writing can open the seams in that world, reintroduce us to the real lives that we have forgotten. Maybe all good writing is innovative in some sense, in that it shows or tells or makes you feel something you never felt before—something for which you have no cartoon ready.” 4) You talk a little about N. Katherine Hayles’s concept of Media Specific Analysis and propose the supplemental notion of Medium Specific Generation—basically taking Hayles and applying her thought from the perspective of the writer. I’ve been trying to develop somewhat related theoretical frameworks, so I was really excited to come upon this section of the book. I’m wondering if you can talk a little more about this idea and, in general, about the potentials that you see as being opened up by writers engaging with and exploiting different media as literary platforms? “Lulled into somnolence by five hundred years of print,” Hayles urges in her (at least for me) transformative 2004 essay, “Print is Flat, Code is Deep,” “literary analysis should awaken to the importance of media-specific analysis, a mode of critical attention which recognizes that all texts are instantiated and that the nature of the medium in which they are instantiated matters.” She goes on to argue critics should learn to become more attuned to the materiality of the medium under investigation—which is to say a story isn’t a story isn’t a story. Rather, the “same” story remediated through film is intrinsically different from that story remediated through conventionally printed books is intrinsically different from that story remediated through hypermedia. “Materiality,” Hayles goes on, “is reconceptualized as the interplay between a text’s physical characteristics and its signifying strategies, a move that entwines instantiation and signification at the outset.” My point in Architectures is simply to emphasize Media Specific Generation: the idea that when writing you should be cognizant, not only of the thematics of the text you are working on, and, as it were, the internal components of its narrativity (character, language, plot, etc.), but also of the material embodiment those components take, and, perhaps more important, the material embodiment those components can take. The idea that the way texts matter matters isn’t something usually addressed in any significant way in creative-writing classrooms and textbooks. It may almost go without saying such experimentation with typography, layout, and white space has a long tradition—certainly one that tracks back at least as far as Guillaume Apollinaire’s early twentieth-century Calligrammes , Laurence Sterne’s textually ribald eighteenth-century Tristram Shandy , although one could arguably plot a hypothetical trajectory that reaches to ancient Greek romances like Achilles Tatius’ second-century Leucippe and Clitophon . Experiments into atomic materiality and digital immateriality bracket the definition of “book” at the same time they highlight Michael Martone’s prediction of its present future as increasingly viral, collaborative, and ephemeral. Or, as Matthew Battles points out: the future of the “book” has already arrived, and it is “ethereal and networked” rather than “an immutable brick.”While conventional writing and reading practices are conceptualized as private, individual, relatively fixed experiences, many of the new forms indicate that writing and reading—from production through dissemination—are rapidly becoming public, collective, incrementally unfixed experiences. That strikes me as an astonishing set of opportunities for a writer to investigate. 5) Another concept you elaborate in AoP is that of limit texts, basically texts that, once you read them, change what you imagine as the shape/horizon/potential of literature. You provide a fantastic reading list of limit texts at the end of AoP. I was hoping you could talk about a few of them in terms of how they specifically operate as limit texts for you—how they expand your understanding of what literature could be or do. Karl Jaspers coined the word Grenzsituationen (border/limit situations) to describe existential moments accompanied by anxiety in which the human mind is forced to confront the restrictions of its existing forms—moments that make us abandon, fleetingly, the securities of our limitedness and enter new realms of self-consciousness. Death, for example. Limit texts are a variety of disturbance that carries various elements of narrativity to their brink so the reader can never quite imagine them in the same terms again. Once you’ve taken one down from the shelf, you’ll never be able to put it back up again. They won’t leave you alone. They will continue to work on your imagination long after you’ve read them. Simply by being in the world, they ask us to embrace difficulty, freedom, radical skepticism. One of the most important for me is Samuel Beckett’s The Unnamable . Instead of establishing conventional setting and building traditional character, from its first words it unsettles both: “Where now? Who now? When now?” That first trio of question marks broadcasts the thematics of the writing (“novel” may be too strong a word) that will follow: it is all about a voice (or, perhaps, voices, about the grammatical mistake of the first-person pronoun), a consciousness (maybe, again, too strong a word), often genderless, removed from place and chronology and socioeconomic reality, hovering in a state of perpetual aporia. All it knows is what it doesn’t know, and its not-knowing is blackly, sardonically comic. The Unnamable is the embodiment of an unreliable narrator—a subject position that can’t trust itself, let alone be trusted by a reader. It contradicts, takes back, digresses, undoes what it just did, forgets, lies, hallucinates gloriously. The language is abstract, disembodied, devoid of sensory data, grayish rather than painterly in texture. Without knowing this passage is from a novel, a reader might well conclude s/he were reading a patch of (anti-)Cartesian philosophy. It might be helpful to conceive of what Beckett is doing as post-genre writing, then, or perhaps what Raymond Federman referred to as critifiction—a mode that blurs conventional distinctions between theory and narrative. In completely different register, and much more recently, Anne Carson’s Nox blew me away. It takes the form of an elegy for her older brother, whom she didn’t know well and who died unexpectedly while on the run from the law in Europe. The thing itself arrives in a box that simulates a thick book, as well as the brother’s textual coffin. Open it, and inside you discover, not a codex, but an accordioned series of “pages” that folds out into an arrangement that suggests an ancient scroll (Carson is, perhaps illuminatingly, a professor of classics) made up of shards of her brother’s letters, old photographs, tickets, Carson’s observations, Catullus’ poem 101 (the one addressed to the Roman poet’s dead brother, a doubling of Carson’s situation), and extensive dictionary entries on all the words that compose that poem. The aggregate produces a collage about the impossibilities of aggregates, the impossibilities of understanding fully, of capturing absences in language. At times Nox feels less an example of what most readers consider a book than something closer to a three-dimensional work of assemblage art. It’s a beautiful mechanism for contemplating Media Specific Analysis, for urging us all to be more extreme. 6) Finally, I want to talk a little about pedagogy and institutions. I’m less interested in questions like “Are MFA programs good for writers?” than in questions about how your role as teacher informs your understanding of literature and your writing practice. I’m also very curious about your take on how commercially marginal literary art is largely patronized by large state institutions and at the same time often imagines itself as a critical and even possibly revolutionary practice. How have your own positions within universities and university-affiliated organizations shaped your thinking about them and about innovative literature? I can imagine in many ways it might make you even more critical. And (I know, another ‘and’...) how does AoP (especially given its relation to Rebel Yell , your previous text on creative writing) reflect your personal history and experience as a teacher and member of communities that are largely defined by institutions? In the classroom, I try to generate the pedagogical field I would have liked to have inhabited as a student, but didn’t. Roland Barthes has a lovely line about this: “We need to substitute for the magisterial [classroom] space of the past (the word delivered by the master from the pulpit above with the audience below, the flock, the sheep, the herd)—a less upright, less Euclidean space where no one, neither teacher nor students, would ever be in his final place.” Easier said than done, of course, but an important life project for all who think of themselves as educators. My own classroom, my own writing, and Architectures of Possibility itself attempt to create the sort of possibility space where, as I mentioned at the outset of our interview, everything should be thought, tried, challenged; where everything rhymes with Roland Barthes’s definition of literature: the question minus the answer. I’m not sure I could write what I’m writing now without the conversations I have almost daily with my students, the conversations they have with each other, the conversations we all have with the texts we study. Especially in light of the paradigm shift over the last, say, quarter century from academia as intellectual exploration to academia as McDonaldized trade school, the irony isn’t lost on me concerning the discrepancy between the safe harbor innovative authors find there and the cultural critiques those authors launch through their writing and pedagogical work. In 2001, I quit my full professorship at one institution precisely because of my disappointment over what had happened to the learning environment there. I had no intentions of reentering the field. In 2007, however, the University of Utah approached me, and I found myself in an environment much more hospitable to the sort of work I want to do—teaching experimental narrative theory and practice. It isn’t by any means a simple irony. One could easily argue innovative writing and pedagogy represents the trace of the paradigm Barthes suggests, and that trace is tremendously productive in all kinds of ways. Innovative writing has never and will never change the world in any large, macrocosmic way. But we’ve all had our lives changed, one by one, by an encounter with a difficult, rich, resonant piece of prose, poetry, music, art, you name it. We’ve all had our lives changed at the ahistorical, microcosmic moment by a class we’ve taken, a teacher we’ve studied with, to such an extent that we became, quite literally, different people. I just came across a stunning set of sentences from Derrida on the topic: “What is education? The death of the parents.” That’s what we’re all up to in the innovative, be it in written texts or the texts we call our classrooms or the texts we call our politics: trying to disrupt what both can and can’t be disrupted, trying to undo what both can and can’t be undone, continuously. (shrink)

Intentions matter. They have some kind of normative impact on our agency. Something goes wrong when an agent intends some end and fails to carry out the means she believes to be necessary for it, and something goes right when, intending the end, she adopts the means she thinks are required. This has even been claimed to be one of the only uncontroversial truths in ethical theory. But not only is there widespread disagreement about why this is so, (...) there is widespread disagreement about in what sense it is so. In this paper I explore an underdeveloped answer to the question of in what sense it is so, and argue that resolving an apparent difficulty with this view leads to an attractive picture about why it is so. (shrink)

The body of the one deemed mad often remains a sexual body with sexual needs. Mental health services respond to these demands of the body in various ways, including constructing rules around physical movement. In this context, we were interested in how mental health clinicians problematized the sexual needs and practices of residents of a long‐stay mental health rehabilitation facility and how solutions were constructed in relation to the residents’ sexual desires. This paper reports findings from mental health clinicians, as (...) part of a case study where we addressed this question. Mental health clinicians responded to residents’ sexuality from a discourse of risk. The notion of the engagement with each resident as a sexual subject was subordinated to the paternalistic notion of protecting the patient from risk. The resident became an object to be monitored and protected rather than a subject with sexual desire and agency. This paternalism also showed itself in relation to a ‘no‐sex on‐site’ rule that allowed for a shift of risk from the organization to the resident. Residents, rather than having a relatively safe place to have sexual relations, were required to find a place elsewhere, potentially unsafe, outside the facility. (shrink)

Joachim of Fiore’s theology is symbolic to a great degree both in the level of language as well as the subjects under analysis, which takes back to the tradition of monastic theology. However, unlike other monastic schools that incorporate elements of dialectics gradually and try to establish a dialogue between the new Aristotelian thought and the methodological schemes born from the dialectic instruments, Abbot Joachim of Fiore represents an alternative of theological nature (language, method, reality and religious time) (...) as opposed to Peter Abelard’s Theologiascholarium. Nevertheless, alternative and discussion do not mean simple criticism and denial. Joachim of Fiore acknowledges the character of his own speculation and the intention of scholastic theology’s to understand the divine dynamics. At the same time, he opts for a figurative and symbolic theology which: a) is able to better penetrate and not disrupt the authentic order of reason felt in the history of salvation, b) is reflected in the events portrayed in the Bible and c) demands from the theologian that reason be at the service of a symbolic exegesis; not a denial of the symbol conceived as a reduction of a dialectic reason. A symbolic reason that is able to develop a notion of salvation interpreted in a geometric way, and is not reduced to a demonstration of the geometric mode. (shrink)

Instrumental rationality prohibits one from being in the following state: intending to pass a test, not intending to study, and believing one must intend to study if one is to pass. One could escape from this incoherent state in three ways: by intending to study, by not intending to pass, or by giving up one’s instrumental belief. However, not all of these ways of proceeding seem equally rational: giving up one’s instrumental belief seems less rational than giving up an end, (...) which itself seems less rational than intending the means. I consider whether, as some philosophers allege, these “asymmetries” pose a problem for the wide-scope formulation of instrumental rationality. I argue that they do not. I also present an argument in favor of the wide-scope formulation. The arguments employed here in defense of the wide-scope formulation of instrumental rationality can also be employed in defense of the wide-scope formulations of other rational requirements. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.2 (2001) 311-312 [Access article in PDF] Hill, Claire Ortiz and Guillermo E. Rosado Haddock. Husserl or Frege? Meaning, Objectivity, and Mathematics. Chicago: Open Court, 2000. Pp. xiv + 315. Cloth, $39.95. Analytic philosophy is rooted in Frege; phenomenology, in Husserl: or so goes the old, old story. Most philosophers now recognize that Husserl has a role to play in analysis' roots, and (...) Frege in phenomenology's. Hill and Haddock try to show that Husserl's role in analysis' roots is larger than is now recognized, and to show that Husserl has much of relevance to say about matters currently central in analysis.Hill and Haddock tag-team the topic. Chapters are written now by one, now by the other. A common theme is: "Look, Husserl's bested Frege here!" One chapter is entitled "To be a Fregean or To be a Husserlian?" and the book pushes vigorously in the Husserlian direction. There are several chapters devoted to sense and reference, Fregean and Husserlian. There are chapters on logical abstraction and on the philosophy (primarily Husserlian) of mathematics. Other figures, such as Cantor and Hilbert, also put in appearances.The book's primary merit is in revealing how much of interest Husserl has to say about matters currently central in analysis—particularly in the philosophy of logic/language and in the philosophy of mathematics. There are also interesting extensions of Husserl's views, carefully kept Husserlian, that are worthy of attention: extensions of his views on the philosophy of mathematics and his Platonism. The book's primary demerit is in the often flat-footed readings of Frege that are offered. (In this respect, the book returns the disfavor of the flat-footed readings of Husserl offered by more analytically-minded philosophers.) Nowhere are the names of Warren Goldfarb, Thomas Ricketts or Cora Diamond mentioned—the philosophers who have provided a reading of Frege that makes him a much more interesting foil for Husserl. On the reading I have in mind, Frege is not a Platonist, and he does not have a truth-conditional semantics. Further, on this reading, Frege's ontological categories supervene on logical ones, and his ontology does not ground or explain objectivity. Instead of offering a sematic theory, on this reading Frege is denying that there is any coign of vantage for the offering of such. But this Frege, or this reading of Frege, makes no appearance in the book. Another noteworthy omission—related, I think, to the omission of the alternative reading of Frege—is any extended discussion of a crucial difference in the ways that Frege and Husserl thought of language: Frege thought of language as the universal medium, Husserl of language as a calculus. (Jaakko Hintikka both popularized this distinction and suggested that Husserl had the [End Page 311] calculus conception.) Conceived as the universal language, language is inescapable. Husserl's conception leads him to think that he can escape language, step behind it and survey it. If this crucial difference is not kept in mind, it is difficult, I think, to see the various disagreements between Frege and Husserl at their proper depth.For example, neglecting this difference makes it hard to see the parallel difference between Frege and Husserl over the appropriate conception of logic. Since Frege thinks of logic as universal (first and foremost), he would reject Husserl project of providing a geneology for logic as deeply confused. For Frege, there can be no grounding of logic, no justifying of logic from behind. Logical investigation is, for Frege, investigating the mind. There is no other type of investigation—no matter how transcendentally phenomenological—that can subordinate logical investigation to it, or can usurp the title of the investigation of the mind. There is no experience—no matter how pre-predicative (what would Frege make of 'pre-predicative'?)—from which logic springs. Wittgenstein's Tractarian comment is thoroughly Fregean: "Logic precedes every experience—that something is so." (5.552)Still and all, I recommend this book to anyone interested in the issues it discusses, since... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Education in the Virtues: Tragic Emotions and the Artistic ImaginationDerek L. Penwell (bio)IntroductionThe profoundly thoughtful—not to mention extensive—character of the scholarship historically applied to the nature of the difference between Plato and Aristotle on the issue of the tragic emotions raises the obvious question: What new is there left to say? In this article I seek to hold together two separate issues that have occupied much of the scholarship (...) on this topic but that typically have not been considered together: (1) What is the moral value of the tragic emotions? and (2) If the tragic emotions are morally significant, how can we engage tragedy without viewing it instrumentally? By approaching the tragic emotions in this way, I hope to suggest an Aristotelian analysis of tragedy that appreciates tragedy's ability to expand our resources for confronting an often chaotic world, while at the same time avoiding the notion of art as merely useful in the pursuit of larger moral projects.Plato, in Republic X, offers his seminal critique of art and the artist in relationship to the ideal republic. In particular, poetry comes under harsh criticism for encouraging emotions, which, according to Plato, ought to be kept under strict control. In the end, Plato reluctantly declares that poets must be banished as a way of preserving the order and moral integrity of the republic. Poetry, if permitted, will make "pleasure and pain the twin kings in your city in place of established custom and the thing which has always been generally accepted as best—reason."1Aristotle challenges his old teacher, Plato, in his treatise on tragedy in the Poetics. To say that Aristotle challenges Plato, however, is not say that he confronts Plato directly; rather the scope of Aristotle's argument addresses the issue of poetry, which Plato had denounced in the Republic. Specifically, Aristotle calls into question Plato's account of the value of the emotions. [End Page 9] Whereas Plato contends that emotions are a potentially disruptive force, the power of which must always be controlled by reason, Aristotle maintains, as I will argue, that the cultivation of the appropriate emotional response (that is, the correct emotional response at the correct time) is essential to the development of virtue. Moreover, according to Aristotle's view, the cultivation of appropriate emotional response has implications not only for the development of individual virtue but also for the health of the body politic.I must be careful to point out that I am not attempting to elicit Aristotle's endorsement for a view that says reason is not somehow responsible for properly informing the emotions. Aristotle's position with respect to emotions—while different from Plato's in the belief that emotions can be educated—still identifies reason both as the faculty that differentiates us as a species as well as the faculty that occupies the primary place in establishing knowledge and directing action. My goal in the first section of this article is much more modest: I only wish to argue that an Aristotelian critique of Plato on emotions suggests the beginnings of a way of viewing emotions, such that emotions have a significant role to play in moral development.2However, the nature of Aristotle's argument in his implicit response to Plato raises the important question of whether the view of art he advances (in particular, of tragedy) is purely an instrumental one—a question to which I will attend in the second section. Does Aristotle understand art as a tool in the service of some higher good, such as moral education? Art, if this is the case, loses its integrity as an end in itself. Inasmuch as Aristotle believes that art is conducive to moral education, he is in danger of being charged with inhabiting the dubious aesthetic stance that art is always the means to some higher end. That is to say, it could be argued that the theory of art that Aristotle places on offer is what R. W. Beardsmore calls moralism3 and what Berys Gaut calls ethicism.4 Moralism at its most radical is the aesthetic position that finds art as merely a useful tool in dressing... (shrink)

This paper analyzes the implications that the linguistic formulation of the marriage provision of the Spanish Constitution of 1978 had for securing the passage in 2005 of Law 13/2005, which legalized same-sex marriage. By claiming that a semantic omission in the original legal text was a marker of distributiveness, SSM supporters aimed to avoid a constitutional amendment, and succeeded in doing so. This linguistic argument, based on implicitness, was instrumental as a subsidiary argument of political moral argumentation. Linguistic meaning therefore (...) contributed decisively to both the legal meaning of the marriage provision and the content of the law. I argue, against some assumptions in the literature stating otherwise, that linguistic meaning should not be dismissed in constitutional interpretation and adjudication. (shrink)

In this article, I critique a common claim that instrumental value is a form of extrinsic value. Instead, I offer an alternative dispositional analysis of instrumental value, which holds that instrumental value can, in certain circumstances, be an example of intrinsic value. It follows, then, that a popular account of the nature of final value – or value as an end – is false: the Moorean identification of final value with intrinsic value cannot properly distinguish between value as an (...) end and value as a means. (shrink)

Kant’s Formula of Humanity can be analyzed into two parts. One is an injunction to treat humanity always as an end. The other is a prohibition on using humanity as a mere means. The second is often referred to as the FH prohibition or the mere means prohibition. It has become popular to interpret this prohibition in terms of consent. The idea is that, if X uses Y's humanity as a means and Y does not consent to it, (...) then X uses Y's humanity as a mere means. There is then debate about the kind of consent that is relevant: possible, actual, or rational. In this paper, I argue against this interpretation. Section one sets up the consent account. Section two attacks possible and actual consent accounts on doctrinal grounds. Section three extends this doctrinal attack to rational consent accounts. Section four circles back to the original motivation for the consent interpretation. I argue that the consent account rests on a misinterpretation, and I conclude with a quick sketch of an alternative interpretation of the FH prohibition. (shrink)

Properly understood, the instrumental rule says to take means that actually suffice for my end, not, as is nearly universally assumed, to intend means that I believe are necessary for my end. This alternative explains everything the standard interpretation can—and more, including grounding certain correctness conditions for exercises of our will unexplained by the standard interpretation.

Social media commentary, satellite imagery and GPS data are a part of ‘alternative data’, that is, data that originate outside of the standard repertoire of market data but are considered useful for predicting stock prices, detecting different risk exposures and discovering new price movement indicators. With the availability of sophisticated machine-learning analytics tools, alternative data are gaining traction within the investment management and algorithmic trading industries. Drawing on interviews with people working in investment management and algorithmic trading firms (...) utilizing alternative data, as well as firms providing and sourcing such data, we emphasize social media-based sentiment analytics as one manifestation of how alternative data are deployed for stock price prediction purposes. This demonstrates both how sentiment analytics are developed and subsequently utilized by investment management firms. We argue that ‘alternative data’ are an open-ended placeholder for every data source potentially relevant for investment management purposes and harnessing these disparate data sources requires certain standardization efforts by different market participants. Besides showing how market participants understand and use alternative data, we demonstrate that alternative data often undergo processes of prospecting and assetization. We further contend that the widespread embracement of alternative data in investment management and trading encourages a financialization process at the data level which raises new governance issues. (shrink)

There has been a remarkable shift in the relation between market and state responsibilities for public services like health care and education. While these services continue to be financed publicly, they are now often provided through the market. The main argument for this new institutional division of labor is economic: while (public) ends stay the same, (private) means are more efficient. Markets function as ‘mere means’ under the continued responsibility of the state. This paper investigates and rejects currently existing (...) egalitarian liberal theories about this division of labor and it presents and defends a new theory of marketization, in which social rights and democratic decision-making occupy center-stage. (shrink)

A work of music is repeatable in the following sense: it can be multiply performed or played in different places at the same time, and each such datable, locatable performance or playing is an occurrence of it: an item in which the work itself is somehow present, and which thereby makes the work manifest to an audience. As I see it, the central challenge in the ontology of musical works is to come up with an ontological proposal (i.e. an account (...) of what sort of thing a work of music is) which enables us to explain what such repeatability consists in, whilst doing maximal justice to the way in which we conceive of musical works in our reflective critical and appreciative practice. To this end, many have found it tempting to defend some version or other of the type-token theory : the thesis that a work is a type and its occurrences are its tokens. Much of the early debate prompted by the publication of Jerrold Levinson's seminal 'What a Musical Work Is' in 1980 has taken the type-token theory for granted, choosing to focus on how musical works, qua types, are individuated. (A key question here has been whether we should hold, with the sonicist , that works are identical just in case they sound exactly alike; or whether we should agree with Levinson's contextualist thesis that exact sound-alikes are distinct, if composed in distinct musico-historical contexts.) More recently, however, the type-token theory itself has been put under pressure, and alternatives have been suggested. So, e.g. Gregory Currie and David Davies have held versions of the thesis that musical works (and artworks generally) are acts of composition, whilst Guy Rohrbaugh has recommended that we think more innovatively about our metaphysical categories, and treat musical works (along with all repeatable artworks) as historical individuals . Historical individuals, like particular substances, come into and go out of existence, could have been somewhat different than they are, and can change through time; but such items, unlike particular substances, are nonetheless capable of having occurrences. In the last few years, ontologists of music have also stepped back to consider the very nature of their enterprise. In particular, a debate has ensued concerning the cogency of ontological proposals (such as those of Nelson Goodman, Nicholas Wolterstorff and Julian Dodd) that are substantially revisionary of our folk concept of a work of music. Amie Thomasson, David Davies and Andrew Kania occupy, to a greater or lesser degree, the descriptivist standpoint, according to which such revisionary ontologies are misconceived. The debate between revisionists and descriptivists in the ontology of music – if prosecuted against the backdrop of an awareness of developments in meta-ontology more generally – is a particularly fertile area in the philosophy of music at present. Author Recommends Wollheim, Richard. Art and its Objects . 2nd ed. Cambridge: Cambridge University Press, 1980. This seminal study nicely introduces and motivates the type-token theory, and in the course of doing so, helpfully, although perhaps contentiously, distinguishes types from both sets and properties. Wollheim's treatment was to a large part responsible for stimulating the subsequent debate as to the ontological nature of musical works. Levinson, Jerrold. 'What a Musical Work Is.' Journal of Philosophy 77 (1980); reprinted in his Music, Art and Metaphysics , 63–88. This paper has, perhaps, been the most influential account of the nature of musical works, post-Wollheim. Presuming the type-token theory to be correct, Levinson elaborates it by claiming musical works to be, not sound structures (i.e. structured patterns of sound-types), but a species of types he calls indicated structures . According to Levinson, a work of music is not to be identified with its sound structure, S ; it is, in fact, a compound of S and a performance-means structure, PM , as indicated (typically, via a score) by its composer on a certain occasion : something that we can represent as S/PM -as-indicated-by- X -at- t . Such indicated structures, Levinson argues, fit the bill for being what works of music are, because they come into being with their indication (i.e. their composition), are individuated in terms of the musico-historical context in which they were composed, and have their specified performance-means (i.e. their instrumentation) essentially. Wolterstorff, Nicholas. Works and Worlds of Art . Oxford: Clarendon Press, 1980. Part I of this book sees Wolterstorff defend a Platonistic version of the type-token theory (although Wolterstorff calls them 'kinds' rather than 'types'). According to Wolterstorff, considerations about the existence conditions of types commit us to the thesis that works of music, qua types, are entities that cannot come into or go out of existence. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. In this article, Kivy ingeniously (and wittily) defends a variety of Platonism about works of music against the animadversions of Levinson. Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Here Currie introduces and defends the thesis that works of music (and, indeed, all artworks) are compositional action-types. The book also contains some well-aimed criticisms of Levinson's account. Dodd, Julian. Works of Music: An Essay in Ontology . Oxford: Oxford University Press, 2007. In this book, Dodd defends the type-token theory, but argues that no version of it can escape the Platonisic consequence that musical works exist at all times (and hence, are discovered, rather than created, by their composers). Dodd also defends another controversial thesis, this time concerning musical works' individuation. According to Dodd, and pace Levinson and others, sonicism is correct: works that sound exactly alike are identical. Rohrbaugh, Guy. 'Artworks as Historical Individuals.' European Journal of Philosophy 11 (2003): 177–205. In this essay, Rohrbaugh makes some pointed criticisms of the type-token theory of repeatable artworks in the course of arguing that such works should be viewed, not as types, but as historical individuals (see above). Rohrbaugh suggests that treating musical works as historical individuals best captures our intuitions about such works' temporal and modal characteristics, and, in the course of elaborating his position, he makes some meta-ontological claims that see him endorsing a non-revisionary, descriptivist approach to the ontology of art. As Rohrbaugh sees it, ontologies of art are 'beholden to our artistic practices' (179), and 'aesthetics should not be beholden to the metaphysics on offer, but rather should drive new work in metaphysics' (197). Ridley, Aaron. 'Against Musical Ontology,' Journal of Philosophy 100 (2003): 203–220. This paper sees Ridley outlining a sceptical attitude towards the project of formulating ontological proposals. In his view, a 'serious philosophical engagement with music is orthogonal to, and may well in fact be impeded by, the pursuit of ontological issues' (203). Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics.' JAAC 63 (2005:221–9). Thomasson defends descriptivism in the ontology of art by arguing that such a position is a consequence of the only defensible solution to a problem in the theory of reference: the so-called 'qua' problem concerning how the reference of a term can be fixed. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Davies' position is characterised by two theses: one methodological, the other ontological. The methodological claim is that the ontology of art faces a pragmatic constraint : roughly speaking, the ontology of art is answerable to the epistemology of art. The ontological claim is that the rigorous enforcement of the pragmatic constraint commits us to the thesis that all artworks are compositional action-tokens. Online Materials http://www.blackwell-compass.com/subject/philosophy/article_view?article_id=phco_articles_bpL173 Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–34. doi: [DOI link] http://www3.interscience.wiley.com/journal/118557784/abstract Thomasson, Amie. 'Debates about the Ontology of Art: What are We Doing Here?' Philosophy Compass 1/3 (2006): 245–55. doi: [DOI link] http://www3.interscience.wiley.com/journal/122517227/abstract Davies, David. 'Works and Performances in the Performing Arts.' forthcoming in Philosophy Compass . doi: [DOI link] http://plato.stanford.edu/entries/music/ Kania, Andrew. 'The Philosophy of Music.' Stanford Encyclopedia of Philosophy . Sample Mini-Syllabus Week 1: The Type/Token Theory Introduced Wollheim, Richard. Art and its Objects , §§4–8, 21–3, 35–7. Kivy, Peter. Introduction to a Philosophy of Music , chapter 11. Oxford: Clarendon Press, 2002. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 1. Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Week 2: The Type/Token Theory and Platonism in Music Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Levinson, Jerrold. 'What a Musical Work Is'. Dodd, Julian. Works of Music: An Essay in Ontology , chapters 2–5. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. Kivy, Peter. 'Platonism in Music: Another Kind of Defence.' American Philosophical Quarterly 24 (1987): 245–52. Predelli, Stefano. 'Against Musical Platonism.' British Journal of Aesthetics 35 (1995): 338–50. Caplan, Ben and Carl Matheson. 'Can a Musical Work be Created?' British Journal of Aesthetics 44 (2004): 113–34. Week 3: Musical Works as Indicated Structures Levinson, Jerrold. 'What a Musical Work Is'. Levinson, Jerrold. 'What a Musical Work Is, Again', in his Music, Art and Metaphysics . Ithaca, NY: Cornell UP, 1990. 215–63. Dodd, Julian. 'Musical Works as Eternal Types.' British Journal of Aesthetics 40 (2000). Davies, Stephen. Musical Works and Performances: A Philosophical Account , chapter 2. Oxford: Oxford University Press, 2000. Howell, Robert. 'Types, Indicated and Initiated.' British Journal of Aesthetics 42 (2002): 105–27. Caplan, Ben and Carl Matheson. 'Fine Individuation.' British Journal of Aesthetics 47 (2007): 113–37. Week 4: Musical Work as Historical Individuals Rohrbaugh, Guy. 'Artworks as Historical Individuals'. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 6. Caplan, Ben and Carl Matheson. 'Defending Musical Perdurantism.' British Journal of Aesthetics 46 (2006): 59–69. Caplan, Ben and Carl Matheson. 'Defending "Defending Musical Perdurantism".' British Journal of Aesthetics 48 (2008): 331–37. Week 5: Musical Works as Compositional Actions Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 7. Week 6: Meta-ontology of Music: What are we Doing When we do the Ontology of Music? Ridley, Aaron. 'Against Musical Ontology'. Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics'. Thomasson, Amie. Ordinary Objects , chapter 11. OUP, 2007. Davies, David. 'The Primacy of Practice in the Ontology of Art.' Journal of Aesthetics and Art Criticism 67 (2009): 159–72. Kania, Andrew. 'Piece for the End of Time: In Defence of Musical Ontology,' British Journal of Aesthetics 48 (2008): 65–79. Kania, Andrew. 'The Methodology of Musical Ontology: Descriptivism and its Implications.' British Journal of Aesthetics 48 (2008): 426–44. Cameron, Ross. 'There are No Things That are Musical Works.' British Journal of Aesthetics 48 (2008): 295–314. Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–1134. doi: [DOI link] Focus Questions 1. Are musical works literally created by their composers? 2. Critically examine Levinson's thesis that musical works are 'indicated structures'. 3. What, if anything, is wrong with the thesis that musical works are identical just in case they sound exactly alike? 4. Should we immediately be sceptical of ontological proposals for works of music that are substantially revisionary of the way in which we ordinarily think of them? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 22 (2002) 127-131 [Access article in PDF] Beyond the Usual Alternatives in Buddhist-Christian Dialogue: A Trinitarian Pluralist Approach Harry L. Wells Humboldt State University When I was first asked to present this paper, I was concerned about the assignment —"Beyond the Usual Alternatives." I was told that the usual alternatives were exclusivism, inclusivism, and pluralism. I consider myself a pluralist, so how was I to go beyond (...) what I thought was the best paradigm? But I must make clear that I am a pluralist in the camp of Raimundo Panikkar and not of John Hick, the latter's approach being one that Panikkar has clearly "gone beyond" in my estimation. While pondering the dilemma of how to approach this paper, I auspiciously reencountered the breathtaking profundity of early Christian writings on the nature of reality as Trinitarian. What I found there was an incredibly dynamic notion of reality that refuses to be reductionistic to dualistic modes of analysis. I will do two main things in this paper: I will discuss the Christian experience and understanding of "the mystery of the Living God," including the Trinity and the Christ. In doing this, I will draw upon the book The Roots of Christian Mysticism, by Olivier Clement (New York: New City Press, 1993), whose exposition of these things has been one of rare clarity and wisdom. I will then reflect upon how the Christian Trinitarian reality can serve as a Christian framework for understanding pluralism and interreligious dialogue. If these reflections manage to move us beyond our usual alternatives, it is because they capture a profundity that early Christians knew was eternal and among us. The Mystery of the Living God God is always hidden and universal. That is the mystery of the Living God. Because all things spring forth from God, the world both hides and reveals God's being. God's being is expressed in particular relations that both reveal and conceal; God's being can never be objectified, though it is the horizon in which all things are situated. That is why we can only speak of the living God, as an encounter with God. As Clement points out: "The inexhaustible nature of transcendence is expressed in the profusion of creatures. The universe is the first Bible. Each being manifests the creative word [End Page 127] [the Logos of God] which gives it its identity and attracts it. Each being manifests a dynamic idea, something willed by God. Ultimately each thing is a created name of him who cannot be named" (Clement, p. 27).But to say "willed by God" in a Christian context does not mean a closed monotheism, with a notion of Supreme Being existing objectively independent of the creation. In its very heart, Christianity says God is inexhaustible communion.Dionysius the Areopagite, a pseudonym of an early-fifth-century Christian writer, wrote a treatise called "Divine Names." In it, he speaks of how from all eternity, God lives and reigns in glory, with each ray of glory being a divine Name, and these Names are innumerable. Early Christian writers spoke of these as the powers or energies that spring forth from the unapproachable nature of God that give each created reality, or each emerging manifestation, both its density and transparency. In other words, all things spring forth within God and are modes of the divine presence, receiving its density or particular identity, while clearly being transparent, arising in God. Each creature, each entity names in its own peculiar fashion the divine Names. To say, "from all eternity, God lives and reigns in glory" is to recognize that the very inexhaustible communion that is the cosmos arises from all eternity in the very nature of God. As Gregory Nazianzen proclaims in his work "Dogmatic Poems":... Everything that exists prays to thee And to thee every creature that can read thy universe Sends up a hymn of silence. In thee alone all things dwell. With a single impulse all things find their goal in thee. Thou art the purpose of every creature. Thou art... (shrink)

The Sense of I: Conceptualizing Subjectivity: In Indian Philosophy (Sāṃkhya-Yoga) This book discusses the sense of I as it is captured in the Sāṃkhya-Yoga tradition – one of the oldest currents of Indian philosophy, dating back to as early as the 7th c. BCE. The author offers her reinterpretation of the Yogasūtra and Sāṃkhyakārikā complemented with several commentaries, including the writings of Hariharānanda Ᾱraṇya – a charismatic scholar-monk believed to have re-established the Sāṃkhya-Yoga lineage in the early 20th century. The (...) textual analysis of the classical Sanskrit sources and their constructive interpretation is enhanced by some crucial questions and points of dispute commonly picked up in the contemporary philosophy of mind, such as the challenge of ontological and categorical reductionism, the criteria of personal identity, the limits of agency and free will, the ineluctability of self-deception, etc. However, defining the sense of ego (ahaṃkāra) and ‘I-am-ness’ (asmitā) is the main focus of this research. Four chapters composing the study are subsequently devoted to: (1) the methodological assumptions of the present author and the basic historical distinctions relevant to the subject matter, (2) linguistic preconditioning of I-consciousness as well as metaphysical coherency and ambiguity of the concept of subjectivity presented by Sāṃkhya-Yoga philosophers, (3) cognitive and ontological issues concerning the embodied ego being opposed to inactive and contentless consciousness, or the pure self (puruṣa), (4) axiological evaluation of self-discipline and significance of liberation from ego. 1. The method, scope, and problem. In the first chapter, the method of comparative philosophy adopted in this book is introduced by a phenomenological analysis of ‘otherness’ and ‘alienness’ inspired by the considerations of Bernhard Waldenfels and his understanding of xenology. This section is followed by a critical reflection on the incommensurability of the alternative conceptual frameworks, supported by some arguments provided by Ludwik Fleck and Richard E. Nisbett. When explaining the term ‘comparative philosophy’, the author pays special attention to those proponents of the aforementioned current who contributed to the rapprochement of Western and Indian philosophical traditions by tracing both their similarities and divergences. The author makes references to numerous prominent researchers, such as Paul Masson-Oursel, Paul Deussen, Stanisław Schayer, Sarvepalli Radhakrishnan, Bimal K. Matilal, Raimundo Panikkar, Daya Krishna, Wilhelm Halbfass, and many others representing a younger generation. The historical introduction presents a concise survey of the evolution of the Sāṃkhya-Yoga textual tradition, and distinguishes five phases of its development: proto-Sāṃkhya (7th c. BCA – 1st c. CE), pre-classical phase (1st – 5th c. CE), classical Sāṃkhya (3rd – 9th c. CE), post-classical phase (till 14th c.), and neo-classical phase (since 1927). Here, the author also evaluates the primary sources, including Sanskrit commentaries, and the secondary sources in the light of their relevance and usefulness to the constructive interpretation of Yogasūtra and Sāṃkhyakārikā. Then, she makes some methodological remarks concerning the specificity of their reading. This section is concluded with highlighting three main strategies usually applied when interpreting Patañjali’s sūtras: (1) anti-philosophical approach – treating the text as a merely mystical report or the yogic vademecum, (2) anti-mystical perspective – which reads the text as a highly speculative divagation of no much use to a practitioner, (3) mystic-and- philosophical approach – emphasizing the fact that the theory of consciousness presented in Yogasūtra is both philosophically coherent and empirically (or mystically) verified. The author argues for the third, heuristic, perspective mentioned above. The last section of the first chapter aims to problematize the I-concept (aham) and the paradoxical situation of the ego searching for self-knowledge. This part starts with the acknowledgement of the deliberation on non-self (anātman) by Śāntideva, a Buddhist philosopher claiming that one’s own ego ought to be identified with the ego of any other. Then, the author unfolds the fundamental assumptions and scope of the constructive interpretation she wants to develop following K.C. Bhattacharyya’s clues. When explaining her reasons, she stresses both the need to reveal the philosophical meaning of the source materials and, at the same time, the need to make them meaningful on the ground of our contemporary philosophical enquiry. Thus, among the main purposes there is a reliable, scrupulous and careful reconstruction of the historical conception of the self as elaborated on in the classical period of Sāṃkhya-Yoga tradition, as well as reinterpretation of the sense of I as it was grasped by the Sāṃkhya-Yoga thinkers in terms of modern comparative and ‘polylogical’ discourse. 2. Naming I. In the second chapter, a variety of linguistic categories capturing different aspects of subjectivity is discussed in detail. A textual examination is preceded by clarification of the semantic distinctions made by Patañjali, such as a verbal convention (saṃketa) which stands for uniting or overlapping a word (śabda), its meaning (artha) and a mental state of comprehension (pratyaya) that ascribes the word to a particular object. Among the key concepts there is also explained a spontaneous mental activity referring to pseudo-objects posited only by words (vikalpa), which is unwittingly involved in every process of conceptualizing, designating, and naming objects. Such mental states can neither be ‘valid’ nor ‘invalid’, and are believed to unavoidably accompany one’s use of language. These presuppositions testify to Patañjali’s severe criticism towards all verbal conventions that not only affect the way we formulate and construct our views, but also determine the very process of perception. A major section of the chapter contains the analysis of the ambiguous sense of subjectivity and its basic aspects distinguished by the author in the result of a contextual and comparative study of the Sanskrit terms used in Yogasūtra and Sāṃkhyakārikā for naming I-consciousness. The six basic aspects of the self comprise: essentializing oneself, perceiving (something), getting conscious (of something), mastering or owning (something), and being capable of self-identifying as well as disidentifying oneself. A majority of the enumerated predicates ascribed to the self refer to different functions and activities of the empirical ego and the embodied mind. Yet, apart from this intentional, active, reactive, sensing, and objectifiable self Sāṃkhya-Yoga philosophers distinguish a sense of subjectivity going beyond all these psycho-physical characteristics: the self that remains unmanifest, non-active, free from experiencing any joy or pain, said to be the principle of consciousness. The plausibility of its existence as the final cause of the world is to be determined by the embodied ego by virtue of abductive reasoning based on the analysis of all material and psycho-physical phenomena preconditioned by three guṇas that compose the domain of nature (prakṛti). In the subsequent section, three Sanskrit notions – ahaṃkāra, asmitā, and puruṣa, most significant for the Sāṃkhya and Yoga understanding of subjectivity, are discussed closely one after another to expose their semantic, epistemic and metaphysical connotations. The chapter is completed by some pivotal remarks bringing out the problem of discrepancy between the metaphysical position implied by Patañjali and Īśvarakṛṣṇa, and the grammatical instruments applied by them to express it. 3. Cognizing I. The third chapter addresses two important issues in the phenomenology of self-perception, namely the question of psycho-physical dualism explained on the grounds of the considered darśanas, and the spiritual quest for the ideal embodiment of consciousness. While emphasizing the unity of human psycho-physical nature the author refers to several contemporary Western thinkers, such as Maurice Merleau-Ponty, Thomas Nagel, John R. Searle, David Chalmers and others, by making some comparative remarks on the idea of the embodied mind. Furthermore, three arguments for the plurality of selves (puruṣa-bahutva) are reconstructed and critically considered. The arguments given by Īśvarakṛṣṇa (SK 18) include the diversity of ways in which one experiences one’s life and death, the spatio-temporal distinctness of particular embodied egos, and the variations of features manifested by individual selves. The second section of this chapter presents a thorough inquiry into a non-theistic devotion and spiritual pragmatism defended by the adherents of Sāṃkhya- Yoga. God (īśvara) is defined here primarily as an object of meditative practice and a special tool convenient for yogic pedagogy. In the concluding part of this section four functions of devotional practice (īśvara-pranidhāna) are recognized and explained; they embrace: (1) prevention from mental scattering and dispersion, (2) therapy allowing to form some positive perceptual habits and the right cognitive approach, (3) enhancement of morally and spiritually required qualities, and (4) reinforcement of the sense of subjective identity being a complementary method of self-development. 4. Liberating oneself from I. The final chapter consists of three sections. The first one introduces the concept of liberation through action (pravṛtti-dharma), commonly opposed in Indian tradition to the path of renunciation (nivṛtti- dharma). According to Hariharānanda Ᾱraṇya’s interpretation, both Sāṃkhya- Yoga and Buddhism follow the latter one, which in terms of spiritual practice dynamics makes them much closer to each other than it is usually believed. In the subsequent section the idea of liberating oneself from one’s attachment to ego is explained in detail, along with the significance of gradual self-negation. Then the author raises the interpretation of the Sāṃkhya-Yoga perspective on liberation as self-distinction-through-renunciation. The main focus in this section is placed on the sense of agency (kartṛ), the problem of free will, and the criteria of moral and soteriological evaluation of one’s deeds. Some crucial questions on karmic conditioning of self-knowledge in the form of kleśas are also the subject of careful analysis. The next section undertakes the issue of ownership (mamakāra) of one’s activity and self-esteem (abhimāna) involved in spiritual growth. Again, some comparative remarks are made by referring to the Buddhist philosophers’ positions, such as Nāgārjuna, Āryadeva and Candrakīrti. Among others, the Buddhist refutation of the Sāṃkhya-Yoga concept of eternal, inactive, indifferent, irresponsible, and exclusively conscious self (puruṣa) is quoted and partly rejected in favour of the classical Hindu darśanas. In summary, the author emphasized the significance-generating or sense-creating function of I, its engagement in the search for its own raison d’être, its role in self-identification as well as subverting it, and the expediency of liberation from ego. The philosophers of classical Sāṃkhya and Yoga indicate a twofold sense of the self; on the one hand, the only appropriate designation: ‘I’ is true self (puruṣa), a passive and unknowable principle of consciousness whose existence makes the empirical phenomena meaningful. On the other hand, the ‘I’ clearly designates the current sense of the self, expressed as “I think”, “I doubt”, “I suffer”, etc. This second meaning of ‘I’, the specific sense of ‘mineness’, is recognized as a secondary and relative one – thus illusive and troublesome. However, its delusiveness does not mean that the empirical ego is an unreal or non-existent entity. What it implies is that the empirical self-identity is fundamentally inadequate and – according to the Indian thinkers – ought to be unveiled and, ultimately, given up. (shrink)

This article aims to illuminate the power as well as some of the limitations of Cassin’s post-Lacanian theorization of how speech acts on speaker and listener, has meaning, and gets a grip on ‘things out there’. The article focuses on a narrow case study, namely what Cassin writes about paying to speak to a psychotherapist. First, it elucidates her elliptical comments about the ‘scandal’ of ‘paying for it’ and what this tells us about ‘truth’ and ‘value’ in psychotherapeutic conversations, (...) especially conversations about payment. This involves grounding these theories in clinical realities more concretely than is usually done. The article then reflects critically on her position both by contextualizing it against what psychotherapists themselves have said about ‘money talk’ and by making explicit the developmental narrative that underpins the Lacanian theory, to which the article sketches an alternative inspired principally by Donald Winnicott. (shrink)

Claims of progress in our ethical or moral beliefs and practices—as well as claims to ethical or moral regression—are commonplace in American social and political conversation. Often, such commentary involves a lamenting of the decline of “traditional” values in contemporary society or alternatively a rejoicing in the ways that we appear to have overcome prior prejudicial values. In this dissertation, I am concerned with the notions of progress and improvement that underlie such commonsense judgments. At a minimum, ethical progress requires (...) the idea that some values or practices are better than others and hence that replacing some beliefs or practices with others can be a genuine improvement. Taking inspiration from the ethical works of John Dewey, I sketch an account of evaluative progress that conceives of this sort of improvement in ethical beliefs or practices in terms of problem-resolving. On my view, resolving a problem involves both offering an adequate conception of the problem and finding a problem-solution which lives up to the world and to the values we reflectively endorse. On my account, resolving problems is not simply a matter of finding the best means to a fixed end; rather, I conceive of problem-resolving as a dynamic process in which ends themselves are typically in flux. The sort of “dynamic deliberation” I have in mind, then, goes beyond mere instrumental reasoning, by not only allowing us to recognize conflicts between ends or means to ends, but in also providing a way to rationally revise or reject ends. Finally, in order for this sort of problem-resolving to make good on the idea of genuine improvement or progress, the process of solving problems must involve some sense of objectivity. I offer a procedural account of objectivity that emphasizes the role of the world in constraining our inquiry, involves a naturalization of ethical epistemology, and allows for objective inquiry to be undertaken by an individual or a community. (shrink)

Things we can say, and the ways in which we can say them, compete with one another. And this has consequences: words we decide not to pronounce have critical effects on the messages we end up conveying. For instance, in saying Chris is a good teacher, we may convey that Chris is not an amazing teacher. How this happens is an unsolvable problem, unless a theory of alternatives indicates what counts, among all the things that have not been pronounced. It (...) is sometimes assumed, explicitly or implicitly, that any word counts, as long as that word could have replaced one that was actually pronounced. We review arguments for going beyond this powerful idea. In doing so, we argue that the level of words is not the right level of analysis for alternatives. Instead, we capitalize on recent conceptual and associated methodological advances within the study of the so-called “language of thought” to reopen the problem from a new perspective. Specifically, we provide theoretical and experimental arguments that the relation between alternatives and words may be indirect, and that alternatives are not merely linguistic objects in the traditional sense. Rather, we propose that competition in language is significantly determined by general reasoning preferences, or thought preferences. We propose that such non-linguistic preferences can be measured and that these measures can be used to explain linguistic competition, non-linguistically, and more in depth. (shrink)

The article examines the challenge of achieving sustainable mediational equilibrium within the Self–Other relationship. It argues that the mere pursuit of mutual understanding among dialogue participants is insufficient to guarantee productive communication, particularly in contexts where interactions are driven by competition for scarce resources and opportunities. Under such conditions, subjects risk becoming dependent on instrumental reason – the logic of control and suppression – which transforms both the Self and the Other from fully-fledged personalities into functions of reified rationality. (...) The analysis introduces a distinction between two roles of the individual: the person as a bearer of unique values and meanings, and the individual as a subject of social relations, an actor immersed in practical interactions. It is demonstrated that the capacity of the former to exert control over the latter is limited, and that interactions are shaped not only by the personal qualities of the participants but also by the impersonal logic of instrumental reason. This logic is conceptualized as a kind of third subjectivity that mediates the dialogue between the Self and the Other. Achieving mediational equilibrium becomes possible through the development of autonomy among the parties, through their transformation, mutual recognition, and the search for a measure of compatibility. This approach is traced through examples from A.S. Akhiezer’s theory of sociocultural mediation, A.P. Davydov’s concept of inter-subjective dialogue, and R. Bush and J. Folger’s theory of transformative mediation. Key concepts in the latter include empowerment (strengthening participants’ ability to clearly recognize their goals and make responsible decisions) and recognition (willingness to hear and understand the Other’s perspective). The essence of transformative mediation lies in the transition from imposing one party’s position to a collaborative search for new possibilities, allowing the realization of both Self and Other’s interests through dialogue. In conclusion, the article asserts the importance of overcoming the logic of mutual accusations by shifting the focus from the opponent’s personality to the impersonal structures limiting the self-determination of all parties. (shrink)

Consider any choice that affects some social policy. A decision that considers evidence will, at its heart, contain some kind of explicit or implicit “because” statement: “We are doing X because the evidence says Y.” But can evidence ever truly speak for itself, in the sense of being reducible to objective utterances that are either correct or in need of correction? Before answering, consider what you'd prefer. Would you rather receive evidence that was free of any value judgments (...) imposed by human actors, that was laden with value judgments that you agree with, or laden with value judgments that you disagree with? The central assertion of this essay is that, throughout policy analysis but especially in assessments of the costs and benefits of regulating versus encouraging new technologies (cost‐benefit analysis, or CBA), the first possibility above is a mirage, and the second and third are self‐contradictory. Instead, we are overwhelmingly confronted with a fourth possibility: we receive evidence that appears to be (or is deliberately touted as) value neutral but is suffused with hidden value judgments.In the second part of this essay, entitled “A Guided Tour through Inevitable Value Judgments,” I identify in a systematic way approximately sixty‐five value judgments that are routinely (in some cases, invariably) made in CBA, but that are kept hidden. For each judgment, I discuss its genesis as it is most commonly invoked in CBA, explain how it is hidden in plain sight, and offer one or more value judgments that could be made instead of or in addition to the conventional one. The alternative judgments highlight the width of the spectrum of reasonable conclusions an analyst could reach merely by substituting other judgments for the ones currently embedded.Bringing hidden value judgments to light is doubly valuable. First, it allows discussion to ensue on a level playing field; instead of conclusory statements about what the evidence says, transparency permits statements taking the form of “when channeled through these value judgments, the evidence says this.” Perhaps more importantly, transparency about value judgments permits participants in the discussions to offer interpretations of evidence contingent on there being different value judgments chosen at one or more points in the analysis, interpretations that may suggest that alternative course(s) of action are preferable to the one being championed. (shrink)

Experimental research suggests that people draw a moral distinction between bad outcomes brought about as a means versus a side effect (or byproduct). Such findings have informed multiple psychological and philosophical debates about moral cognition, including its computational structure, its sensitivity to the famous Doctrine of Double Effect, its reliability, and its status as a universal and innate mental module akin to universal grammar. But some studies have failed to replicate the means/byproduct effect especially in the absence of other (...) factors, such as personal contact. So we aimed to determine how robust the means/byproduct effect is by conducting a meta-analysis of both published and unpublished studies (k = 101; 24,058 participants). We found that while there is an overall small difference between moral judgments of means and byproducts (standardized mean difference = 0.87, 95% CI 0.67 – 1.06; standardized mean change = 0.57, 95% CI 0.44 – 0.69; log odds ratio = 1.59, 95% CI 1.15 – 2.02), the mean effect size is primarily moderated by whether the outcome is brought about by personal contact, which typically involves the use of personal force. (shrink)

Summary 1898 marked a crucial point in the end of the nineteenth-century Spanish crisis. The military defeat ending the Spanish-American War was seen as proof that the country was in terminal decline. With the ideals of regeneration spreading throughout Spanish society, the State became more interested in supporting and sponsoring science and technology, as well as in creating a modern educational system. The resulting reforms reflected this strong interest in scientific education, and consequently, the first decades of the twentieth century (...) saw a turning point in the development of science and technology in Spain. Some recent papers have discussed various initiatives taken by Spanish governments, particularly in the creation of new official institutions. Such institutions played an important role in the development of science and technology, but their activity in the promotion of scientific education was very limited. However, other governmental initiatives were taken in order to develop this area, particularly focusing on the acquisition of scientific instruments. Scientific instruments were needed not only to improve Spanish scientific research but also to improve the teaching of experimental sciences. These instruments were specifically adapted for use by students. This paper aims to present some of the lesser-known individuals and firms who, in the new social and cultural context, provided scientific instruments for educational centres in order to meet the increasing demand for this material in Spanish educational institutions during these years. (shrink)

Billy Wilder's classic film ‘Some Like It Hot’ prefigures Judith Butler's concept of performativity in relation to sex, gender and sexuality. Butler introduced this in Gender Trouble, demonstrating that sex, gender and sexuality are naturalized effects of citation and repetition. In that text she explains that denaturalization is visibly demonstrated by drag. Later in Bodies that Matter she argues that drag in ‘Some Like It Hot’ does not denaturalize heterosexuality, but rather fortifies it. What then for Butler divides (...) denaturalizing drag from non-denaturalizing drag? Butler locates denaturalizing drag in the film ‘Female Trouble’, where Divine's drag-queen persona satirizes gender in a hyperbolic performance. However, Butler misconstrues the cross-dressing performances in ‘Some Like It Hot’ as drag, which are better understood as instances of theatrical disguise. Narrative analysis reveals that all the characters in ‘Some Like It Hot’ function within a dystopian critique of heteronormativity. Because the film takes a performative view of sex, gender and sexuality, it can validate three queer couples who defy the strictures of heterosexual romance. Butler thus overlooks a discourse of critique and destabilization alternative to gay perspectives. Current developments in sexual politics, broadly conceived, track both Butlerian concepts of performativity and dystopian critiques of heteronormativity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Evidence-Based Medicine and EvaluativismTim Thornton (bio)KeywordsPhilosophy, psychiatry, values, causalThe rise of evidence-based medicine (EBM) in psychiatry has brought, in its train, a concentration on the validity of psychiatric taxonomy to augment the previous focus on reliability (in the medical sense of inter-subject agreement). This is not surprising. If EBM is to be a trustworthy guide to future events, such as patient recovery, it must be based on projectible predicates (...) (Goodman 1983). Not all the predicates that apparently fit past observations would produce true predictions for the future. Furthermore, there is reason to think that employing projectible predicates goes a long way to satisfy the (widespread if contested) aim of being based on a nomological science (Papineau 1986). Thus, the successful implementation of EBM within psychiatry requires the successful articulation of a valid psychiatric taxonomy.This connection helps to explain why fears about the application of EBM to psychiatry often turn on fears about the application of the criteriological model of diagnosis to individuals. In her commentary in this issue, Gloria Ayob has examined some of the arguments concerning the application of EBM to individuals. In this brief commentary, I examine a different potential source of disquiet focused on the underlying nature of psychiatric taxonomy.Dimensions for Psychiatric TaxonomyIn their recent paper, Peter Zachar and Kenneth Kendler suggest a number of different dimensions according to which rival conceptions of psychiatric taxonomy can be mapped. These include (1) causalism–descriptivism, (2) essentialism– nominalism, (3) objectivism–evaluativism, (4) internalism–externalism, (5) entities–agents, and (6) categories–continua (2007, 557). At the heart of the objectivism-evaluativism dimension is the question:Is deciding whether or not something is a psychiatric disorder a simple factual matterY (objectivism), or does it inevitably involve a value-laden judgment (evaluativism)?(Zachar and Kendler 2007, 558)Objectivists argue that the concept of disorder is a simple or plain factual matter by contrast with an evaluation. The apparently evaluative connotations of disorder, they argue, can either be reduced to, or explained away in, more basic terms, which are not themselves essentially evaluative. Thus, for example, the attempt to explain disorder in statistical terms is a form of objectivism. The more plausible attempt to explain disorder through the idea of a biological or proper function is also usually presented as a form of objectivism. (The most famous proponent of a biological approach, however, Jerome Wakefield, adds to an objectivist-aspiring core an explicit value in the form of harm [End Page 175] [Wakefield 1999].) Whether or not it can be successful as a form of objectivism, in addition to whether an analysis in biological terms is possible, depends on whether the account of function can fully discharge any initial evaluative or normative assumptions.There seems to be good evidence that current psychiatric taxonomy, at least, contains values. John Sadler, for example, makes a powerful case for this in his substantial work Values and Psychiatric Diagnosis (2005). Sadler, furthermore, addresses in some detail a further set of questions concerning the kinds and nature of the values involved. I outline just one further question about the nature of values involved.Zachar and Kendler contrast the presence of values with objectivism. Objectivity has at least two relevant senses reflecting contrasts with two senses of subjectivity. It—objectivity—might mean requiring no special subject for the conception and framing of relevant judgments. (This mirrors primary, by contrast with secondary qualities, and Williams' idea of an absolute conception [Williams 1978]). Or, it might mean disciplining and providing a contrast between correctness and incorrectness, or truth and falsity, for the relevant judgments. This contrasts with subjective whimsy.Although it seems relatively straight forward that the conception and framing of value judgments requires that subjects have a particular kind of mind, that still leaves open the other issue. Are value judgments disciplined by anything or does the "truth" of a value judgment collapse back into its being sincerely made?Evaluativism in Psychiatric Taxonomy and EBMThis question relates to the application of EBM to psychiatry in this way. On a disciplined account, psychiatric taxonomy can aim to get right the mixture or, better, the compound of simple facts and values... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Meaning in Spinoza’s MethodAlan Nelson and Noa SheinAaron V. Garrett. Meaning in Spinoza’s Method. New York: Cambridge University Press, 2003. Pp. xii + 240. Cloth, $60.00.This is a book about some fundamental aspects of Spinoza's mature metaphysics. The principal focus is on Part I of the Ethics concerning infinite substance, and on Part V concerning the intuitive knowledge that is the goal of philosophy. Within this focus, (...) Garrett concentrates on Spinoza's method. Garrett explains how he has been influenced by interpretations that stress the structural parallel between the synthetic, geometrical presentation of the Ethics and the relations among the ideas of the well-ordered mind. The Ethics proceeds by deriving propositions concerning substance's modes from definitions of substance and related notions while the mind, insofar as it is free from emotions, intuitively knows things as following from God. Garrett's distinctive thesis, however, is that Spinozistic enlightenment depends on the process of emending the intellect as described in one of Spinoza's earliest works, the Treatise on the Emendation of the Intellect. While this work strongly foreshadows many of Spinoza's mature doctrines, its exposition much more closely resembles the analytic, non-geometric approach of Descartes's Meditations. Spinoza's therapy for the emendation of our "inadequate" ideas closely parallels Descartes's analytic therapy for making what he calls confused ideas "clear and distinct."Garrett is on firm ground in arguing that the process of enlightenment cannot be an unbroken chain of intuitive deductions. For one thing, the definitions and axioms printed in a copy of the Ethics are first sensed by the reader and are not likely to produce immediately the requisite adequate ideas (172). An example of one of Garrett's interesting conclusions is that the definition of God as consisting of an infinity of attributes, the sixth of Part I of the Ethics (1D6), is preliminary and replaced in the process of therapeutic emendation by a definition of God as self caused. It is only after our ideas have become adequate at the end of the process that we are able to fully appreciate 1D6 (171).One might think that Garrett does not go far enough here because his point can be naturally extended. Definitions might assist us in the process of bringing our adequate ideas to light, but our cognitive goal is making these ideas themselves adequate. What then are the ideas we can make most adequate and exactly what distinguishes them from highly refined ideas that are nevertheless more inadequate than these? On one interpretation it is divine essence, that is, the attributes of thought and extension that are individually most adequately conceived after successful therapy. It is tempting to suppose that a single idea of God as both thinking and extended would be more adequate still, but Spinoza holds that our conceptions of these attributes are "really distinct" in a sense analogous to Descartes's(1P10). Spinoza's 1D6 definition of God as a substance consisting of both these attributes (and perhaps other inconceivable ones) thus seems to indicate a subsumption of the attributes we can conceive under the image of some printed or spoken words. Such an idea would be more inadequate than our adequate conceptions of the individual attributes. One is here strongly reminded of Descartes's characterization in Article 63 of the first Part of his Principles of Philosophy, "... we more readily understand extended substance or thinking substance than substance alone."In his seventh and concluding chapter, Garrett tackles the grand problems of intuitive knowledge or knowledge of "the third kind" and the sense in which Spinoza thought a part of the human mind is eternal. The discussion is necessarily complex, but one great advantage of Garrett's treatment is that he realizes intuitive knowledge cannot consist in the explicit deduction of particular things from God. The detailed determination of particular "everyday objects" requires sensory knowledge which is, of course, never perfectly determinate and therefore inherently inadequate. But we can acquire the "second kind" of adequate knowledge by understanding what our minds have in common with other determinate, finite things. This finally enables us to ascend to an appreciation of these... (shrink)

Constructive empiricism is a prominent anti-realist position whose aim is to make sense of science. As is well known, it also crucially depends on the distinction between what is observable and what scientific theories postulate but is unobservable to us. Accordingly, adopting an adequate notion of observability is in order, on pain of failing to achieve the goal of grasping science and its aim. Bas van Fraassen, the originator of constructive empiricism, identifies observation with unaided (at least in principle) (...) human perception. So far, though, he has not put forward any convincing argument to support this (unpopular) stand. He did it on the grounds that it is (allegedly) a matter for empirical investigation and not for philosophical analysis. Nonetheless, he seems to have introduced a criterion for observability that is not the result of any scientific research and is not supported by any scientific theory. Countering his own words, he seems to have instead reflected qua philosopher on how an empiricist should interpret the meaning of the verb ‘to observe’. And then tried to defend his point of view by means of metaphors and analogies. But the very same metaphors and analogies van Fraassen put forward could be used to back up the opposite position. Worse, not only does his criterion counter common sense, it does not work either. Perhaps the time has come for van Fraassen to put forward or endorse alternative criteria of observability. (shrink)

While ostensibly a thesis on good remembering, this study combines a methodology for analysing remembering practices, and a commentary on the projected course of memory as a cultural practice. The methodology is inspired by broadly sympathetic accounts of cognition, mind, and memory as systemic: partly, though critically constituted by agents’ environment and their activities within it. This subject of these kinds of approach is variably referred to as ‘collective memory’ or ‘distributed cognition’. The active and environmental factors are called ‘supports’. (...) A consequence of the distributed or collective approach is that as the supports change, then so too do practices of memory. Not only does this warrant a context sensitive approach to the ethics of memory, it is on this basis that the thesis indicates an evolving relationship between agents and practices of memory. One way to practice good remembering is to ensure that one’s memories are truth-apt to the past. An alternative view of good remembering understands remembering as a meaning-making process. Good remembering might be conceived then as a process aimed at integrating agents’ understanding of their past with present conditions for remembering, and with expectations of the future, to encourage a kind of Aristotelian flourishing. But encouraging this flourishing would also seem to require that agents take some responsibility for the supports of memory; either maintaining them when they support good remembering, or ‘fixing’ them when they do not. This study concentrates on this requirement. To this end, a set of guiding themes are suggested for the analysis of remembering practices: object affordance ; uptake ; rhythmaticity ; and, coupling. The analytical guides do not provide a method for good remembering. Rather, they assist in the analysis of remembering practices insofar as they either support or fail to support the sorts of connections that good remembering requires. These connections are not just those between the past, present, and the future. As memory relies on external supports, the analytical guides also attend to the qualities of the connections between them, and between them and agents. The guides are selected on the basis that each one is a critical factor in the mnemonics of one or more of the four sets of environments and activities, or domains, that are examined in the study – namely: architecture; autobiographical memory; music; and, movement. The four domains share similar features and characteristics and so are not fully independent of each other. Their commonalities are the product of the close relationship between mind and space: not only does memory have an external component, but also the organisation of memory and space has similarities. Nevertheless, some commonalities can be manifested in seemingly non-spatial ways, such as ‘personalisation’. The spatiality that subtends memory, and permeates it with the rhythms it supports, is understood to support cultures of memory. Change in the spatiality of mind produces changes in the drawing of connections in remembering, and thus in the qualities of memory. The final part of the thesis suggests that the examples in the four domains, as well as the current spatiality of memory itself, which is interested in tracking the movements of things and their trajectories more generally, supports a culture of memory that is increasingly oriented to the future. This is not to say that a concern for ‘the future’ is the key to addressing all bad remembering. In more general terms, it is by attending to the rhythms of a mnemonic practice that agents are best positioned to take a critical approach to their remembering. (shrink)

It is relatively common for philosophers to doubt whether we have any reason to act as morality requires. But it is very difficult to find philosophers who are willing to doubt, in a similar way, the idea that we have reason to act as instrumental rationality requires; reason, that is, to take effective steps toward attaining the ends we have accepted as our own. The inference from the fact that a certain action is an effective means of satisfying an agent’s (...) ends to the conclusion that that agent has reason to perform that action is held by almost everyone to be, as it is sometimes said, automatic: once it is determined that the action in question bears the specified relation to one’s goals, nothing more needs to be shown. But fewer philosophers are willing to grant that morality possesses this sort of automatic reason-giving force. Rather, it is quite commonly held that some additional consideration needs to be cited in order to show that an agent has reason to act as she is morally required. The fact that an action is morally required, claim those who adhere to this type of position, is not enough in itself. (shrink)

It is widely agreed that there is a rational requirement, “Enkrasia”, which requires that you intend what you believe you ought to do. This paper argues that Enkrasia is not an independent requirement of practical rationality: it is a special case of the requirement to be instrumentally rational. I argue for this view of Enkrasia through an analysis of an all‐things‐considered belief about what you ought to do. Believing, all‐thing‐considered, that you ought to φ implies being settled on a set (...) of options from which to take an option. I argue that this state of being settled on a set of options cannot be a matter of believing. Rather, it should be understood as intending that you do what you ought to do out of that set. If an all‐things‐considered belief implies such an intention, however, satisfying Enkrasia is a matter of satisfying the requirement to intend a necessary means to an end that you intend [*published with open access]. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 61.4 (2000) 577-593 [Access article in PDF] Machina Ex Deo: William Harvey and the Meaning of Instrument Don Bates Introduction Since our clocks do consistently disclose each hour of the day and night--do they not seem to partake of another body (beyond the elements), and that more divine? But if, under the dominion and management of [our human] Art, such splendid things are (...) daily achieved beyond the powers of the objects themselves,... And if, in serving men they carry out such things as are to be marvelled at, what I ask, may we expect from them when they be instruments in the hand of God? These words come near the end of William Harvey's De generatione animalium. 1 As he does often in this work, he is arguing that it is possible for a material object to behave supra vires elementorum, i.e., in a manner that exceeds what can be explained merely from the qualities of the elements from which it is made. In fact, just before this, he argues that human craftsmanship enables the elements of air and water to make ships sail in opposite directions, fire to do one sort of thing in the kitchen, another in the shops of metal-workers, including the production of iron, which in its turn peacefully tills the soil or besieges the town in war. So if even human Art is capable of making something as wonderful as a clock out of the elements, how much more might God be able to do with them? [End Page 577]Not only is it entirely conceivable that the (divinely) artful manipulation of these same elements can account for the wonders of God's nature--such as the generation of a chick out of an egg--there is also no need to infer the existence of additional entities such as faculties, qualities, agents, and the like. All that is needed is the concept of "instrument." Today such things as his appeal to a clock, his reference to "art," and the word "instrument" itself, are liable to arouse in our minds a fairly mechanical sort of image. Therefore, we need to put this idea in its intellectual context, by looking at where Harvey's notion of instrument is coming from.First, our much more mechanical world view was just coming into being as Harvey (1578-1657) wrote these words. Although the philosophy of his younger contemporary, René Descartes (1596-1650) was not yet in full bloom (he died a year before Harvey's book appeared), Cartesianism was certainly on the explanatory horizon, 2 as was the work of another contemporary and contributor to the "new philosophy," Pierre Gassendi (1592-1655). 3 And, of course, Harvey had certainly known Francis Bacon (1561-1626). 4 Nevertheless, Harvey was a devout Aristotelian who was adamantly opposed to the efforts of these contemporaries to replace Aristotle. 5 Moreover, it was from the Aristotelian tradition, not from the new mechanics, that Harvey had derived the concept of instrument.If, broadly speaking, the "new philosophy" was about a universe that was built like a clock, then the "old" natural philosophies, whether dominated by Platonism, Aristotelianism, Christian theology, or some combination, were about a universe that was socially constructed. 6 Not only was man at the center, to a large extent the workings of the universe were envisioned in terms of social experience. The regularity, predictability, harmony, and wonder of natural phenomena seemed best explained in the language of reason, moral values, motives, responsibilities, hierarchies, laws (in the social sense), and the like, explanatory resources that, in the late ancient and medieval intellectual cultures of Europe, far outweighed either those that appealed to the passively material and the mechanical, or to the random and the chance.But very central to that social model of nature was the concept of instrument, which gave to it something of a mechanical twist. To see how this was so, we need to go back temporarily to the works of Aristotle, the influence of... (shrink)

The standard view of rationality distinguishes between instrumental rationality and the rationality of ends. We discuss this conception briefly before introducing an alternative theory. According to it, means and ends are interconnected so that the means will produce the ends. In other words, the means are used to shape our ends. We describe and discuss this view, asking whether it can be called rationality. It is clear that this alternative view has many irrational features. But at the same (...) time it is clear that much of our technological culture is based on this view so that also it is hampered by the emerging irrationality. We conclude by discussing the case of genetic engineering as a technology we cannot possibly accept. Its characteristic ends may be of a wrong type. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Texts and Icons in Heidegger’s Metaphysical TraditionMichael James Bennett (bio)[End Page 26]This essay is about texts that draw attention to themselves as texts, that is, as material, graphical figures, rather than as more or less efficiently pellucid semantic relays. In other words, it is about what happens when texts behave like images. In what follows I examine a series of philosophical contexts where this question appears to be at (...) issue. I claim that one way of understanding what’s going on in these contexts is that here the image-form of a text becomes a kind of icon. I begin by reflecting on a prejudice that belongs, according to Heidegger, to the “history of metaphysics”: the notion that it would be better, clearer, and less ambiguous to replace all reliance on images with self-effacing, transparent words. My goal here is to demonstrate the existence of an alternative historical trend that defends an opposite view. I compare a defense of iconography by Byzantine patriarch Nikephoros of Constantinople, as well as the Neoplatonist Porphyry’s commentary on Aristotle’s Categories, with works by two latter-day Heideggerians, Jacques Derrida and Jean-Luc Marion, who respond to the inherited problematic of non-referential, iconic texts. These responses suggest that non-semantic image-creation, as much as non-semantic verbal play, is the pre-conceptual condition of conceptuality. This essay presents a new way of understanding the philosophical issues that connect ancient and medieval discussions about icons and images with twentieth-century concerns about language.In her study of medieval European manuscript illumination, Animating the Letter (1999), Laura Kendrick emphasizes the non-semantic character of illuminated texts. Kendrick argues that the basic distinction between text and image is fundamentally at stake in illumination, and that the distinction is inherited from the Christian church fathers who opposed text and image, privileging the former and denigrating the latter. According to this traditional view, texts are better suited than images to a consideration of the divine on account of writing’s ethereal quality, its “transparency,” which leads the reader beyond the material sign to the immaterial concept. The problem with images, on the other hand, is their materiality, which may lead viewers down a dark path toward an ultimately heretical veneration for the mere image instead of for its referent. It seems to me that we find in Kendrick’s argument an exact homology with the discourse on the icon in the Byzantine Christian church. Emperor Constantine V, for instance, at the time of the “first iconoclast crisis” (the mid-eighth century CE), expresses wariness about the potentially heterodox metaphysics underpinning iconophilia. He objects to icons on the basis that their veneration would be acceptable only if the icon were to share the essence of that of which it is an icon (God), but that this is impossible; infinite divine nature cannot be encompassed within the finite line of human composition. The Byzantine iconophile’s response to this objection is not to deny the infinite, uncircumscribable nature of God, but to affirm that the icon, bound though it is to the register of images, nevertheless does not function in the same manner as an ordinary image. That is, the icon does not refer to its model by means of resemblance alone. In the language of Nikephoros of Constantinople (758–828 CE), the character of the icon consists in consubstantiality (homoousia) prior to resemblance (homoiōsis).1 [End Page 27]The problem of the limits of reference unites the discourse on the icon and the flourishing of the illuminated text. Just as the icon does not refer in the normal way to its referent, so Kendrick contends that the “animated letter” is not reducible to its pure semantic quality, is not to be understood as if it were just a kind of significative relay through which a sublime quantity of something called “meaning” is obliged to pass. “Meaning,” conceived of in what I am inclined to call the narrowly economic sense as the cargo of material vehicles called “words,” meaning that is gambled in words and then “cashed out” again, is not always what is at stake when one writes. Something else is... (shrink)

"Religions", Mahatma Gandhi once said, "are different roads converging to the same point". But in this stimulating assessment of Christianity, Buddhism, and Vedanta, Professor Burch develops the revolutionary theory that religions, starting from the same point, take divergent roads to different goals incompatible one with the other. Whereas Gandhi asks, "What does it matter that we take different roads so long as we reach the same goal?" Dr. Burch asks, "What does it matter that in taking different roads we reach (...) different goals?" Religions, he maintains, do not have to fight each other because of their differences, or abolish their differences to avoid fighting. He is a firm believer in coexistence for religions. Ecumenicity is good "in so far as it means, on the one hand, cooperation with other faiths in their common concerns of social activities and resistance to irreligion, and on the other hand mutual respect for the other faiths themselves". Dr. Burch argues for the coexistence of three alternative Absolutes: Truth which corresponds to the religion of Hindu Advaita Vedanta, Absolute Freedom which corresponds to Buddhism, and love which corresponds to Christianity. The religious quest requires absolute commitment to one or other of these irreducible alternatives; not to truth and freedom and love, but to truth or freedom or love. In his Foreword, Professor W. Norris Clarke, S.J., of Fordham University, subjects Dr. Burch's theory to the most rigorous critical analysis, but in the end invites each reader to make the effort himself of coming to grips with the author's profound and original challenge. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 35-52 [Access article in PDF] Means Without End:Production, Reception, and Teaching in Kant's Aesthetics Gary Peters The Work of Art If aesthetics is to have a role within an art school context, it must be able to engage with the work of art as an ongoing and ontologically open productive enterprise. The reception of the artwork as a completed thing or act (...) and the aesthetic judgment necessary to take pleasure in the contemplation of it is largely irrelevant to the day-to-day work of the artist in the studio or onsite. Rarely do the tutor or student stand before a work that could be claimed to have reached completion or achieved what might be called "finality." On the contrary, in most cases an essential aspect of teaching practice is precisely to resist the impending closure of the work through a critical engagement which challenges the student to consider and reconsider the aesthetic possibilities of given forms within a situation of infinite reflection. Given this, it is important at the outset to consider Kant's notion of finality without end. So we may at least observe a finality of form, and trace it in objects — though by reflection only — without resting it on an end....Whenever an end is regarded as a source of delight, it always imports an interest as determining ground of the judgment on the object of pleasure. Hence the judgment of taste cannot rest on any subjective end as its ground. But neither can any representation of an objective end, i.e., of the possibility of the object itself on the principles of final connection, determine the judgment of taste. 1Echoing his famous description of art as "purposiveness without purpose," here the Kantian relation between finality and endlessness turns attention away from the art object, and the objective judgment determined by it, to the reflective process whereby the act of aesthetic judgment has primacy as that which acts upon the pleasure attending finality in the manner [End Page 35] of a tracing to be traced and retraced by the receiver. By thus denying finality an objective end, it is true that Kant removes the specter of desire from his aesthetics. But does this not also remove the originary work of the work of art, its eruptive production prior to reproduction in what might be called the "instant" of its creation outside of the "always already there" of what Jean-François Lyotard calls "aesthetic time?" 2 Indeed, to go further still, Maurice Blanchot famously conceives of the art work as harboring a radical "worklessness," a "neutral" absence that, nevertheless, is essential to its being a work, or its being as a work. 3 Does Kant's nonobjective account of aesthetic experience direct us, ultimately, toward this peculiar ontological neutrality, or does the communicative imperative at the heart of his aesthetics overlook what Blanchot would call the "fascination" of the work as the inscrutable presence of an absence? It is this problematic that weighs heavily upon the reading and teaching of Kant's aesthetics as presented here.In Lessons on the Analytic of the Sublime, Lyotard offers one solution to the problem. For him, reflective judgment is itself productive — "production that exceeds simple reproduction is an a priori condition for aesthetic judgment" (LAS, 67). That is to say, the power of the imagination and the pleasure associated with this power concern respectively the exercise and the registration of a productivity that is crucial for aesthetic reception to be possible. But does this playful enjoyment of our receptive/productive faculties and their beautiful attunement not obscure or distract us from the pure and immediate desire of the aesthetic where the concatenation of work and worklessness, that is to say, of production and reception, within the creative moment demands from the artist an interest in the ownership of, and responsibility for the work, as well as an absolute (one might say obsessive) commitment to the work of art — the labor of the aesthetic... (shrink)

Kant taught us that there are two kinds of norms: Categorical imperatives that one ought to follow regardless of one's personal aims and circumstances, and hypothetical imperatives that direct us to employ the means towards our chosen ends. Kant's distinction separates two approaches to normative epistemology. On the one hand, we have principles of "inductive rationality", typically supported by considerations such as intuitive plausibility, conformity with exemplary practice, and internal consistency. On the other hand, we may assess rules for forming (...) belief by how well they attain the objectives that motivate inquiry; in Levi's words, "the ends of inquiry control the legitimacy of inferences" [Levi 67, p. 241]. A doctrinaire attitude would ignore one of these perspectives in favour of the other; a balanced approach is to develop both and compare [cf. Helmann 97, Sec.2]. There are three possible relationships between hypothetical and categorical imperatives for empirical inquiry. (shrink)

Why should we be means-end rational? Why care whether someone’s mental states exhibit certain formal patterns, like the ones formalized in causal decision theory? This paper establishes a dominance argument for these constraints in a finite setting. If you violate the norms of causal decision theory, then your desires will be aptness dominated. That is, there will be some alternative set of desires that you could have had, which would be more apt (closer to the actual values fixed (...) by your sensibility/ what you intrinsically care about) no matter which world is actual. If we care about having apt desires, then, we should never let ourselves violate these norms of means-end rationality. This argument shares a form with now-standard accuracy arguments for probabilism, opening up a new terrain for that discussion. I show that the foundational assumptions about the shape of accuracy and of aptness required to run the arguments for means-end rationality and for probabilism run closely parallel. I show the argument is robust under different theories of subjective actual value, including nonclassical treatments of indeterminacy in actual value; I show the argument may (but need not!) be generalized to objective theories of value. The upshot is that aptness-domination arguments for decision theories should be added to the philosophical playbook. (shrink)

There is a tradition, tracing back to Kant, of recasting metaphysical questions as questions about the utility of a conceptual scheme, linguistic framework, or methodological rule for achieving some particular end. Following in this tradition, I propose a ‘means-ends metaphysics ’, in which one rigorously demonstrates the suitability of some conceptual framework for achieving a specified goal. I illustrate this approach using a debate about the nature of events. Specifically, the question is whether the time at which an (...) event occurs is an essential property of that event. I argue that this question is naturally transformed into a question about the methodology of causal modeling. In this new framework, the question concerns what kind of variables to use to represent the effects of potential interventions on a system. This question has a demonstrably correct answer, which sheds new light on the original question. (shrink)

In the October 1937 number of Philosophy of Science Lindsay has made certain criticisms of the adequacy of the “operational method” of analyzing and giving meaning to the concepts of physics, documenting his criticisms chiefly from my own writings. In these criticisms he has made statements as to the method which I would by no means accept. This is not characteristic of his paper only, for I have seldom indeed seen a printed discussion of the method which I would accept (...) as being an adequate or sometimes even fair representation of what I understand by it. It will perhaps pay therefore if I attempt to state what I conceive it to be all about, particularly since I have never attempted such a comprehensive statement and since my own ideas on the subject have been developing since I first wrote in the Logic of Modern Physics. For one reason I have hesitated to do this, for fear of seeming to subscribe to the not uncommon idea that we are dealing with some elaborate and profound new theory of the nature of knowledge or of meaning. I believe that I myself have never talked of “operationalism” or “operationism”, but I have a distaste for these grandiloquent words which imply something more philosophic and esoteric than the simple thing that I see. What we are here concerned with is an observation and description of methods which at least some physicists had already, perhaps unconsciously, adopted and found successful—the practise of the methods already existed. What I have attempted is to analyze these successful methods, not to set up a philosophical system and a theory of the properties that any method must have if it hopes to be successful. Since I was concerned with a technique already extant, my principal method of getting others to see what the technique involved has been to exhibit examples of the technique in action, rather than to attempt any exhaustive characterization of the technique itself. (shrink)