This chapter contains sections titled: Belief Revision in Latin America: The Legacy of Carlos Alchourrón The AGM Approach The Logic of Theory Change and Epistemology What Is an Epistemic State? Departures from AGM References.

In this article I argue that we should understand Nietzsche’s doctrine of eternal recurrence as the ideal of life affirmation opposed to philosophical pessimism, the view that life is not worth living. I first articulate Nietzsche’s psychological account of pessimism as a vengeful focus on the past and an aversion to time understood as transience. I then consider the question of why a person with the opposite psychological orientation – a creative relation to the future and an endorsement of time (...) – would will the eternal recurrence of all things. My answer appeals to Nietzsche’s notions of will to power and the redemption of the past from its senselessness. The interpretation of eternal recurrence that emerges from this approach takes Nietzsche’s vision of a great, world-redeeming individual to be integral to his doctrine of eternal recurrence. This is just one way in which it differs from common interpretations of eternal recurrence as a cosmological theory or thought experiment. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.1 (2003) 241-254 [Access article in PDF] Darwin and Political Theory Denis Dutton [Erratum]IN THE 1970s, during the oil crisis, B. F. Skinner suggested a way that the United States's energy shortage could be alleviated. People should be rewarded, he argued, for coming together to eat in large communal dining halls, rather than cooking and eating at home with their families. His reasoning was irresistible: (...) large cooking pots have a lower ratio of surface area to volume. There would be therefore a considerable saving in energy in massive public kitchens, compared with numberless small individual pots cooking in private kitchen stoves across the nation.Of course, Skinner must have known his idea would have to overcome objections based on ingrained middle-class prejudices. Some parents would feel aggrieved: placing children before big communal pots would rob mothers of the pleasures of preparing foods and feeding their own offspring. Others might object that the only foods adequate to a big, round energy-efficient vessels are stews or soups; they might complain about endless boiled fare. Families of one ethnic background or another might dislike the relatively uniform diet, despite the hearty, nutritious goodness of stew. I can imagine Skinner's frustration: Why are people so stubborn? Why can't they look beyond minor details and see the sheer reasonableness of the proposal?The story is cited by Steven Pinker in The Blank Slate as yet another dream of a better-engineered world shattered by the ornery persistence of human nature. Based on his work with rats and pigeons, Skinner was sure that the proper conditioning applied to human beings could eliminate aggression, overpopulation, pollution, and inequality. In Skinner's utopia, Pinker wisecracks, "The noble savage became the noble pigeon." [End Page 241]B. F. Skinner was just another daft step on a long utopian road that stretches back through Marx, Rousseau, Hobbes, and St. Thomas to Plato. These political philosophers, as well as those who, like Aristotle, are skeptical of utopianism, base their visions on some understanding, argued or merely implied, of human nature. All political systems—free or totalitarian, monarchist or republican—tend to posit some notion of the natural human being. In recent generations many thinkers have been inclined to regard competing conceptions of human nature as stuck in eternal conflict, embodying basic commitments about the human condition that are independent of evidence, originating instead in the religion, culture, or individual temperament of the political philosopher.Evolutionary psychology gives hope against this pessimism. Political philosophers are right to posit a natural background that underlies construction of political systems, evolutionary psychologists say, but it required Darwin finally to explain that background to us. A lucid attempt to spell out the implications evolution for politics has now been published by Paul H. Rubin, a professor of economics and law at Emory University, in the form of Darwinian Politics: The Evolutionary Origin of Freedom (Rutgers University Press, $25.00, paperback). Some of his conclusions are what anyone familiar with evolutionary psychology might suppose even without picking up the book. Others come as a surprise, and were unexpected even by Rubin himself. The book is both fascinating and unpredictable.The scene of evolution is the Environment of Evolutionary Adaptedness, the EEA, essentially the Pleistocene, the whole, long period lasting from 1.6 million years ago up until the shift to the Holocene with the invention of agriculture and large settlements 10,000 years ago. Our present intellectual constitution was achieved by about 50,000 years ago, or 40,000 before the Holocene. Keep in mind the immensity of this time scale: calculating at twenty years for a generation, there were 800,000 generations of humans and proto-humans in the Pleistocene, while there have been a mere 500 generations since agriculture and the first cities. It was in the earlier, much longer period that selective pressures created genetically modern humans. These pressures might have pushed only very slightly in one direction over another. But a slight pressure over hundreds of thousands of generations—toward a taste for sweet, say, or a wariness of snakes—... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:THREE NOTIONS OF RESOLUTIO AND THE STRUCTURE OF REASONING IN AQUINAS 1 EILEEN c. SWEENEY Boston College Chestnut Hill, Massachusetts RESOLUTIO, better known by the English transliteration of its Greek counterpart, "analysis," has been touted as " the conceptual model for some of the most important ideas in the history of philosophy, including the history of the methodology and philosophy of science." 2 But while resolution /analysis may (...) be important in the histories of philosophy and science, its own history is, to say the least, confused. A Renaissance commentator, Jeremias Triverius gives some sense of this when, after giving a list of four methods of dialectic (division, definition, demonstration, and resolution),3 he writes, 1 I have used the following abbreviations for works by Thomas Aquinas. All translations of Aquinas are my own. Commentum in Quatuor Libros Sententiarum (ed. Busa): In Sent; Compendium Theologiae (ed. Busa): Comp Theo!; E:rpositio Super Librum Boethii De Trinitate (ed. Decker): Exp de Trin; In Aristotelis Libros Posterium Analyticorum (ed. Marietti) : In Anal Post; In Duodecem Libros Metaphysicorum Aristotelis E:rpositio (ed. Marietti): In Meta; In Librum Beati Dionysii De Divinis Nominibus E:rpositio (ed. Marietti): In Div Nom; Sententia Libri Ethicorum Aristotelis ad Nichomachum: In Ethic; Sententia Libri Politicormn Aristotelis (ed. Leonine): In Pol; De Substantiis Separatis (ed. Busa): De Sub Sep; Summa Contra Gentiles (ed. Leonine): SCG; Summa Theologiae (ed. Leonine): ST; Questiones Disputatae de Veritate: QDV. 2 Jaakko Hintikka and Unto Remes, The Method of Analysis (Boston: D. Reidel, 1974), p. 1. s These four methods of dialectic are also given by a number of ancient commentators, for example, Ammonius (In Porphyrii Isagogen, in Commentaria in Aristotelem Graeca [hereafter, CAG], ed. Maximilian Wallies [Berlin, 1891], vol. IV, pt. 6, p. 34, 11. 19-20) and a later commentator, David (Davidis Prolegomena et in Porphyrii Isagogen Commentarium, CAG, ed. Adolf Busse [Berlin, 1904], vol. 18, p. 88, 11. 6-10). 197 198 EILEEN C. SWEENEY Now anyone who has some knowledge of dialectical matters knows what Definition, Division, and Demonstration are. There is no general agreement, however, so far as I can see, on Resolution. Some identify it with Division. Others regard it as contrary [to Divi- • ] 4 S!On, ••• Triverius, like many modern commentators, adds to, rather than sorts out, the confusion, continuing, " And since each one is entitled to his opinion, I am now maintaining that Resolution is contrary to Demonstration...." 5 Many centuries before Triverius we find a similar ambiguity in Greek commentators on Aristotle, who outline several types of analysis. Unlike Triverius, however, most seem untroubled by the multiple types; Ammonius and David, without puzzlement, explain carefully that analysis is the opposite of each of the other three methods.6 The lack of 4 Jeremias Triverius, In texnhn [sic] Galeni clarissimi commentarii (Lyon, 1547), p. 14; cited and translated in Nea! Gilbert, Renaissance Concepts of Method (New York: Columbia University Press, 1960), p. 106. Galen's opening remarks of the Ars medica, giving three methods of teaching (analysis, synthesis, and definition) is a common locus for the discussion of resolution/ analysis in the Middle Ages and Renaissance. Galen's contribution, at least for Aquinas, seems to have been completely mediated by Medieval Arabic commentators. Galen's own discussions are either incomplete, as in the opening passage to the Ars medica (in Claudii Galeni Opera Omnia, ed. C. G. Kiihn, [Repr. Hildesheim: Georg Olms, 1965], vol. I, pp. 305-306), which merely mentions the word, or are unclear accounts of analysis (Cf. Galen's discussion of analysis in De Peccatorum, in Opera Omnia, vol. 5, ch. 5, pp. 80-81). On two of the Arabic commentaries' descriptions of analysis to accompany medieval translations of Galen, see below, nn. 80 & 83. On Galen's supposed contribution to the notion of resolution and method in the development of experimental science, see A. C. Crombie, Robert Grosseteste and the Origins of Experimental Science (Oxford: Clarendon Press, 1953), especially pp. 7680, and Gilbert, Renaissance Method, pp, 13-27, 44-46. 5 Triverius, In texnhn, p. 14; Gilbert, p. 106. 6 For analysis as the opposite of division, definition, and demonstration, see Ammonius, In Aristotelis Analyticorum Priorum Librum I Commentarium, CAG, ed. Maximilian Wallies, (Berlin, 1891... (shrink)

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

The objective of the present work is to understand and elucidate Kant’s notion of category and how he derived the categories from a single transcendental principle. Kant did not put forward any definition of categories. He believed that categories cannot be defined without perpetrating a circle. Thus, he began his discourse with certain features of categories in his work Critique of Pure Reason. We have discussed the characteristic features of Kantian categories. An important point to be noted here is (...) that the categories, in the fullest Kantian sense of the term, must have a distinct property, namely that it should necessarily be applicable to all objects of knowledge. However, we are not concerned with the necessary applicability of concept to all objects of knowledge here in this paper. The analysis about the Kantian notion of categories, more importantly, necessitates a discussion about how he derived them from a single transcendental principle. Kant referred to the single principle which guides the search for the categories as “the clue to the discovery of the categories.” The specific and clear formulation of the principle which served as the transcendental clue to the discovery of the categories for Kant is that to every form of judgment there corresponds a pure and basic concept of the understanding. The forms of judgments and the categories both originate from the same source, namely, the function of the understanding, i.e., thinking. It may be noted here that the understanding is the power or faculty of knowing and thinking or judging is the function of understanding. Kant argued that the twelve logical forms of judgments provided the clue to the origin of twelve corresponding a priori concepts or categories. Two arguments provided by Kant in support of the principle serving as a transcendental clue to the discovery of the categories are analysed. An orthodox view held by some philosophers that for Kant the forms of judgment are forms of analytic judgment has been critically analyzed and is interpreted as erroneous. Keywords: category, judgment, understanding, categorematic, syncategorematic. (shrink)

Boris Kment takes a new approach to the study of modality that emphasises the origin of modal notions in everyday thought. He argues that the concepts of necessity and possibility originate in counterfactual reasoning, which allows us to investigate explanatory connections. Contrary to accepted views, explanation is more fundamental than modality.

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.1 (2001) 158-159 [Access article in PDF] Christopher Janaway, editor. The Cambridge Companion to Schopenhauer. New York: Cambridge University Press, 1999. Pp. 592. Cloth, $59.95. Schopenhauer's import as a original thinker has often been downplayed or underestimated by contemporary commentators and his philosophy is often examined only in light of his influence upon Nietzsche. This collection of thirteen essays assembled by Christopher (...) Janaway does much to overcome scholarly neglect of Schopenhauer by illustrating the original aspects of his thought as well as the widespread influence his philosophy has had. One gains from this book not only a solid introduction to Schopenhauer's major ideas but an appreciation of the significant contributions he made to the philosophical milieu of the nineteenth and twentieth centuries.In the first essay, Gunter Zöller examines how Schopenhauer's unique notion of selfhood fits into his overall "dual aspect" theory of the world as both will and representation. He also discusses Schopenhauer's conception of the self within the context of his claims regarding the negation of the will. The following article, by David Hamlyn, is also broad in scope and provides a comprehensive examination of Schopenhauer's epistemology in The World as Will and Representation. He looks at the various notions of knowledge that are employed in Schopenhauer's system and how they are determined by the different classes of objects of knowledge that Schopenhauer distinguishes. In the third essay F. C. White turns to Schopenhauer's earlier work, On the Fourfold Root of the Principle ofSufficient Reason. White runs through Schopenhauer's arguments regarding each of the four classes of objects which comprise the world as representation in the Fourfold Root. He reinforces the point made by Schopenhauer himself, that this is a text that can not be overlooked if one is to gain a sufficient understanding of his primary work. The Fourfold Root, like the rest of Schopenhauer's philosophy, is deeply engaged with the philosophy of Kant. This is the topic of the next article by Paul Guyer. Guyer gives a detailed summary and evaluation of Schopenhauer's appropriation and critique of Kant's theoretical philosophy. According to Guyer, Schopenhauer and Kant employ quite different methodologies, Kant's being thoroughly transcendental and Schopenhauer's more phenomenological. Also, Schopenhauer's phenomenological approach to epistemological questions often skews his interpretation and evaluation of Kant's transcendental arguments. [End Page 158]Christopher Janaway, in the first of his two contributions, turns the focus to Schopenhauer's famous metaphysical doctrine of the will. He provides a particularly illuminating discussion of Schopenhauer's conception of will as the "thing-in-itself." The thing-in-itself is also the subject of the next article by Noira Nichols. Despite his reputation for not significantly altering his major positions, Nichols argues that there is a distinct difference between Schopenhauer's earlier, more Kantian, conception of the thing-in-itself with his later, more mystical, conception. She attributes these conceptual shifts to the increasing influence of Eastern philosophy upon Schopenhauer's thinking. Schopenhauer's broad analysis of the concept of will includes complex aesthetic and moral theories which are addressed in the contributions by Cheryl Foster and David Cartwright. In her contribution, Cheryl Foster examines Schopenhauer's aesthetics by focusing on his views regarding the relationship of art and science, art and the limitations of the intellect, and the nature of artistic genius. Turning to Schopenhauer's moral theory, David Cartwright explicates Schopenhauer's "narrower" sense of morality as discussed in his often overlooked On the Basis of Morality, rather than focusing on the "higher metaphysical-ethical standpoint" exemplifed in the World as Will and Representation. Cartwright also attempts to demonstrate "... how Schopenhauer has contributed and could contribute to contemporary moral thought" (253).The next group of articles address the issue of Schopenhauer's pessimism. Dale Jacquette looks at Schopenhauer's understanding of the meaning of death in light of his pessimistic metaphysic. Included in Jacquette's study is an explanation of Schopenhauer's views on suicide and asceticism. Covering similar territory, Christopher Janaway... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Alasdair MacIntyre: An Intellectual Biography by Émile Perreau-SaussineCaleb BernacchioPERREAU-SAUSSINE, Émile. Alasdair MacIntyre: An Intellectual Biography. Translated by Nathan Pinkoski. Notre Dame, Ind.: University of Notre Dame Press, 2022. xvii + 216 pp. Cloth, $40.00This book is the much anticipated translation of the author's doctoral dissertation completed under the direction of Pierre Manent and Charles Taylor in 2000. Manent also contributes a foreword to this edition. Alasdair MacIntyre: An (...) Intellectual Biography comes in the wake of Perreau-Saussine's untimely death in 2010, during which time he was translating a portion of his dissertation (chapter 2, part 1), which is included in the present text. Accordingly, the book does not discuss works published by MacIntyre after 2000. The book provides a detailed account of MacIntyre's intellectual development. Besides the introduction and epilogue, its three chapters cover politics, philosophy, and theology, respectively. [End Page 557]In chapter 1, Perreau-Saussine recounts the impact of British political debates during the 1950s and 1960s on MacIntyre's early intellectual development. Sharing a disdain for the Labour Party's embrace of a "reformed capitalism" and welfare state politics with other members of the New Left such as Charles Taylor, MacIntyre connected this political stance with a theoretical critique of utilitarianism, foreshadowing his later criticisms of bureaucracy in After Virtue. However, unlike Taylor, who "places himself on the field 'culture,'" focusing on the articulation of a richer account of modern values, "in MacIntyre's eyes, virtue and wisdom are more fragile than Taylor thinks." Perreau-Saussine not only insightfully explains the contrasting views of MacIntyre and Taylor in terms of their estimation of the prospects inherent within postwar liberal politics but also explains how MacIntyre's pessimistic take on postwar politics led him to embrace elements of conservatism, especially the theme of the individual as "embedded" within a community and tradition, which thus provide an essential context for understanding individual freedom. As such, the author argues, for MacIntyre, Burke and Marx come together in their critique of the abstractions of liberalism. However, "[u]nlike Burke's conservatism," the author argues, "MacIntyre's is not a liberal conservatism but one that tends toward an antiliberal conservatism." We might also note that this skepticism of the market places MacIntyre in opposition to many contemporary conservatives. Perreau-Saussine shows how MacIntyre's early affinity with conservative ideas, originally as a source of criticism of the Labour Party's embrace of the welfare state, links with MacIntyre's later work, especially his notion of a practice, which connects with Ruskin's discussions of the craftsman, and his account of the natural law, which, like Burke, he takes to be embedded within communities and traditions.Chapter 2 shows how MacIntyre's participation in postwar politics overlaps with various philosophical debates of the time, including those concerning the role of morality within Marxism, the adequacy of analytic moral philosophy, and the impact of the late Wittgenstein's work. For MacIntyre and other Marxists, Stalin's brutality highlighted Marxism's need for an adequate account of ethics. Whereas some appealed to Kantian themes to address this problem, MacIntyre rejected this path. Accordingly, Perreau-Saussine notes "MacIntyre's unceasing interest with Hegelian philosophy of action," especially Hegel's critique of Kant's appeal to an abstract notion of "humanity," a theme that returns in After Virtue. This recognition of the lack of an adequate moral perspective within Marxism, made apparent by Stalin's consequentialism, along with MacIntyre's refusal to embrace Kant's "abstract universalism" was another avenue leading him from Marx to Aquinas, as the author adeptly illustrates. Perreau-Saussine's comparison of MacIntyre and Lyotard is also insightful. For both, Stalinism and the theoretical failures of Marxism lead to a rejection of this political tradition; but where Lyotard, rejecting universalism altogether, turns to Nietzsche, MacIntyre turns to Aristotle and then Aquinas, seeking a more adequate conception of reason rather [End Page 558] than rejecting it. Like Hegel, the late Wittgenstein's emphasis on the role of communal standards for individual thought and action also made an important impact on MacIntyre's thought, further informing his focus on local communities and traditions. As the... (shrink)

The idea that the world is made of particles — little discrete, interacting objects that compose the material bodies of everyday experience — is a durable one. Following the advent of quantum theory, the idea was revised but not abandoned. It remains manifest in the explanatory language of physics, chemistry, and molecular biology. Aside from its durability, there is good reason for the scientific realist to embrace the particle interpretation: such a view can account for the prominent epistemic fact that (...) only limited knowledge of a portion of the material universe is needed in order to make reliable predictions about that portion. Thus, particle interpretations can support an abductive argument from the epistemic facts in favor of a realist reading of physical theory. However, any particle interpretation with this property is untenable. The empirical adequacy of modern particle theories requires adoption of a postulate known as permutation invariance — the claim that interchanging the role of two particles of the same kind in a dynamical state description results in a description of the identical state. It is the central claim of this essay that PI is incompatible with any particle interpretation strong enough to account for the epistemic facts. This incompatibility extends across all physical theories. To frame and motivate the inconsistency argument, I begin by fixing the relevant notion of particle. To single out those accounts of greatest appeal to the realist, I develop the logically weakest particle ontology that entails the epistemic fact that the world is piecewise predictable, an ontology I call ‘minimal atomism’. The entire series of scientific conceptions of the particle, from Newton’s mechanically interacting corpuscles to the ‘centers of force’ in classical field theories, all comport with MA. As long as PI is left out, even quantum mechanics can be viewed this way. To assess the impact of PI on this picture, I present a framework for rigorously connecting interpretations to physical theories. In particular, I represent MA as a set of formal conditions on the models of physical theories, the mathematical structures taken to represent states of the world. I also formulate PI — originally introduced as a postulate of non-relativistic quantum mechanics — in theory independent terms. With all of these pieces in hand, I am then able to present a proof of the inconsistency of PI and MA. In the second part of the essay, I survey responses to the inconsistency result open to the scientific realist. The two most plausible approaches involve abandoning particles in one way or another. The first alternative interpretation considered takes the property bearing objects of the world to be regions of space rather than particles. In this view, the properties once attributed to particles in quantum states are attributed instead to one or more regions of space. PI no longer obtains in this case, at least not as a statement about the permutation symmetry of property bearers. Rather, the new interpretation naturally imposes an analogous constraint on quantum states. The second major approach to evading the inconsistency result is to dispense with objects altogether. This is the recommendation of so-called ‘Ontic Structural Realism’. The central OSR thesis is that structure rather than entities are the basic ontological components of the world. OSR is intended to embrace the ‘miracle’ argument in favor of scientific realism while avoiding the pessimistic meta-induction. I demonstrate that one principal motivation for OSR based on the under-determination of interpretations in QM is actually dissolved by the incompatibility result. At the same time, I suggest reasons to think that OSR fares no better with respect to the pessimistic meta-induction than traditional realism does. Thus, while PI and MA may be incompatible, object ontologies remain the best option for the realist. (shrink)

In this text, the relationship between fallibilism and cognitive vulnerability is examined using Richard Rorty’s thinking as an example. First, some of Rorty’s central ideas are collected and commented on, especially the substitution of objectivity for solidarity, since it affects relevant issues of epistemology and of reflection on rationality. Next, the notions of fallibilism and cognitive vulnerability are examined, which will be connected to an existential dimension of vulnerability. Examples of all those things are also given from Rorty’s thinking and (...) it is highlighted that the author operates with both a negative and a positive sense of existential vulnerability. It is then stated that Rorty’s proposal implies pessimistic fallibilism and an excess of cognitive vulnerability. First, it is argued that the cause of this lies in the fact that his approach is imprisoned in what Richard Bernstein called Cartesian anxiety and secondly, this generates unwanted consequences for the Rortyan goals themselves to raise his ethnocentric proposal as a non-relativistic alternative to realism and authoritarianism. In this respect, it is maintained that the priority that Rorty attributes to solidarity is accompanied by the rejection of any notion of evidence. This produces a conceptual lacuna in the structure of his thought that makes it impossible to reflect philosophically on an epistemic activity (the activity of adducing or requesting evidence) that is a normal part of day-to-day conversational exchanges as important as controversies to determine the best option in each case. In response, we will argue that one can better work towards the achievement of Rortyan goals if we bear in mind that reasons based on solidarity do not replace and do not deactivate the value of epistemic reasons, although they do combine and reinforce each other. (shrink)

in UndeterminedClassical fitting-attitude analyses understand value in terms of it being fitting, or more generally, there being a reason to favour the bearer of value. However, recently such analyses have been interpreted as referring to two reason notions rather than only one. The general idea is that the properties of the object provide reason not only for a certain kind of favouring vis- à-vis the object, but the very same properties should also figure in the intentional content of the favouring; (...) the agent should favour the object on account of those properties that provide reason for favouring the object in the first place—where “favouring on account of” refers to the agent’s so-called motivating reason. This paper discusses this novel approach to fitting-attitude analysis: should those considerations that constitute the reason for favouring also be included in the intentional content of the favouring. In other words, should fitting-attitude analysts require a reference to the agent’s motivating reason in the analysis? While this enlargement of the original proposal might seem intuitive given that favourings are discerning attitudes, it is nonetheless argued that proponents of the fitting-attitude analysis are in fact not served by such an expansion of the classical analysis. (shrink)

Consistency-based approaches in nonmonotonic reasoning may be expected to yield multiple sets of default conclusions for a given default theory. Reasoning about such extensions is carried out at the meta-level. In this paper, we show how such reasoning may be carried out at the object level for a large class of default theories. Essentially we show how one can translate a default theory Δ, obtaining a second Δ', such that Δ has a single extension that encodes every (...) extension of _. Moreover, our translated theory is only a constant factor larger than the original. We prove that our translation behaves correctly. In the approach we can now encode the notion of extension from within the framework of standard default logic. Hence one can encode notions such as skeptical and credulous conclusions, and can reason about such conclusions within a single extension. This result has some theoretical interest, in that it shows how multiple extensions of semi-monotonic default theories are encodable with manageable overhead in a single extension. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response 2: “Pessimism of the Intellect, Optimism of the Will”Antonis BalasopoulosLet me begin with a few words on my title, which was chosen as reflecting the nature of the orientation of my work in the field of utopian studies and therefore also of my orientation toward the theme of this roundtable. As Francesca Antonini puts it in a recent essay, the phrase, which became associated with the work of (...) Antonio Gramsci though it originates in Romain Rolland, describes “the (seemingly contradictory) coexistence of a realistic description of the status quo, on the one hand, and a genuine commitment to the possibility of transforming reality, on the other.”1Anyone who has read Thomas More’s Utopia knows that Rolland’s and Gramsci’s formula very much describes that book’s bifurcation between a voice of relentless critique of what exists in Europe—and particularly in England—in More’s time (in Book 1) and a voice preoccupied with the description of an alternative, and arguably better, world (in Book 2). This bifurcation, it is equally well known, is part of the genetic material More’s book bequeathed to its successors, so that one calls a “utopia” a (mostly, though not always) literary text, where the “realistic description of the status quo” coexists with a vision arising out of a “commitment to the possibility of transforming reality”—admittedly in different admixtures and proportions of [End Page 544] the critical or negative and the anticipatory, projective or prefigurative elements. Though Ernst Bloch’s distinction between “cold” and warm” streams within Marxism is not identical to this first binary, it is certainly related to it, so that the “cold” stream is one that privileges the rational and analytical element (usually, I would propose, in relation to the part of the Marxist tradition we know as “critique of political economy”), while the “warm stream” is one that rather foregrounds that which relates to affect, to desire, hope, or fidelity to the transformative project (these are frequently correlated to those elements of Marxism that correspond to its also being a political and philosophically imbued creed).2 What follows here, then, explores the implications of the dialectical interplay between these two sets of oppositions—and hopefully justifies such insistence on dialectic itself.3To the extent that I can see, the basic themes and areas of concentration in my colleagues’ essays involve decolonizing utopian studies as a project; addressing, in that connection, the heterogeneity of utopianisms that emerge out of a number of marginalized subjectivities; the provenance of the questions of ecology, sustainability, animal life for the present and future of utopian studies (and to some degree, for utopianism’s past); and finally, the question of utopian forms of social activism and therefore also the search for spaces beyond the walls of academic insularity. These are important and largely interconnected questions, but I am afraid I will only have the space to touch on them briefly and sketchily here.In her cogent and multifaceted intervention, Caroline Edwards begins her reflections on the task of decolonizing utopian studies by noting the high investment of fin-de-siècle utopian fiction in notions of industrial progress, noting that such notions have involved “lasting damage” for “Black writers, artists, and thinkers.” Within this framework, she evokes Joseph R. Winters’s argument that “modern notions of progress and freedom are inherently flawed,” since they are founded on the oppressive traditions of capitalism and colonialism. In turn, this leads to an argument against the teleological futurism of most nineteenth-century utopias and in support of the deconstruction of “the idea of historical progress unfolding in Hegelian dialectical stages.” What is to replace this is a hauntological (after Derrida) conception of the relation between the present and the past, for which “the present is always a site of potential breaks and ruptures that can signify both dislocation and pain as well as novelty and possibility.” In a similar vein, Heather Alberro questions the teleological futurism of an earlier tradition of utopia, evoking Laurence Davis’s observation on the importance of [End Page 545] “neglected or suppressed possibilities for qualitatively better forms of life” within the “Now.” The desideratum is, again... (shrink)

The notion of form is "the most important notion within the Critique of Aesthetic Judgment". The sensible form involved in aesthetic judgment stands in no clear relation to the formal elements of the Transcendental Aesthetic and Logic—neither to the a priori forms of space and time, nor to the categories. It is held to be the same "kind of form" as the intuitable, "empirical form" mentioned infrequently in the Pure Reason. The author attempts to establish only "what Kant (...) meant" as distinct from its "truth." He lays a bold preparation for "the suggestion... that aesthetic experience is a window, so to speak, into the noumenal world". In Ch. I he accepts a widely-held view that Kant is the discoverer of "philosophical aesthetics" or "the autonomy of the aesthetic realm." His concern is not with this historical question. Nonetheless it may be said that he is not sufficiently aware that the autonomy found in Kant is not in understanding aesthetics as a realm of art, but only in understanding aesthetic judgment in its concern with both art and nature. Accordingly the aesthetic form of objects of art and objects of nature is treated without differentiation. The author is little concerned with form in its relation to natural purposiveness, or with the relation of form in the Aesthetic Judgment to form in the Teleological Judgment. Since nature, at least in certain contexts, supplies a kind of norm for art—a "traditional" element in Kant—the author’s exposition of the manner in which art imitates nature is not entirely satisfactory. In Ch. II, the central issue is whether "individual colors and tones are more than mere sensations". If however each may be understood as "a play of sensations" they can be said to possess a "form" and may enter into aesthetic judgments. The assumption here is that only if the parts of a beautiful thing, e.g., the individual colors of a painting, are beautiful, "can the painting as a whole be a beautiful thing". But this atomistic view of the aesthetic part is subsequently modified. In Ch. III, the imagination is said to "function without the categories" in the synthesis of aesthetic forms. The author must then oppose the view of Kemp Smith and others "that there can be no cognitive awareness or consciousness apart from the categories". He relies especially on the "judgments of perception" of the Prolegomena which "require no pure concept of the understanding". The possibility is not considered that although the imagination may indeed function "autonomously"—without the categories—in the synthesis of aesthetic form, that same synthesis may presuppose a synthesis employing the categories, especially in certain types of aesthetic experience. Some valuable clarifications are achieved of the difficult notions of "play," the harmony of form and cognitive faculties, and the universality of aesthetic judgments. The thesis of Ch. IV is that the object of experience, or the phenomenal object, is not a second object, distinct from the thing-in-itself, but an appearance of the thing-in-itself. Ch. V is devoted to Kant’s theory of art and especially to genius as the productive faculty of aesthetic ideas. The harmony of the faculties of imagination and understanding required of the artistic genius is held to be the same as the harmony which "the work of art itself... arouses in the perceiver of that work of art", but is spontaneous and original in the former case. What would be required of the productive agency in the case of natural objects of aesthetic experience lies outside the range of subject matter chosen. Kant’s view, although not entirely lucid, is that "the standard of fine art must be sought in the supersensible substrate of the artist’s faculties and that the production of the accord of the faculties of understanding and imagination ‘is the ultimate end set by the intelligible basis of our nature'". This prepares the conclusion that "the artist, as creative genius, is he who not only produces but expresses in sensible products, forms which are windows into the supersensible substrate of being". The monograph effectively raises this possibility as a central issue in the discussion of Kant’s aesthetics.—R. K. (shrink)

Many types of everyday and specialized reasoning depend on diagrams: we use maps to find our way, we draw graphs and sketches to communicate concepts and prove geometrical theorems, and we manipulate diagrams to explore new creative solutions to problems. The active involvement and manipulation of representational artifacts for purposes of thinking and communicating is discussed in relation to C.S. Peirce’s notion of diagrammatical reasoning. We propose to extend Peirce’s original ideas and sketch a conceptual framework (...) that delineates different kinds of diagram manipulation: Sometimes diagrams are manipulated in order to profile known information in an optimal fashion. At other times diagrams are explored in order to gain new insights, solve problems or discover hidden meaning potentials. The latter cases often entail manipulations that either generate additional information or extract information by means of abstraction. Ideas are substantiated by reference to ethnographic, experimental and historical examples. (shrink)

_The Bounds of Reason: Habermas, Lyotard & Melanie Klein on Rationality_ is a highly original yet accessible study of the debate between modernity and postmodernity. Emilia Steuerman clearly explains the modernity/postmodernity dispute by examining the problem that has driven the whole debate: whether the use of reason is an emancipatory or enslaving force. Steuerman clearly sets out this debate by critically examining the arguments of two of its key proponents, Jurgen Habermas and Jean-François Lyotard. She clearly explains Habermas' defence (...) of modernity and his attempt to salvage Enlightenment ideas of truth, justice, and freedom through the use of reason. She contrasts this with Lyotard's postmodernism and his scepticism about the use of reason, and its claims to universalism and objectivity. Throughout, Steuerman contrasts the Habermas-Lyotard debate with important insights from psychoanalytic theory, and shows how Habermas' notions of intersubjectivity and a community of shared language users can be compared and contrasted with Melanie Klein's theory of object relations. (shrink)

The reception of the notions of trace, arkhé, and document in the work of Alain Nadaud This paper intends to point out the philosophical features in the novels of the French writer Alain Nadaud and their links with the philosophical theory concerning the concepts of trace, arkhé and document elaborated by Jacques Derrida in the second half of the XX century. This subject, related to the contemporary socio-historical concept of post-truth, reveals the originality and the up-to-date tendency in the novels (...) of Alain Nadaud. This paper uncovers new important aspects of his work by proposing a solid philosophical interpretation of its main theoretical principles. In particular, it uncovers the philosophical reasons at the origin of his writing, which is based on the historical research method. Furthermore, it reveals the sense of dystopia of his novels and relates it with the most recent socio-philosophical analysis of contemporary western society. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Our Original Barbarism":Man vs. Nature in Thomas Jefferson's Moral ExperienceMaurizio ValsaniaJefferson, perhaps more than any other early democratic theorist, recognized that the development of social institutions and government could not be left to chance or to the "Laws of Nature."1One of the most fundamental fact about Thomas Jefferson—maybe the fundamental fact about Thomas Jefferson—is that he was a white man, and a landholding white man at that. Scholars (...) of ethnicity in the last thirty years have spent an enormous amount of time analyzing what it has meant to be Indian, or African American, or Mexican American, or Asian American, but scholars of "mainstream" history have spent almost no time analyzing what it means to be "white"; whiteness, on the contrary, simply remains the norm by which the difference of the non whites is gauged. We are just beginning our exploration of whiteness, as a culturally and politically constructed phenomenon.2This paper presents Thomas Jefferson's moral attitudes from a particular point of view.3 The thesis I defend can be stated in a very schematic way. (1) In order to secure the new-born Republic the American "leader," according to [End Page 627] Jefferson, must struggle against enemies, against circumstances but mainly against nature. Nature is perhaps the most powerful symbol of the disorder white Americans have to conquer. (2) This struggle against nature reveals a deep ethical commitment. White men are praiseworthy to the extent that they keep fighting against disorder, nature, and circumstances. (3) Jefferson's optimism, or better, "meliorism," was aimed at promoting moral behavior, i.e., to incite his alter egos to struggle against adverse conditions. As to whether or not he was confident about the course of American history, I have staked no claims in this paper.4 (4) Jefferson's case for the struggle against nature is ethically coherent and leads to some interesting reflections on Jefferson's ideas about human nature and white Americans in particular.The notion of "human nature" in this paper refers to white Americans, namely, to the moral character, temperament, and ambitions of those leaders whose main burden, in Jefferson's opinion, should be to construct nineteenth-century America. This examination takes for granted that Jefferson neither worked out a systematic theory of human nature nor elaborated a specific theory of the essence of white Americans.5 Nevertheless, it is too much to say that Jefferson "did not work out his ideas in a logical way."6 His anthropological views were fairly coherent even though very difficult to disentangle. Jefferson, for instance, was neither an optimist nor a pessimist. Furthermore, he was not satisfied with a philosophical, simply "general," and a priori definition of a universal human nature. Jefferson placed human beings outside a metaphysical frame of reference. He placed them "within the sphere of nature, and in so doing [he] was a true exponent of the Enlightenment."7 Humans are merged into geographical, social, religious, economic, in short positive contexts and conditions. They appear as conditioned beings. On the other hand Jefferson was not exclusively involved in the examination of a physical or a posteriori anthropology in which humans are considered solely in the unique particularity of their races and habits.8Thomas Jefferson stood in the middle between the quest for a philosophical theory of human nature and a scientific examination of it. One thing is clear: he was not content with sweeping statements. Merle Curti noted, for example, "Jefferson's feelings about human nature's plasticity."9 This sense of "plasticity" suggests Jefferson's realism and complexity of vision. A philosopher and an [End Page 628] anthropologist, Jefferson was neither satisfied by a general definition nor by an optimistic portrait of human nature. He was against idealization, in particular when white Americans are at stake. Thus, this paper considers the terms in which Jefferson "questioned the cheery view of human nature that some enlightened thinkers celebrated."10 Must white Americans be celebrated? Must nature be celebrated?I. Thomas Jefferson was a strong supporter of social improvement. His involvement in educational, agrarian, commercial, scientific, geographic, and political projects shows several instances of his being an Enlightenment modernizer who... (shrink)

The thesis put forward by the British philosopher, Roger Scruton (born 1944) in The Uses of Pessimism seems simple: false hope together with an optimism that is unfounded and unscrupulous are the cause of the most harmful conflicts of our times. Political conflicts, institutional and financial crises, unjustified pedagogic notions, non-consensual town planning, etc., are some of the issues that the author analyses with the help of specific historical examples. Before referring to some of these issues, I shall describe the (...) scheme of reasoning Scruton uses to put this book together. The Uses of Pessimism is divided into twelve chapters, seven of which are devoted to analysing different fallacies. In this work the author analyses arguments he considers to be fallacies. This fact is important as the book’s chapters explicitly enumerate all the fallacies Scruton refers to in the book: The First-Person Future; The Best Case Fallacy; The Born Free Fallacy; The Utopian Fallacy; The Zero Sum Fallacy; The Planning Fallacy; The Moving Spirit Fallacy, and The Aggregation Fallacy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Dark Matters: Pessimism and the Problem of Suffering by Mara van der LugtStefano BrogiMara van der Lugt. Dark Matters: Pessimism and the Problem of Suffering. Princeton, NJ: Princeton University Press, 2021. Pp. xi + 450. Hardback, $37.00.Mara van der Lugt's book (awarded Honorable Mention for the JHP Book Prize in 2022) has the merit of bringing attention to some crucial yet often overlooked topics by providing a contribution (...) that cannot fail to elicit broad interest. Her book does not simply discuss the theodicy and anti-theodicy of the modern age; against this background, she also brings out the often-ignored tradition of philosophical pessimism. What interests van der Lugt, however, is not "future-oriented" pessimism, which is opposed to "progressivist" theories of history, but an ontological or "value-oriented" pessimism that stresses "the terrible side of [End Page 163] life" in order to answer a series of crucial questions in a way very different from Leibniz's or Pope's approaches: Are there more evils than goods in our lives? Is life worth living for all of us, for any of us? Why do some people choose death despite their blessings? Why do some people choose life despite their sufferings? Do animals suffer as we do? Are we responsible for our own happiness? Is it better never to have been? According to van der Lugt, "The various ways in which these questions have been answered throughout the centuries have created the competing philosophical traditions known as optimism and pessimism. This book traces the intersection of the debate on the problem of evil with the debate on pessimism from the late seventeenth century onwards, seeking throughout to evaluate pessimism on its own terms" (20).A reassessment of this kind of pessimism serves an explicitly theoretical and moral purpose: van der Lugt herself states that her book is not exclusively a contribution to the history of philosophy, but "partly ethical or evaluative" (18). Indeed, pessimism and optimism "go hand in hand": they stem from a moral need and aim to respond to the evil present in the world by opening up glimmers of "hope, compassion, and consolation" (12, emphasis in original). Pessimism, in particular, is not intended to be "a philosophy of despair"; rather, it draws its strength from an "ethical commitment." Stemming from the latter is a tradition that "may be reinterpreted as a moral source" (22) and which "has not only its own epistemological and methodological concerns and presuppositions but, crucially, its own sets of virtues and moral aims" (13).The theoretical/moral purpose of Dark Matters is evident through its unfolding, even though eight of its nine chapters are roughly devoted to providing an accurate historical-philosophical reconstruction. Here, in brief, are the titles of the chapters that make up the over four hundred pages of this volume, which provide a good idea of the main authors discussed: (1) "The Complaint: Bayle and Malebranche on Physical Evil"; (2) "The Optics of Optimism: Leibniz and King Respond to Bayle"; (3) "Of Hope and Consolation: Voltaire and the Deists"; (4) "When Stoicism Meets Pessimism: La Mettrie and Maupertuis"; (5) "The Dispositional Problem of Evil: David Hume"; (6) "The Art of Suffering: Jean-Jacques Rousseau"; (7) "The Failure of Theodicy: Immanuel Kant"; (8) "The Flute-Playing Pessimist: Arthur Schopenhauer"; and (9) "Dark Matters: Pessimism as a Moral Source." To some extent, the rich itinerary provided by van der Lugt may be compared to those studies that have long undermined the idea of a monolithic and compact Enlightenment, characterized by unlimited faith in reason and its potential for liberation, and—more specifically—by a fundamental optimism with regard to human nature and the possibility of reformulating social and political structures in such a way as to enable each person to pursue happiness. However, the historical reconstruction provided here is based on an attempt to bring out the recurrent theoretical core of a philosophical perspective that first emerges with Pierre Bayle and runs through the modern and contemporary age, resurfacing in an evident way in the present-day antinatalism of David Benatar (often cited in the footnotes).According to van der Lugt, it is with Bayle (and not... (shrink)

The term ‘miracle’ generally refers to events that are not explicable by natural causes alone. Kant’s notion of miracles is usually understood along these lines. However, Kant’s occupation with miracles should be understood in a practical context. Belief in miracles plays a constitutive role in Kant’s philosophy of religion concerning the need to strengthen the will both before and after departing from original evil. I demonstrate how my argument sheds new light on Kant’s claim that theoretical reason precludes (...) the possibility of material miracles. (shrink)

A major virtue of the Pragma-Dialectical theory of argumentation is its commitment to reasonableness and rationality as central criteria of argumentative quality. However, the account of these key notions offered by the originators of this theory, Frans van Eemeren and Rob Grootendorst, seems to us problematic in several respects. In what follows we criticize that account and suggest an alternative, offered elsewhere, that seems to us to be both independently preferable and more in keeping with the epistemic approach to arguments (...) and argumentation we favor. (shrink)

Jean-Luc Marion, in his latest book, “Sur la pensée passive de Descartes,” recently published in an English translation, challenges something he refers to, in the English subtitle, as “the Myth of Cartesian Dualism” and counters it with his original interpretation of Descartes’ notion of meum corpus. This article explores the reasons he adduces for this purpose. The case is made that Marion fails to provide sufficiently solid argumentative and textual support for his construal in this respect and that (...) traditional substance dualistic interpretative resources allow for a more straightforward and systematic reading. It is argued that Marion’s central dualism-deflecting claim, that in the Meditations, “my body” is not an extended thing but a mode of thought, is undermined by an analysis that carefully considers the context of those Descartes’ statements to which Marion appeals. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Thucydides and the Philosophic Origins of HistoryPaula DebnarDarien Shanske. Thucydides and the Philosophic Origins of History. New York: Cambridge University Press, 2007. xii + 268 pp. Cloth, $85.The overarching goal of this book is to "restore the wonder of Thucydides" (1), that is, to show how Thucydides constructs—or in the author's parlance, "founds"—a world so original and compelling that it lures readers of the History into accepting (...) it as their own. The metaphor Shanske borrows to explain the position of Thucydides' readers is Wittgenstein's fly in the inverted bottle: attracted by sweetness at the bottle's mouth, the fly enters, is trapped, and comes to think of the bottle as its entire world. The analogy, as Shanske observes, is not entirely apt. "Sweetness" is hardly Thucydides' bait, and unlike Wittgenstein's fly, readers of the History can retrace their steps and perceive how they were lured in the first place—presumably with the help of books like this one. And the trip into Thucydides' bottle turns out to be salutary, not fatal.In chapter 1, "Thucydides' Vision," Shanske identifies six features of the History that help to construct this bottle and attract readers. Thanks to its (1) density (amount of significant detail), (2) consistency (ideas encountered throughout the work in different contexts), (3) ubiquity (the relentless presentation of key ideas), and (4) open-endedness (puzzles posed; answers suggested, but not given), when readers reach the revolt of Chios in Book 8 (the episode with which Shanske opens his book), their (5) familiarity with Thucydides' vision allows them to understand the Chians' reasoning and its consequences. In this sense the narrative has (6) significance: the fate of the Chians matters.In the remainder of the chapter, keeping these six features in mind, Shanske revisits the beginning of Book 1 (1.1–23). I encountered stimulating insights throughout. His interpretation of axiologo\taton is astute, as is his claim that "the most revealing pretext (ale\thestate\ prophasis), though the one least manifest in logos," was the assumption that war was inevitable; because cities acted upon this assumption, they also brought about the war (39). "The prophasis," he concludes, "is a logos whose power stretches backward and forward in time; even more extraordinary, it is self-fulfilling even as it is dubious, and it is hidden, requiring patient rereading by the wise" (40). This backward and forward movement, Shanske contends, is characteristic of the History as a whole; in his analysis of the Archaeology he shows that by arguing both against and in terms of Homer, Thucydides links his work with his predecessors' (again, the History's familiarity) while radically breaking from them to "found" a new world (25–26). Thucydides' vision of his contemporary world, that is, also revises the past.Next, in "The Case of Pericles," Shanske exposes the view from within the [End Page 593] bottle. Here he develops the notion of "seeing" introduced in his first chapter. For Thucydides, clear vision is temporal and requires perceiving "kinds." Much as we are able to recognize the face of an old friend in a stranger (Shanske nods again to Wittgenstein), the History allows us to see the past in the present. This kind of seeing is both limited and open-ended: after we recognize the old friend we cannot unrecognize him; yet we can also see several connections at once. So, too, it requires training, precisely what Thucydides offers. Using Pericles as his test case, Shanske shows how Thucydides trains his readers to recognize "Pericles" in an array of figures that includes Cleon, Diodotus, Alcibiades, Hermocrates, Themistocles, and even Thucydides. In turn, readers learn to use Periclean "kinds" to reassess Pericles himself.Tragedy is central to Shanske's understanding of Thucydides. In chapter 3, by focusing on what is deinon (unfortunately translated as "dreadable"), which he identifies as a key notion in both the History and tragedy, Shanske tries to show that the History is both continuous with (again, familiarity) and goes further than tragedy. Although he associates deinon with transgression and excess, he also recognizes (pace Oudemans and Lardinois) that, as in Sophocles' "Ode to Man," its power is ambiguous: it builds... (shrink)

The Peking Man fossils discovered at Zhoukoudian in north-east China in the 1920s and 1930s were some of the most extensive palaeoanthropological finds of the twentieth century. This article examines their publicization and discussion in Britain, where they were engaged with by some of the world's leading authorities in human evolution, and a media and public highly interested in human-origins research. This international link – simultaneously promoted by scientists in China and in Britain itself – reflected wider debates on international (...) networks; the role of science in the modern world; and changing definitions of race, progress and human nature. This article illustrates how human-origins research was an important means of binding these areas together and presenting scientific work as simultaneously authoritative and credible, but also evoking mystery and adventurousness. Examining this illustrates important features of contemporary views of both science and human development, showing not only the complexities of contemporary regard for the international and public dynamics of scientific research, but wider concerns over human nature, which oscillated between optimistic notions of unity and progress and pessimistic ones of essential differences and misdirected development. (shrink)

This paper traces the origins of the styles project, originally presented as ‘styles of scientific reasoning’. ‘Styles of scientific thinking & doing’ is a better label; the styles can also be called genres, or, ways of finding out. A. C. Crombie’s template of six fundamentally distinct ones was turned into a philosophical tool, but with a tinge of Paul Feyerabend’s anarchism. Ways of finding out are not defined by necessary and sufficient conditions, but can be recognized as distinct within (...) a sweeping, anthropological, vision of the European sciences. The approach is unabashedly whiggish. The emergence of these styles is part of what Reviel Netz calls cognitive history, and is to be understood in an ecological way. How did a species like ours, on an Earth like this, develop a few quite general strategies for finding out about, and altering, its world? At a more analytical level, the project invokes Bernard Williams’ notion of truthfulness to explicate the idea that these styles are ‘self-authenticating’ and without foundations. The paper concludes with open questions. What role have these few fundamentally distinct genres of inquiry played in the formation of the anomalous Western idea of Nature apart from Man? (shrink)

Dealing with theological affirmations and philosophical reactions to them, this concise book presents insightful applications of modern general philosophy to religion. Originally published in 1969, the book investigates epistemological thinking first before turning to notions of assertion, belief, proposition and contradiction – the logic of theology. It concerns itself with doctrine and morality, considering the writings of contemporary thinkers on these themes.

In 'The ethics of belief and Christian faith as commitment to assumptions', Rik Peels attacks the views that I advanced in 'Christianity and the ethics of belief'. Here, I rebut his criticisms of the claim that it is wrong to believe without sufficient evidence, of the contention that Christians are committed to that claim, and of the notion of that faith is not belief but commitment to assumptions in the hope of salvation. My original conclusions still stand.

Hume held that we have no rational justification for our inductive beliefs. A more radical view is that we have no rational justification for any of our beliefs. This dissertation has two goals pertaining to this more radical view. // The first goal is to find a basis for constructive epistemology that is consistent with this view. This goal is first sought by considering externalist theories of knowledge since these do not require rational justification for knowledge. Externalist theories are defended (...) against the usual objections, partly via a strategy of immunizing them from counterexample-based objections by arguing that epistemologies can be successful even if they fail to explicate ordinary epistemic notions. But a new objection to externalist theories is then brought to light. The objection begins as an attack against a dogma of contemporary epistemology, that the chief benefit of possessing knowledge is having a true belief. It is argued that there are many other benefits to having knowledge , and that externalist theories are defective because externalist knowledge lacks these benefits. A mixed internalist/externalist theory, bilevel reliabilism, is then presented as a solution to this difficulty. //The second goal is to provide an explanation of the function and origin of human epistemic practices that is consistent with the no-rational-justification view. Providing such an explanation is problematic for holders of this view because, if it is correct, it seems, prima facie, that there is no reason to have epistemic practices. This goal is achieved by arguing that epistemic practices, despite appearing to have rational justification as their goal, chiefly function to promote the existence of bilevel reliabilist knowledge, a very useful type of belief that is not rationally justified. It is then argued that the explanation of the origin of epistemic practices is that they arise from natural human inductive tendencies. (shrink)

In his defense of innateness in New Essays on Human Understanding (1704), Leibniz attributes innateness to concepts and principles which do not originate from the senses rather than to the ideas that we are born with. He argues that the innate concepts and principles can be known in two ways: through reason or natural light (necessary truths), and through instincts (other innate truths and principles). In this paper I will show how theoretical and moral reasoning differ from each other (...) in Leibniz, and compare moral reasoning and instincts as sources of knowledge in his practical philosophy. As the practical instincts are closely related to pleasure and passions, which are by nature cognitive, my emphasis will be on the affective character of instinctive moral action and especially deliberation which leads to moral action. I will argue that inclinations arising from moral instinct, which lead us to pleasure while avoiding sorrow, can direct our moral action and sometimes anticipate reasoning when conclusions are not readily available. Acting by will, which is related to moral reasoning, and acting by instincts can lead us to the same moral knowledge independently, but they can also complement each other. To illustrate the two alternative ways to reach moral knowledge, I will discuss the case of happiness, which is the goal of all human moral action for Leibniz. (shrink)

Résumé — En assignant la notion de création ex nihilo à la « représentation » , Hegel affirme son caractère non pleinement rationnel : en user, c’est selon lui voir des substances là où il faut discerner des moments. Figeant et isolant les termes en jeu, la représentation déboucherait sur le dialectique , sans permettre de passer au spéculatif . Ainsi, posant créateur et créature comme des substances distinctes, elle donnerait lieu à une « dialectique du fini et de (...) l’infini », où chaque terme « passerait en son opposé ». Mais Hegel omet de distinguer le couple fini/infini du couple esprit fini / esprit infini, ce qui le conduit à traiter ce dernier comme un couple de contraires ; et c’est ce qui ne semble pas tenable. Autant la stricte séparation des termes du premier couple débouche bien sur une dialectique ruineuse , autant la nette distinction des termes du second couple est la condition d’authentiques relations spirituelles, de personne à personne. En fait, la notion de création est, telle quelle, pleinement adéquate à la désignation d’un originer dont le fruit est un être à part entière,libre – et non un simple moment.— In assigning the notion of creation ex nihilo to « representation » , Hegel asserts its character not fully rational. According to him, in using this notion, one sees substances where one should discern moments. By fixing and isolating the terms at stake, representation leads to a dialectic type of reasoning , without allowing speculative reasoning . Hence, establishing creator and creature as distinct entities, it produces a « dialectic of the finite and the infinite » in which each term « would be interchangeable ». Yet, Hegel fails to distinguish the pair of concepts finite/infinite from the pair finite spirit / infinite spirit, which leads him to consider the two terms of the latter as opposite ; and that is precisely what is questionable. Although the strict separation of the terms of the first pair of notions leads to a self-annihilating dialectic , making a clear-cut distinction between the terms of the second couple is the necessary condition to deal with authentic relations from person to person. Actually, the notion of creation as such perfectly matches the designation of a gesture giving birth to a free and independent being instead of a simple moment. (shrink)

Default reasoning occurs whenever the truth of the evidence available to the reasoner does not guarantee the truth of the conclusion being drawn. Despite this, one is entitled to draw the conclusion “by default” on the grounds that we have no information which would make us doubt that the inference should be drawn. It is the type of conclusion we draw in the ordinary world and ordinary situations in which we find ourselves. Formally speaking, ‘nonmonotonic reasoning’ refers to (...) argumentation in which one uses certain information to reach a conclusion, but where it is possible that adding some further information to those very same premises could make one want to retract the original conclusion. It is easily seen that the informal notion of default reasoning manifests a type of nonmonotonic reasoning. Generally speaking, default statements are said to be true about the class of objects they describe, despite the acknowledged existence of “exceptional instances” of the class. In the absence of explicit information that an object is one of the exceptions we are enjoined to apply the default statement to the object. But further information may later tell us that the object is in fact one of the exceptions. So this is one of the points where nonmonotonicity resides in default reasoning. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:THE SCANDAL OF ORIGINS IN ROUSSEAU Jeremiah L. Alberg University of West Georgia To speak of Jean-Jacques Rousseau and scandal is not difficult. Immediately one thinks of his relationship with Mme de Warens, his lover and his beloved mama. Most of his works upset some group or another—other intellectuals (the Discourse on the Sciences andArts), the Genevan authorities (the "Dedication" the Discourse on Inequality), the Church (Emile)—the list could (...) go on and on. In this article I would like to turn away from our usual use ofthe word scandal and look more deeply at the connection between Rousseau's system and the theological or, more properly, the biblical notion of scandal. This notion is obscure. While no one would deny its importance in the New Testament, trying to develop a coherent "theory ofscandal" from the various usages in the New Testament has proven difficult.1 To give only one example of the problem, Christ crucified is proclaimed as a scandal (ICor 1.23) and yet the Christians who follow him are forbidden to cause scandal to others (ICor 8.9), especially the younger and weaker. 1 For a basic understanding ofthe biblical notion ofscandal the following titles are helpful' G. Stählin, Skandalen Untersuchungen zur Geschichte eines biblischen Begriffs, (Gütersloh. Bertelsmann, 1930), as well as his article "Skandalen, skandahzo" in Theologisches Wörterbuch des Neuen Testaments, ed Kittel and Friedrich, 7 339-58, J Calvin, ConcerningScandals (translation oíDe scandalis. 1550) (Grand Rapids Eerdmans, 1 978), H Bintz. Das Skandalen als Grundlagenproblem derDogmata. (Berlin de Gruyter. 1969), D McCracken, The Scandal ofthe Gospels Jesus, Story, and Offense, (NY Oxford UP, 1994); J Alison, The Joy ofBeing Wrong Original Sm Through Easter Eyes (NY Crossroad, 1998) 140-146; G. Bailie, Violence Unveiled Humanity at the Crossroads (NY Crossroad, 1995) 207-2 10; R Girard, Des choses cachées depuis lafoundation du monde, (éditions Grasset et Fasqelle, 1978) especially 573-592 2 Jeremiah L. Alberg The most successful attempt at bringing coherence to the various elements of scandal has been carried out in the various works of René Girard.2 His basic insight was to see in biblical scandal an inchoate theory of human desire. Girard calls this desire "mimetic" or desire that one receives from another. This type of desire leads to scandal. It is here that the connection with Rousseau becomes evident. The famous literary theorist T. Todorov states: "the 'mimetic desire' of Girard is only another name for the amour-propre ofRousseau" (Todorov 38). For his part Girard defines theskandalon (that which causes the scandal) in the following way: It is not an obstacle thatjust happens to be there and merely has to be got out ofthe way; it is the model exerting its special form of temptation, causing attraction to the extent that it is an obstacle and forming an obstacle to the extent that it can attract. (Girard 1987, 416) Rousseau's analysis of amour-propre as that which excites without satisfying, seduces without delivering, and promises without fulfilling, parallels Girard's analysis ofmimetic desire as the doomed-to-be-frustrated reaching for the scanáalon3 Thus, I am arguing that in his various works Rousseau is developing the conceptual possibilities of biblical scandal. While there would be many way's of showing this structural parallel between Rousseau's thought and biblical scandal, I will concentrate on a reading ofthe "Preface" to the Discours sur l'origine et lesfondements de l'inégalité parmi les hommes (1755), in order to show that this work is structured by scandal. It is structured by a human desire that seeks what is unattainable and renders the object unattainable in the very seeking after it. More concretely, 1 shall argue that in the "Preface" Rousseau is able to reduce the question aboutthe origin ofinequality "to its genuine state" only 2 See the work cited above as well as his more recent / See Satan Fall Like Lightning ' Rousseau's definition of amour-propre makes its connection with offense (another translation of the biblical word for scandal) quite clear. Speaking of man in the primitive state he remarks. "For the same reason [that he is not capable ofmaking comparisons... (shrink)

In this short piece, I acknowledge that there are two main hypotheses regarding the origin of Sars-Cov2: the zoonotic jump hypothesis defended by the scientific establishment, and the lab leak hypothesis defended by a minority of scientists. Despite the new evidence supporting the zoonotic jump hypothesis, I contend that the minority’s view still seems more reasonable to accept at this time than the majority’s view regarding the origin of the virus. I will try to justify the plausibility of the minority’s (...) hypothesis by deductive reasoning first and then by inductive reasoning appealing to the notion of Inference to the Best Explanation (aka, I2BE). (shrink)

One of the main characteristics of the contemporary aesthetic debate is the recovery of the concept of mimesis, as a dimension that is originally involved in the foundation of human culture and the processes of cultural learning. This is evident in the aesthetic reflection developed by Gunter Gebauer and Christoph Wulf. For these two authors, mimesis is never a mere reproduction of the given reality, but always implies the production of the New, of the Other, of the different with respect (...) to the empirical world, i.e. to the existing categorical order of the world. In particular, Gebauer and Wulf underline the constitutive ambivalence of the notion of mimesis: on the one hand, it favors the processes of reification fueled by capitalist society and, on the other hand, it contributes to the affirmation of a critical and “utopian” instance that can counter “instrumental reason” and the primacy of identity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 62.4 (2001) 705-720 [Access article in PDF] On the Notion of "Disinterestedness": Kant, Lyotard, and Schopenhauer Bart Vandenabeele The strange thing, on looking back, was the purity, the integrity, of her feeling for Sally. It was not like one's feeling for a man. It was completely disinterested, and besides, it had a quality which could only exist between women, between women just (...) grown up.--Virginia Woolf, Mrs. DallowayIf the genuine aesthetic experience exists empirically--and it does--then the definition of its specific quality is at the core of any aesthetic theory that is concerned with the particularity of aesthetic appreciation. Firstly, I shall attempt to provide an acceptable interpretation of this extremely intricate issue in Kant and, moreover, question the interpretation of two philosophers--Lyotard and Schopenhauer--who both struggled with the notion of "disinterestedness" and provided a highly original (but often misunderstood) interpretation of it in their own aesthetic theories. I shall argue that Lyotard took for granted something in Kant's aesthetics that Schopenhauer's aesthetic theory tries to resolve, that is, the wide gap between the agreeable and the charming on one side, and the beautiful on the other. Kant: Disinterestedness and Existence The first moment of Kant's Analytic of the Beautiful asserts that our liking in the beautiful cannot originatefrom any interest and that in the beautiful "we are not compelled to give our approval by any interest, whether of sense or of reason" (§ 5, 52). 1 But Kant also insists that the liking in the beautiful does not createany interest in the object either. [End Page 705]What may this mean? As Kant asserts in the beginning of section 5, it means that "a judgment of taste is merely contemplative, i.e., it is a judgment that is indifferent to the existence of the object [indifferent in Ansehung des Daseins eines Gegenstandes]: it [considers] the character of the object only by holding it up to our feeling of pleasure and displeasure [nur seine Beschaffenheit mit dem Gefühl der Lust und Unlust zusammenhält]" (§ 5, 51). The requirement that a pure judgment of taste be devoid of all interest forms the foundation of Kant's important distinction between aesthetic liking and the pleasure that may accompany moral judgment or action. 2 Kant's analysis of aesthetic response calls for another discrimination, too: the separation of aesthetic liking from mere sensory pleasure, which is the distinction that will occupy us here.Objects that arouse mere sensual pleasure, such as Belgian chocolates, are said to "gratify" (vergnügen) someone, and are then called "agreeable" (angenehm). An object "which one just likes" (was ihm bloß gefällt) is called beautiful. The incentive that corresponds to this object for thought is, respectively inclination (Neigung) or favor (Gunst). Favor, thus accorded the beautiful, is "the only free liking" (das einzige freie Wohlgefallen) (§ 5, 52). 3 Only pleasure in the beautiful is free of a connection with an interest. Both inclination and rational desire are connected with interest, and "all interest either presupposes a need [Bedürfniß] or gives rise to one; and, because interest is the basis that determines approval [als Bestimmungsgrund des Beifalls], it makes the judgment about the object unfree" (ibid.). As Paul Guyer rightly remarks, "in defining the 'quality' of aesthetic judgment Kant is not making a phenomenological distinction between different kinds of feelings of pleasure, but a distinction between the ways in which different instances of pleasure may be occasioned." 4 What Kant is suggesting is "that the presence or absence of a connection to interest may serve as a criterion for the reflective classification of given pleasures" (ibid).Section 3 aims to show that "a liking for the Agreeable is connected with Interest" (§ 3, 47). Pure favor, which is connected with the beautiful, "cannot be an inclination, or else the beautiful would be agreeable and there would be no aesthetic pleasure." 5 Kant, therefore, makes a crucial (but often overlooked) distinction between two senses of "sensation." 6 In the sense of the Critique of... (shrink)

continent. 2.2 (2012): 76–81 Comments on Eugene Thacker’s “Cosmic Pessimism” Nicola Masciandaro Anything you look forward to will destroy you, as it already has. —Vernon Howard In pessimism, the first axiom is a long, low, funereal sigh. The cosmicity of the sigh resides in its profound negative singularity. Moving via endless auto-releasement, it achieves the remote. “ Oltre la spera che piú larga gira / passa ’l sospiro ch’esce del mio core ” [Beyond the sphere that circles widest / penetrates (...) the sigh that issues from my heart]. 1 The axiomatic sigh of the pessimist is in a way the pure word of philosophy, a thought that thinks without you, speaks where you are not. The live pneumatic form of the soul’s eventual exit from the dead body’s mouth, the sigh restores consciousness to the funeral of being, to the passing away that is existence. Pessimism speaks in piercing aphorisms because first it sighs. “Beyond the sphere passeth the arrow of our sigh. Hafiz! Silence.” 2 … pessimism is guilty of that most inexcusable of Occidental crimes—the crime of not pretending it’s for real. To the pessimist, the ‘real’ world—the world on whose behalf we are expected to wake up in the morning—is a ceaseless index of its own unreality. The pessimist’s day is not an illumined space for the advancement of experience and action, but a permanently and inescapably reflective zone, the vast interior of a mirror where each thing is only insofar as it is, at best, a false image of itself. Within this speculative situation, inside the doubleness of the mirror, pessimism splits into two paths, false and true, one that tries to fix pessimism (establish a relation with the mirror) and decides in favor of the apparent real, and another that totally falls for pessimism (enters the mirror) and communes with the greater reality of the unreal. These two paths are distinguished by their relation to pessimism’s guilt vis-à-vis the world’s reality-project. The first form, that which remains pessimism for the world and puts on a smiling face, stays guilty to itself (i.e. unconscious) and thus turns hypocritical, becoming at once the pessimism of the commoner who really just wants things to be better for himself and the pessimism of the elite who wants to critically refashion reality in his own image. The general form of this worldly, hypocritical pessimism is the impulse to ‘make the world a better place’, which is the global mask under which the world is diurnally made worse. The second form, that which follows pessimism away from the world and ceases to put on a smiling face, refuses guiltiness as itself theessential Occidental mode of pretense and turns honest, becoming at once the intelligent pessimism required of all ordinary action and the radical pessimism necessary for self-knowledge: seeing that no one is capable of doing good. The general form of this universal, honest pessimism is the impulse not to worry, to give up and embrace dereliction, which is the only real way the world is actually improved. Where worldly pessimism is the engine productive of interminably warring secular and sacred religions (good-projects), universal pessimism strives hopelessly for the paradise of a supremely instantiated pessimus: things are getting so bad that there is no longer any time for them to get worse; things are so constantly-instantly worst that this is BEST. Cosmic pessimism is the mode of universal pessimism which can yet discourse with the world, which has not chosen silence and can spread the inconceivably BAD NEWS in an orderly form ( kosmos ) that the world can understand (if it wanted to). … the result of a confusion between the world and a statement about the world. That is what the world is (the result of a confusion between the world and a statement about the world). … a generalized misanthropy without the anthropos. Pessimism crystallizes around this futility—it is its amor fati , rendered as musical form. Pessimism’s love of fate is a blind love, a love of the blindness of being human in a cosmos conceived around the human’s eclipse, a heavy levitation in the contradictory space between the inescapability of its having been and the impossibility of its will-be. Pessimism’s song of futility is a sensible way of loving fate, with a minimum of eros, by means of a kind of matrimonial love of the fatal. As music, pessimism stays open to the irreparable and the inexorable without the binding of affirmation, in the apparent absence of the radical, infinitely surplus will that absolute amor fati seems to require. Crying, laughing, sleeping—what other responses are adequate to a life that is so indifferent? “Unless a man aspires to the impossible, the possible that he achieves will scarcely be worth the trouble of his achieving it. We should aspire to the impossible, to absolute and infinite perfection [….] The apocatastasis is more than a mystical dream: it is a norm of action, it is a beacon for high deeds [….] For true charity is a species of invasion [….] It is not charity to rock and lull our fellow men to sleep in the inertia and heaviness of matter, but rather to arouse them to anguish and torment of spirit.” 3 … the impossibility of ever adequately accounting for one’s relationship to thought. “The paroxysm of interior experience leads you to regions where danger is absolute, because life which self-consciously actualizes its roots in experience can only negate itself [….] There are no arguments [….] On the heights of despair, the passion for the absurd is the only thing that can still throw a demonic light on chaos [….] I live because the mountains do not laugh and the worms do not sing .” 4 It took three attempts before she was fully decapitated, all the while she continued, perhaps miraculously, to sing. According to the earliest account of Cecilia’s martyrdom, the beheading turns out worse. After not severing her head in three strokes, “the cruel executioner left her half dead” (seminecem eam cruentus carnifex dereliquit). 5 Cecilia’s effortlessly powerful endurance of the three strokes—a fitting icon for pessimism as an art of dereliction—demonstrates the “passivity and absence of effort [….] in which divine transcendence is dissolved.” 6 There’s a ghost that grows inside of me, damaged in the making, and there’s a hunt sprung from necessity, elliptical and drowned. Where the moving quiet of our insomnia offers up each thought, there’s a luminous field of grey inertia, and obsidian dreams burnt all the way down. Like words from a pre-waking dream. There is no reason to think that they are not. NOTES 1. Dante Alighieri. Vita Nuova . ed. and trans. Dino S. Cervigni and Edward Vasta. Notre Dame: University of Notre Dame Press. 1995. 41:10. 2. Hafiz of Shiraz. The Divan . trans. H. Wilberforce Clarke. London: Octagon Press. 1974. 10.9. 3. Miguel de Unamuno. The Tragic Sense of Life in Men and Nations . trans. Anthony Kerrigan. Princeton: Princeton University Press. 1972. 305-6. 4. E.M. Cioran. On the Heights of Despair . trans. Ilinca Zarifopol-Johnston. Chicago: University of Chicago Press. 1992. 9-10. 5. Giacomo Laderchi. S. Caeciliae Virg[inis] et Mart[yris] Acta. . . Rome. 1723. 38. 6. Georges Bataille. On Nietzsche . trans. Bruce Boone. London: Continuum. 2004. 135. See Nicola Masciandaro. “ Half Dead: Parsing Cecilia .” A Commentary on Eugene Thacker’s "Cosmic Pessimism" Gary J. Shipley Pessimism is the refusal to seek distraction, the refusal to remodel failure into a platform for further (doomed) possibilities, the refusal of comfort, the acceptance of the sickness of healthy bodies, the cup of life overflowing with cold vomit. If, as Ligotti suggests when discussing Invasion of the Body Snatchers , 1 humans prefer the anxieties of their familiar human lives to the contentment of an alien one, then the pessimist, we could argue, represents some perverted combination of the two, preferring (presuming he has a choice) the defamiliarization of human life to the contentment of its unquestioned mundanity. The quasi-religious state of mind that Wittgenstein would mention on occasion, that of “feeling absolutely safe,” 2 is a state the pessimist could only imagine being approximated by death, or perhaps some annihilative opiate-induced stupor. This Wittgensteinian commingling of certainty and faith looks every bit the futile gesture, a mere rephrasing of collapse or partial collapse. The only certainty open to the pessimist is that of the toxic formula of life itself—a formula known and lacuna-free. Certainty, far from being the gateway to deliverance, becomes the definitive impediment; and the possibility of salvation, as long as it remains, becomes crucially reliant on postulations of ignorance, epistemic gaps, a perennial incompleteness: “the perfect safety of wooed death […] the warm bath of physical dissolution, the universal unknown engulfing the miniscule unknown.” 3 The height of Leibniz’s Panglossian insanity nurtured the idea that our knowing everything—via the universal calculus—could be accurately described a triumph, as opposed to a nightmare in which our every futility is laid bare. Stagnancy and boredom are perhaps two of the greatest ills of Western civilisation, and the most potent pessimism tells you that you’re stuck with both. The most we can hope for, by way of salvation, is to throw open our despair to the unknown. The fact that Schopenhauer’s pessimism stopped short of morality and allowed him to play the flute, as Nietzsche complained, highlights the predicament of a man who despite having adorned nothingness with a smiling face still found himself alive. The demand here is that it be felt: a cross-contamination of intellect and emotion. The safety net of numerous parentheses makes for a failed philosophy, rather than a philosophy of failure. Depressives make bad pessimists, because, unless they choose to die, living will always infect them with necessities of hope, forcing them to find something, anything (all the various “as ifs”) to make existence tolerable. For as Cioran observed, while “[d]epressions pay attention to life, they are the eyes of the devil, poisoned arrows which wound mortally any zest and love of life. Without them we know little, but with them, we cannot live.” 4 And even when cured of our depressions we’ll find ourselves consumed, eaten alive by the hyper-clinical (borderline autistic) mania that replaces them: a predicament captured all too clearly in the microscriptual fictions of Robert Walser, where spectral men and women stifle their depressive madness with protective comas of detail, their failed assimilations buried beneath thick crusts of remote data. Like Beckett’s Malone their stories may have ended, but cruelly their lives have not. Pessimism is an extraneous burden (a purposeless weight) that makes everything else harder to carry, while at the same time scooping it out and making it lighter. If pessimism had a sound it would be the harsh non-noise of tinnitus—the way that every person would hear themselves if they refused their distractions long enough to listen: a lungless scream from the extrasolar nothing of the self. The music of pessimism—if indeed we can imagine such a thing—is the reverberating echo of the world’s last sound, conjectured but never heard, audible only in its being listened for. The one consolation of this hollow paradox of audibility being, that “he will be least afraid of becoming nothing in death who has recognized that he is already nothing now.” 5 The pessimist suffers a derangement of the real, a labyrinthitis at the nucleus of his being: he’s the stumbling ghost relentlessly surprised that others can see him. If Cioran’s refusal is manifested in sleep (when even saying ‘no’ is too much of a commitment), then Pessoa’s resides in the dreams inside that sleep. Pessoa chooses to exploit the fact that he’s being “lived by some murmuring non-entity both shadowy and muddied” 6 by growing more voids to live him. His is a Gnostic breed of sleep, “sleeping as if the universe were a mistake,” 7 a sleep that dreams through Thacker’s cosmic pessimism (“a pessimism of the world-without-us.”, “the unhuman orientation of deep space and deep time” 8 ), through the critical error of there being anything at all when there could be nothing. The metaphysical pessimist is someone who, however well life treats them, still desires to wake from it, as from the poisonous air of a bad dream. Pessimism is a paradox of age, being simultaneously young and old; its youth residing in a refusal to accept the authority of existence (its rich history, its inherent beneficence), a refusal to “get over” the horror of what it sees with its perpetually fresh eyes, and its maturity in the unceremonious disposal of the philosophical playthings (those futile architectures) of adolescence. As Thacker remarks: “Pessimism abjures all pretenses towards system—towards the purity of analysis and the dignity of critique.” 9 A sentiment shared with Pessoa, who duly categorizes those that choose to enact this futile struggle: “The creators of metaphysical systems and of psychological explanations are still in the primary stage of suffering.” 10 If the pessimist has shared a womb with anyone, it’s with the mystic and not the philosopher. As Schopenhauer tells us: “The mystic is opposed to the philosopher by the fact that he begins from within, whereas the philosopher begins from without. […] But nothing of this is communicable except the assertions that we have to accept on his word; consequently he is unable to convince.” 11 The crucial difference between the mystic and the pessimist is not the latter’s impassivity and defeatism, but his unwillingness/inability to contain in any way the spread of his voracious analyticity, his denial of incompleteness, his exhaustive devotion to failure. The truth of our predicament, though heard, is destined to remain unprocessed. Like the revelations of B.S. Johnson’s Haakon (“We rot and there’s nothing that can stop it / Can’t you feel the shaking horror of that?” 12 ) the pessimist’s truths are somehow too obvious to listen to, as if something inside us were saying, “Of course, but haven’t we gotten over that?” Pessimism is simple and ugly, and has no desire to make itself more complex or more attractive. The true moral pessimist knows that the Utilitarian’s accounts will always be in the red. He can see that for all his computational containments, his only honest path is a negative one, and that such a path has but one logical destination: that of wholesale human oblivion. Thacker notes how at the core of pessimism lies the notion of “the worst,” through which death is demoted by the all-pervasive suffering of a life that easily eclipses its threat. And so with doom made preferable to gloom, death begins to glint with promise, “like beauty passing through a nightmare.” 13 But even among pessimists suicide is, for the most part, thought to be an error. Schopenhauer, for instance, regarded suicide a mistake grounded in some fundamentally naïve disappointment or other. Pessoa too thought suicide an onerous escape tactic: “To die is to become completely other. That’s why suicide is a cowardice: it’s to surrender ourselves completely to life.” 14 There is a call here to be accepting of and creative with the puppetry of your being, an insistence that it’s somehow a blunder to attempt to hide in death from the horrors you find inlife. 15 Tied up with this perseverance is the slippery notion of the good death, for maybe, as Blanchot warns, suicide is rarely something we can hope to get right, for the simple reason that “you cannot make of death an object of the will.” 16 “Even in cases where the entire corpus of an author is pessimistic, the project always seems incomplete,” 17 and this is not simply because the project itself belies something yet to be disclosed, but because the project itself is a thing waiting. It waits on a cure it knows will not come, but for which it cannot do anything (as long as it continues to do anything) but wait. NOTES 1. See Thomas Ligotti. The Conspiracy Against the Human Race . New York: Hippocampus Press. 2010. 91. 2. Ludwig Wittgenstein. “A Lecture on Ethics.” Philosophical Review . (74) 1. 1965. 8. 3. Vladimir Nabokov. Pale Fire . New York: Vintage. 1989. 221. 4. E. M. Cioran. The Book of Delusions . trans. Camelia Elias. Hyperion. 5.1. (2010): 75. 5. Arthur Schopenhauer. The World as Will and Representation. vol. 2 . trans. E .F J. Payne. New York: Dover. 1966. 609. 6. Eugene Thacker. “Cosmic Pessimism.” continent. . 2.2 (2012): 67. 7. Fernando Pessoa. The Book of Disquiet . trans. Richard Zenith. London: Penguin. 2002. 35. 8. Eugene Thacker. “Cosmic Pessimism.” continent. . 2.2 (2012): 68. 9. Ibid. 73. 10. Fernando Pessoa. The Book of Disquiet . trans. Richard Zenith. London: Penguin. 2002. 341. 11. Arthur Schopenhauer. The World as Will and Representation. vol. 2 . trans. E .F J. Payne. New York: Dover. 1966. 610-11. 12. B.S Johnson. “You’re Human Like the Rest of Them.” in Jonathan Coe. Like a Fiery Elephant: The Story of B.S. Johnson . London: Picador. 2004. 177. 13. Fernando Pessoa. The Book of Disquiet . trans. Richard Zenith. London: Penguin. 2002. 415. 14. Ibid. 199. 15. “Suicide is, after all, the opposite of the poem.” Anne Sexton. No Evil Star: Selected Essays, Interviews and Prose . ed. Steven Gould Axelrod. Ann Arbor: University of Michigan Press. 1985. 92. 16. Maurice Blanchot. The Space of Literature . trans. Ann Smock. Lincoln: University of Nebraska Press. 1989. 105. 17. Eugene Thacker. “Cosmic Pessimism.” continent. . 2.2 (2012): 75. (shrink)

Darwin begins his “one long argument” not in the natural world of the deep past but – surprisingly and, for some readers, disappointingly – on the present-day world of the farm, providing a detailed look at domesticated plants and animals as well as the humans who breed them. Darwin’s opening chapter divides roughly into two halves. In the first half, Darwin surveys the amazing variability of plants and animals under domestication and some of the main causes of that variability. In (...) the second half, he turns from variation to selection: the picking for breeding of the individual dogs or pigeons or cabbages or whatever which are the fastest or the strongest or the most colorful or the tastiest or whatever, in the hopes that those attractive variations will be inherited by offspring. It is mainly through selection of inheritable variation, Darwin argues, that humans have created so many and such diverse domesticated varieties of plants and animals, suited so splendidly to human needs and desires. A large part of being able to follow Darwin’s reasoning through the densely fact-packed paragraphs in this chapter lies with seeing where, in his view, it’s all going: namely, the laying down of the foundations for an analogical argument linking the selective breeding-into-being by humans of new varieties, or “artificial selection,” with a comparable process in nature capable of producing not merely new varietiesSpeciesand varieties but new species – what he will call, to flag the analogy, “natural selection.” It also helps to be alert to a number of ideas that Darwin held but which modern biologists reject, such as the notion that domestication itself induces animals and plants to become far more variable than they are in the wild, and the idea that characters acquiredInheritanceof characters acquired in the course of an individual’s lifetime can be inherited (so-called “Lamarckian inheritance”). (shrink)

This thesis presents a communicative account of personhood that argues for the inseparability of the metaphysical and the practical concepts of a person. It connects these two concepts by coupling the question “what is a person” with the question "how does one become a person". It argues that participation in social interactions that are characterized by mutual recognition and giving-and-taking reasons implied by the practical concept of a person is in fact an ecological and developmental condition for an entity to (...) possess the kind of characteristics and capacities such as reflexive self-consciousness addressed by the metaphysical concept. The chief theoretical contribution of the dissertation research lies, accordingly, in demonstrating that an adequate metaphysical concept of a person has to make reference to the kind of social processes that are necessary for the emergence and development of the distinguishing attributes of persons among other moving, perceiving, desiring and cognizing agents. Methodologically, it undertakes an original philosophical analysis that is enriched by an interdisciplinary investigation of several notions and insights from semiotics, comparative and developmental psychology, cognitive science and anthropology. The main argument of the thesis is that one becomes a person through internally recreating a social, communicative process; namely, that of dialogical transformation of habits. We find the paradigmatic case of this social process in mutual persuasion. The internalization of this process in the form of an inner dialogue cultivates a social self that is in ongoing communication with the embodied, organismic self of uncritically habituated attitudes, convictions and desires. This inner dialogue can be conceived as a temporally extended process of self-persuasion, which is characterized by an ongoing strive for attaining higher degrees of self-control; that is, for achieving a more coherent alignment between our habits and the kind of person we would like to be. It starts with self-interpretation and self-evaluation, and culminates in the formation of higher-order desires that facilitate habit-change and novel habit formation in accordance with certain social, moral, aesthetical or intellectual categories and norms one comes to endorse. For this reason, self-induced, deliberate habit-change is also a process of appropriation or self-appropriation, through which we strive to cultivate habits of feeling, thinking, acting that we can deem more truly ours. The thesis demonstrates that the capacity for engaging in this kind of self-persuasion consists chiefly in the capacities for metasemiosis, perspective-taking, and for cultivating habits of reflexivity. It explicates how all these capacities have a social origin and ultimately a social function by showing that they all presuppose certain higher-order communicative patterns that arose through an evolutionary and cultural history, and develop through the internal reconstruction of these patterns as cognitive-semiotic processes. The thesis concludes that becoming a kind of being who can engage in self-persuasion, thus a person, consists ultimately in internalizing the patterns of communicative social interactions in the form of an ongoing auto-communication. (shrink)

Not only has the philosophical debate on causation been gaining ground in the last few decades, but it has also increasingly addressed the sciences. The biomedical sciences are among the most prominent fields that have been considered, with a number of works tackling the understanding of the notion of cause, the assessment of genuinely causal relations and the use of causal knowledge in applied contexts. Far from denying the merits of the debate on causation and the major theories it (...) comprises, this paper is meant as a stimulus for theorists of causation in the philosophy of biomedicine, with a focus on clinical matters. Without aiming at putting forward an original theory of causation and starting from the narration of two actual but paradigmatic cases at the joints between biomedical research and clinical practice, we want to point out that some pathological situations addressed by molecular medicine actually prove resistant to some of our major epistemological accounts of causal explanation. Given this scenario, which is very frequent in our hospitals, our analysis aims to provide a stimulus for the debate among theorists of causation in biomedicine interested in real cases in science in practice. We believe that this might in turn encourage some more general rethinking of the complex intertwinement of science, philosophy of science and ethics, as well as of the role of philosophy of science for clinical medicine itself. (shrink)

The origin of languages was a hotly debated topic in the eighteenth century. This paper reconstructs a distinctively Kantian account according to which the origination, progression, and diversification of languages is at bottom reason’s self-development under certain a priori constraints and external environments. The reconstruction builds on three sets of materials. The first is Herder’s famous prize essay on the origin of languages. The second includes Kant’s explicit remarks about language – especially his notion of “transcendental grammar,” his argument (...) that language cannot be innate, his contrast of “Oriental” symbolic (intuitive) and “Occidental” discursive languages, and his treatment of the latter as a sine qua non of humanity’s cultural and moral progress. The third includes the concepts that we need to make sense of those remarks, such as Kant’s epigenetic theory of biological formation and his account of categories as originally acquired. (shrink)

From Machiavelli via Hobbes, Locke and Grotius to J.S. Mill and John Rawls, the liberal (and republican) tradition pivots about the primacy of the individual over all forms of human association and allied to this primacy is the replacing of notions of substan¬tive goodness or truth with the ultimate foundation of society upon subjective rights secured by the power of the central state. Those rights are grounded in the human will and the artifice of the social contract that has supplanted (...) older ideas of covenantal relationships governed by a logic of reciprocity or gift-exchange. Liberalism is therefore inherently atomistic and oscillates between the isolated individual and some collective unity either objectively compounded or artificially supposed – ‘Leviathan’ was both. By positing an asocial ‘state of nature’, liberal contractualism purports to invent the artificial order of politics. By contrast, Romanticism – in the works of Novalis, Schlegel, Carlyle, Coleridge, de Biran and Bulgakov – develops develop in novel ways the ancient and Christian idea that human beings as social, political creatures have a natural desire for objective, substantive values by which to orientate their lives and give them that coherent shape which alone engenders a sense of real fulfilment. This teleological space cannot be equated with the impersonal, absolute sovereignty of national states and transnational markets but requires interpersonal relations within a mediated polity that has a transcendent outlook. So whereas liberalism merely regulates the evil and violence which it views as primary (and which therefore it perpetuates and even reinforces), Romanticism offers a vision of partial redemption in this life just because the Fall and original sin never fully destroyed the fundamentally peaceful, ontological ordering of the world. Rather, as fallen creatures equally capable of vice and virtue, human beings can discover their own particular purpose and place in society that is ordered to the good of the whole cosmos ultimately rooted in God’s creative action. By practising virtue, we can be redeemed in this life up to a point and we can begin to redeem the promise of an original harmony. (shrink)

This dissertation examines the psychology of moral judgment and its implications for normative ethics and metaethics. Recent empirical findings in moral psychology, such as the impact of emotions, intuitions, and situational factors on moral judgments, have sparked a debate about whether ordinary moral judgments are systematically error-prone. Some philosophers, such as Peter Singer and Joshua Greene, argue that these findings challenge the reliability of moral intuitions and support more "reasoned", consequentialist approaches over deontological ones. The first part of the dissertation (...) reviews these provocative findings and the philosophical reactions to them, which often invoke the notion of 'moral relevance' - the idea that some factors shaping moral judgments are morally irrelevant. The second part develops a psychological account of moral relevance, drawing on theories of the moral domain, the role of emotions, and models of moral cognition. This account reveals the complex interplay of intuitive and reasoned processes in generating impressions of moral relevance. The final part reevaluates the philosophical discussions in light of this psychological understanding. It contends that the evolutionary background of moral intuitions does not necessarily render them inadequate, and that both deontological and consequentialist judgments likely depend on evolved intuitions to a significant degree. Furthermore, the tendency to dismiss certain influences on moral judgment as irrelevant can itself be explained psychologically. Considering the psychological account presented, mind-independent accounts of morality become less plausible. The dissertation concludes that while empirical moral psychology reveals important constraints on normative theorizing, it does not decisively favor consequentialism over deontology. To assess the significance of empirical-scientific findings for ethics, a nuanced understanding of the origins of moral judgments is nevertheless indispensable. (shrink)

The competence of humans to create and apply constructs of reality far exceeds that of any other animal species. Their ability to consciously manipulate such models seems unique, but it remains unknown how these abilities were initially acquired and then developed. Most individuals hold strong, culturally-anchored beliefs that their particular reality is true, a viewpoint challenged by the observation that all such constructs are different. They reflect not reality, but each individual’s life experiences. Collectively they facilitated the development of hominins (...) to unprecedented cultural and cognitive complexity. However, it remains entirely unknown how the human brain manages to create a model of the external world from the signals provided by sensory equipment and proprioceptors. This paper examines the roles of exograms in this development, as they are considered to be the only tangible connection between the brain, the faculties of sentience and the external world. Competency in exogram use became a crucial natural selection factor for humans and even overcame the human brain atrophy of the final Pleistocene and the Holocene. Under favourable conditions, some forms of exograms are capable of surviving from the deep time of human evolution. The paper follows their trail back in time to gain some insights into the developments that gave rise to human awareness, self-consciousness and Theory of Mind as we understand them. Specific archaeological finds and notions about sentient capabilities of hominins are presented in a search for exogram use in the course of human evolution. It results in a model that explains with clarity not only the course of the human journey but also the underlying reasons for the human condition as such: why we are the way we are. (shrink)

Most of the core concepts of the Western philosophical tradition originate in antiquity. Yet boredom is strikingly absent from classical thought. In this philosophical study, Dmitri Nikulin explores the concept's genealogy to argue that boredom is the mark of modernity. Nikulin contends that boredom is a specifically modern phenomenon. He provides a critical reconstruction of the concept of the modern subject as universal, rational, autonomous, and self-sufficient. Understanding itself in this way, this subject is at once the protagonist, playwright, director, (...) and spectator of the staged drama of human existence. It is therefore inevitably monological, lonely, and alone, and can neither escape its own presence nor get rid of it. In other words, it is bored-and this boredom is the fundamental expression and symptom of the modern condition. Considering such thinkers as Descartes, Pascal, Kant, Kierkegaard, Kracauer, Heidegger, and Benjamin, Critique of Bored Reason places boredom on center stage in the philosophical critique of modernity. Nikulin also considers the alternative to the notion of the autonomous subject in the-nonbored and nonboring-dialogic and comic subject capable of shared existence with others. (shrink)

In 1798 the French Directory began to collect moral statistics systematically for the first time in history. The bureaucratic and scientific developments that preceded this policy are well known. Yet the reasons for its abrupt adoption, and the intellectual origins of moral statistics (as distinguished from the topographical statistics previously practiced), have until now remained obscure. This paper contends that, in the aftermath of the Terror, Joseph de Maistre sketched philosophical tools and made political observations that aided the rise of (...) the new state science. In particular, Maistre’s anti-Rousseauian essay On the State of Nature (composed 1794-1796), a critique of Rousseau’s second Discourse on the Origin of Inequality (1755), outlined theoretical concepts crucial to moral statistics. Maistre’s widely read Considerations on France (1797) later made these concepts available to the French public in an accessible and memorable style. In On the State of Nature Maistre set down his ideas on reason, human nature, human perfectibility, justice, conscience, Providence and chance. These ideas presented the agency of the moral in an innovative way that not only suggested immediate systematic applications, but also helped prepare the French sociological project. Indeed if any text made the theoretical shift away from the model of human nature to the paradigm of normal people with laws of dispersion that Ian Hacking claims set French sociology apart, it is On the State of Nature. Moreover, Maistre’s realist critique of Rousseau’s imagination augured the notion of the social fact that Comte transformed, and Durkheim defined. (shrink)

This little-known work by the famous German pessimist and critic of Hegel was originally written as a doctoral dissertation when Schopenhauer was just twenty-six, but it was later revised when the philosopher was sixty. So important did he consider this work, originally titled "On the Fourfold Root of the Principle of Sufficient Reason," that he often underscored the fact that no one could hope to understand his magnum opus, The World as Will and Representation, without having first read this work. (...) Schopenhauer takes up where Kant left off in response to Hume, and his insights into the nature of perception and understanding remain amazingly relevant and still unsurpassed. Schopenhauer's analyses of causation and related concepts rival and probably surpass in their depth and brilliance the more celebrated discussions of David Hume. Where Hume grossly oversimplified these problems and left them riddled with paradoxes, Schopenhauer disentangled them and shed light on what had seemed hopelessly dark. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:76 Reviews PROPOSITIONAL ANALYSIS David Blitz Philosophy Dept. and Peace Studies / Central Connecticut State U. New Britain, ct 06050, usa [email protected] Graham Stevens. The Russellian Origins of Analytical Philosophy: Bertrand Russell and the Unity of the Proposition. London and New York: Routledge, 2005. Pp. xii, 185. isbn: 978-0-415-36044-9 (hb). £80.00. us$155.95. Graham Stevens has written a short book on a diUcult subject: the unity of the proposition. While (...) the title of the volume is The Russellian Origins of Analytic Philosophy, the underlying theme is the comparatively little discussed problem of how the elements of a proposition come together to form a unity, as indicated in the book’s subtitle: “Bertrand Russell and the Unity of the Prop­ osition”. Stevens traces this concept, as a unifying thread or “central concern”, throughout Russell’s many philosophies which constitute for Stevens a “consis­ tent and constantly evolving philosophy” (p. 2) stretching from the earliest log­ ical writings to the later works of the 1930s and 1940s. This is an important and well written volume, which Russellians should have in their personal and uni­ versity libraries. That the “unity of the proposition” is a problem at all requires the reader to return to the neo-Hegelian idealism which Russell encountered as a student at Cambridge.1 Russell, inXuenced by Peano and Frege, broke with the doctrine of internal relations, defended by Bradley and others, according to which external relations are unreal and false appearance. However, an important element of idealism remains even during the Principia period, due to Russell’s continued belief that a proposition is a non-linguistic, non-mental, abstract entity; these elements are all of the same ontological kind, which can be identiWed through analysis and recombined so that their synthesis reconstitutes the original “unity of the proposition”. This turns out to be a very tall order which will occupy Russell for nearly half a century. Consider the standard example Russell gives: “Desdemona loves Cassio”. According to Russell, this proposition (independently of its truth or falsity) actually contains its “simple constituents”z—zwith “Desdemona” and “Cassio” being things and “loves” a concept. Russell, as a founder of analytic philosophy, has to defend the legitimacy of this analysis from the claim that it has reduced 1 Chapter 1: “Russell, Frege and the Analysis of Unities”. December 2, 2009 (5:28 pm) E:\CPBR\RUSSJOUR\TYPE2901\russell 29,1 060 red.wpd E:\CPBR\RUSSJOUR\TYPE2901\russell 29,1 060 red.wpd Reviews 77 the structured unity of the proposition into an unstructured set of parts (or heap) where the original order of combination has been lost. The problem of is that merely listing “Desdemona”, “Cassio” and “loves” does not indicate the way in which the terms were originally combined or re­ lated. For reasons to be made clear later, this is referred to in the literature as the “narrow order problem”. In particular, the question arises as to how analysis enables us to assert that it is Desdemona who loves Cassio (supposing this to be the case), rather than the other way around (since love may not be requited). Stevens deals with logical form in a later chapter devoted to the problem of belief statements, but the notion applies here as well: analysis seems to have skip­ ped the logical form, the way in which the constituents are combined. But if the logical form is included, then there seems to be an extra constituent in the prop­ osition not given by direct inspection, and analysis would appear to have added something above and beyond what was there before the analysis. Adding linking relations to indicate how the components were originally combined does not help either. If there is some relation Lz which relates “Desdemona” and “loves” and another relation Rz which relates “loves” and “Cassio”, then there are Wve constituents, not three. Moreover, there is now room for inWnite regress, with a relation L2 linking “Desdemona” and L, R2 linking “loves” and “Cassio”, and so on. But without adding these additional items, there is an apparent failure of an­ alysis to fully provide the order of the elements present in the original... (shrink)