In this chapter we explore the importance of the Pantheism Controversy for the evolution of Kant’s so-called “Moral Argument” for the Highest Good and its postulates. After an initial discussion of the Canon of the Critique of Pure Reason, we move on to the relationship between faith and reason in the Pantheism Controversy, Kant’s response to the Controversy in his 1786 “Orientation” Essay, Thomas Wizenmann’s criticisms of that essay, and finally to the Critique of Practical Reason. We argue that while (...) Kant used the Pantheism Controversy to reset his account of the Highest Good, its treatment in the Orientation Essay was susceptible to the objections raised by Thomas Wizenmann, and thus in need of the further advances found in the Critique of Practical Reason. (shrink)

To many, chance and art are antagonistic terms. But a number of 20th century artists have turned this notion on its head by attempting to create artworks based on randomness. Among those, three in particular articulated a well-argued and thorough theory of the radical use of chance in art: André Breton (writer), John Cage (composer) and François Morellet (visual artist). The implications of such a move away from established aesthetics are far-reaching, as much in conceptual as in (...) practical terms, as this book hopes to make clear. Of paramount importance in this coincidentia oppositorum is the suggested possibility of a correlation between the artistic use of chance and a system of thought itself organised around chance. Indeed placing randomness at the centre of one’s art may have deeper philosophical consequences than just on the aesthetical level. (shrink)

Academics generate circles of thought. Their preferred modes of conceptualization—the intellectual constructions in circulation within academic discourse at a given moment—readily pass across disciplinary boundaries. During the past two centuries, philosophical critique and the criticism of art have a history of informing each other. Although the concepts of societal “modernism” and “modernist” art exhibit variation, both are hybrids of philosophical and aesthetic indeterminacies. Rather than fretting over interpretive instability, we are inured to conceptual change and indeterminacy in every domain. But (...) our world becomes circular—ironically, quite stable—when we direct logical reasoning to illuminate its aesthetic double or direct art to illuminate its philosophical double. Inattentive to anything outside the circle, we imagine our intellectual progress, for circularity is self-confirming. Our illusory progress accompanies a spotty record of predicting actual change. With respect to where our philosophical concepts of change have led us, chance is a better guide to our immediate intellectual and aesthetic preferences, even though it presumes no explanation of our comprehensive cultural formation. Although never right, chance has the advantage of never being wrong. (shrink)

Through a series of provocative conversations, Frederick Luis Aldama and Herbert Lindenberger, who have written widely on literature, film, music, and art, locate a place for the discomforting and the often painfully unpleasant within aesthetics. The conversational format allows them to travel informally across many centuries and many art forms. They have much to tell one another about the arts since the advent of modernism soon after 1900—the nontonal music, for example, of the Second Vienna School, the chance-directed (...) music and dance of John Cage and Merce Cunningham, the in-your-faceness of such diverse visual artists as Francis Bacon, Pablo Picasso, Willem de Kooning, Egon Schiele, Otto Dix, and Damien Hirst. They demonstrate as well a long tradition of discomforting art stretching back many centuries, for example, in the Last Judgments of innumerable Renaissance painters, in Goya’s so-called “black” paintings, in Wagner’s Tristan chord, and in the subtexts of Shakespearean works such as King Lear and Othello. This book is addressed at once to scholars of literature, art history, musicology, and cinema. Although its conversational format eschews the standard conventions of scholarly argument, it provides original insights both into particular art forms and into individual works within these forms. Among other matters, it demonstrates how recent work in neuroscience may provide insights in the ways that consumers process difficult and discomforting works of art. The book also contributes to current aesthetic theory by charting the dialogue that goes on—especially in aesthetically challenging works—between creator, artifact, and consumer. (shrink)

In drawing upon the work of Jacques Derrida, Edmund Husserl and Martin Heidegger and aligning it with a new trend in interdisciplinary phenomenology, Ian Andrews provides a unique and refreshing book. His account of how the composer John Cage and other avant-garde creatives such as Marcel Duchamp, Tristan Tzara, Sol LeWitt and Ed Ruscha used chance in their work to question the structures of experience and prompt a new engagement with these phenomena makes a truly important contribution to Continental (...) philosophy. (shrink)

This chapter introduces and defends a pragmatist model of aesthetic disagreement that avoids many of the philosophical puzzles generated by the traditional, semantic, approach. Mainstream philosophical inquiry into aesthetic disagreement begins with a rather innocuous assumption: to understand what’s going on we must first explain what disputants are saying, which involves identifying the meaning of the relevant expressions or determining how aesthetic claims could be true. However, this task brings with it a new host of semantic and epistemic puzzles and (...) fails to vindicate the central role aesthetic disagreements occupy in our aesthetic lives more generally. Further, it isn’t clear how settling the meaning of aesthetic expressions bears on everyday aesthetic disagreements. Paying attention to what we do in an aesthetic disagreement will give us a better chance at identifying what matters for determining what we say. (shrink)

This essay is an attempt to understand the reasons for the current crisis of musical aesthetics. It examines the function of this discipline as the mediator between philosophy and musicology, it inquires into its connections with the ideals of autonomy, beauty and free subjectivity. During the 20th Century, major changes in society and their communication forms happened; anthropology and semiotics began to compete with aesthetics in explaining musical facts. The last paragraphs test the chances of resistance of musical (...) aesthetics ; musical meaning appears to be the only question which endured in spite of the considerable fragmentation and loss of profile of musical experience. (shrink)

I argue that in purely professional games of pure chance, such as slot machines, roulette, baccarat or pachinko, any instance of cheating that successfully deceives the judge can be ‘part of the game’. I examine, and reject, various proposals for the ‘ethos’ that determines how we ought to interpret the formal rules of games of pure chance, such as being a test of skill, a matter of entertainment, a display of aesthetic beauty, an opportunity for hedonistic pleasure, and (...) a fraternal activity. Ultimately, I argue that ‘winning the benefit’ is the only ethos that can apply in purely professional games of pure chance, and that if we interpret the formal rules according to this ethos, cheating that is undertaken with respect for the judge’s authority, but that attempts to cause the judge of the game to ‘voluntarily’ relinquish the benefit of the game by deceiving them into thinking that the formal rules of the game have been followed, is impermissible but acceptable cheating, and is therefore within, rather than outside, the game. Here, I define ‘games of pure chance’ as games in which chance is the only determinant of winning. (shrink)

In German philosophy of the last 250 years, aesthetics has played a leading part. Any arbitrary list of great names contains mainly authors who either have written classical texts on aesthetics or are strongly influenced by aesthetic reflection, for instance, Kant, Hegel, Schelling, Schopenhauer, Marx, Nietzsche, Dilthey, Heidegger, Wittgenstein, Gadamer, and Adorno – the few exceptions being Husserl and Frege. It is not by chance that Frege is one of the founding fathers of modern Anglo-Saxon philosophy, where, (...) generally speaking, aesthetics has had only marginal influence. That is not an insignificant difference. The wildest dreams of one tradition were focused on logic, those of the other on aesthetics. (shrink)

The aim of this paper is to demonstrate that aesthetics had its place in Fichte’s early system of the WL, and that due to contingent circumstances he did not have the chance to expound it. But we can reconstruct the main lines of what his aesthetics would have looked like if we pay attention to the article sent to Schiller in 1795 on the “spirit” and the “letter” in philosophy, completing it with the courses he gave in (...) the preceding months on that topic and with other sources. We discover not only that aesthetics is an important part of the philosophical system but that art stands close the act of philosophising itself. In fact, both the philosopher and the artist draw from the same original source: “spirit” as defined in Kant’s third Critique. For the philosopher as well as for the artist the central faculty is then “imagination”, an imagination that relies on “feeling”. In the end Fichte sketches an aesthetics based on the creative genius of the artist, leaving little room for the faculty of judgment and for taste, that is: the receptive attitude toward beauty, that play a prominent role in Kant’s aesthetics. (shrink)

Against the consensus that Aristotle in the "Poetics" sets out to give tragedy a role in exercising or improving the mature citizen's moral sensibilities, I argue that his aim is rather to analyse what makes a work of literature successful in its own terms, and in particular how a tragic drama can achieve the effect of suspense. The proper pleasure of tragedy is produced by the plotting and eventual dispelling of the play's suspense. Aristotle claims that poetry 'says what is (...) universal' not in order to suggest that poetry achieves anything of the effect of philosophy, but to explain how in creating his plots the poet takes into consideration what, in general, could be expected to happen. Chapter 4 of the "Poetics" is not a theory of mimesis but an analysis of the lowest common denominator of the pleasure we take in fictions. The inevitability or likelihood by which events in the tragic plot are to be connected has an aesthetic rather than a moral function. Doing away with the irrationality of chance and increasing the human intelligibility of the action is not its point; the point is to furnish the plot with the second half of the formula for successful suspense: that events in the plot should happen 'against expectation because of one another'. The first half of the formula is examined under the rubric of peripety or reversal. The formula as a whole describes the pivotal moment when the pieces of the plot suddenly fit with a configuration that only in retrospect can we see to have been falling into place all along. Pity and fear are the emotions on which Aristotle focusses because they are the emotions engaged by the tightening-towards-release of literary suspense. And the pleasure of catharsis is the pleasure of that release. (shrink)

This handbook offers new ways to read the audiovisual. In the media landscapes of today, conglomerates jockey for primacy and the internet increasingly places media in the hands of individuals-producing the range of phenomena from movie blockbuster to YouTube aesthetics. Media forms and genres are proliferating and interpenetrating, from movies, music and other entertainments streaming on computers and iPods to video games and wireless phones. The audiovisual environment of everyday life, too-from street to stadium to classroom-would at times be (...) hardly recognizable to the mid-twentieth-century subject. The Oxford Handbook of New Audiovisual Aesthetics provides powerful ways to understand these changes.Earlier approaches tended to consider sound and music as secondary to image and narrative. These remained popular even as practices from theater, cinema and television migrated across media. However, the traversal, or "remediation," from one medium to another has also provided practitioners and audiences the chance to rewrite the rules of the audiovisual contract. Whether viewed from the vantage of televised mainstream culture, the Hollywood film industry, the cinematic avant-garde, or the participatory discourses of "cyberspace," audiovisual expression has changed dramatically. The book provides a definitive cross-section of current ways of thinking about sound and image. Its authors-leading scholars and promising younger ones, audiovisual practitioners and non-academic writers - open the discussion on audiovisual aesthetics in new directions. Our contributors come from fields including film, visual arts, new media, cultural theory, and sound and music studies, and they draw variously from economic, political, institutional, psychoanalytic, genre-based, auteurist, internationalist, reception-focused, technological, and cultural approaches to questions concerning today's sound and image. All consider the aural dimension, and what Michel Chion calls "audio-vision:" the sensory and semiotic result of sound placed with vision, an encounter greater than their sum. (shrink)

Thinking with images -- Aesthetics without theory -- The Baroque and Bacon's popes -- Chance meeting with Duane Michals -- Étant donnés, Marcel Duchamp -- Le Mépris or Contempt, a film by Jean-Luc Godard.

Marcel Duchamp is often viewed as an "artist-engineer-scientist," a kind of rationalist who relied heavily on the ideas of the French mathematician and philosopher Henri Poincaré. Yet a complete portrait of Duchamp and his multiple influences draws a different picture. In his _3 Standard Stoppages_ (1913-1914), a work that uses chance as an artistic medium, we see how far Duchamp subverted scientism in favor of a radical individualistic aesthetic and experimental vision. Unlike the Dadaists, Duchamp did more than dismiss (...) or negate the authority of science. He pushed scientific rationalism to the point where its claims broke down and alternative truths were allowed to emerge. With humor and irony, Duchamp undertook a method of artistic research, reflection, and visual thought that focused less on beauty than on the notion of the "possible." He became a passionate advocate of the power of invention and thinking things that had never been thought before. The _3 Standard Stoppages_ is the ultimate realization of the play between chance and dimension, visibility and invisibility, high and low art, and art and anti-art. Situating Duchamp firmly within the literature and philosophy of his time, Herbert Molderings recaptures the spirit of a frequently misread artist-and his thrilling aesthetic of chance. (shrink)

This paper reflects on Virtue as a key concept at the source of the common, and still prevalent, classification of drawings as bad or good, which shifted from the moral or Ethical to the Aesthetics domain between 1400 and 1600. It is suggested that clarity and control were characteristics of goodness in a particular period, while fastness and chance were characteristics of goodness in subsequent times, yet both revealing the projections of the ethical over the aesthetic.

Marcel Duchamp is often viewed as an "artist-engineer-scientist," a kind of rationalist who relied heavily on the ideas of the French mathematician and philosopher Henri Poincaré. Yet a complete portrait of Duchamp and his multiple influences draws a different picture. In his _3 Standard Stoppages_, a work that uses chance as an artistic medium, we see how far Duchamp subverted scientism in favor of a radical individualistic aesthetic and experimental vision. Unlike the Dadaists, Duchamp did more than dismiss or (...) negate the authority of science. He pushed scientific rationalism to the point where its claims broke down and alternative truths were allowed to emerge. With humor and irony, Duchamp undertook a method of artistic research, reflection, and visual thought that focused less on beauty than on the notion of the "possible." He became a passionate advocate of the power of invention and thinking things that had never been thought before. The _3 Standard Stoppages_ is the ultimate realization of the play between chance and dimension, visibility and invisibility, high and low art, and art and anti-art. Situating Duchamp firmly within the literature and philosophy of his time, Herbert Molderings recaptures the spirit of a frequently misread artist-and his thrilling aesthetic of chance. (shrink)

The presence of asymmetry in the human cerebral hemispheres is detectable at both the macroscopic and microscopic scales. The horizontal expansion of cortical surface during development (within individual brains), and across evolutionary time (between species), is largely due to the proliferation and spacing of the microscopic vertical columns of cells that form the cortex. In the asymmetric planum temporale (PT), minicolumn width asymmetry is associated with surface area asymmetry. Although the human minicolumn asymmetry is not large, it is estimated to (...) account for a surface area asymmetry of approximately 9% of the region’s size. Critically, this asymmetry of minicolumns is absent in the equivalent areas of the brains of other apes. The left-hemisphere dominance for processing speech is thought to depend, partly, on a bias for higher resolution processing across widely spaced minicolumns with less overlapping dendritic fields, whereas dense minicolumn spacing in the right hemisphere is associated with more overlapping, lower resolution, holistic processing. This concept refines the simple notion that a larger brain area is associated with dominance for a function and offers an alternative explanation associated with “processing type.” This account is mechanistic in the sense that it offers a mechanism whereby asymmetrical components of structure are related to specific functional biases yielding testable predictions, rather than the generalization that “bigger is better” for any given function. Face processing provides a test case – it is the opposite of language, being dominant in the right hemisphere. Consistent with the bias for holistic, configural processing of faces, the minicolumns in the right-hemisphere fusiform gyrus are thinner than in the left hemisphere, which is associated with featural processing. Again, this asymmetry is not found in chimpanzees. The difference between hemispheres may also be seen in terms of processing speed, facilitated by asymmetric myelination of white matter tracts ( Anderson et al., 1999 found that axons of the left posterior superior temporal lobe were more thickly myelinated). By cross-referencing the differences between the active fields of the two hemispheres, via tracts such as the corpus callosum, the relationship of local features to global features may be encoded. The emergent hierarchy of features within features is a recursive structure that may functionally contribute to generativity – the ability to perceive and express layers of structure and their relations to each other. The inference is that recursive generativity, an essential component of language, reflects an interaction between processing biases that may be traceable in the microstructure of the cerebral cortex. Minicolumn organization in the PT and the prefrontal cortex has been found to correlate with cognitive scores in humans. Altered minicolumn organization is also observed in neuropsychiatric disorders including autism and schizophrenia. Indeed, altered interhemispheric connections correlated with minicolumn asymmetry in schizophrenia may relate to language-processing anomalies that occur in the disorder. Schizophrenia is associated with over-interpretation of word meaning at the semantic level and over-interpretation of relevance at the level of pragmatic competence, whereas autism is associated with overly literal interpretation of word meaning and under-interpretation of social relevance at the pragmatic level. Both appear to emerge from a disruption of the ability to interpret layers of meaning and their relations to each other. This may be a consequence of disequilibrium in the processing of local and global features related to disorganization of minicolumnar units of processing. (shrink)

This issue is dedicated to thinking about art and current aesthetic perspectives through Hegelianism.

Chez Foucault le pouvoir est d'abord pensé comme déploiement de la visibilité et comme inscription des corps. On voit dans une première partie comment les figures de l'autorité disparaissent, laissant place à un espace de dispersion où s'estompe la figure de l'homme comme effet passager d'une discontinuité entre le savoir et le pouvoir. Si le pouvoir est invisible lorsqu'il se confond avec l'adéquation à soi du savoir, c'est dans un effet de résistance que se constituent nos expériences qui sont à (...) la fois événements et significations : dans une deuxième partie nous reprenons la question du pouvoir à partir de l'impuissance du sujet à fonder son expérience, la perte de l'intériorité, la difficulté de la contestation, la perte de la profondeur, la perte du corps comme « propre » qui est aussi perte de l'excellence inhérente à tout être humain et du sexe comme affirmation de la différence . Nous croyons toujours opposer une nature intacte au déploiement du pouvoir. Nous examinons comment nous croyons trouver cette nature dans ce que nous caractérisons comme sujet de la contestation, peuple-substrat, corps-rebelle ou sexe-nature. Mais - nous le voyons dans la troisième partie - ces natures sont toujours « informées » par le pouvoir. C'est pourquoi, dans ce qui oppose une résistance au pouvoir, tels les expériences de la contestation sociale, de la sexualité et aussi du redoublement et de la transgression dans le langage, on retrouve les mêmes figures de déploiement qui caractérisent un pouvoir qui se redouble en lui-même et se dissémine dès qu'il rencontre des résistances, pour informer celles-ci. Car chez Foucault, l'expérience est une structure tripartite qui met en relation savoir, pouvoir et subjectivité.In Foucault's first writings, power was the spreading-out of visibility and an inscription of bodies. In the first part of this paper we examine how the figures of authority slowly faded, as power became very dispersed and diffused, only to give a last glimpse of the figure of man, a mere discontinuity between knowledge and power. If power remains invisible when it merges completely with a self-sufficient knowledge, our experiences take shape as effects of resistance to power. This is why experiences are simultaneously events and meanings : in a second part we reconsider the query on power in the light of Foucault's commentary on the difficulty of the subject to give foundation to his experiences, the loss of inferiority and profoundness, the challenge of true subversion, the loss of the body as one's "own", the loss of belief in a core of goodness in all human beings and the loss of sex as being decisive in recognition of a difference . We believe we ultimately can oppose an untouched and profound quality in human nature to the dispersion of power. We examine the different forms of such a belief in what we caractérise as the subject of subversion, the people as substratum, the body as rebel and sex as nature. But - as we can see in the third part - these natures are always "informed" by power. This is why we can find in most forms of resistance to power, as in the experiences of social subversion, sexuality, redoubling and transgression in language, the same forms of scattering which are specific to power itself, to a power which redoubles itself and in itself and is disseminated wherever he meets some resistance, to inform the latter. As with Foucault, experience is a tripartite structure which relates knowledge, power and subjectivity. (shrink)

Notre culture est atlantidienne par deux aspects : elle se veut insulaire, elle voue un culte au spectacle. Atlantide était aux Athéniens ce qu'Hollywood, Disney & Co sont au monde occidental. La crise relève d'une tension entre le spectacle et la vie, nous multiplions les tentatives de camoufler la crise dans un grand discours pseudo-culturel spectaculaire, par une pléthore de " créations " ou d'" événements " superficiels et dérisoires. Pendant des siècles, l'art et la science ont travaillé de concert (...) dans une même exigence de découverte. Aujourd'hui, l'art joue un rôle secondaire, tandis que le discours sur la consommation et le divertissement fait d'une société dominée par la science le meilleur des mondes possibles. Quelles en sont les conséquences pour l'art? Critiques, médias, artistes, publics : chacun des rouages de la machine est ici analysé avec brio. Il en résulte un essai indispensable à une meilleure compréhension du rôle de l'art dans une société prompte à envisager l'avenir en se persuadant d'avoir toujours " déjà " existé. (shrink)

In "Aesthetic Histories" our contributors’ shared concern is the inspiring and confounding, healthy and uncomfortable and above all inevitable relationship between history and aesthetic praxis.

Avant de rédiger son Discours de la méthode, véritable coup d'Etat dans la pensée philosophique du XVIIe siècle, le jeune Descartes avait fait trois songes dans une nuit de novembre 1619. Le cerveau en feu de M Descartes revisite ces rêves, où le jeune philosophe entrevoit le fondement matriciel qui relie tous les êtres, et propose un quatrième songe dont il ne serait pas revenu. Nous avons voulu comprendre comment, à l'issue de cette nuit, Descartes entreprend de fonder le cogito (...) contre tous les vertiges entrevus. Un délire philosophique a décidé du destin de l'Occident, a provoqué un durcissement de la raison. Aujourd'hui, alors que la raison de la technologie et de la finance est remise en cause, que nous remettons en doute la Raison des raisons, il importe de revisiter cette vision fondamentale et d'établir un dialogue avec l'écologie intuitive des cultures autochtones : c'est le cinquième songe. (shrink)

Responding to the need for a timely and authoritative volume dedicated to this burgeoning and expansive area of research, this handbook will provide readers with a map of themes, topics, and arguments in the field of engineering ethics education (EEE). Featuring critical discussion, research collaboration, and a team of international contributors of globally recognised standing, this volume comprises six key sections which elaborate on the foundations of EEE; teaching methods; accreditation and assessment; and interdisciplinary contributions. Over 100 researchers of EEE (...) from around the globe consider the field from the perspectives of teaching, research, philosophy, and administration. The chapters cover fast-moving topics central to our current understanding of the world such as GDPR, AI, biotechnology, and ChatGPT; new insights into best practices research to equip programme leaders and instructors delivering ethics content to students. This Open Access volume will be of interest to researchers, scholars, postgraduate students, and faculty involved with engineering education, engineering ethics, and philosophy of education. Curriculum designers, staff developers teaching pedagogical courses to faculty, and engineering professionals may also benefit from this volume. (shrink)

Review of Gerhard Richter's work on randomness in his recent abstract art paintings, compared with John Cage's work on randomness; the review asks about what randomness in representation qua art amounts to.

Published under the auspices of The World Institute for Advanced Phenomenological Research and Learning, 19 essays document the April 1998 international congress held at Harvard University. They ponder on such topics as the phenomenology of the experience of enchantment, Leonardo's enchantress, the ambiguous meaning of musical enchantment in Kant's Third Critique, art and the reenchantment of sensuous human activity, the creative voice, the allure of the Naza, Henri Matisse's early critical reception in New York, Zizek's sublimicist aesthetic of enchanted fantasy, (...) and enchantment in Baroque festive court performance in France. There is no subject index. Annotation copyrighted by Book News Inc., Portland, OR. (shrink)

A hijacking is a violent takeover, a misappropriation of something for a purpose other than its intended one, by parties other than those for whom the thing was meant. This issue explores the aesthetic practices and consequences of unauthorized repurposing.

In her book, Vibrant Matter, Jane Bennett thinks through what ontological, political, and ecological questions would look like if humans could admit that matter and nonhuman things are living, creative agents; the contributors to this issue of Evental Aesthetics begin to think through what aesthetic questions would look like.

Volume 11, Issue 1-2, January–December 2024.

"We must turn to the Euthydemus if we are to understand both Plato's earlier and his more mature work. Thomas Chance's book is an indispensible tool for penetrating to the sources of Plato's thinking on the nature of philosophy. This is the most impressive treatment of the dialogue so far available to scholars, and the interpretations offered will surely be the starting point for all future discussions."--G. B. Kerferd, Emeritus, University of Manchester "A sensitive and well-informed study of an (...) important and much neglected dialogue."--R. E. Allen, Northwestern University "A sensitive and well-informed study of an important and much neglected dialogue."--R. E. Allen "Chance's book [will be] an indispensable tool for penetrating to the sources of Plato's thinking.... The interpretations offered will surely be the starting point for all future discussions."--George Kerferd. (shrink)

Eric Watkins has argued on philosophical, textual, and historical grounds that Kant’s account of causation in the first Critique should not be read as an attempt to refute Hume’s account of causation. In this paper, I challenge the arguments for Watkins’ claim. Specifically, I argue (1) that Kant’s philosophical commitments, even on Watkins’ reading, are not obvious obstacles to refuting Hume, (2) that textual evidence from the “Disciple of Pure Reason” suggests Kant conceived of his account of causation as such (...) a refutation, and (3) that none of Hume’s early German critics provided responses to this account that would have satisfied Kant. Watkins’ reading of Kant’s account of causation is thus more compatible with traditional views about Kant’s relationship to Hume than Watkins believes. (shrink)

Hume’s account of causation is often regarded a challenge Kant must overcome if the Critical philosophy is to be successful. But from Kant’s time to the present, Hume’s denial of our ability to cognize supersensible objects, a denial that relies heavily on his account of causation, has also been regarded as a forerunner to Kant’s critique of metaphysics. After identifying reasons for rejecting Wayne Waxman’s recent account of Kant’s debt to Hume, I present my own, more modest account of this (...) debt, an account that seeks to unite the two very different pictures of Kant’s relationship to Hume sketched above. (shrink)

Suicidal Thoughts is a compilation of some of the most moving and insightful writing accomplished on the topic of suicide. It presents the thoughts and experiences of fifteen writers who have contemplated suicide-some on a professional level, others on a personal level, and a few, both personally and professionally. Through this collection, the reader is able to bear witness to the struggle between life and death and to the devastating aftermath of suicide. Suicidal Thoughts provides readers with a better understanding (...) of the reasons why some individuals give serious consideration to killing themselves. (shrink)

I raise three questions relevant to De Boer’s overall project in Kant’s Reform of Metaphysics. The first is whether Kant’s 1799 open letter to Fichte supports or threatens her contention that Kant had an abiding interest in developing a reformed metaphysics from 1781 onwards. The second is whether De Boer’s conception of the pure intellect and its place in Kant’s projected system of metaphysics captures the role of pure sensibility in the Analytic of Principles, rational physics and rational psychology. The (...) third is whether one might accept the outline of this system as De Boer develops it while still holding that it is more accurate to characterize it as revolution rather than reform. (shrink)

The Tale of Genji: Translation, Canonization, and World Literature. By Michael Emmerich. New York: Columbia University Press, 2013. Pp. xv + 494. $95, $35.

In recent years, I have developed an endurance running art-practice as part of a larger inquiry into the performative nature of human physical activity. In the Absence of Running is series of artworks made using images from medical arthroscopic interventions following the diagnosis of medial meniscus tears to the cartilage and osteoarthritis in both my knees. Faced with not being able to run or to make artworks using running in the long-term, I turned to the tools of medical intervention. If (...) a camera was going inside my knee for the purpose of surgery, I would use it for the purpose of art. The resulting videos and photographs led to a contemplation on the image and viewing practices not previously anticipated, not least on the now endemic uses of advanced imaging technologies as integral parts of surgical operations. Their reassembly as a stop-frame animation and artist’s book in physical and electronic form enabled a process of slowing down and re-engagement with the image and physicality of the book itself and processes and with practices of viewing. This was important in reasserting the sense of human agency in our relationship to images in a world where this appears to be increasingly absent. (shrink)