The purpose of this paper is to address Rorty’s critique of Dewey’s notion of experience and to reaffirm a view in which the call to experience is indispensable for a genuinely contingent philosophy. In the first part, I analyze Rorty’s critique of Dewey and show its inconsistency. In the second part, I draw a comparison between their aesthetic views and argue that a true aesthetic experience must consist in the cultivation and creative transfiguration of situational resistances. In the third part, (...) using Jane Addams as an example, I illustrate how at Hull House the resistances provided by the situation were transfigured into original and meaningful aesthetic experiences that touched people’s lives and allowed for a meaningful and intelligent reconstruction. (shrink)

This thesis examines the function of art in Nietzsche's philosophy. Its primary concern is with Nietzsche's turn to art as the means to counter what he terms metaphysics. Metaphysics is a metonym for the system of beliefs sustaining our culture whereby human judgements about the world are perceived as uncovering an objective truth antecedent to those judgements, with an implicit faith in the possibility of exhausting the totality of these antecedent truths. This thesis consequently has two principal strands. The first (...) is to analyse Nietzsche's criticism of metaphysics. The second is to explore the way in which, using a specific understanding of art, Nietzsche attempts to reconcile extreme scepticism towards all forms of human knowledge with a continued belief in their necessity. The thesis argues that Nietzsche lays an importance on art as providing an aesthetic education to replace the misguided theoretical orientation of metaphysics. Nietzsche criticises metaphysics for its inability to recognise that its interpretations are mere interpretations, that logic and the rational serve as means to make the world meaningful from the human perspective. My thesis explores how he sees art, and in particular the tragic, as constituting a mode of world interpretation which declares its status as such. I argue that for Nietzsche this is crucial inasmuch as a failure to recognise the contingency of our interpretations results in a refusal to give value in any interpretations. For Nietzsche the advent of the Modern age heralds the danger of such refusal, and hence I argue that his turn to art is a response to the specifically Modern temptation to descend into mere cynical Nihilism. (shrink)

This major new book contains a collection of papers that examine the current state-of-the-art in the valuation of environmental resources. In particular, they assess the meaningfulness of environmental resource values obtained through the contingent valuation metho.

This article is divided into two parts. The first part demonstrates the importance of contingency in art. There is a strong link between contingency and creativity, and it is possible to say that in art this contingency-dependent creativity makes art more “real”. In this first part the “creative contingency” or art model will also transferred to the idea of the “art of life” as a mixture of ethics and aesthetics. The second part analyzes the capacity of (...) algorithms to produce aesthetic expressions by following necessary rules and by excluding contingency. Is this cognitive model compatible with artistic creativity? (shrink)

The paper seeks to defend the following view. Aesthetic experience is historically contingent. Each of us is situated at a unique point in space and time, from which standpoint we continuously imagine our personal, and our collective, history. Our experience of any object of aesthetic intention is susceptible of being influenced by associations, that is by our locating the contemplated object in relation to some part or parts of this imagined history. We should not be embarrassed by the role that (...) such contingent associations play in our aesthetic life. In contemplating a work of art, as in loving or desiring another person, we focus intently upon the single object, but its value to us is enhanced by our seeing it from and through and in the light of our personal and collective 'historical' imagination. (shrink)

One of the major effects of prohibiting or inhibiting explicit evaluation is to forestall the exhibition and obviate the possible acknowledgment of divergent systems of value and thus to ratify, by default, established evaluative authority. It is worth noting that in none of the debates of the forties and fifties was the traditional academic canon itself questioned, and that where evaluative authority was not ringingly affirmed, asserted, or self-justified, it was simply assumed. Thus Frye himself could speak almost in one (...) breath of the need to “get rid of…all casual, sentimental, and prejudiced value-judgments” as “the first step in developing a genuine poetics” and of “the masterpieces of literature” which are “the materials of literary criticism” . The identity of those masterpieces, it seemed, could be taken for granted or followed more or less automatically from the “direct value-judgment of informed good taste” or “certain literary values…fully established by critical experience” .In a passage of particular interest, Frye wrote:Comparative estimates of value are really inferences, most valid when silent ones, from critical practice…The critic will find soon, and constantly, that Milton is a more rewarding and suggestive poet than Blackmore. But the more obvious this becomes, the less time he will want to waste belaboring the point. [AC, p. 25]In addition to the noteworthy correlation of validity with silence , two other aspects of Frye’s remarks here repay some attention. First, in claiming that it is altogether obvious that Milton, rather than Blackmore, is “a more rewarding and suggestive poet [for the critic] to work with,” Frye begged the question of what kind of work the critic would be doing. For surely if one were concerned with a question such as the relation of canonical and noncanonical texts in the system of literary value in eighteenth-century England, one would find Blackmore just as rewarding and suggestive to work with as Milton. Both here and in his repeated insistence that the “material” of criticism must be “the masterpieces of literature” , Frye exhibits a severely limited conception of the potential domain of literary study and of the sort of problems and phenomena with which it could or should deal. In this conceptual and methodological confinement, however , he has been joined by just about every other member of the Anglo-American literary academy during the past fifty years. Barbara Herrnstein Smith is University Professor of English and communications and director of the Center for the Study of Art and Symbolic Behavior at the University of Pennsylvania. She is the author of, among other works, Poetic Closure and On the Margins of Discourse. Her previous contribution to Critical Inquiry, “Narrative Versions, Narrative Theories,” appeared in the Autumn 1980 issue. The present essay is part of a full-length study of literary and aesthetic value and evaluation. (shrink)

This book presents a comprehensive study of Oakeshott’s conception of political activity. The author first examines Oakeshott in the contexts of liberal, conservative and Idealist thought, and then presents a detailed interpretation of the change in his conception of politics in the context of British postwar political thought. It is argued that Oakeshott’s conception of political activity shifted from a near contempt of politics towards the applauding of politics as a deliberative and reflective activity. The development is disclosed by examining (...) the change in his key concepts, such as authority and tradition. Accordingly, some rather unexpected aspects of Oakeshott’s thought, such as his close relationship to the linguistic turn, appear. The author argues that although Oakeshott cannot exactly be classified as belonging to that group of political philosophers for whom politics represents a superior human activity, his later work presents an important and original view of politics as an art of contingency. (shrink)

How does contingency “appear” and how can it be “used” in the creation of artworks? What are the aesthetic and art historical implications of elaborating the possibilities of randomness in art? In this article I investigate these questions with the help of a series of artworks. Therefore, I am not pursuing a mere theoretical survey, i.e. scrutinising just the ideas (both the older conceptualisation and more recent theories) concerning the concept of contingency. Instead of such an ideahistorical approach, (...) here I am more interested in observing the question from the point of view of the actual practice and practitioners, hence what we can learn from the inspection of the works of art themselves. For this, first I examine some exciting aspects and questions around art, aesthetics and contingency, with the help of a piece by Alma Heikkilä. After that I provide an overview of some of the most exciting examples of the manifestation and “use” of randomness in art, ranging from the Renaissance to the 21st century. This will then help us, towards the end of the paper, to identify some curious patterns in the development of the occurrence of contingency and of the artistic “handling” of chance in art practices as well as to understand better the creative significance and aesthetic consequences of elaborating randomness. (shrink)

SummaryI defend a conventionalist view of logical and mathematical truths against the criticisms of Quine and Stroud. Conventionalism is best formulated by appealing to sense‐conferring rules governing important logical and mathematical expressions. Conventional necessity can be understood as arising from these rules in a way that is immune to Quine's and Stroud's criticisms of the earlier formulation of conventionalism, in which stress was incorrectly laid on axiomatic systems of logic.RésuméJe soutiens, en dépit des critiques de Quine et de Stroud, une (...) conception conventionnaliste des vérités logiques et de vérités mathématiques. La meilleure façon de formuler le conventionnalisme est de faire appel à des règies conférant un sens à?on;importantes expressions logiques et mathématiques. La nécessité conventionnelle peut être comprise comme provenant de ces règies par des voies qui ne donnent pas prise aux critiques de Quine et de Stroud ag ľégard de ľancienne formulation du conventionnalisme, dans laquelle ľaccent était mis, a tort, sur les systèmes axiomatiques de la logique.ZusammenfassungGegen Quines und Strouds Kritiken verteidige ich eine konventionalistische Auffassung der logischen und mathematischer Wahrheiten. Der Konventionalismus wird am besten durch Berufung auf bedeutungsstiftende Regeln, die den Gebrauch wichtiger logischer und mathematischer Ausdrücke bestimmen, formuliert. Konventionelle Notwendigkeit kann als von diesen Regeln hervorgebracht verstanden werden – und das zwar auf eine Art, die sie vor Quines und Strouds Anfechtungen schützen. In der von diesen kritisierten, früheren Fassung wurde zu unrecht das Gewicht auf axiomatische Systeme der Logik gelegt. (shrink)

Drawing on Marxist and psychoanalytic frameworks, I collect notes and reflections about the experience of contingent work in the Writing Center at Amherst College, a private liberal arts college in the United States. Taking the tradition of workers' inquiry as a source of inspiration and point of departure, I chart the material relations of the job alongside its social and affective dimensions. Connecting the form that writing takes (in classrooms and scholarly publishing) to the political economic relations of higher education, (...) I reframe writing as a means to make sense of experience rather than as a mode of professionalized conversation. (shrink)

The scattered and pervasive variability of material objects, being a conspicuous part of the very experience of early-modern and modern science, challenges its purely theoretic character in many ways. Problems of this kind turn out in such different scientific contexts as Galilean physics, chemistry, and physiology. Practical answers are offered on the basis of different approaches, among which, in particular, two can be singled out. One is made out by what is often called an ‘art’ of experiments. From the Renaissance (...) until J. H. Lambert’s writings of the 1750–1760s, we can follow a train of reflections on the art of making experiments that deal precisely with the persistence of contingency in the material objects of pure science. The other is the analysis of contingency in probabilistic terms. They develop subsequently and eventually meet, as it can be seen precisely in Lambert’s work: among the first to pursue this path are Jakob Bernoulli and Leibniz. (shrink)

This paper takes meals, rather than food itself, as its focus. Meals incorporate the project of nutrition into human life, but it is a contingent matter that we nourish ourselves in this way. This paper defends the importance of meals as meaning-makers and contrasts them with art in that regard. Meals and art represent interestingly different extremes with respect to how needs for meaning are met. Artworks ask for coordination of experience, understanding and appreciation: the meaning of art is to (...) be experienced. The meaning of meals is enacted and accumulates collectively, but need not be experienced. (shrink)

The common assumption is that works of popular are less serious, less artistically valuable. Popular art is driven by a profit motive; real art, high art, is produced for loftier goals, such as aesthetic appreciation. Further, popular art is formulaic and gravitates toward the lowest common denominator. High art is innovative. It enriches, elevates, and inspires; popular art just entertains. Worse, popular art inculcates cultural biases. It is a corporate tool of ideological indoctrination, making contingent social and economic arrangements seem (...) necessary. Or so the common view holds. In light of these common assumptions, we must ask just what marks the distinction between high art and popular art? Is there really any important difference at all? Is there reason to think that popular is by its very nature aesthetically inferior to high art? In this article, I consider some of the prominent answers to these questions. The discussion is organized around questions concerning two general topics: (1) the nature of popular art, and (2) the putative aesthetic deficiencies of popular art. (shrink)

A comprehensive discussion of Plato's treatment of techne, which shows that the final goal of Platonic philosophy is nontechnical wisdom. The Greek word "techne," typically translated as "art," but also as "craft," "skill," "expertise," "technical knowledge," and even "science," has been decisive in shaping our "technological" culture. Here David Roochnik comprehensively analyzes Plato's treatment of this crucial word. Roochnik maintains that Plato's understanding of both the goodness of techne, as well as its severe limitations and consequent need to be supplemented (...) by "nontechnical" wisdom, can speak directly to our own concerns about the troubling impact technology has had on contemporary life. For most commentators, techne functions as a positive, theoretical model through which Plato attempts to articulate the nature of moral knowledge. Scholars such as Terence Irwin and Martha Nussbaum argue that Plato’s version of moral knowledge is structurally similar to techne. In arguing thus, they attribute to Plato what Nietzsche called "theoretical optimism," the view that technical knowledge can become an efficient panacea for the dilemmas and painful contingencies of human life. Conventional wisdom has it, in short, that for Plato technical, moral knowledge can solve life's problems. By systematically analyzing Socrates’ analogical arguments, Roochnik shows the weakness of the conventional view. The basic pattern of these arguments is this: if moral knowledge is analogous to techne, then insurmountable difficulties arise, and moral knowledge becomes impossible. Since moral knowledge is not impossible, it cannot be analogous to techne. In other words, the purpose of Socrates' analogical arguments is to reveal the limitations of techne as a model for the wisdom Socrates so ardently seeks. For all the reasons Plato is so careful to present in his dialogues, wisdom cannot be rendered technical; it cannot become techne. Thus, Roochnik concludes, Plato wrote dialogues instead of technical treatises, as they are the appropriate vehicle for his expression of nontechnical wisdom. (shrink)

This article aims to demonstrate how the aesthetical theory of Theodor Adorno represents the very nucleus of Adorno’s “sociological philosophy”. I show why artworks, thanks to the ontological and material elements that constitute them, are the privileged point to comprehend the factors at play in society. In order to achieve this, I investigate particularly the concept of form. With this, I underline how the character of “open form” of modern art claimed by Adorno, though being a manifestation of a contingent (...) historical moment, is able to deeply reflect the character of “openness” of reason, which thus conjugates with the proper function of philosophy. (shrink)

The topic of this paper is the role played by context in art. In this regard I examine three theories linked to the names of J. Levinson, G. Currie and D. Davies. Levinson’s arguments undermine the structural theory. He finds it objectionable because it makes the individuation of artworks independent of their histories. Secondly, such a consequence is unacceptable because it fails to recognise that works are created rather than discovered. But, if certain general features of provenance are always work-constitutive, (...) as it seems that Levinson is willing to claim, these features must always be essential properties of works. On the other hand, consideration of our modal practice suggests that whether a given general feature of provenance is essential or non-essential depends upon the particular work in question or is “work relative”. D. Davies builds his performance theory on the basis of the critical evaluation of Currie’s action-type hypotheses (ATH). Performances, says Davies, are not to be identified with “basic actions” to which their times belong essentially, but with “doings” that permit of the sorts of variation in modal properties required by the work-relativity of modality. He is also a fierce critic of the contextualist account. Contextualism is in his view unable to reflect the fact that aspects of provenance bear upon our modal judgements with variable force. In the second part of the paper I consider Davies’s “modality principle”. Davies is inclined to defend the claim that labels used for designation of works are rigid designators. Such a view offers a ground for discussion about the historicity of art. What has been meant when people claim that art is an historical concept? I argue that any historical theory implies a two-dimensional notion of “art”. At the end of the paper I suggest that Davies should embrace the theory of contingent identity and not the colocationist view about the relationship that exists between a particular artwork and its physical bearer. (shrink)

Attempting art: an essay on intention-dependenceIt is a truism among philosophers that art is intention-dependent—that is to say, art-making is an activity that depends in some way on the maker's intentions. Not much thought has been given to just what this entails, however. For instance, most philosophers of art assume that intention-dependence entails concept-dependence—i.e. possessing a concept of art is necessary for art-making, so that what prospective artists must intend is to make art. And yet, a mounting body of anthropological (...) and art-historical evidence and philosophical argument suggests that not only is such a criterion unsatisfied by most of the art-historical canon, but it also rests on a false premise: concepts of 'art' are not shared between cultures, nor even in the same culture across time. My dissertation aims to rectify this error by first exploring what our commitment to art's intention-dependence actually entails, and then showing that, properly understood, intention-dependence sets a number of important constraints on theories of art with respect to explanatory desiderata such as the success- and failure-conditions of art-attempts, the cross-cultural identification of art, and the reference of 'art' and art-kind terms. I begin by situating art's intention-dependence in the philosophical literature on intentional action, arguing that, properly conceived, intention-dependence is a weak criterion which can be satisfied either directly or indirectly. It therefore does not necessarily entail concept-dependence. I then use this distinction to motivate a new treatment of the success- and failure-conditions for art-attempts, arguing that the extant model's emphasis on compliance with 'the manner intended' is far too restrictive to capture actual artistic practices. I go on to show that Ruth Millikan's model of linguistic conventions supplies an independently plausible explanation of art's concept-independent origins in terms of the development of a system of indirectly intention-dependent conventions called an 'artworld'. I argue that this account of artworld development supplies us with the tools we need to distinguish art-kinds from other artifactual kinds. Finally, I turn my attention to methodological issues, arguing that even though 'art' is a social kind with its roots in arbitrary and historically-contingent networks of conventions, the philosophy of art is not merely an exercise in bare conceptual analysis. In fact, there is now a great deal of evidence to show that the ways we think about 'art' are inconsistent, incomplete, imperialistic, and largely unprincipled. Yet I argue that this does not mean that the artworld data have no bearing on theories of art. Instead, I argue that our best reflective understanding of our artworld practices sets the constraints on the reference of 'art' and art-kind terms. I argue that we have no privileged epistemic access to the ontology of social kinds; our only privilege lies in our ability to determine the proper subject of our inquiries. (shrink)

Philosophers and artists consider the relevance of Maurice Merleau-Ponty’s philosophy for understanding art and aesthetic experience. This collection of essays brings together diverse but interrelated perspectives on art and perception based on the philosophy of Maurice Merleau-Ponty. Although Merleau-Ponty focused almost exclusively on painting in his writings on aesthetics, this collection also considers poetry, literary works, theater, and relationships between art and science. In addition to philosophers, the contributors include a painter, a photographer, a musicologist, and an architect. This widened (...) scope offers important philosophical benefits, testing and providing evidence for the empirical applicability of Merleau-Ponty’s aesthetic writings. The central argument is that for Merleau-Ponty the account of perception is also an account of art and vice versa. In the philosopher’s writings, art and perception thus intertwine necessarily rather than contingently such that they can only be distinguished by abstraction. As a result, his account of perception and his account of art are organic, interdependent, and dynamic. The contributors examine various aspects of this intertwining across different artistic media, each ingeniously revealing an original perspective on this intertwining. (shrink)

Mary Devereaux has suggested, in an overview of feminist aesthetics[1], that feminist aesthetics constitutes a revolutionary approach to the field: "aesthetics cannot simply 'add on' feminist theories as it might add new works by [ Nelson ] Goodman, Arthur Danto or George Dickie. To take feminism seriously involves rethinking our basic concepts and recasting the history of the discipline." In particular, feminist theory involves a rejection of "deeply entrenched assumptions about the universal value of art and aesthetic experience." Overthrowing these (...) assumptions "constitutes what art historian, Linda Nochlin, describes as a Kuhnian paradigm shift."[2] Near the end of her essay, Devereaux returns to this theme: "If feminism constitutes a new paradigm, then we may wish to ponder how far the old model of aesthetics and the new are commensurable. Is traditional aesthetics contingently or necessarily associated with patriarchy? Can the 'gender-neutral' aesthetics of the traditional model be reformed or must it be rejected?". (shrink)

Some time ago, Quine asserted that to be is to be value of a variable. This entails that if one wishes to accept any theory as true, we must be committed to the existence of those objects over which we existentially quantify. I suggest instead that we are committed only to the existence of things for which certain intrinsic properties are contingent (those that an object can have independent of the properties that make it a member of a certain kind). (...) Any discourse that involves existential quantification over entities for which those properties can change should be given an objectual interpretation, and these objects are therefore real. In contrast, all discourse that involves existential quantification over objects who have at least some intrinsic properties essentially, which are properties that are not what make them members of a kind, will be given a substitutional interpretation, which does not entail a realist interpretation. This conception of ontological commitment has potential direct consequences in several areas -- the status of fictional characters, the debate about the existence of god, realism about mathematical entities, and so on. (shrink)

There is a familiar debate between Russell and Strawson concerning bivalence and ‘the present King of France’. According to the Strawsonian view, ‘The present King of France is bald’ is neither true nor false, whereas, on the Russellian view, that proposition is simply false. In this paper, I develop what I take to be a crucial connection between this debate and a different domain where bivalence has been at stake: future contingents. On the familiar ‘Aristotelian’ view, future contingent propositions are (...) neither true nor false. However, I argue that, just as there is a Russellian alternative to the Strawsonian view concerning ‘the present King of France’, according to which the relevant class of propositions all turn out false, so there is a Russellian alternative to the Aristotelian view, according to which future contingents all turn out false, not neither true nor false. The result: contrary to millennia of philosophical tradition, we can be open futurists without denying bivalence. (shrink)

Authors, especially “advocates for virtue,” writes Samuel Johnson in one of his Rambler essays, might consider following the example of monarchs, who, hiding themselves from the public, “avoid the conversation of mankind […], for men would not more patiently submit to be taught, than commanded, by one known to have the same follies and weaknesses with themselves.” It is easy to see, continues Dr. Johnson, that writing well is easier than living well: teaching navigation on land is not the same (...) as actually commanding a ship on sea, just as designing a life in “solitude, safety, and tranquility, with a mind unbiased, and with liberty unobstructed” is easier than actually living by that design “amidst tumult, and snares, and danger.” It is no surprise that allegedly even Milton was pleased that he did not disappoint an enthusiastic visitor and was “found equal to his own character”—a character born out of his textual world (Samuel Johnson, “The Rambler No. 14. (5 May, 1750)”, in Selected Essays from the Rambler, Adventurer, and Idler, ed. W.J. Bate. Yale University Press, 1968, 39, 40, 38). Johnson’s essay speaks of his deep insight into the chasm between the thinking, breathing, embodied self and contingent life of a writer and the textual self and models of life sculpted in her works. This insight, needless to say, has become a cliché in twentieth-century criticism, which dispensed with the naive view that literary discourse, including autobiographical works, is somehow transparent, a reflection of the writer’s self. For this reason, it might seem odd to look at literature from the perspective of a tradition that considers writing a crucial technique of examining and cultivating the self—something the ancient Greeks termed epimelesthai sautou, “the care of the self,” which was once understood to be the true goal of philosophy itself, conceived as the “art of living.” Richard Shusterman’s latest book, Philosophy and the Art of Writing revitalizes this ancient tradition of philosophy as an embodied way of living, and examines the various ways the process and product of the art of writing can contribute to the philosophical life dedicated to self-examination and self-improvement, while also pointing out the ambiguities of such an enterprise. (shrink)

Two distinct senses of 'understanding', Neither implying that works of art have meaning, Or communicate: (1) 'cognitive', Referring to knowledge of character of work; (2) 'phenomenal', Parasitic on (1), Referring to what a viewer takes work to be, Or sees it as. Individuation and characterization of works is settled by contingent agreement. Understanding a work shares features with understanding persons, And arguments. It is an achievement concept, Partly passive, Partly active, Whose nature is unknown in advance. Critics create conventions for (...) talking about works; this leaves little room for pretending, At least in sense (2) which is an explicitly 'intentional' concept. (shrink)

This essay attempts to address ethical issues concerning interpretation and art practices. It explores an alternative to both modern institutional authority and postmodern nihilism by referring to the concept of 'creative fidelity' developed by the French 'existentialist' philosopher Gabriel Marcel. As it is well known, contemporary radical reactions against the excesses of modernity in the Western world have led to a profound mistrust in the idea of subject/object, and have as a result favoured attitudes which tend to dissolve such a (...) dichotomy. These attitudes, by expressing the contingency, indeterminacy, or groundlessness of meaning, have triggered the disappearance of the Self, authorship, authenticity and in-sight. How is it therefore possible to interpret, make, or even teach art in a meaningful manner without imposing frameworks, closures, boundaries, or perspectives? This, it is argued, can be achieved by understanding the vital complementary relationship between innovation and faith, creativity and fidelity, renewal and consideration, offering thus a possible alternative to today's crisis of meaning in art. /// Este ensaio visa o tratamento de questões éticas relativas à interpretação e às práticas artísticas, explorando uma alternativa tanto à autoridade institucional moderna como ao niilismo pós-moderno a partir de uma reflexão sobre o conceito de "fidelidade criativa" desenvolvida pelo filósofo existencialista francês Gabriel Mareei É sabido que as reacções radicais contemporâneas contra os excessos da modernidade no mundo ocidental conduziram a uma profunda desconfiança da ideia de sujeito/objecto, resultando no favorecimento de atitudes que tendem a dissolver essa dicotomia. Estas atitudes, mediante a expressão da contingência, indeterminismo ou ausência de fundamento para o sentido, levaram a um desaparecimento do Si-mesmo, do princípio do autor, da autenticidade e da intelecção interior. Como é que será possível interpretar, fazer, ou até ensinar arte com sentido sem ao mesmo tempo impor esquemas, limites ou perspectivas? Isto, assim vai o argumento, pode ser alcançado mediante a compreensão do relacionamento vital complementar entre inovação e fé, criatividade e fidelidade, renovação e consideração, oferecendo dessa forma uma possível alternativa para a contemporânea crise de sentido na arte. (shrink)

It is a common view that Ockham’s critique of Scotus’s position on the issue of contingency is “devastating,” for it seems obvious that a possibility that does notactualize is simply no possibility. This rejection however does not commit Ockham to necessitarism, for the consideration of the temporal discontinuity of volitions should suffice to save contingency. But does it? Is it the case that diachronic volitions are sufficient?This essay argues that the debate between Ockham and Scotus is not to (...) be reduced to a logical disagreement but is properly ontological inasmuch as it concerns the reduction and eventual identification of being with actuality and of actuality with reality in the sense of manifest; the retrograding movement of truth from the present entails a temporal gap between present and future; and Ockham’s solution depends on a conception of the will that cannot simply be identified with, and accounted for in terms of successive volitions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:ContingenciesElizabeth RottenbergAnalysis does precious little, but the little it does is precious.—Therese BenedekI’d like to begin with an anecdote of a slightly confessional nature. If I mention this anecdote, it’s because it came to me by chance as an association to what French analyst and philosopher Monique David-Ménard, in her introduction to Éloge des hasards dans la vie sexuelle, calls “positive contingency” or the “positive aspect of chance” (...) (David-Ménard 2011, 19–20), what in colloquial English we call a “happy accident.”So here’s the association. For reasons I cannot fully explain, the therapist I was seeing in graduate school encouraged me to take the Minnesota Multiphasic Personality Inventory test (the MMPI, as it’s called), a widely used and researched psychometric test of adult personality and psychopathology. The test involved hundreds of simple, inoffensive questions, questions such as, “Do you read all the editorials in the newspaper every day?”1 and it took me hours to complete. A week or so after taking the test, I met with my therapist and we went over the results together. According to the test (which, interestingly, takes into account the performative aspects of test taking), I had answered all the questions in such a way as to appear neither excessively good nor excessively bad, that is, I had answered all the questions honestly and consistently. And as far as psychopathology was concerned, my answers showed few signs of hypochondriasis, hysteria, psychopathy, schizophrenia, or hypomania. On the other hand, when it came to depression, paranoia, psychasthenia, and social introversion, my scores were a little higher, and a shockingly high percentage of my answers [End Page 128] reflected “stereotypical masculine interests/behaviors.” None of this seemed to worry my therapist in the least. The only thing she pointed to were my “odd answers” (the MMPI also has a special category for odd answers—presumably the answers of academics). She wondered about my answer to this question in particular: “Do you see people or animals or things that other people don’t see?” “You answered ‘true’ to that question,” she said. “I don’t understand. Why would you answer ‘true’? You’re not psychotic.” I explained that I had read the “or”—do you see people OR animals OR things that other people don’t see—as a disjunctive rather than a conjunctive OR. “So, yes, it’s true, when I read texts, sometimes I see things that other people don’t see.” At the time, of course, I wasn’t thinking of Deleuze’s “contingent reason” or of Monique’s discussion of the inventive power of disjunctive synthesis in her Deleuze et la psychanalyse (2005). And I certainly wasn’t thinking that my figurative reading of seeing, my misreading of seeing, was indicative of the essential and indeterminable contingencies of reading. No, I was only giving what I took to be a perfectly accurate description of the déformation professionnelle that is ours and that belongs to anyone who is a stickler for grammar... a positive déformation, I might add.But this association immediately leads me to another (contingent) association, this time one that is intimately related to Monique’s discussion of Torricelli’s law and to Claude Bernard’s discovery of the exocrine function of the pancreas. My association is to Freud and to Freud’s astonishment before the transformative power of Jean-Martin Charcot’s dazzling, clinical insight. In Freud’s description of his teacher, Charcot is someone who sees things that other people don’t see:[Charcot]... had the nature of an artist—he was, as he himself said, a “visuel,” a seer. Here is what he himself told us about his method of working. He used to look again and again at the things he did not understand, to deepen his impression of them day by day, till suddenly [plötzlich] an understanding of them dawned on him.... He might be heard to say that the greatest satisfaction a [person] could have was to see something new—that is, to recognize it as new; and he remarked again and again on the difficulty and value of this kind of... (shrink)

According to the Principle of Sufficient Reason (‘PSR’), every fact has an explanation for why it obtains. If the PSR is true, there must be a sufficient reason for why God chose to create our world. But a sufficient reason for God’s choice plausibly necessitates that choice. It thus seems that God could not have done otherwise, and that our world exists necessarily. We therefore appear forced to pick between the PSR, and the contingency of creation and divine choice. (...) I show that a third option remains open, and thus that it is possible to preserve the contingency of creation and divine choice even while endorsing the PSR. My solution depends on the coherence of a restricted modal realism. On this modal realism, there is more than one possible morally optimal created world, and for each such world there is an existing possibility in which God creates that world. (shrink)

Conservation and exhibition of historical works of art run many risks of misrepresentation of the life and meanings of objects. This paper explores the identities of some particularly compelling examples of Byzantine art restored under special circumstances at the Menil Collection in Houston, Texas. This examination of the restoration of frescos and icons, and their particular display histories, reveals the contingencies of our encounters with and explanations of historical art.

Citing works by Marcel Duchamp and others, this article argues that the transformation of what Danto termed a mere real thing into an artwork, and of an artwork into a mere real thing, are not symmetrical operations. It argues that mere real things and artworks not only belong to different categories, but that these categories are themselves of different kinds—the former being closed, and the latter open. Viewing mere real things through the lens of art leads to confusion. Amending Goodman’s (...) question, ‘When is art?’, this article suggests that one can only arrive at working definitions of what constitutes both an artwork and a mere real thing on the basis of contingent function. The adequate analysis of any given thing or action necessitates viewing it in accordance with an appropriate paradigm, whether that of an artwork, a thought experiment, or even a prank. Adequate analysis requires disciplinary dexterity, deference when appropriate, and multi-disciplinary attention best achieved through collaboration. (shrink)

At least since Aristotle’s famous 'sea-battle' passages in On Interpretation 9, some substantial minority of philosophers has been attracted to the doctrine of the open future--the doctrine that future contingent statements are not true. But, prima facie, such views seem inconsistent with the following intuition: if something has happened, then (looking back) it was the case that it would happen. How can it be that, looking forwards, it isn’t true that there will be a sea battle, while also being true (...) that, looking backwards, it was the case that there would be a sea battle? This tension forms, in large part, what might be called the problem of future contingents. A dominant trend in temporal logic and semantic theorizing about future contingents seeks to validate both intuitions. Theorists in this tradition--including some interpretations of Aristotle, but paradigmatically, Thomason (1970), as well as more recent developments in Belnap, et. al (2001) and MacFarlane (2003, 2014)--have argued that the apparent tension between the intuitions is in fact merely apparent. In short, such theorists seek to maintain both of the following two theses: (i) the open future: Future contingents are not true, and (ii) retro-closure: From the fact that something is true, it follows that it was the case that it would be true. It is well-known that reflection on the problem of future contingents has in many ways been inspired by importantly parallel issues regarding divine foreknowledge and indeterminism. In this paper, we take up this perspective, and ask what accepting both the open future and retro-closure predicts about omniscience. When we theorize about a perfect knower, we are theorizing about what an ideal agent ought to believe. Our contention is that there isn’t an acceptable view of ideally rational belief given the assumptions of the open future and retro-closure, and thus this casts doubt on the conjunction of those assumptions. (shrink)

Contemporary metaphilosophical debates on the future of philosophy invariably include references to the natural sciences. This is wholly understandable given the cognitive and cultural authority of the sciences and their contributions to philosophical thought and practice. However such appeals to the sciences should be moderated by reflections on contingency of sciences. Using the work of contemporary historians and philosophers of science, I argue that an awareness of the radical contingency of science supports the claim that philosophy’s future should (...) not be construed as either dependent or necessarily related to that of the sciences. Therefore contemporary debates – about the possibility of philosophy’s status as a science, say – should be tempered by an appreciation of the fact that science may cease to be a significant feature of future metaphilosophical debates. I conclude by considering the implications of this claim for assessments of the progressiveness of philosophy. (shrink)

Artificial intelligence (AI) art is the product of AI technology applied to art. In terms of technical application, AI art has two methods: symbolism and connectivism. In terms of the human-machine system, there are three levels: human using machine, human guiding machine and human-machine separation. AI art is a special form, existing between natural beauty and human art: AI art, first of all, is not a natural aesthetic object, given that it is the product of artefacts. Its appreciation is mixed (...) with interests, and its artistic generation is a kind of “purposeful non-purposefulness.” Secondly, AI art is not equal to traditional human art, because AI has no intentionality or consciousness. Thirdly, AI participates in the construction of artistic logic and breaks the boundary of traditional art. AI can be regarded as an “agent” in art generation, and together with people constitute the “actor network” of art. The processes of generation, identification and appreciation of AI art include the judgment of true and false. AI art reflects the forced integration of intelligent technology into art, an attempt to rid of contingency, dialectics, and negativity of art. But what we need is the real harmonisation of art and technology. People should use aesthetic reason to guide AI technology. (shrink)

When the city of Wuhan was severely locked down on January 23, 2020 for 76 days due to the coronavirus outbreak, many residents started writing “lockdown diaries.” This article argues these diaries constitute a kind of performance art for their authors, specifically, an 'art of endurance' as described by Shalson (2018). Keeping a diary requires a plan, but the following through of the plan is a contingent process requiring efforts and endurance. The challenges become particularly daunting for authors of online (...) diaries in pandemic times. The article analyzes multiple types of endurance associated with the Wuhan lockdown diarists, showing that in digitally-driven environments, where potential collective responses are a key context, the lockdown diaries of Wuhan, like works of endurance art, engage with meanings that reach far beyond their original experience and context. Their stories of endurance are an allegory of the endurance of the entire city of Wuhan. (shrink)

Hardly anyone denies that (nearly) all human beings have equal moral status and therefore should be considered and treated as equals. Yet, if humans possess the property that confers moral status upon them to an unequal degree, how come they should be considered and treated as equals? It has been argued that this is because the variations in the degree to which the status‐conferring property is held above a relevant threshold are contingencies that do not generate differences in degrees of (...) moral status. Call this the contingency argument for the basis of moral equality. In this paper, I reject the contingency argument. Instead, I develop an attitude‐based account of the basis of moral equality: according to this account, the basis of moral equality lies in a fitting, basic, and independent moral attitude which is owed to human beings qua moral status‐holders, and provides a coherent and plausible explanation for why the variations above the threshold for moral status do not matter. (shrink)

I reject both (a) inevitabilism about the historical development of the sciences and (b) what Ian Hacking calls the "put up or shut up" argument against those who make contingentist claims. Each position is guilty of a lack of humility about our epistemic capacities.

I present and explain a brief version of the "contingency" cosmological argument earlier developed by Samuel Clarke and then updated by William Rowe.

Kripke maintains that one who stipulatively introduces the term ' one meter' as a rigid designator for the length of a certain stick s at time t is in a position to know a priori that if s exists at t then the length of s at t is one meter. Some (e.g., Soames 2003) have objected to this alleged instance of the contingent a priori on the grounds that the stipulator's knowledge would have to be based in part on (...) substantive metalinguistic knowledge. I examine Soames's argument for the a posteriority of the relevant metalinguistic knowledge, and I argue that its main premise is false. (shrink)

In this 1989 book Rorty argues that thinkers such as Nietzsche, Freud, and Wittgenstein have enabled societies to see themselves as historical contingencies, rather than as expressions of underlying, ahistorical human nature or as realizations of suprahistorical goals. This ironic perspective on the human condition is valuable on a private level, although it cannot advance the social or political goals of liberalism. In fact Rorty believes that it is literature not philosophy that can do this, by promoting a genuine sense (...) of human solidarity. A truly liberal culture, acutely aware of its own historical contingency, would fuse the private, individual freedom of the ironic, philosophical perspective with the public project of human solidarity as it is engendered through the insights and sensibilities of great writers. The book has a characteristically wide range of reference from philosophy through social theory to literary criticism. It confirms Rorty's status as a uniquely subtle theorist, whose writing will prove absorbing to academic and nonacademic readers alike. (shrink)

This essay argues that bullshit art is a meaningful concept that differs from bullshitting about art, although the two may occur in tandem. I defend what I call the social pretense theory of bullshit art. On this view, calling a work of art ‘bullshit’ highlights a discrepancy between the prestige accorded a work of art and its nonsense character. This category of aesthetic criticism plays a unique role that cannot be identified with kitsch but bears only a contingent connection to (...) it. (shrink)

Contingent transcranialists claim that the physical mechanisms of mind are not exclusively intracranial and that genuine cognitive systems can extend into cognizers' physical and socio-cultural environments. They further claim that extended cognitive systems must include the deep functional integration of external environmental resources with internal neural resources. They have found it difficult, however, to explicate the precise nature of such deep functional integration and provide compelling examples of it. Contingent intracranialists deny that extracranial resources can be components of genuine extended (...) cognitive systems. They claim that transcranialists fallaciously conflate coupling with constitution and construe cognition as extending always from brains into world rather than world into brains. By using insights from recent research in developmental psychology and by explicating the nature of one form that deep functional integration can take, I argue that (i) transcranialists do not fallaciously conflate coupling wth constitution, and (ii) human emotional ontogenesis is a world-to-brain transcranial achievement. Jennifer Greenwood is a PhD Candidate in Philosophy at the School of History, Philosophy, Religion, and Classics, University of Queensland. (shrink)

Identities formed with proper names may be contingent. this claim is made first through an example. the paper then develops a theory of the semantics of concrete things, with contingent identity as a consequence. this general theory lets concrete things be made up canonically from fundamental physical entities. it includes theories of proper names, variables, cross-world identity with respect to a sortal, and modal and dispositional properties. the theory, it is argued, is coherent and superior to its rivals, in that (...) it stems naturally from a systematic picture of the physical world. (shrink)

This book defends a radical new theory of contingency as a physical phenomenon. Drawing on the many-worlds approach to quantum theory and cutting-edge metaphysics and philosophy of science, it argues that quantum theories are best understood as telling us about the space of genuine possibilities, rather than as telling us solely about actuality. When quantum physics is taken seriously in the way first proposed by Hugh Everett III, it provides the resources for a new systematic metaphysical framework encompassing possibility, (...) necessity, actuality, chance, counterfactuals, and a host of related modal notions. -/- Rationalist metaphysicians argue that the metaphysics of modality is strictly prior to any scientific investigation; metaphysics establishes which worlds are possible, and physics merely checks which of these worlds is actual. Naturalistic metaphysicians respond that science may discover new possibilities and new impossibilities. This book's quantum theory of contingency takes naturalistic metaphysics one step further, allowing that science may discover what it is to be possible. As electromagnetism revealed the nature of light, as acoustics revealed the nature of sound, as statistical mechanics revealed the nature of heat, so quantum physics reveals the nature of contingency. (shrink)