From respected thinker and public intellectual David Dark comes We Become What We Normalize, both a cultural critique and a robust summons to resist complicity when it comes to conversations on politics, religion, and media. Dark offers a spirited call to witness to ethics, community, and change for ourselves and the worlds we inhabit.

Religion happens -- Crackers and grape juice -- Attention collection -- Choose your ancestors carefully -- I learned it by watching you -- Hurry up and matter! -- The web, the net, and the verse -- The chother -- Policy is liturgy writ large -- Strange negotiations.

This manuscript reports on a landmark symposium on the ethical, legal and technical challenges of xenotransplantation in the UK. King’s College London, with endorsement from the British Transplantation Society (BTS), and the European Society of Organ Transplantation (ESOT), brought together a group of experts in xenotransplantation science, ethics and law to discuss the ethical, regulatory and technical challenges surrounding translating xenotransplantation into the clinical setting. The symposium was the first of its kind in the UK for 20 years. This paper (...) summarises the content of the expert lectures showcasing the progress which has been made in xenotransplantation including—the history of xenotransplantation, advances in gene edited animals and progress towards clinical xenotransplantation. We then set out the ethical and legal issues still to be resolved. Finally, we report the themes of the roundtable discussion highlighting areas of consensus and controversy. While the detail of the legal discussion was directed towards the UK, the principles and summary reported here are intended to be applicable to any jurisdiction seeking to implement clinical xenotransplantation. (shrink)

A model of a three-dimensional quantum vacuum based on Planck energy density as a universal property of a granular space is suggested. The possibility to provide an unifying explanation of dark matter and dark energy as phenomena linked with the fluctuations of the three-dimensional quantum vacuum is explored. The changes and fluctuations of the quantum vacuum energy density generate a curvature of space–time similar to the curvature produced by a “dark energy” density. The formation of large scale (...) structures in the universe associated to the flattening of the orbital speeds of the spiral galaxies can be explained in terms of primary fluctuations of the quantum vacuum energy density without attracting the idea of dark matter. (shrink)

Through Narcissus' Glass Darkly presents a genealogy and critique of the ideal of conscience in modern philosophical theology, particularly in the writings of ...

In this provocative and timely book, David Kennedy explores what can go awry when we put our humanitarian yearnings into action on a global scale--and what we can do in response. Rooted in Kennedy's own experience in numerous humanitarian efforts, the book examines campaigns for human rights, refugee protection, economic development, and for humanitarian limits to the conduct of war. It takes us from the jails of Uruguay to the corridors of the United Nations, from the founding of a (...) non-governmental organization dedicated to the liberation of East Timor to work aboard an aircraft carrier in the Persian Gulf. Kennedy shares the satisfactions of international humanitarian engagement--but also the disappointments of a faith betrayed. With humanitarianism's new power comes knowledge that even the most well-intentioned projects can create as many problems as they solve. Kennedy develops a checklist of the unforeseen consequences, blind spots, and biases of humanitarian work--from focusing too much on rules and too little on results to the ambiguities of waging war in the name of human rights. He explores the mix of altruism, self-doubt, self-congratulation, and simple disorientation that accompany efforts to bring humanitarian commitments to foreign settings. Writing for all those who wish that "globalization" could be more humane, Kennedy urges us to think and work more pragmatically. A work of unusual verve, honesty, and insight, this insider's account urges us to embrace the freedom and the responsibility that come with a deeper awareness of the dark sides of humanitarian governance. (shrink)

The moral potential of works of art, for good or ill, has been recognised from philosophical antiquity: on the assumption that the moral effects of art are invariably negative, Plato advised the exclusion of artists from any rationally ordered state. Arguably, however, the problem of the moral status of art has become yet more acute in contexts of post-Romantic and other modern artistic exploration of moral ambiguity, and even of some apparent contemporary celebration of the immoral and amoral. Indeed, some (...) tension between commitment to liberal-democratic openness and freedom, on the one hand, and fear about the potential literary and artistic corruption of the young, on the other, is evident in latter-day moralistic trends in children’s literature. However, in the light of some basic exploration of conceptual relationships between the artistic, the aesthetic and the moral, this paper argues that such moralising trends in particular and arguments for artistic censorship in general are mostly wrongheaded and unsustainable. (shrink)

While there is a growing literature on “dark traits” (i.e., socially aversive traits), there has been a lack of integration with the burgeoning research literature on positive traits and fulfilling and growth-oriented outcomes in life. To help move the field toward greater integration, we contrasted the nomological network of the Dark Triad (a well-studied cluster of socially aversive traits) with the nomological network of the Light Triad, measured by the 12-item Light Triad Scale (LTS). The LTS is a (...) first draft measure of a loving and beneficent orientation toward others (“everyday saints”) that consists of three facets: Kantianism (treating people as ends unto themselves), Humanism (valuing the dignity and worth of each individual), and Faith in Humanity (believing in the fundamental goodness of humans). Across four demographically diverse samples (N = 1,518), the LTS demonstrated excellent reliability and validity, predicting life satisfaction and a wide range of growth-oriented and self-transcendent outcomes above and beyond existing measures of personality. In contrast, the Dark Triad was negatively associated with life satisfaction and growth-oriented outcomes, and showed stronger linkages to selfish, exploitative, aggressive, and socially aversive outcomes. This exploratory study of the contrasting nomological networks of the Light vs. Dark Triad provides several ways forward for more principled and data driven approaches to explore both the malevolent and benefice... (shrink)

Herding the cats of deep time -- Who do we think we are? -- Cosmic passions -- Thinking geologically after Nietzsche -- Angst and attunement -- The present age : a case study -- Posthumanist responsibility -- The new materialism -- The unthinkable and the impossible -- What is to be done? Democracy and beyond.

Science fiction is often held up as a particularly philosophical genre. For, beyond actualising mind-experiment-like fantasies, science fiction films also commonly toy with speculative ideas, or else engineer encounters with the strange and unknown. Denis Villeneuve's Arrival is a contemporary science fiction film that does exactly this, by introducing Lovecraft-esque tentacular aliens whose arrival on Earth heralds in a novel, but ultimately paralysing, inhuman perspective on the nature of time and reality. This article shows how this cerebral film invites viewers (...) to confront a counterintuitive model of time that at once recalls and reposes what Gilles Deleuze called a “third synthesis” of time, and that which J. M. E. McTaggart named the a-temporal “C series” of “unreal” time. We finally suggest that Arrival's a-temporal conception of the future as having already happened can function as a key to understanding the fate of humanity as a whole as we pass from the anthropocene, in which humans have... (shrink)

Paul Feyerabend argued that theories can be faced with experimental anomalies whose refuting character can only be recognized by developing alternatives to the theory. The alternate theory must explain the experimental results without contrivance and it must also be supported by independent evidence. I show that the situation described by Feyerabend arises again and again in experiments or observations that test the postulates in the standard cosmological model relating to dark matter. The alternate theory is Milgrom’s modified dynamics. I (...) discuss three examples: the failure to detect dark-matter particles in laboratory experiments; the lack of evidence for dark-matter sub-haloes and the dwarf galaxies that are postulated to inhabit them; and the failure to confirm the predicted orbital decay of Milky Way satellite galaxies and other systems due to dynamical friction against the dark matter. In each case, Feyerabend’s criterion directs us to interpret the experimental or observational results as an indirect refutation of the standard cosmological model in favor of Milgrom’s theory. (shrink)

In his autobiographical-biographical study, Father and Son, Edmund Gosse describes how one evening, during his childhood, while his father was praying at - or, rather, over - his bed, a rather large insect dark and flat, with more legs than a self-respecting insect ought to need, appeared at the bottom of the counterpane, and slowly advanced… I bore it in silent fascination till it almost tickled my chin, and then I screamed ‘Papa! Papa!’. My Father rose in great dudgeon, (...) removed the insect and then gave me a tremendous lecture. 1. (shrink)

This paper considers Baudrillard’s thought in relation to cinema. It begins with a discussion of the way in which Baudrillard’s work typically invokes film and of the consequent paucity of Baudrillardian studies of cinema, making reference to the literature on Blade Runner and The Matrix . It proceeds to excavate a fuller account of Baudrillard’s conception of cinema, drawing, initially, on Baudrillard’s use of the 1926 German silent film, The Student of Prague , in his conclusion to The Consumer Society (...) . At first blush, this leads to a somewhat dismissive assessment of film qua simulation. Having reached the point where the importance of seduction to Baudrillard’s conception of cinema makes itself evident, however, the paper continues to evoke the other side of Baudrillard’s thought, where additional reference to his remarks on photography allows greater purchase on his understanding of cinema. (shrink)

Review of Paolo Cherchi-Usai _The Death of Cinema: History, Cultural Memory and the Digital Dark Age_ Preface by Martin Scorsese London: British Film Institute, 2001 ISBN 0851708374 (pb) 0851708382 (hb) 134 pp.

Moral significance has been attributed to music from antiquity: for example, both Plato and Aristotle made much of the power of music to influence and shape moral character. However, it would also seem often assumed that music and musical experience have some kind of spiritual significance or value for human development. The present paper sets out to explore this possibility further by asking: first, whether it is possible to make sense of spiritual development in a non-reductive way—in a way, that (...) is, which might distinguish such growth from moral or aesthetic development; and second, what sort of qualities, capacities, or dispositions might distinctively spiritual qualities be? However, having identified a range of candidate spiritual virtues, the essay proceeds to explore the further possibility that some works or genres of music may—by much the same token—be conducive to the promotion of less spiritually desirable attitudes or values. (shrink)

St. John of the Cross’ work, The Dark Night of the Soul, and Joseph Symonds’ work, The Case and Cure of a Deserted Soul, offer two compelling treatments on the subject of spiritual dryness. Moreover, these works represent two spiritual traditions which offer distinct but viable perspectives on the Christian life. This paper seeks to answer the following question: What is the degree of similarity between St. John of the Cross’ understanding of the dark night of the soul (...) and Joseph Symonds’ understanding of spiritual desertion? A secondary question is also addressed: What is the value of these resources for pastoral care today? Although notable differences exist between the two, their degree of similarity is significant considering the disconnection between the spiritual traditions that each represent. Moreover, these works are invaluable resources for contemporary pastoral care. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Living Alone:Solipsism in Heart of DarknessDavid Rudrum"... As if I could read the darkness."Philosophical Investigations, §635We live, as we dream—alone."1 This, Marlow's most eminently quotable aphorism, encapsulates a theme central to the outlook of modernism: what Virginia Woolf called "the loneliness which is the truth about things."2 This loneliness derives not from the absence of others—Marlow is surrounded by friends when he makes this assertion. It is a deeper (...) condition brought about by recognizing the limits of selfhood, by confronting or being confronted by them. This condition is central to Marlow's narrative predicament: he attempts to fathom the enigmatic self that is Kurtz, to understand "the tempestuous anguish of his soul" (HoD, p. 246); he is led, by this attempt, to question the nature of his own self; and, finally, he tries to relay the impenetrable essence of both these selves to the "other minds" of his narratees on the yawl Nellie. As we shall see, Marlow concedes defeat in all three of these struggles. Heart of Darkness, then, is a novel beset by the limits of subjectivity.It is also a novel which foregrounds the limits of language. Marlow concludes that we live in isolation from one another after musing on the failure of language to communicate adequately, to facilitate intersubjective understanding: "it is impossible to convey the life-sensation of any given epoch of one's existence" (HoD, p. 172), he says. [End Page 409] Conveying the meaning of his narrative to others is repeatedly written off as unattainable, and on numerous occasions Marlow, presumably wrestling with sheer wordlessness, falls silent.3 Indeed, Marlow's narrative is peppered with words highlighting the limits of language: words like "inconceivable" and "unspeakable," which F. R. Leavis famously dismissed as "overworked."Leavis described Conrad's "adjectival insistence upon inexpressible and incomprehensible mystery" as "worse than supererogatory," "tending to cheapen the tone" to a point "little short of disastrous." He concluded that Conrad was "intent on making a virtue out of not knowing what he means."4 That Leavis—a critic who fetishized "the concrete presentment of incident, setting and image" through the concrete use of words—should have failed to grasp and to value the novel's brush with wordlessness, is unsurprising (Leavis, p. 208). Nor is it surprising that two of the episodes in the novel that most clearly encounter the limits of language—Kurtz's last words and Marlow's lie about them—were written off by Leavis as examples of Conrad having a "bad patch" (Leavis, p. 208). Yet it is nevertheless instructive that a novel that insists on its linguistic and communicative limits should thus have been misread.This article reads these two issues of the limits of language and the limits of subjectivity together. To do so is to invoke a philosophical position in which language, selfhood and worldhood are interrelated, and their limits coterminous—a position found in the early thought of Ludwig Wittgenstein.ILike Marlow, Wittgenstein also sees the self as essentially isolated from other selves, and language as demarcating its limits. In his Tractatus Logico-Philosophicus, the interconnected remarks "The limits of my language mean the limits of my world" and "I am my world" delineate Wittgenstein's rethinking of the "egocentric predicament" in which, to paraphrase Marlow, we all live alone.5 This position entails a close relationship with solipsism: as Wittgenstein says, "what the solipsist means is quite correct" (TLP, 5.62)—which is not, of course, to suggest that solipsism itself is correct. The grammar of Marlow's assertion encapsulates this point. The card-carrying solipsist would assert "I live alone," but the loneliness that Marlow and Wittgenstein envisage is a [End Page 410] condition of our subjectivity that we all have in common, but cannot share. It is a transcendental solipsism.Nearly 300 years before Heart of Darkness was written, a poem by Robert Herrick anticipated some aspects of Marlow's assertion of transcendental solipsism:Dreames Here we are all, by day; By night w'are hurl'd By dreames, each one, into a sev'rall world.6This poem makes explicit something left implicit in Marlow's... (shrink)

Business students have long been noted for their differential proclivity to engage in academic misconduct. Unfortunately, the potential for misconduct has been exacerbated in recent years by rapid advances in technology, easy access to information, competitive pressures, and the proliferation of websites that provide students access to information that allows them to directly circumvent the learning process. Using a convenience sample of 631 students matriculating in various business majors at four U.S. universities and structural equations modeling procedures, this study assesses (...) the effects of psychological factors on business students’ propensities to utilize the services of homework assistance websites. Specifically, we examine how “Dark Triad” personality traits (i.e., narcissism, Machiavellianism, and psychopathy) interact with Fraud Diamond elements to influence student decisions to engage the services of these websites. We find that each Dark Triad trait exerts a significant influence on at least one of the Fraud Diamond elements, which in turn have a significant direct or indirect positive association with students’ reported intentions to utilize, and reported utilization of, these websites. (shrink)

Dark matter is a fundamental component of the standard cosmological model, but in spite of four decades of increasingly sensitive searches, no-one has yet detected a single dark-matter particle in the laboratory. An alternative cosmological paradigm exists: MOND (Modified Newtonian Dynamics). Observations explained in the standard model by postulating dark matter are explained in MOND by proposing a modification of Newton's laws of motion. Both MOND and the standard model have had successes and failures – but only (...) MOND has repeatedly predicted observational facts in advance of their discovery. In this volume, David Merritt outlines why such predictions are considered by many philosophers of science to be the 'gold standard' when it comes to judging a theory's validity. In a world where the standard model receives most attention, the author applies criteria from the philosophy of science to assess, in a systematic way, the viability of this alternative cosmological paradigm. (shrink)

Phenomenology is based on a doctrine of evidence that accords a crucial role to the human capacity to conceptualise or ‘intuit’ features of their experience. However, there are grounds for holding that some experiential entities to which phenomenologists are committed must be intuition-transcendent or ‘dark’. Examples of dark phenomenology include the very fine-grained perceptual discriminations which Thomas Metzinger calls ‘Raffman Qualia’ and, crucially, the structure of temporal awareness. It can be argued, on this basis, that phenomenology is in (...) much the same epistemological relationship to its own subject matter as descriptive (i.e. ‘phenomenological’) physics or biology are to physical and biological reality: phenomenology cannot tell us what phenomenology is really ‘about’. This does not mean we should abjure phenomenology. It implies, rather, that the domain of phenomenology is not the province of a self-standing, autonomous discipline but must be investigated with any empirically fruitful techniques that are open to us (e.g. computational neuroscience, artificial intelligence, etc.). Finally, it entails that while a naturalized phenomenology should be retained as a descriptive, empirical method, it should not be accorded transcendental authority. (shrink)

‘The Debauched Commons: A Dark Parable’ summarizes issues regarding intellectual property rights and immaterial culture through a nuanced reading of how First Nations Peoples worldwide have been forced by forms of neoliberal-capitalist exploitation of the knowledge commons to ring-fence and/or commodify their lived traditions, in many cases dating back 100,000 years and clearly predating any and all Western (First World) concepts of ownership. The intention of the structuralist-inspired reading of this enforced defensive position is to emphasize and clarify issues (...) concerning prior art and moral rights, two of the most ambiguous and gamed elements of copyright and patent law. Drawing upon the international context of the _Declaration on the Rights of Indigenous Peoples_ (2007) and the _Convention for Safeguarding Intangible Heritage_ (2003), this essay will focus, in part, on the travails of Aboriginals in Australia as representative of First Peoples worldwide and their long-exploited and long-expropriated traditions, inclusive of land, but foremost _lived knowledge_, but also their often compromised position _vis-à-vis_ various Australian state and Commonwealth legislation concerning recognition of their copyright, moral rights, and intellectual property rights. In this complex dance between tradition, heritage, and law, the so-called public domain often also becomes a de facto warehouse for the eventual conversion of intangible rights to collectively held and stored cultural property, which is then leveraged and/or converted to cultural capital by both public institutions and private companies. The primary premise of the analytic to be applied is that commodification of knowledge is more or less co-equal to the digitization of culture and the regimes of expropriation and/or outright theft associated with platform cultures. Platform culture, in turn, implicates otherwise benign, or apparently benign institutions (for example, academia and the art world) claiming to advance understanding and resolution of the twin nemeses of post-contemporary cultural politics—diversity and justice. The subtle machinations of what has come to be called the art-academic industrial complex will thus be analyzed for implicit and explicit practices that are reducible to the appropriation of native rites and rights, and laws and lores, for self-serving reasons inclusive of radical-chic posturing and politically correct tokenism. (shrink)

I argue that some important elements of the current cosmological model are 'conventionalist’ in the sense defined by Karl Popper. These elements include dark matter and dark energy; both are auxiliary hypotheses that were invoked in response to observations that falsified the standard model as it existed at the time.

Although we begin with the words of the poet Henry Vaughan, it is the visual artists above all who know and see the mystery of the Creation of all things in light, suffering for their art in its blinding, sacrificial illumination. In modern painting this is particularly true of van Gogh and J.M.W. Turner. But God speaks the Creation into being through an unheard word, and so, too, the greatest of musicians, as most tragically in the case of Beethoven, hear (...) their sublime music only in a profound silence. The Church then needs to see and listen in order, in the words of Heidegger, to learn to "dwell poetically on earth" before God. To dwell thus lies at the heart of its life, liturgically and in its pastoral ministry, as illustrated in the poetry of the English priest and poet, David Scott. This can also be seen as a "letting go" before God and an allowing of a space in which there might be a "letting the unsayable be unsaid" and order found even over the abyss. This is what Vladimir Nabokov has called "the marvel of consciousness" which is truly a seeing in the darkness. The poet, artist and musician can bring us close to the brink of the mystery, and thus the artist is always close to the heart of the church's worship and its ministry of care where words meet silence, and light meets darkness. Such, indeed, is the true marvel of consciousness in the ultimate risk which is the final vocation of the poet and artist, as it was of Christ himself, and all his saints. The church must be ever attentive to the deeply Christocentric ministry of art and the creative power of word and image in the letting the unsayable be unsaid. With the artist we may perhaps stand on Pisgah Height with Moses with a new imaginative perception of the divine Creation. The essay concludes on a personal note, drawing upon the author's own experience in retreat in the desert, with a reminder of the thought of Thomas Merton, a solitary in the community of the Church. (shrink)

Email archives are important historical resources, but access to such data poses a unique archival challenge and many born-digital collections remain dark, while questions of how they should be effectively made available remain. This paper contributes to the growing interest in preserving access to email by addressing the needs of users, in readiness for when such collections become more widely available. We argue that for the content of email to be meaningfully accessed, the context of email must form part (...) of this access. In exploring this idea, we focus on discovery within large, multi-custodian archives of organisational email, where emails’ network features are particularly apparent. We introduce our prototype search tool, which uses AI-based methods to support user-driven exploration of email. Specifically, we integrate two distinct AI models that generate systematically different types of results, one based upon simple, phrase-matching and the other upon more complex, BERT embeddings. Together, these provide a new pathway to contextual discovery that accounts for the diversity of future archival users, their interests and level of experience. (shrink)

Media increasingly accuse firms of exploiting suppliers, and these allegations often result in lurid headlines that threaten the reputations and therefore business successes of these firms. Neither has the phenomenon of supplier exploitation been investigated from a rigorous, ethical standpoint, nor have answers been provided regarding why some firms pursue exploitative approaches. By systemically contrasting economic liberalism and just prices as two divergent perspectives on supplier exploitation, we introduce a distinction of common business practice and unethical supplier exploitation. Since supplier (...) exploitation is based on power, we elucidate several levels of power as antecedents and investigate the role of ethical climate as a moderator. This study extends Victor and Cullen’s ethical climate matrix according to a supply chain dimension and is summarized in an integrated, conceptual model of five propositions for future theory testing. Results provide a frame of reference for executives and scholars, who can now delineate unethical exploitation and understand important antecedents of the phenomenon better. (shrink)

This chapter contains sections titled: Feudalism Magna Carta28 The Basic Idea: No One Is Above the Law The Modern West Takes Shape From Law to Commerce Equality Before the Law Conclusion Discussion Acknowledgments.

The title of this article, “The State at Dusk,” was adopted from the famous image of Minerva’s Owl in the Preface to Hegel’s Philosophy of Right. I chose it to capture the current mood of despair and foreboding about the state, both in its growing failure to protect individuals from the ravages of capital and in its malevolent capacity to destroy all life on earth. The threat of nuclear holocaust and the question of whether the welfare state has a future (...) are now urgent topics of political debate. Notwithstanding a few significant victories, however, the so-called New Right has achieved nothing like total success in its war against public-financed health care, education, and civil liberties, to name only a few of its targets. Moreover, despite the obvious madness of the nuclear arms race and two terms under the most reactionary of all modern U. S. presidents, the planet survives. As darkness gathers around the late twentieth century state, its outline appears much the same as it was at the outset of the conservative attack a decade ago. (shrink)

THE PAST DECADE has witnessed an extraordinary resurgence of interest in Kant's writings on aesthetics, politics, and history. On the Continent much of this interest has centered on the debate between modernism and postmodernism. Both sides of the debate are in agreement that Kant's differentiation of cognitive, practical, and aesthetic domains of rationality anticipated the fragmentation of modern society into competing if not, as Weber assumed, opposed lifestyles, activities, and value spheres, and that this has generated a crisis of judgment. (...) Tradition is deprived of its authority as a common reference point for deliberation; judgment appears to be all but submerged in the dark void of relativism. Yet, having both accepted Kant's differentiation of reason as emblematic of the pluralism of modern life, modernists and postmodernists remain divided in their response to its implications. Modernists--Habermas and Arendt too, I believe, can be classified under this rubric--attempt to circumvent the relativism of cultural fragmentation by appealing to a universal ideal of community. This solution recalls Kant's own grounding of judgments of taste in the notion of a sensus communis. By contrast, postmodernists such as Lyotard embrace relativism. Whereas the modernist emphasizes the capacity of rational agents to rise above the parochial limits of local community in aspiring toward an autonomous perspective, the postmodernist denies the possibility of impartiality altogether, thus binding judgment to the traditional constraints of practice. (shrink)

Why is America again unjustly at war? Why is its politics distorted by wedge issues like abortion and gay marriage? Why is anti-Semitism still so powerfully resurgent? Such contradictions within democracies arise from a patriarchal psychology still alive in our personal and political lives in tension with the equal voice that is the basis of democracy. This book joins a psychological approach with a political-theoretical one that traces both this psychology and resistance to it to the Roman Republic and Empire (...) and to three Latin masterpieces: Virgil's Aeneid, Apuleius's The Golden Ass, and Augustine's Confessions. In addition, this book explains many other aspects of our present situation including why movements of ethical resistance are often accompanied by a freeing of sexuality and why we are witnessing an aggressive fundamentalism at home and abroad. (shrink)

Abstract:Some moral responsibility theorists think that certain agents (like psychopaths) can be morally responsible—and morally criticizable—for their actions and attitudes even though they lack any competence in grasping or responding to moral norms (a blindness to moral reasons that is typically called “normative incompetence” or, more accurately, “moral incompetence”). In this essay, I provide a new argument against these theorists by exploring the intersection between two normative domains, the funny and the moral. There are, it turns out, interesting and significant (...) ways that properties from each domain bear on reasons to respond in the other, and so there are interesting and significant ways in which people’s responses to cruel jokes or insult humor may be criticizable. I then survey various personality and psychological impairments that seem to undercut criticizability in this intersecting domain. Learning about these people and their impairments yields a wealth of information about what true normative competence actually requires, as well as why competence of the specifically moral variety really is required for moral criticizability. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 80-87 [Access article in PDF] The Beauty of Henri Matisse David Carrier Because beauty has for a long time now been politically incorrect (at least among certain influential critics and academic historians) the art of Henri Matisse has recently suffered from a kind of benign neglect. His goals were luxury, calm, and voluptuousness, not social critique. He painted female nudes, and (...) was preoccupied with artistic tradition. Celebrated in his own lifetime, he died a rich man. Matisse's famous identification of the work of art with a good armchair is another provocation. His paintings, after all, are very expensive armchairs. Liberated from any vital connection with everyday life, they often seem merely escapist. In her recent book, On Beauty and Being Just, Elaine Scarry remarks, "Matisse never hoped to save lives. But he repeatedly said that he wanted to make paintings so serenely beautiful that when one came upon them, suddenly all problems would subside."1 That some of Matisse's paintings succeed in being serenely beautiful seems self-evident to Scarry, to me, and to a great many other art lovers. What is perhaps worth exploring at greater length, however, is precisely how Matisse's paintings succeed in achieving their unfashionable goal. What is it that makes the work of Matisse so serenely beautiful?To start, consider The Painter and His Model (1918-1921), made just after his move from Paris to Nice. Like other works from this period of his career, this picture raises special problems, even for many commentators who admire his earlier experimentation. At the left, we see the painter working on a canvas of a nude. "Expression, for me," Matisse wrote, "does not reside in passions glowing in a human face."2 Like most of his models, this one appears expressionless. She poses at the center of the picture, beneath a window that admits the light filling the room. A flowering palm, a symbol of fertility, is the only object visible from the world outside the studio.Leaving behind his family and the luxury of his Paris home, Matisse lived and worked in a small room like this one. The entire picture is filled [End Page 80] with patterns — a red tablecloth on the left, orange wallpaper on the right, blue stripes on the painter's shirt, a red grid on the floor. A dark painting hangs above flowers on the table. The Painter and His Model shows the artist hard at work, but the composition appears effortlessly spontaneous. Matisse, who lived only to paint during his time in Nice, concealed the endless effort required to make his beautiful pictures. A man from North France, he discovered the power of light. There is nothing special about this room, but under the spell of his model Matisse makes it appear ravishing. Intense Mediterranean sunlight transforms ordinary patterns into a world of visual luxury.We know that The Painter and His Model is beautiful because we get great pleasure seeing the model in the golden room. Her skin is close in tone to, or in harmony with the colors of the walls; her curves harmonize with the two vases, and play against the spreading linear grids. As we move our eyes easily from the model to the entire picture, we experience a kind of sublimated erotic pleasure. In "Notes of a Painter," Matisse gave an apt description of his approach in The Painter and His Model. Suppose I want to paint a woman's body: first of all I imbue it with grace and charm, but I know that I must give something more. I will condense the meaning of this body by seeking its essential lines. The charm will be less apparent at first glance, but it must eventually emerge from the new image which will have a broader meaning, one more fully human. (MA, 36) He does not use the word "beauty," but speaks instead about expression and harmony. When he published this manifesto, Matisse was painting very different sorts of pictures — portraits, scenes of nudes in utopian settings, and... (shrink)

Murdoch brings together the darkness of misery and the darkness of wickedness under the observation that ‘goodness is not acontinuously active organic part of our purposes and wishes’. This looks like an empirically minded correction of Socrates. But besides correcting Socrates, is Murdoch also offering, as Stephen Mulhall suggests, ‘a fundamental counter-example’ to her own ‘moral vision’? This depends on what one takes Murdoch’s moral vision to be. I trace Mulhall's mistake to Maria Antonaccio's misidentification of the good with the (...) concept of the good. (shrink)

There is no agreement about the supplement at the end of the first line. almost certainly refers to marriage, discussion of which is postponed till something becomes black or turns dark. Theiler's hardly fits thecontext, and Burkert's with the sense ‘when the grapes ripen’ is not convincing. A metaphorical sense for ‘grapes’ is preferable, e.g. or, better, , , ‘when youwill be old enough to marry’; but the phrase comes with a jolt in the absence of any preparation or (...) immediate follow-up: in the passages of Philodemus andHorace quoted as parallel by Ebert-Luppes the metaphor is not simply a singleword but is extended over two or three lines. (shrink)

From the author of Wittgenstein's Poker and Would You Kill the Fat Man?, the story of an extraordinary group of philosophers during a dark chapter in Europe's history On June 22, 1936, the philosopher Moritz Schlick was on his way to deliver a lecture at the University of Vienna when Johann Nelböck, a deranged former student of Schlick's, shot him dead on the university steps. Some Austrian newspapers defended the madman, while Nelböck himself argued in court that his onetime (...) teacher had promoted a treacherous Jewish philosophy. David Edmonds traces the rise and fall of the Vienna Circle—an influential group of brilliant thinkers led by Schlick—and of a philosophical movement that sought to do away with metaphysics and pseudoscience in a city darkened by fascism, anti-Semitism, and unreason. The Vienna Circle's members included Otto Neurath, Rudolf Carnap, and the eccentric logician Kurt Gödel. On its fringes were two other philosophical titans of the twentieth century, Ludwig Wittgenstein and Karl Popper. The Circle championed the philosophy of logical empiricism, which held that only two types of propositions have cognitive meaning, those that can be verified through experience and those that are analytically true. For a time, it was the most fashionable movement in philosophy. Yet by the outbreak of World War II, Schlick's group had disbanded and almost all its members had fled. Edmonds reveals why the Austro-fascists and the Nazis saw their philosophy as such a threat. The Murder of Professor Schlick paints an unforgettable portrait of the Vienna Circle and its members while weaving an enthralling narrative set against the backdrop of economic catastrophe and rising extremism in Hitler's Europe. (shrink)