In this essay I explore the relationship of sport to art. I do not intend to argue that sport is one of the arts. I will rather argue that sport and art have a commonality, in that both are alienated philosophy. This is to propose – in an argument that has its roots in Hegel's aesthetics – that sport and art may both be interpreted as a way of reflecting upon metaphysical and normative issues, albeit in media that are alien (...) to philosophy's conceptual language. The medium of art is the manipulation of sensuous materials, such as stone, paint, or sound. The medium of sport is the pursuit of a physical challenge, at which the athlete may fail. I will develop this argument by borrowing from the philosophy of art of Arthur C. Danto. In particular, I will suggest that a parallel to his concept of ‘artworld’ can be seen in a ‘sportworld’. As the artworld is an ‘atmosphere of theory’ and a ‘knowledge of history’ through which an event is interpreted and thereby constituted as art, so a sportworld is the atmosphere of theory through which an event is constituted as sport. I will argue that much of the existing discussion of the relationship between sport and art is grounded in an ill-conceived aesthetics. In order to be appreciated and appropriately interpreted, sport must be understood within a modernist aesthetics and hermeneutics. As such, the core issue of an aesthetics of sport is not that of beauty, but rather of the meaning of the sport, and what I shall call the capacity of sport to ‘speak as a world’ – to bring to consciousness through play the taken-for-granted cultural conditions through which our social lives are constituted, and within which metaphysical and normative problems are articulated. I will propose that the hermeneutics of music provides a useful model for the interpretation of sport. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Note of Interpretation: Theistic Finitism as an Aesthetics of Religious NaturalismAndrew Stone Porter (bio)In our cosmological construction we are, therefore, left with the final opposites, joy and sorrow, good and evil, disjunction and conjunction—that is to say, the many in one—flux and permanence, greatness and triviality, freedom and necessity, God and the World. In this list, the pairs of opposites are in experience with a certain ultimate directness (...) of intuition, except in the case of the last pair. God and the World introduce the note of interpretation.—Alfred North Whitehead1Theistic finitism, the position that God is not omnipotent, is the most tenable solution to the problem of evil—but it also necessitates a slide toward immanence. Among the ranks of the finitists we find philosophers such as William James,2 process thinkers such as Whitehead and Charles Hartshorne,3 theological personalists such as Edgar Brightman (and, Rufus Burrow argues, his pupil Martin Luther King, Jr.),4 feminist disability theologians like Julia Watts Belser,5 and popular religion writers such as Harold Kushner.6 Like many others, Kushner found in finitism not an answer to an abstract theological puzzle, but an existentially necessary salve for the despair that nearly overtook him when his three year-old son was diagnosed with a terminal degenerative disease. No loving, all-knowing, all-powerful creator would ever allow such [End Page 70] a thing to happen, Kushner reasoned. If God is not all-powerful, then God need not be the author of our pain, but a friend who hurts with us as we bear it. Rather than sadistic puppeteer, a finite God becomes “the fellow-sufferer who understands.”7 As Jürgen Moltmann put it, “the one who cannot suffer cannot love either. So [God] is also a loveless being.”8 Or, as Dietrich Bonhoeffer reflected as he awaited execution in a Nazi concentration camp, “Only the suffering God can help.”9However, when one strips away divine omnipotence, one must also bid adieu either to God’s omniscience or creator-hood: for an omniscient creator, crafting the world with full knowledge of how everything would unfold, would be ipso facto omnipotent. We are left, then, with the following alternatives: we could posit a God who pressed the “create world” button not knowing what would happen (which seems irresponsible, calling into question God’s goodness)—as Tim Bayne puts it, “If future contingents fall outside the scope of God’s knowledge, then creation was a massive gamble.”10 We may share Albert Einstein’s famous distaste for a God who plays dice with the universe. The other alternative is that God’s knowledge and power are partial, that the Divine is merely one being/force among many. But if God is “just a stranger on the bus, trying to make his way home,”11 then in what sense can we say that God is God at all?This paper offers a construal of theistic finitism as a form of religious naturalism with an aesthetics of empathetic solidarity. That is, when we relinquish belief in God’s omnipotence, instead imagining that God is struggling and suffering along with us, we relinquish as well belief in an overbearing “supernatural realm” or “order” governing/underlying all things. To see God in this way, as Whitehead says, is to “introduce the note of interpretation.” And that note, I suggest, is a musical note, specifically a blues note.12 To call the loving [End Page 71] friendship we experience “God” is an aesthetic choice, an informed way of interpreting life in order to move through it with companionship, tenderness and care. A naturalistic religiosity, in Carol Wayne White’s phrasing, “can be a mode of reflecting on, experiencing, and envisioning one’s relationality with all that is.”13 In this way theology becomes, as Belser puts it, “a grammar of the imagination.”14 As a blues aesthetics of empathetic solidarity, theistic finitism may be considered a form of religious naturalism particularly well-suited to our present moment, mired as it is in cascading crises and careening into catastrophe. I suggest that, as young spiritual seekers exit churches in search of more meaningful community... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 62.1 (2001) 99-119 [Access article in PDF] Animism and Empiricism: Copernican Physics and the Origins of William Gilbert's Experimental Method John Henry In the second year of this journal's run, way back in 1941, appeared Edgar Zilsel's classic and still widely cited paper on The Origins of William Gilbert's Experimental Method. 1 Focusing on Gilbert's De magnete of 1600, undoubtedly a seminal (...) text in the history of the experimental method, 2 Zilsel argued that Gilbert borrowed his methodology from elite craftsmen, artisans, and other manual workers involved in mining, smelting, smithing, compass making, navigation, sailing, and other activities which involved working with iron or with magnets. 3 On its appearance the paper contributed to a growing and still continuing debate in the history of science about the relative importance of scholars and craftsmen in the origins of modern science. Although Zilsel's general thesis has been critically evaluated in terms of that wider debate, 4 his very specific claims about the [End Page 99] role of elite craftsmen in providing Gilbert with a ready-made experimental method, have never been properly considered. This paper attempts to reassess Zilsel's claims about the origin of Gilbert's experimental method and, in so doing, to arrive at a richer understanding of what Gilbert was trying to do in De magnete and to suggest an alternative source for his experimentalism.The first thing to note about Zilsel's argument is that it had two strands. 5 One of these pointed to actual experimental techniques used by Gilbert and showed that they can all be found in earlier writings on magnets. To be more specific, the techniques in question are to be found either in the thirteenth-century "Letter on the Magnet" written by Petrus Pergrinus or Pierre de Maricourt, first published in 1558, or in The Newe Attractive, a work on the magnetic compass written by a retired mariner, Robert Norman, first published in 1581 but reprinted three times before 1600. 6 The second strand did not involve experiments at all, with one notable exception, but simply implied or suggested that Gilbert's experimental techniques must have been inspired by miners and foundrymen, or navigators and instrument makers. The problem here, as others have objected, 7 is that it is by no means clear that elite craftsmen were engaged in performing experiments in anything like the sense of the word required for the argument to cut any ice. For Zilsel, however, "we cannot doubt that many of [the miners and foundrymen of the period], stimulated to improvements by economic competition, were wont to try new techniques and to observe natural processes." 8 A few sentences later we are told that it is "obvious" that "among such manual labourers there were experimentalists, though experimentalists with practical aims only and without theoretical knowledge." 9 [End Page 100]The philosopher of science at this point might legitimately want to suggest that an experiment is not an experiment unless it is testing a theory, but we do not have to enter into such arguable niceties. 10 We can see that there is something profoundly tendentious in Zilsel's claims simply by reading on. At this point Zilsel mentioned the only experiment specifically referred to in this strand of his argumentation. Quoting Gilbert, Zilsel showed that Gilbert himself must have descended into a mine in order, as Zilsel says, "to verify the hypothesis" that the polarity of a magnet derives from the polarity of the earth: We had a twenty pounds' heavy loadstone dug and hauled out after having first observed and marked its ends in its vein. Then we put the stone in a wooden tub on water, so that it could turn freely. Immediately the surface which had looked to the North in the mine turned itself to the North on the water. 11Zilsel did not make the absurd claim that Gilbert must have seen miners doing this kind of experiment, but he did all he could to... (shrink)

'Middle' Platonism has some claim to be the single most influential philosophical movement of the last two thousand years, as the common background to 'Neoplatonism' and the early development of Christian theology. This book breaks with the tradition of considering it primarily in terms of its sources, instead putting its contemporary philosophical engagements front and centre to reconstruct its philosophical motivations and activity across the full range of its interests. The volume explores the ideas at the heart of Platonist philosophy (...) in this period and includes a comprehensive selection of primary sources, a significant number of which appear in English translation for the first time, along with dedicated guides to the questions that have been, and might be, asked about the movement. The result is a tool intended to help bring the study of Middle Platonism into mainstream discussions of ancient philosophy. (shrink)

This book traces, for the first time, a revolution in philosophy which took place during the early centuries of our era. It reconstructs the philosophical basis of the Stoics' theory that fragments of an ancient and divine wisdom could be reconstructed from mythological traditions, and shows that Platonism was founded on an argument that Plato had himself achieved a full reconstruction of this wisdom, and that subsequent philosophies had only regressed once again in their attempts to "improve" on his achievement.

This is a collection of essays written by leading experts in honour of Christopher Rowe, and inspired by his groundbreaking work in the exegesis of Plato. The authors represent scholarly traditions which are sometimes very different in their approaches and interests, and so rarely brought into dialogue with each other. This volume, by contrast, aims to explore synergies between them. Key topics include: the literary unity of Plato's works; the presence and role of his contemporaries in his dialogues; the function (...) of myth (especially the Atlantis myth); Plato's Socratic heritage, especially as played out in his discussions of psychology; his views of truth and being. Prominent among the dialogues discussed are Euthydemus, Phaedo, Phaedrus, Republic, Theaetetus, Timaeus, Sophist and Laws. (shrink)

Resumen: La filosofía y la teología han tenido como telón de fondo la cuestión del ser humano; la filosofía desde un enfoque de complejidad y la teología desde la óptica de la revelación. Tiene sentido preguntarnos acerca de la necesidad que tiene la persona de resolver, de forma progresiva, la pregunta por el sentido de la vida por medio del cultivo de la inteligencia espiritual; de tal forma que se reconozca el papel que tiene la oración, como ejercicio espiritual, en (...) la toma de decisiones, cuya orientación permite conducir la vida en el mundo actual. (shrink)

We investigate the possibility of inducing the cosmological constant from extra dimensions by embedding our four-dimensional Riemannian space-time into a five-dimensional Weyl integrable space. Following the approach of the space-time-matter theory we show that when we go down from five to four dimensions, the Weyl field may contribute both to the induced energy-tensor as well as to the cosmological constant Λ, or more generally, it may generate a time-dependent cosmological parameter Λ(t). As an application, we construct a simple cosmological model (...) in which Λ(t) has some interesting properties. (shrink)

Phaedo of Elis was well-known as a writer of Socratic dialogues, and it seems inconceivable that Plato could have been innocent of intertextuality when, excusing himself on the grounds of illness, he made him the narrator of one of his own: the "Phaedo". In fact the psychological model outlined by Socrates in this dialogue converges with the evidence we have (especially from fragments of the Zopyrus) for Phaedo's own beliefs about the soul. Specifically, Phaedo seems to have thought that non-rational (...) desires were ineliminable epiphenomena of the body, that reason was something distinct, and that the purpose of philosophy was its 'cure' and 'purification'. If Plato's intention with the "Phaedo" is to assert the separability and immortality of reason (whatever one might think about desire and pleasure), then Phaedo provides a useful standpoint for him. In particular, Phaedo has arguments that are useful against the 'harmony-theorists' (and are the more useful rhetorically speaking since it is only over the independence of reason that Phaedo disagrees with them). At the same time as allying himself with Phaedo, however, Plato is able to improve on him by adding to the demonstration that reason is independent a proof that it is actually immortal. (shrink)

About thirty years ago, when the Internet started to be commercialised, access to the medium became a topic of research and debate. Up-to-date evidence about key predictors, such as age, is crucial because of the Internet's ever-changing nature and the challenges associated with gaining access to it. This paper aims to give an overview of New Zealand's Internet access trends and how they relate to age. It is based on secondary analysis of data from a larger online panel survey with (...) 1,001 adult respondents. The Chi-square test of independence and Cramer's V were used in the analysis. The study provides new evidence to understand the digital divide. Specifically, it uncovers a growing disparity in the quality of Internet connectivity. Even though fibre is the most common type of broadband connection at home, older adults are less likely to have it and more likely to use wireless broadband, which is a slower connection type. Additionally, a sizable majority of people in all age categories have favourable opinions on the Internet. Interestingly, this was more prevalent among older people, although they report an increased concern about the security of their personal information online. The implications of the results are discussed and some directions for future research are proposed. (shrink)

ABSTRACT This paper is concerned with the philosophical foundations of parental rights. Some commonly held accounts are rejected. The question of whether parental rights are property rights is examined. It is argued that there are useful analogies with property rights which help us to see that the ultimate justification of parental rights lies in the special value of parenthood in human life. It is further argued that the idea of generation is essential to our understanding of parenthood as having special (...) value and that parental rights properly belong, in the first instance, to natural parents. (shrink)

Narrative fictions have surely become the single most widespread source of entertainment in the world. In their free time, humans read novels and comics, watch movies and TV series, and play video games: they consume stories that they know to be false. Such behaviors are expanding at lightning speed in modern societies. Yet, the question of the origin of fictions has been an evolutionary puzzle for decades: Are fictions biological adaptations, or the by-products of cognitive mechanisms that evolved for another (...) purpose? The absence of any consensus in cognitive science has made it difficult to explain how narrative fictions evolve culturally. We argue that current conflicting hypotheses are partly wrong, and partly right: narrative fictions areby-productsof the human mind, because they obviously co-opt some pre-existing cognitive preferences and mechanisms, such as our interest for social information, and our abilities to do mindreading and to imagine counterfactuals. But humans reap some fitness benefits from producing and consuming such appealing cultural items, making fictionsadaptive. To reconcile these two views, we put forward the hypothesis that narrative fictions are best seen asentertainment technologiesthat is, as items crafted by some people for the proximate goal to grab the attention of other people, and with the ultimate goal to fulfill other evolutionary-relevant functions that become easier once other people’s attention is caught. This hypothesis explains why fictions are filled with exaggerated and entertaining stimuli, why they fit so well the changing preferences of the audience they target, and why producers constantly make their fictions more attractive as time goes by, in a cumulative manner. (shrink)

In chapters 30–1 of the de Stoicorum repugnantiis, Plutarch sets out to show that the Stoics involve themselves in self-contradiction if they claim that their philosophy allows them an intelligible notion of providence. In the first place, he says, this is so because the traditional boons which men expect to receive from the gods do not benefit them at all if they do not have wisdom. Indeed, the fool uses all things badly, so that to give him anything at all (...) without giving him virtue should be positively harmful to him. Yet the gods never give virtue to anyone so, on this score, they benefit no one either. (shrink)

The de primo frigido has long been recognized as an important text for our understanding of Plutarch′s epistemological position. It is the aim of this paper to show, however, that the sophistication of the work, and with it of Plutarch′s epistemology, is not generally given the credit due to it.

A collection of essays exploring the relationship between Plato and the poet Hesiod. The volume covers a wide variety of thematic angles, brings new and sometimes surprising light to a large range of Platonic dialogues, and represents a major contribution to the study of the reception of archaic poetry in Athens.

My last editorial was written before the world became aware of the covid-19 pandemic, and the impact that it would have on our lives. (Editorials are written some three months before publication, l...

In the middle of the nineteenth century, advances in experimental psychology and the physiology of the sense organs inspired so-called "Back to Kant" Neo-Kantians to articulate robustly psychologistic visions of Kantian epistemology. But their accounts of the thing in itself were fraught with deep tension: they wanted to conceive of things in themselves as the causes of our sensations, while their own accounts of causal inference ruled that claim out. This paper diagnoses the source of that problem in views of (...) one Neo-Kantian, F. A. Lange, and argues that it is solved only by Ernst Mach. No less than Lange and other Neo-Kantians, Mach was inspired to develop a psychologistic account of the foundations of knowledge, but his account also includes a coherent denial of things in themselves' existence. Finally, this paper uses this account of Lange and Mach on things in themselves to illuminate Mach's relation to a certain strain of the Neo-Kantian philosophy of his own time: his views constitute a more fully coherent version of the psychologistic theory of knowledge Back to Kant figures tried to articulate. (shrink)

Consider two competing interpretations of Kant's Critique of Pure Reason: the epistemic and cognitive interpretations. The epistemic interpretation presents the first Critique as a work of epistemology, but what is more, it sees Kant as an early proponent of anti-psychologism—the view that descriptions of how the mind works are irrelevant for epistemology.2 Even if Kant does not always manage to purge certain psychological-sounding idioms from his writing, the epistemic interpretation has it, he is perfectly clear that he means his evaluation (...) of knowledge to be carried out independently of psychology.3 In contrast, the cognitive interpretation presents the first Critique as a description of the operation of human .. (shrink)

This paper examines the anti-psychologism of Paul Natorp, a Marburg School Neo-Kantian. It identifies both Natorp’s principle argument against psychologism and the views underlying the argument that give it its force. Natorp’s argument depends for its success on his view that certain scientific laws constitute the intersubjective content of knowledge. That view in turn depends on Natorp’s conception of subjectivity, so it is only against the background of his conception of subjectivity that his reasons for rejecting psychologism make sense. This (...) interpretation of Natorp suggests that attention paid to late nineteenth century theories of subjectivity and philosophy of psychology could improve our understanding of the emergence of anti-psychologism in that period.Keywords: Paul Natorp; Marburg School; Neo-Kantianism; Psychologism; Subjectivity. (shrink)

We propose an approach reconciling the ultimate-level explanations proposed by Savage et al. and Mehr et al. as to why music evolved. We also question the current adaptationist view of culture, which too often fails to disentangle distinct fitness benefits.

An easy-to-use A-Z guide to a body of work that spans philosophy, sociology, politics, law and cultural theory, this is an essential reference guide to one of the most important social theorists of the last century.

(2013). A Hermeneutics of Sport. Sport, Ethics and Philosophy: Vol. 7, Sport and Art: An Essay in the Hermeneutics of Sport, pp. 140-167. doi: 10.1080/17511321.2012.761893.

This special issue of Health Care Analysis originated in an conference, held in Birmingham in 2014, and organised by the group Think about Health. We introduce the issue by briefly reviewing the understandings of the concept of ‘flourishing’, and introducing the contributory papers, before offering some reflections on the remaining issues that reflection on flourishing poses for health care provision.

Due to the Covid-19 pandemic, employees from around the world were compelled to work remotely from home and, in many cases, without much preparation. A substantial body of international research has been conducted on the experiences and attitudes of remote workers as well as the implications of this phenomenon for organisations. While New Zealand research evidence is growing, most existing inquiry is qualitative. This paper provides a quantitative snapshot of remote working using survey data from participants whose jobs can be (...) done from home (n=415). Data collection took place when the country was facing Covid-related measures. -/- Based on descriptive and inferential statistics, it was found that, not only was remote working common, but that hybrid working arrangements were also more prevalent. While half of the participants wanted to work from home more frequently, age, but not gender, was significantly associated with this preference. Another relevant finding is that perceived change in the workplace culture due to flexible work arrangements was significantly associated with preference for working remotely more often. Finally, the most common perceived barriers to working from home were slow internet speed, the need to attend face-to-face meetings, and limited space at home to work. The implications of the results are discussed and some directions for future research are proposed. (shrink)

The contributors to _Somaesthetics and Sport_ explore our embodied experiences of watching and playing sport, including sport’s beauty; the place of exercise in our sense of living a good life; and how we cope with pain and suffering.

We investigate the relations among Brandom’s three dimensions of semantic inferential articulation, namely, incompatibility entailments, committive consequences, and permissive consequences. In his unpublished manuscript “Conceptual Content and Discursive Practice” Brandom argues that (1) incompatibility entailment implies committive consequence, and that (2) committive consequence in turn implies permissive consequence. We criticize this hierarchy both on internal and external grounds. Firstly, we prove that, using Brandom’s own definitions, the reverse of (1) also holds, and that the reverse of (2) may hold (but (...) the proof relies on substantive assumptions). This suggests that there are no three different notions of inference emerging from Brandom’s definitions, but at most two, and perhaps even just one. Secondly, this result puts into question the connections between the three inferential relations and the familiar notions of deduction and induction. (shrink)

In a recent comment on the HFEA’s public consultation on sex selection, Soren Holm claimed that proponents of family balancing are committed to embrace a laissez faire approach. Given that arguments in support of sex selection for family balancing also support sex selection for other social reasons, advocates of family balancing, he asserts, are simply inconsistent when calling for a limit on access to sex selection. In this paper, I argue that proponents of family balancing are in no way inconsistent. (...) Provided their advocacy of family balancing is aimed at preventing a severe distortion of the natural sex ratio, they are entirely justified in insisting on restrictions to sex selection. The real question is whether a concern for the sex ratio does indeed call for a limit on sex selection. Based on a recent survey on gender preferences and data from several Gender Clinics, I argue that a restriction on sex selection to family balancing is unwarranted. In the absence of any evidence for a pending sex ratio distortion, we are actually required to adopt a laissez faire approach to sex selection. (shrink)

On 5th June 2022 Wales played Ukraine for a place in the FIFA World Cup finals, which are due to be held in Qatar in November and December 2022.I suspect that all right-mined people wanted Ukraine...

In CQ 46 , 591–5, I proposed an emendation to Plutarch, de Stoic, rep. 1048DE which included the adoption of the variant σχύουσιν for the σχύν otherwise attested in the MSS.

Paul Taylor’s A Comparative Philosophy of Sport and Art offers an engagingly written overview of key issues in the debates concerning the relationships between, and relative merits of, sport and th...

En este artículo se realiza una aproximación a la moralidad desde una perspectiva neurológica que procura resaltar los aspectos prosociales del cerebro aunque también su inherente neuroplasticidad. Con esto se trata de recusar algunas de las frecuentes explicaciones que, de manera consciente o no, acaban por ofrecer un cuadro simplista y muchas veces determinista de la naturaleza humana. Asimismo se apela a un uso responsable y reflexivo de las neurociencias, enfatizando que el estudio del cerebro debe tener un carácter interdisciplinar. (...) La neurología aporta un conocimiento que es muy provechoso para una exploración biológica de la ética, como es el caso de las neuronas espejo, cuya existencia revaloriza la importancia del otro, quizá también como uno de los ingredientes cruciales de la moral. (shrink)

continent. 2.2 (2012): 66–75 ~*~ We’re Doomed. Pessimism is the night-side of thought, a melodrama of the futility of the brain, a poetry written in the graveyard of philosophy. Pessimism is a lyrical failure of philosophical thinking, each attempt at clear and coherent thought, sullen and submerged in the hidden joy of its own futility. The closest pessimism comes to philosophical argument is the droll and laconic “We’ll never make it,” or simply: “We’re doomed.” Every effort doomed to failure, every (...) project doomed to incompletion, every life doomed to be unlived, every thought doomed to be unthought. Pessimism is the lowest form of philosophy, frequently disparaged and dismissed, merely the symptom of a bad attitude. No one ever needs pessimism, in the way that one needs optimism to inspire one to great heights and to pick oneself up, in the way one needs constructive criticism, advice and feedback, inspirational books or a pat on the back. No one needs pessimism, though I like to imagine the idea of a pessimist activism. No one needs pessimism, and yet everyone—without exception—has, at some point in their lives, had to confront pessimism, if not as a philosophy then as a grievance—against one’s self or others, against one’s surroundings or one’s life, against the state of things or the world in general. There is little redemption for pessimism, and no consolation prize. Ultimately, pessimism is weary of everything and of itself. Pessimism is the philosophical form of disenchantment—disenchantment as chanting, a chant, a mantra, a solitary, monophonic voice rendered insignificant by the intimate immensity surrounding it. In pessimism, the first axiom is a long, low, funereal sigh. ~*~ We’re Still Doomed. No one has time for pessimism. After all, there are only so many hours in a day. Whatever our temperament, happy or sad, engaged or disengaged, we know pessimism when we hear it. The pessimist is usually understood as the complainer, forever pointing out what is wrong with the world without ever once offering a solution. But more often than not pessimists are the quietest of philosophers, submerging their own sighs within the lethargy of discontent. What little sound it makes is of interest to no one—“I’ve heard it all before,” “tell me something I don’t know,” sound and fury, signifying nothing. In raising problems without solutions, in posing questions without answers, in retreating to the hermetic, cavernous abode of complaint, pessimism is guilty of that most inexcusable of Occidental crimes—the crime of not pretending it’s for real. Pessimism fails to live up to the most basic tenet of philosophy—the “as if.” Think as if it will be helpful, act as if it will make a difference, speak as if there is something to say, live as if you are not, in fact, being lived by some murmuring non-entity both shadowy and muddied. Had it more self-assurance and better social skills, pessimism would turn its disenchantment into a religion, possibly calling itself The Great Refusal. But there is a negation in pessimism that refuses even such a Refusal, an awareness that, from the start, it has already failed, and that the culmination of all that is, is that all is for naught. Pessimism tries very hard to present itself in the low, sustained tones of a Requiem Mass, or the tectonic rumbling of Tibetan chant. But it frequently lets loose dissonant notes at once plaintive and pathetic. Often, its voice cracks, its weighty words abruptly reduced to mere shards of guttural sound. ~*~ Maybe It’s Not So Bad, After All. If we know pessimism when we hear it, this is because we’ve heard it all before—and we didn’t need to hear it in the first place. Life is hard enough. What you need is a change of attitude, a new outlook, a shift in perspective... a cup of coffee. If we have no ears for pessimism, this is because it is always reducible to something as reliably mutable as a voice. If pessimism is so frequently disparaged, it is because it brings everyone down, determined as it is to view each day as a bad day, if only by virtue of the fact that it is not yet a bad day. For pessimism the world is brimming with negative possibility, the collision of a bad mood with an impassive world. In fact, pessimism is the result of a confusion between the world and a statement about the world, a confusion that also prevents it from fully entering the hallowed halls of philosophy. If pessimism is so often dismissed, this is because it is often impossible to separate a “bad mood” from a philosophical proposition (and do not all philosophies stem from a bad mood?) The very term “pessimism” suggests a school of thought, a movement, even a community. But pessimism always has a membership of one—maybe two. Ideally, of course, it would have a membership of none, with only a scribbled, illegible note left behind by someone long forgotten. But this seems unrealistic, though one can always hope. ~*~ Anatomy of Pessimism. Though it may locate itself at the margins of philosophy, pessimism is as much subject to philosophical analysis as any other form of thought. Pessimism’s lyricism of failure gives it the structure of music. What time is to the music of sorrow, reason is to a philosophy of the worst. Pessimism’s two major keys are moral and metaphysical pessimism, its subjective and objective poles, an attitude towards the world and a claim about the world. For moral pessimism, it is better not to have been born at all; for metaphysical pessimism, this is the worst of all possible worlds. For moral pessimism the problem is the solipsism of human beings, the world made in our own image, a world-for-us. For metaphysical pessimism, the problem is the solipsism of the world, objected and projected as a world-in-itself. Both moral and metaphysical pessimism are compromised philosophically; moral pessimism by its failure to locate the human within a larger context, and metaphysical pessimism by its failure to recognize the complicity in the very claim of realism. This is how pessimism makes its music of the worst, a generalized misanthropy without the anthropos . Pessimism crystallizes around this futility—it is its amor fati , rendered as musical form. ~*~ Melancholy of Anatomy. There is a logic of pessimism that is fundamental to its suspicion of philosophical system. Pessimism involves a statement about a condition . In pessimism each statement boils down to an affirmation or a negation, just as any condition boils down to the best or the worst. With Schopenhauer, that arch-pessimist, the thinker for whom the philosopher and the curmudgeon perfectly overlap, we see a no-saying to the worst, a no-saying that secretly covets a yes-saying (through asceticism, mysticism, quietism), even if this hidden yes-saying is a horizon at the limits of comprehension. With Nietzsche comes the pronouncement of a Dionysian pessimism, a pessimism of strength or joy, a yes-saying to the worst, a yes-saying to this world as it is. And with Cioran yet another variation, futile yet lyrical, a no-saying to the worst, and a further no-saying to the possibility of any other world, in here or out there. With Cioran one approaches, but never reaches, an absolute no-saying, a studied abandonment of pessimism itself. The logic of pessimism moves through three refusals: a no-saying to the worst (refusal of the world-for-us, or Schopenhauer’s tears); a yes-saying to the worst (refusal of the world-in-itself, or Nietzsche’s laughter); and a no-saying to the for-us and the in-itself (a double refusal, or Cioran’s sleep). Crying, laughing, sleeping—what other responses are adequate to a life that is so indifferent? ~*~ Cosmic Pessimism. Both moral and metaphysical pessimism point to another kind, a pessimism that is neither subjective nor objective, neither for-us nor in-itself, and instead a pessimism of the world-without-us. We could call this a cosmic pessimism ... but this sounds too majestic, too full of wonder, too much the bitter aftertaste of the Great Beyond. Words falter. And so do ideas. And so we have a cosmic pessimism, a pessimism that is first and last a pessimism about cosmos , about the necessity and possibility of order. The contours of cosmic pessimism are a drastic scaling-up or scaling-down of the human point of view, the unhuman orientation of deep space and deep time, and all of this shadowed by an impasse, a primordial insignificance, the impossibility of ever adequately accounting for one’s relationship to thought—all that remains of pessimism is the desiderata of affects—agonistic, impassive, defiant, reclusive, filled with sorrow and flailing at that architectonic chess match called philosophy, a flailing that pessimism tries to raise to the level of an art form (though what usually results is slapstick). ~*~ Song of Futility. An ethics of futility pervades pessimism. Futility, however, is different from fatality, and different again from simple failure (though failure is never simple). Failure is a breakage within the heart of relations, a fissure between cause and effect, a fissure hastily covered over by trying and trying again. With failure, there is always plenty of blame to go around; it’s not my fault, it’s a technical difficulty, it’s a miscommunication. For the pessimist, failure is a question of “when,” not “if”—failure as a metaphysical principle. Everything withers and passes into an obscurity blacker than night, everything from the melodramatic decline of a person’s life to the banal flickering moments that constitute each day. Everything that is done undone, everything said or known destined for a kind of stellar oblivion. When scaled up in this way, failure becomes fatality. Fatality is the hermeticism of cause and effect. In fatality, everything you do, whatever you do, always leads to a certain end, and ultimately to the end—though that end, or the means to that end, remain shrouded in obscurity. Nothing you do makes a difference because everything you do makes a difference. Hence the effects of your actions are hidden from you, even as you deceive yourself into thinking that, at last, this time you will outwit the order of things. By having a goal, planning ahead, and thinking things through carefully, we attempt, in a daily Prometheanism, to turn fatality to our advantage, to gain a glimpse of an order that seems buried deeper and deeper in the fabric of the universe. But even fatality has its comforts. The chain of cause and effect may be hidden from us, but that’s just because disorder is the order we don’t yet see; it’s just complex, distributed, and requires advanced mathematics. Fatality still clings to the sufficiency of everything that exists... When fatality relinquishes even this idea, it becomes futility. Futility arises out of the grim suspicion that, behind the shroud of causality we drape over the world, there is only the indifference of what exists or doesn’t exist; whatever you do ultimately leads to no end, an irrevocable chasm between thought and world. Futility transforms the act of thinking into a zero-sum game. ~*~ Song of the Worst. At the center of pessimism lies the term pessimus , “the worst,” a term as relative as it is absolute. The worst is about as bad as it gets, “the worst” as “the best” in disguise, shrouded by the passage of time or the twists and turns of fortune. For the pessimist, “the worst” is the propensity for suffering that gradually occludes each living moment, until it eclipses it entirely, overlapping perfectly in death... which, for the pessimist, is no longer “the worst.” Pessimism is marked by an unwillingness to move beyond “the worst,” something only partially attributable to a lack in motivation. In pessimism “the worst” is the ground that gives way beneath every existent—things could be worse, and , things could be better. “The worst” invariably implies a value judgment, one made based on scant evidence and little experience; in this way, pessimism’s greatest nemesis is its moral orientation. Pessimism’s propositions have all the gravitas of a bad joke. Perhaps this is why the true optimists are the most severe pessimists—they are optimists that have run out of options. They are almost ecstatically inundated by the worst. Such an optimism is the only possible outcome of a prolonged period of suffering, physical or metaphysical, intellectual or spiritual. But does this not also describe all the trials and tribulations of each day—in short, of “life?” It seems that sooner or later we are all doomed to become optimists of this sort (the most depressing of thoughts...) ~*~ Song of Doom. Rather than serving as a cause for despair, gloom and doom are the forms of consolation for any pessimist philosophy. Neither quite affects nor quite concepts, gloom and doom transform pessimism into a mortification of philosophy. Doom is not just the sense that all things will turn out badly, but that all things inevitably come to an end, irrespective of whether or not they really do come to an end. What emerges from doom is a sense of the unhuman as an attractor, a horizon towards which the human is fatally drawn. Doom is humanity given over to unhumanity in an act of crystalline self-abnegation. Gloom is not simply the anxiety that precedes doom. Gloom is literally atmospheric, climate as much as impression, and if people are also gloomy, this is simply the by-product of an anodyne atmosphere that only incidentally involves human beings. Gloom is more climatological than psychological, the stuff of dim, hazy, overcast skies, of ruins and overgrown tombs, of a misty, lethargic fog that moves with the same languorousness as our own crouched and sullen listening to a disinterested world. In a sense, gloom is the counterpoint to doom—what futility is to the former, fatality is to the latter. Doom is marked by temporality—all things precariously drawn to their end—whereas gloom is the austerity of stillness, all things sad, static, and suspended, a meandering smoke hovering over cold lichen stones and damp fir trees. If doom is the terror of temporality and death, then gloom is the horror of a hovering stasis that is life. At times I like to imagine that this realization alone is the thread that connects the charnel ground Aghori and the graveyard poets. ~*~ Song of Spite. There is an intolerance in pessimism that knows no bounds. In pessimism spite begins by fixing on a particular object of spite—someone one hardly knows, or someone one knows too well; a spite for this person or a spite for all of humanity; a spectacular or a banal spite; a spite for a noisy neighbor, a yapping dog, a battalion of strollers, the meandering idiot walking in front of you on their smart phone, large loud celebrations, traumatic injustices anywhere in the world regurgitated as media blitz, spite for the self-absorbed and overly performative people talking way too loud at the table next to you, technical difficulties and troubleshooting, the reduction of everything to branding, spite of the refusal to admit one’s own errors, of self-help books, of people who know absolutely everything and make sure to tell you, of all people, all living beings, all things, the world, the spiteful planet, the inanity of existence... Spite is the motor of pessimism because it is so egalitarian, so expansive, it runs amok, stumbling across intuitions that can only half-heartedly be called philosophical. Spite lacks the confidence and the clarity of hatred, but it also lacks the almost cordial judgment of dislike. For the pessimist, the smallest detail can be an indication of a metaphysical futility so vast and funereal that it eclipses pessimism itself—a spite that pessimism carefully places beyond the horizon of intelligibility, like the experience of dusk, or like the phrase, “it is raining jewels and daggers.” ~*~ Song of Sleep. A paraphrase of Schopenhauer: what death is for the organism, sleep is for the individual. Pessimists sleep not because they are depressed, but because for them sleep is a form of ascetic practice. Sleep is the askesis of pessimism. If, while sleeping, we have a bad dream, we abruptly wake up, and suddenly the horrors of the night vanish. There is no reason to think that the same does not happen with the bad dream we call “life.” ~*~ Song of Sorrow. Nietzsche, commenting on pessimism, once castigated Schopenhauer for taking things too lightly. He writes: ...Schopenhauer, though a pessimist, really —played the flute. Every day, after dinner: one should read his biography on that. And incidentally: a pessimist, one who denies God and the world but comes to a stop before morality—who affirms morality and plays the flute... what? Is that really—a pessimist? We know that Schopenhauer did possess a collection of instruments, and we also know that Nietzsche himself composed music. There is no reason to think that either of them would ever banish music from the Republic of philosophy. But Nietzsche’s jibes at Schopenhauer are as much about music as they are about pessimism. For the pessimist who says no to everything and yet finds comfort in music, the no-saying of pessimism can only be a weak way of saying yes—the weightiest statement undercut by the flightiest of replies. The least that Schopenhauer could’ve done is to play the bass. I’m not a big fan of the flute, or, for that matter, wind instruments generally. But what Nietzsche forgets is the role that the flute has historically played in Greek tragedy. In tragedy, the flute ( aulos ) is not an instrument of levity and joy, but of solitude and sorrow. The Greek aulos not only expresses the grief of tragic loss, but it does so in a way that renders weeping and singing inseparable from each other. The classicist Nicole Loraux calls this the mourning voice . Set apart from the more official civic rituals of funerary mourning, the mourning voice of Greek tragedy constantly threatens to dissolve song into wailing, music into moaning, and the voice into a primordial, disarticulate anti-music. The mourning voice delineates all the forms of suffering—tears, weeping, sobbing, wailing, moaning, and the convulsions of thought reduced to an elemental unintelligibility. In the collapsed space between the voice that speaks and the voice that sings, pessimism discovers its mourning voice. Pessimism: the failure of sound and sense, the disarticulation of phone and logos . Have we rescued Schopenhauer from Nietzsche? Probably not. Perhaps Schopenhauer played the flute to remind himself of the real function of the mourning voice—sorrow, sighs, and moaning rendered indistinguishable from music, the crumbling of the human into the unhuman. Failure par excellence of pessimism. ~*~ Song of Nothing. In Buddhist thought, the First Noble Truth of existence is encapsulated in the Pali term dukkha , conventionally translated as “suffering,” “sorrow,” or “misery.” The Buddhist teachings are clear, however, that this is an objective claim, and not simply one point of view among others. Existence is suffering and sorrow—and yet this is not, the teachings tell us, a pessimistic attitude. It is likely that Schopenhauer, reading the Buddhist texts available to him, recognized some filiation with the concept of dukkha . But dukkha is a multi-faceted term. There is, certainly, dukkha in the usual sense of the suffering, strife, and loss associated with living a life. But this is, in turn, dependent on the finitude and temporality of dukkha , existence as determined by impermanence and imperfection. And this ultimately points to the way in which both suffering and finitude are grounded by the paradoxical groundlessness of dukkha as a metaphysical principle—the insubstantiality and the emptiness of all that is. Beyond what is worse to me, beyond a world ordered for the worst, there is the emptiness of dukkha as an impersonal suffering... the tears of the cosmos. In this context, it is easy to see how Schopenhauer’s pessimism attempts to compress all the aspects of dukkha into a nothingness at the core of existence, a Willlessness coursing through the Will. Though one thing for certain is that with Schopenhauer we do not find the “ever-smiling” countenance of Buddhism—or do we? The texts of the Pali Canon also contain lists of the different types of happiness—including the happiness of renunciation and the strange happiness of detachment. But Buddhism considers even the different types of happiness as part of dukkha , in this final sense of nothingness or emptiness. Perhaps Schopenhauer understood Buddhism better than he is usually given credit for. Thus the experiment of Schopenhauer’s philosophy—the point at which a Western pessimus and an Eastern dukkha overlap or exchange glances. Empty sorrow, a lyricism of indifference. The result is a strange, and ultimately untenable, nocturnal form of Buddhism. ~*~ Cioran once called music a “physics of tears.” If this is true, then perhaps metaphysics is its commentary. Or its apology. ~*~ Pessimism would be more mystical were it not for its defeatism. Mysticism is much too proactive for the pessimist, and pessimism too impassive even for the mystic. At the same time, there is something enviable about mysticism—despite its sufferings. There is a sense in which pessimists are really failed mystics. ~*~ You, the Night, and the Music. In a suggestive passage, Schopenhauer once noted that, “music is the melody to which the world is the text." Given Schopenhauer’s view on life—that life is suffering, that human life is absurd, that the nothingness before my birth is equal to the nothingness after my death—given all this, one wonders what kind of music Schopenhauer had in mind when he described music as the melody to which the world is text—was it opera, a Requiem Mass, a madrigal, or perhaps a drinking song? Or something like Eine kleine Nachtmusik , a little night music for the twilight of thought, a sullen nocturne for the night-side of logic, an era of sad wings sung by a solitary banshee. Perhaps the music Schopenhauer had in mind is music eliminated to non-music. A whisper would suffice. Perhaps a sigh of fatigue or resignation, perhaps a moan of despair or sorrow. Perhaps a sound just articulate enough that it could be heard to dissipate. ~*~ Teach me to laugh through tears. ~*~ Pessimism always falls short of being philosophical. My back aches, my knees hurt, I couldn’t sleep last night, I’m stressed-out, and I think I’m finally coming down with something. Pessimism abjures all pretenses towards system—towards the purity of analysis and the dignity of critique. We didn’t really think we could figure it out, did we? It was just passing time, taking a piss, something to do, a bold gesture put forth in all its fragility, according to rules that we have agreed to forget that we made up in the first place. Every thought marked by a shadowy incomprehension that precedes it, and a futility that undermines it. That pessimism speaks, in whatever voice, is the singing testimony to this futility and this incomprehension—take a chance and step outside, lose some sleep and say you tried... ~*~ Is there a music of pessimism? And would such a music be audible? ~*~ The impact of music on a person compels them to put their experience into words. When this fails, the result is a faltering of thought and language that is itself a kind of music. Cioran writes: “Music is everything. God himself is nothing more than an acoustic hallucination.” ~*~ If a thinker like Schopenhauer has any redeeming qualities, it is that he identified the great lie of Western culture—the preference for existence over non-existence. As he notes: “If we knocked on the graves and asked the dead whether they would like to rise again, they would shake their heads.” In Western cultures it is commonly accepted that one celebrates birth and mourns death. But there must be a mistake here. Wouldn’t it make more sense to mourn birth and celebrate death? Strange though, because the mourning of birth would, presumably, last the entirety of that person’s life, so that mourning and living would the be same thing. ~*~ To the musical idea of the harmony of the universe corresponds the philosophical principle of sufficient reason. Like the music of mourning, pessimism gives voice to the inevitable breakdown of word and song. In this way, music is the overtone of thought. ~*~ The Patron Saints of Pessimism. The patron saints of pessimism watch over suffering. Laconic and sullen, the patron saints of pessimism never seem to do a good job at protecting, interceding, or advocating for those who suffer. Perhaps they need us more than we need them. Lest we forget, there do exist patron saints of philosophy, but their stories are not happy ones. There is, for instance, the fourth century Saint Catherine of Alexandria, or Catherine of the Wheel, named after the torture device used on her. A precocious fourteen year old scholar, Catherine was subject to continual persecution. After all forms of torture failed—including the “breaking wheel”—the emperor finally settled for her decapitation, a violent yet appropriate reminder of the protector of philosophers. There are also patron saints of music and musicians, but theirs too are sad stories. In the second century, Saint Cecilia was also subject to persecution and torture. As she knelt to receive the blade that would separate her head from her body, she ardently sang a song to God. It took three attempts before she was fully decapitated, all the while she continued, perhaps miraculously, to sing. Does pessimism not deserve its own patron saints, even if they are unworthy of martyrdom? But in our search, even the most ardent nay-sayers frequently lapse into brief moments of enthusiasm—Pascal’s love of solitude, Leopardi’s love of poetry, Schopenhauer’s love of music, Nietzsche’s love of Schopenhauer, and so on. Should one then focus on individual works of pessimism? We could include Kierkegaard’s trilogy of horror— Sickness Unto Death , The Concept of Dread , and Fear and Trembling —but all these are undermined by their fabricated and unreliable authors. Besides, how can one separate the pessimist from the optimist in works like Unamuno’s The Tragic Sense of Life , Shestov’s Postetas Clavium , or Edgar Saltus’ under-read The Philosophy of Disenchantment ? Even in cases where the entire corpus of an author is pessimistic, the project always seems incomplete—witness Cioran’s trajectory, from his first book, On the Heights of Despair , to the last unpublished notebooks of acrid and taut aphorisms. And this is to say nothing of literary pessimism, from Goethe’s sorrowful Werther, to Dostoevsky’s underground man, to Pessoa’s disquiet scribbler; Baudelaire’s spleen and ennui, the mystical Satanism of Huysmans and Strindberg, the hauntologies of Mário de Sá-Carniero, Izumi Kyoka, H.P. Lovecraft, grumpy old Beckett... even the great pessimist comedians. All that remains are singular, perhaps anomalous statements of pessimism, a litany of quotes and citations crammed into fortune cookies. Patron saints are traditionally named after a locale, either a place of birth or of a mystical experience. Perhaps the better approach is to focus on the places where pessimists were forced to live out their pessimism—Schopenhauer facing an empty Berlin lecture hall, Nietzsche mute and convalescent at the home of his sister, Wittgenstein the relinquished professor and solitary gardener, Cioran grappling with Alzheimer’s in his tiny writing alcove in the Latin Quarter. ~*~ There’s a ghost that grows inside of me, damaged in the making, and there’s a hunt sprung from necessity, elliptical and drowned. Where the moving quiet of our insomnia offers up each thought, there’s a luminous field of grey inertia, and obsidian dreams burnt all the way down. ~*~ If pessimism has any pedagogical value, it is that the failure of pessimism as a philosophy is inextricably tied to the failure of pessimism as voice. I read the following, from Shestov’s The Apotheosis of Groundlessness : When a person is young he writes because it seems to him he has discovered a new almighty truth which he must make haste to impart to forlorn humankind. Later, becoming more modest, he begins to doubt his truths: and then he tries to convince himself. A few more years go by, and he knows he was mistaken all round, so there is no need to convince himself. Nevertheless he continues to write, because he is not fit for any other work, and to be accounted a superfluous person is so horrible. (shrink)

La hermenéutica existencial crítica comprende los elementos que integran la explicación, la comprensión y la actualización en los fundamentos transcendentales de la realidad y que se expresan de forma inmanente en el ámbito espaciotemporal de sentido categorialmente. Así las cosas, el objetivo de este trabajo de investigación es presentar un análisis acerca de la relación entre los valores inmanentes y transcendentales en el ámbito espaciotemporal cotidiano de la acción humana. Esto con el fin de, en primer lugar, reconocer la superación (...) empírica de las contradicciones éticas y lógicas del mundo social y de la vida y, en segundo lugar, identificar, en la expresión categorial de los fundamentos axiológicos transcendentales, la posibilidad de la transformación personal y colectiva del género humano desde la hermenéutica existencial crítica, cuyo dinamismo comprende al ser humano como un buscador en la resolución existencial del sentido, en su doble tensión entre lo oculto y luminoso a través del cultivo de la vida espiritual, para descubrir en el interior de sí el llamado que acontece en el silencio. (shrink)