De quoi s'agit-il donc dans ces pages ? De rien moins que de " comprendre ", au sens premier, Coltrane et sa musique et, à travers celui-ci et celle-là (c'est tout un, Arcens le démontre), d'atteindre à l'ipséité même du jazz. Vaste programme pour lequel l'auteur mobilise écrivains, poètes, philosophes - singulièrement Michel Henry et sa phénoménologie. Tant il est vrai, assure-t-il, qu'" une philosophie esthétique, une philosophie tout entière fondée sur l'esthétique est, au fond d'elle déjà, une phénoménologie. (...) " C'est aussi un voyage auquel Michel Arcens convie son lecteur... et qui n'est pas de tout repos. II se mérite. II est de l'ordre du pèlerinage, semé d'aspérités, d'apories contournées avec une maîtrise confondante. Mais la clarté nouménale, dans le sens husserlien du terme, sur laquelle il débouche, vaut qu'on l'entreprenne et le mène à son terme. Impossible, après la lecture de ce livre, d'écouter John Coltrane (ou n'importe quel autre musicien de jazz) avec les oreilles d'antan. (shrink)

«Paz en la tierra», además de ser testimonio de tal vida en la «nube de luz», es una invitación a compartirla, una invitación remitida precisamente a quienes todavía no estamos en esa trascendencia, de modo que esta pieza tanto nos comunica un deseo referido a nosotros como nos hace extensiva la cordialidad de la que ya goza quien nos la dedica.

The paper investigates the cultural unit of “sanctity” in the light of the notion of “form of life”, in order to show how jazz master John Coltrane pursued sanctity as a regulative model with regards both to personhood and musicianship, so as to translate his existential quest into music. Firstly, the paper briefly summarizes: what we mean today by sanctity ; what are the relationships interweaving music and sanctity ; what we mean by form of life—a notion brought (...) into philosophical discourse by Ludwig Wittgenstein—in semiotic terms and why we can apply it to sanctity. Afterwards, the paper addresses Coltrane’s musical career, relying both on hagiographic discourse built around him and his discography, with special focus on three game-changers among his albums: Giant Steps, A Love Supreme, and Ascension. Coltrane headed a twofold conversion: he abandoned his native Methodist faith to embrace a personal form of syncretic pantheism; he abandoned the language of traditional jazz to embrace the avant-garde technique of modal composition and the once despised free jazz. Not only Coltrane wanted to be a saint, not only was he regarded as such to the extent that a “St. John William Coltrane Church” was established in San Francisco, but he tried to be one through music; namely, by conveying his spiritual journey via sonic means: proposing a musical catechism, a musical mass, and his own mystique. Consistently with the process of selection any saintly figure—and mystiques especially—undergoes in order to be canonized stricto sensu, only some tokens within Coltrane’s body of work were included in the canon, while his later works were left out due to their radicalism. (shrink)

Machine generated contents note: Chapter One: Wrong Question, Right Answer -- Exercise 1: Getting right into it -- Exercise 2: Watching your hand -- Exercise 3: Marking practice -- Chapter Two: Realistic Drawing -- Exercise 4: Picking an object to draw -- Exercise 5: Attentive looking -- Exercise 6: Noticing awareness -- Exercise 7: Marking from the sense of sight -- Exercise 8: Simple rendering -- Exercise 9: Try perspective -- Exercise 10: Working inward -- Chapter Three: Systematic Drawing -- (...) Exercise 11: The circular arrow - a visual mantra -- Exercise 12: Improvising between two points and finding the world in between -- Exercise 13: Thought as art -- Exercise 14: All four pixel images -- Exercise 15: Book of compositions -- Chapter Four: Improvisational Drawing -- Exercise 16: Going outside the box -- Exercise 17: Not-breath awareness -- Exercise 18: Growing improvisation -- Exercise 19: Chasing the Coltrane Effect -- Exercise 20: Drawing to reveal inner conditions -- Exercise 21: Noticing Intuition -- Exercise 22: You are the universe drawing -- Chapter Five: Reading the Drawings -- Exercise 23: An exact physical description -- Exercise 24: Feeling the meaning -- Exercise 25: The story we tell ourselves -- Exercise 26: Connecting our story to a larger story -- Chapter Six: The Search for the Source of Creativity -- Exercise 27: Priming the source -- Exercise 28: Sitting still at the origin -- Exercise 29: Embedded sources -- Exercise 30: Mindful of the path -- Chapter Seven: Meta-Drawing -- Exercise 31: Sharing with yourself -- Exercise 32: Sharing with a trusted friend -- Exercise 33: Sharing with the world. (shrink)

This year I made an album with Jay Auborn. One of the tracks features a piano, a violin, a bass synthesizer, some vocals and the sound of me hitting two sticks rhythmically on the side of the piano. It is based on a previous piece of music which I wrote with Andrew Prior called Birdsong and is called Songbird. How did this happen? It started with the playing of a piano riff, a piano riff that was being played because we (...) had just performed Birdsong at a performance in London with pianist, Dunstan Belcher. This piano riff was also being played because Jay had just been listening to Nick Cave and Warren Ellis, and I overlaid some violin because I was thinking about Warren Ellis and Alice Coltrane and the Mixolydian mode and In a Silent Way by Miles Davis. But I was probably thinking about Miles Davis because Jay and I were just doing impressions to each other of Miles Davis, imagining we were him writing his autobiography.... Have you ever read his autobiography? Jesus. I played some bass because I had a conversation in the week previously about how I was frightened of bass. So bass was added. In a riff. A bit like Miles Davis, but I was thinking about ‘Atoms for Peace’ and not being scared of bass... (shrink)

John Dewey, John Coltrane, Philosophy of Education, Growth, Rhythm.

What does it mean to enact a jazz beat as a creative performer? This article offers a critical reading of Iyer’s much-cited theory on rhythmic enaction. We locate the sonic environment approach in Iyer’s theory, and criticize him for advancing a one-to-one relationship between everyday perception and full-fledged aural competence of jazz musicians, and for comparing the latter with non-symbolic behaviour of non-human organisms. As an alternative, we suggest a Merleau-Ponty-inspired concept of rhythmic enaction, which we call the enactive communicative (...) approach. Key to this approach is the fact that jazz musicians play by ear, and that the beat emerges because of reciprocal, real-time aural communication. From this perspective, we outline the temporality of a jazz beat as a holistic and dialectical temporal structure. Throughout the discussions, we use John Coltrane’s ‘Trane’s Slo Blues’ as a point of reference. (shrink)

Proceedings of a conference held June 26-30, 2007 at Opole University, Poland. -/- This volume explores the three normative sciences that Peirce distinguished (aesthetics, ethics, and logic) and their relation to phenomenology and metaphysics. The essays approach this topic from a variety of angles, ranging from questions concerning the normativity of logic to an application of Peirce’s semiotics to John Coltrane’s “A Love Supreme.”.

In this study of Baraka's transformation of white avant-grade poetics into a unique black poetics, Harris argues that Baraka's work can be best understood in the context of a jazz aesthetic. Baraka, he says, has taken white avant-garde and postmodernist poetic modes and political ideas, and through a formal and social process of transformation typical of jazz revision, transformed them into a black poetics and metaphysics. Harris describes the failure of the postmodernists to provide suitable aesthetic and social solutions for (...) ethnic and political problems. Baraka set as his models jazzmen like John Coltrane and Charlie Parker, who attempted to destroy white music so that a new black music could be born. To "jazzify" his poetry, he adapted a "fast rap" of scatting, "songification" and other oral and performance techniques. Harris concludes a discussion of Baraka's influence on black literature. ISBN 0-8262-0483-X: $20.00. (shrink)

This article is the attempt of an historically oriented analysis focused on the role of Nigerian music as a cultural hub for the export of African cultural influences into the Black diaspora in the United States and its anticipation by the Free Jazz/Avantgarde-scene as well as the import of key-values related to the Black Power-movement to the African continent. The aim is to demonstrate the leading role and international impact of Nigeria's cultural industry among sub-saharan African nation states and its (...) specific ability to absorb and incorporate elements of Western culture. -/- After a short discussion of African influences on jazz music in general and the socio-political, cultural, and artistic context in which Free Jazz emerged, examples for the articulation of African consciousness among influencing key figures such as saxophonist John Coltrane or the Art Ensemble of Chicago are being presented. Furthermore, the personal and ideological links between the Avantgarde Jazz-scene and the Black Power-movement - especially the Black Panther Party - are made transparent. -/- In a second step the central influence of the Nigerian drum-pioneer Babatunde Olatunji on the Africanization of US-Jazz musicians, his personal and creative impact on John Coltrane, as well as the Black Power-movement is being highlighted. On the other hand, Coltrane, Free Jazz, and the Black Panther Party are being portrayed as a central creative and ideological turn in the career and work of Fela Kuti and towards political activism and his efforts to implement and apply the Africa-inspired Black Power -struggle of the US on the African continent in order to fight post-colonial forms of oppression. -/- . (shrink)

Among improvisers and composers today there is a resurgence of interest in experimental music (EM) practices that welcome contingency; engaging with unforeseen circumstances as an essential component of the music-making process, and a means to sonic discovery. I propose theExperimental Composition Improvisation Continua(ECIC) as a model with which to better understand these experimental musical works. The historical Experimental Music movement of the 1950s and 60s is briefly revisited, and the jazz tradition included as an essential protagonist; both being important historical (...) movements leading to the formulation of ideas around contingent musical practices. The ECIC model is outlined as providing a means to observe the interactions and continua between composition and improvisation on the one hand and more or less experimentally conceived music on the other. This model is applied as an investigative and comparative tool to three distinctive works in order to illuminate the presence or otherwise of various experimental interactions within them. The works are: “Spiral Staircase” – a composition by written by Satoko Fujii in late 2007, John Cage’s4′33″, and a performance of “My Favorite Things” by the John Coltrane Quartet. Further possible applications of the ECIC are suggested in the conclusion. (shrink)

Friendly Remainders draws on Adorno's concept of the negative dialectic, examining its importance in Adorno's thought and its critical application to musical forms. Moving beyond a positivist view where musical object and appreciation operate as a synthesis, the negative dialectic method focuses on divergence and dissonance in musical forms and in society. Contradictions and divergent details and concepts become "remainders," friendly because of the fresh perspective they offer on musical forms. Dineen examines these contradictory remainders in subjects such as the (...) fascist element in Wagner's character, the torpor of Schoenberg's twelve-tone method, the self-contradiction implicit in Beethoven's Late Style, Frank Zappa's attempt to define himself as a "serious" composer, the reactionary stasis in Marilyn Manson's DVD "Guns, God and Government World Tour," and the death motive in John Coltrane. Friendly Remainders takes seriously the project of making Adorno accessible, asking the same questions of classical and popular music - taking the measure of Mahler as much as Manson - for the value of the critical insights they provoke. (shrink)

Miles Davis, supremely cool behind his shades. Billie Holiday, eyes closed and head tilted back in full cry. John Coltrane, one hand behind his neck and a finger held pensively to his lips. These iconic images have captivated jazz fans nearly as much as the music has. Jazz photographs are visual landmarks in American history, acting as both a reflection and a vital part of African American culture in a time of immense upheaval, conflict, and celebration. Charting the (...) development of jazz photography from the swing era of the 1930s to the rise of black nationalism in the ’60s, Blue Notes in Black and White is the first of its kind: a fascinating account of the partnership between two of the twentieth century’s most innovative art forms. Benjamin Cawthra introduces us to the great jazz photographers—including Gjon Mili, William Gottlieb, Herman Leonard, Francis Wolff, Roy DeCarava, and William Claxton—and their struggles, hustles, styles, and creative visions. We also meet their legendary subjects, such as Duke Ellington, sweating through a late-night jam session for the troops during World War II, and Dizzy Gillespie, stylish in beret, glasses, and goatee. Cawthra shows us the connections between the photographers, art directors, editors, and record producers who crafted a look for jazz that would sell magazines and albums. And on the other side of the lens, he explores how the musicians shaped their public images to further their own financial and political goals. This mixture of art, commerce, and racial politics resulted in a rich visual legacy that is vividly on display in Blue Notes in Black and White. Beyond illuminating the aesthetic power of these images, Cawthra ultimately shows how jazz and its imagery served a crucial function in the struggle for civil rights, making African Americans proudly, powerfully visible. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Songs of Degrees: Essays on Contemporary Poetry and PoeticsVirginia A. La CharitéSongs of Degrees: Essays on Contemporary Poetry and Poetics, by John Taggart; 254 pp. Tuscaloosa: University of Alabama Press, 1994, $29.95 paper.John Taggart is a highly respected American poet whose passion for objectivism permeates his critical reading as well as his own creative works. The volume Songs of Degrees: Essays on Contemporary Poetry and Poetics (...) represents the first time that his various critical articles have been collected into a single work. Of the eighteen essays, all but one were previously published in various journals between 1975 and 1989; the eighteenth is an essay or “A Preface” on one of his own collections of poetry, Peace on Earth. By addressing his own poetry, Taggart’s volume cleverly includes himself as poet in this study of what he considers valuable in a work of art. [End Page 398]Finding a poem to be a simple composition of words (principle) and an image suggested by that composition (process), Taggart adopts the title Songs of Degrees from Louis Zukofsy’s seven short poems published in 1956 as Some Time. A song is then a poetic form, a continuing complete statement which actualizes the separate entities (words) of its expression. However, and most importantly, a song does not begin as a visual report; rather, a song moves towards being visualized. Consequently, everything depends on technique and everything turns on its structure, as the mind coordinates the information received by the eye. Degrees, then, emerge as variations of consonance and dissonance or word-sound functions. To write down is to compose; to compose is to create. Hence, a song of degrees is both an actual object and a metaphor for that object.Under the poetic of objectivism, Taggart’s essays are primarily concerned with poets whose work is in accord with his own: George Oppen (three essays), Frank Sampori, William Bronk, Louis Zukofsy (three essays), Bruce Andrews, Susan Howe (two essays), Robert Duncan, Charles Olson, and Theodore Enslin. Taggart demonstrates here that he is a sensitive and intellectually alert reader. These essays on criticism are in actuality essays on Taggart’s concept of poetics. Implicit is Taggart’s bias as an objectivist poet who insists that poetry has a spiritual value in the visionary tradition of Robert Lowell and Robert Duncan and to an extent Wallace Stevens.But perhaps of even greater interest than Taggart’s superb readings of his poetic colleagues—and it can be justifiably argued that perhaps only Taggart can read these poets with the sympathetic eye that they deserve—is the inclusion of three essays on other arts: dance (Trina Collins), stained glass (Mark Rothko), and jazz (John Coltrane). By including these essays with those of literary criticism, Taggart expands the terms poetics and poetry to any text or object which is a moving line and complete at the same time. Form comes from language; language is then based on experience, not belief, and the resulting image is what is revealed and reflected, what is seen. A work (poem, song, text) is valuable because its visionary imagination captures the collective conscience to regain spiritual ascesis. The process of objectification is the metaphor or song, which emerges in degrees of interaction. The song has substance, it is tangible, and it has an objective existence of its own. To be critical is to objectify the composition or structure at hand. Critical is another term for technical, and indeed it is the technical aspect of writing poetry which Taggart so deftly elucidates in his volume of essays.For anyone interested in objectivist poetry, Taggart’s collection of essays is mandatory reading. His insights into this kind of cerebral poetry are invaluable, for he blends appreciation with analysis, information with inspiration, and logic with imagination. His own sensitivity to the struggle which is the poetic process brings a new consciousness to the poetics of poetry.Virginia A. La CharitéUniversity of KentuckyCopyright © 1995 The Johns Hopkins University Press... (shrink)

How do we transmit or distribute knowledge, as distinct from generating or producing it? In this book John Greco examines the interpersonal relations and social structures which enable and inhibit the sharing of knowledge within and across epistemic communities. Drawing on resources from moral theory, the philosophy of language, action theory and the cognitive sciences, he considers the role of interpersonal trust in transmitting knowledge, and argues that sharing knowledge involves a kind of shared agency similar to giving a (...) gift or passing a ball. He also explains why transmitting knowledge is easy in some social contexts, such as those involving friendship or caregiving, but impossible in contexts characterized by suspicion and competition rather than by trust and cooperation. His book explores phenomena that have been undertheorized by traditional epistemology, and throws new light on existing problems in social epistemology and the epistemology of testimony. (shrink)

John Carroll undertakes a careful philosophical examination of laws of nature, causation, and other related topics. He argues that laws of nature are not susceptible to the sort of philosophical treatment preferred by empiricists. Indeed he shows that emperically pure matters of fact need not even determine what the laws are. Similar, even stronger, conclusions are drawn about causation. Replacing the traditional view of laws and causation requiring some kind of foundational legitimacy, the author argues that these phenomena are (...) inextricably intertwined with everything else. This distinctively clear and detailed discussion of what it is to be a law will be valuable to a broad swathe of philosophers in metaphysics, the philosophy of mind, and the philosophy of science. (shrink)

[If you find this article interesting, let me mention another of my articles, “On Deducing Ethical Egoism from Psychological Egoism” (Theoria, 2023), which in many ways is a more thorough treatment of the topic. But it’s not an expanded version of this one. For instance, each article addresses arguments not addressed in the other.] Philosophers generally reject the view that psychological egoism (suitably supplemented with further premises) entails ethical egoism. Their rejections are generally unsatisfying. Some are too brief to win (...) confidence; others employ an uncharitable statement of psychological egoism. This is unfortunate, for the view that psychological egoism entails ethical egoism is philosophically significant (and not without proponents). Although it ultimately deserves rejection, it warrants better treatment than it typically receives. I thus examine it in some detail. Among other things, I carefully consider some original, sophisticated attempts to establish it, having first taken care to produce proper formulations of ethical and psychological egoism. (shrink)

"Despite a dramatic rise in average income in the last 40 years, people are no happier. Since the millennium personal well-being has recently shot up the political and educational agendas, with schools in the UK even including "Personal Well-being" as a curriculum topic in its own right.This book takes teachers, student teachers and parents step by step through the many facets of well-being, pausing at each step to look at the educational implications for teachers and parents trying to make our (...) children's lives more meaningful. With his renowned talent for distilling the most complex of philosophical arguments into accessible laymen's terms, John White addresses the moral maze of well-being through three distinct parts:Part 1 describes the remarkable growth of interest in children's well-being in the UK since 2000, and suggests that a philosophical look at the concept of well-being is essential, so that teachers and parents can avoid confusion and misunderstanding.Part 2 takes the reader step by step through the intricacies of the concept in a deliberately accessible way with each chapter containing a substantial section showing how the new ideas just introduced can be taken up in education, especially in schools.Part 3 is about the future of education for well-being, pulling together, expanding on home as well as school, discussing the main aims and emphases of an education focussed on personal well-being. The author also looks at how school's traditional practices will have to change, given the new focus on well-beingAs well as looking at educational implications of all these questions step by step, the book concludes with an extensive practical guide for families and schools wanting to realise the new well-being agenda.This short, engaging book takes the reader with little or no background in philosophy into these issues. It is of special interest to teachers and parents, since they are now at the sharp end of the culture change we are now experiencing"-- Provided by publisher. (shrink)

John Passmore was a renowned Australian empirical philosopher and historian of ideas. In this book, which was originally published in 1952, Passmore's intention was to disentangle certain main themes in Hume's philosophy and to show how they relate to Hume's main philosophic purpose. Rather than offering a detailed commentary, the text provides an account based on specificity and critical scholarship, seeking to complement the other more comprehensive works on Hume's philosophy that had become available around the same time. This (...) book will be of value to anyone with an interest in perspectives on Hume and Passmore's philosophical approach. (shrink)

Very few biographies of Kant exist. The Neo-Kantian movement renewed interest in his life. During the last half of the 19th century, John Henry Wilbrandt Stuckenberg provided an eminently readable biography of Kant, as seen from a sympathetic, yet detached viewpoint.

John Wilson; Does Equality (of Opportunity) Make Sense in Education?, Journal of Philosophy of Education, Volume 25, Issue 1, 30 May 2006, Pages 27–32, https://.

I set out the factors which tempt people into reading Ernst Mach's book The Analysis of Sensations as putting forward either a version of phenomenalism or a version of neutral monism, and then assess the strengths and weaknesses of these two readings. I present an ‘internal’ view of that text, showing that it by no means mandates the phenomenalist reading, and that a case for something more like the neutral monist reading can be made from within that book, indeed largely (...) from within its famous first chapter. (shrink)

THE PREVALENCE TODAY of "semiotics" as the preferred linguistic form for designating the study of signs in its various aspects already conceals a history, a story of the ways in which, layer by layer, the temporal achievement we call human understanding builds, through public discourse, ever new levels of common acceptance each of which presents itself as, if not self-evident, at least the common wisdom. Overcoming such present-mindedness is not the least of the tasks faced by the awakening of semiotic (...) consciousness. (shrink)

Our love of art, writes John Barrow, is the end product of millions of years of evolution. How we react to a beautiful painting or symphony draws upon instincts laid down long before humans existed. Now, in this enhanced edition of the highly popular The Artful Universe, Barrow further explores the close ties between our aesthetic appreciation and the basic nature of the Universe. Barrow argues that the laws of the Universe have imprinted themselves upon our thoughts and actions (...) in subtle and unexpected ways. Why do we like certain types of art or music? What games and puzzles do we find challenging? Why do so many myths and legends have common elements? In this eclectic and entertaining survey, Barrow answers these questions and more as he explains how the landscape of the Universe has influenced the development of philosophy and mythology, and how millions of years of evolutionary history have fashioned our attraction to certain patterns of sound and color. Barrow casts the story of human creativity and thought in a fascinating light, considering such diverse topics as our instinct for language, the origins and uses of color in nature, why we divide time into intervals as we do, the sources of our appreciation of landscape painting, and whether computer-generated fractal art is really art. Drawing on a wide variety of examples, from the theological questions raised by St. Augustine and C.S. Lewis to the relationship between the pure math of Pythagoras and the music of the Beatles, The Artful Universe Expanded covers new ground and enters a wide-ranging debate about the meaning and significance of the links between art and science. (shrink)

From the end of the Enlightenment to the middle of the twentieth century philosophy took fascinating and controversial paths whose relevance to contemporary post-modernist thought is becoming increasingly clear. This volume traces the English-language side of the period, while also taking into account those continental thinkers who deeply influenced twentieth-century English-language philosophy. The story begins with Reid, Coleridge, and Bentham - who set the agenda for much that followed - and continues with a portrait of the nineteenth century's greatest British (...) philosopher, John Stuart Mill. It then surveys the cross-currents of thought at the end of the century, including American pragmatism, a movement never more influential than now. Finally, it assesses two phases of what John Skorupski calls `analytic modernism' - the revolution against the idealism of Moore and Russell, and the Viennese sequel whose project was to show that philosophy consists of pseudo-problems. (shrink)

The imagination—Einbildung—as its German makes clear is the faculty of formation. But this formative activity in various ways through the history of its concept has been intimately related to the concept of common sense, whether understood as the sense that gathers, orders, and makes coherent the various sense, or as the sensibility of the community. This contribution seeks to unfold that history of the concept of the creative or productive imagination while also tracing the parallel history of the concept of (...) common sense (sensus communis) and their relationship that begins with their inception in Aristotle, a connection that has been retained implicitly in one way or another, intentionally or not, at different times—but also often forgotten—in their history and that seems again to manifest with the recent conceptions of the social imaginary. I will trace this history in the Western philosophical tradition while also making use of a couple of Japanese philosophers who take part in this intellectual history. We shall follow the history of the imagination from Aristotle through Kant’s epistemology in his first Critique—when its productive function becomes positively, rather than negatively, evaluated—and on to the post-Kantians of the nineteenth and twentieth centuries. Post-Kantians like Schelling and Heidegger ontologize that productivity of the imagination beyond the epistemic sphere and, in a parallel fashion, broaden its significance beyond the individual and onto the collective. Common sense also has a long and parallel history within the West that involves a variety of meanings starting with the Aristotelian faculty for integrating the various senses (as koinē aisthēsis) that was closely associated with the imagination (phantasia), and ending with two contrasting notions of a communal or social sensibility (as sensus communis)—the vulgar “commonplace” notion of common sense as habituated custom and the healthy sense of common sense as prudential, contextual, ethical judgment. Both senses of common sense together with the faculty of the imagination are found in Kant’s third Critique but the imagination’s creativity expressed in genius comes into tension with the latter communal sense of common sense (Gemeinsinn) that attempts to order and fetter that creativity with the judgment of taste. The contemporary notion of the social imaginary, for example, in Castoriadis, certainly recalls the close connection between the imagination and common sense in Aristotle but also seems to encompass both the vulgar and the healthy senses of common sense along with their tension in Kant. Although Kant wanted to argue for a transcendental basis of common sense as such that would fit with his theory of the imagination from the first Critique, the imagination itself has been broadened in the third Critique, making way for post-Kantian developments, such as in its ontologization, expanding it beyond the merely epistemic as noted above. At the same time this also broadens the significance of the faculty beyond the cognizing mind of the individual and onto the social sphere to unfold what was implicit in Kant’s third Critique. In Japan Miki Kiyoshi develops that ontology of the imagination even though he still affirms its transcendental status. Nonetheless he explicates its formative creativity as involving the human collective producing not only ideal forms for thought but also institutions and technics of human culture. Likewise, Castoriadis understands the creativity of the imagination in socio-collective terms. But in addition, he underscores—in contrast to Miki—its temporal contingency or historicity and non-transcendental status. At the same time, the tension between unbounded creativity and communal responsibility found in Kant’s third Critique—together with the form-formlessness dynamic found in Miki—in a certain sense reappears in Castoriadis’ theory of the social imaginary and the creative imagination. We might say that in general the notion of Gemeinsinn in Kant in that sense provides a bridge between the idea of a creative or productive imagination and the idea of the social imaginary, while harking back to the original relationship between koinē aisthēsis and phantasia in Aristotle. This connection is implicitly assumed, perhaps unintentionally, by many of the relevant thinkers who discuss either concept. It is made explicit in contemporary Japanese philosopher Nakamura Yūjirō’s discussions of common sense, but can also be extracted out of Hannah Arendt’s discussions of the imagination, judgment, and sensus communis. Conceptually the two converge in Castoriadis’ and Ricoeur’s notions of the social imagination/imaginary. I thus plan to trace the parallel history of these two concepts (imagination and common sense). This is a chapter in the book 'Social Imaginaries: Critical Interventions' edited by Suzi Adams and Jeremy Smith. (shrink)

John Wilson; Relativism and Teaching, Journal of Philosophy of Education, Volume 20, Issue 1, 30 May 2006, Pages 89–96, https://doi.org/10.1111/j.1467-9752.1986.

This article explores the ethical questions that arise from any theorisation on the destruction of historical monuments. Considering the fact that historical monuments do not directly inflict physical harm on people, the loss of life does not seem to be an issue. From a philosophical perspective, I argue that even though there might be no direct physical danger inflicted on individuals when a historical monument is destroyed, there are some ethical questions which require attention when dealing with the contexts. To (...) buttress my point, I argue that historical monuments might have negative or positive impact on society, and they represent narratives that must be engage rather than erased. I will present a general view on how the destruction of historical monuments has been perceived before narrowing down to the destruction of Cecil John Rhodes’ in South Africa. I will conclude that, on historical grounds, the destruction of historical monument is wrong. (shrink)

John White; Philosophers on Education, Journal of Philosophy of Education, Volume 33, Issue 3, 16 December 2002, Pages 485–500, https://doi.org/10.1111/1467-975.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Disaster Anarchy: Mutual Aid and Radical Action by Rhiannon FirthJohn-Erik HanssonRhiannon Firth. Disaster Anarchy: Mutual Aid and Radical Action. London: Pluto Press, 2022. Paperback, 243 pp. ISBN 9780745340463The COVID-19 pandemic and the unfolding climate crisis, with the multiplication of unprecedented weather events, have shown how urgent it is to reflect on our responses to disaster. Following up on themes she first broached in Coronavirus, Class, and Mutual Aid (...) in the United Kingdom, Rhiannon Firth throws a fresh, anarchist, and utopian light on disaster relief in Disaster Anarchy.1 In this work, Firth seeks to “consider how [anarchist] social movements’ impressive efforts in mutual aid might contribute to a radical and revolutionary reconceptualisation of disasters and the processes of relief and recovery efforts” (19). To do so, she begins by surveying the dominant approaches to disaster relief (chapters 2 and 3) before offering a comprehensive anarchist theoretical critique of these perspectives (chapter 4). Firth then fleshes out her anarchist theory of disaster and community response through two empirical case studies of grassroots relief efforts. In chapter 5 she looks into the Occupy Sandy movement, a New York area community-based response to the damage caused by Hurricane Sandy’s passage in October 2012 in the United States. The final chapter is then dedicated to the COVID-19 Mutual Aid Groups that emerged in the United Kingdom during the pandemic.In building her argument, Firth mobilizes anarchist (and more broadly radical) theory and interviews with participants in both movements. She engages with how activists motivated and understood their participation in mutual aid groups, perceived disaster and relief organizing, sought to solve practical and political problems, and reflected on their experiences. The empirical sections of Disaster Anarchy are thus reminiscent of investigations into the anarchist connections and orientations of contemporary social movements, such as Occupy Wall Street.2 However, Firth’s is a work [End Page 606] of political theory. Her interviews were not conducted simply to describe and analyze the anarchist components of disaster relief social movements. Echoing Uri Gordon, she proposes to take the “worldviews of activists seriously as sources of theoretical knowledge,” leading us to rethink both anarchism and the politics of disaster as a whole (16).3 There lies a key part of the originality of Firth’s contribution to both anarchist theory and to the study of disaster relief. The utopian core of Disaster Anarchy also shines through this movement-based theoretical elaboration of an anarchist challenge to the dominant theories and practices of disaster relief. By examining mutual aid groups in critical dialogue with anarchist theory, Firth raises the possibility of more egalitarian and democratic “utopian alternatives to the status quo,” though, as she reminds us, they always run the risk of being co-opted (20).To set the scene for the desirability of anarchist approaches to disaster relief, Disaster Anarchy opens with Firth’s dissatisfaction with what she identifies as the two main sets of approaches to disaster studies. The first represents “the dominant neoliberal paradigm of disaster politics” and falls under the umbrella of “Disaster Risk Reduction (DRR)” (21). Firth contends that, despite some internal variety, all DRR approaches share the three same basic assumptions. First, DRR considers disasters to be “ruptures in the normal functioning of society.” They become a “management problem” that must be dealt with using the tools of political governance to restore order and ensure “systemic stability” (39–40). This can be done both directly through state institutions, and through civil society-based nongovernmental organizations (NGOs) that cooperate with state institutions. DRR then evaluates responses using the categories of “efficiency and cost-effectiveness,” leaving aside “the affects and human impacts of disasters” (40). Second, DRR tends to flatten out differences between disasters, and in the ways in which individuals and groups respond to them. Disaster becomes abstract, and authorities can design sets of responses taken to be effective regardless of local contexts and demands. DRR approaches are therefore particularly congenial to the growth of large governmental “specialised agencies like DHS [Department of Homeland Security] and FEMA [Federal Emergency Management Agency]” that produce knowledge and practices linked to the vertical “management of disaster” (41). Finally... (shrink)

From the AI point of view, consciousness must be regarded as a collection of interacting processes rather than the unitary object of much philosophical speculation. We ask what kinds of propositions and other entities need to be designed for consciousness to be useful to an animal or a machine. We thereby assert that human consciousness is useful to human functioning and not just and epiphenomenon. Zombies in the sense of Todd Moody's article are merely the victims of Moody's prejudices. To (...) behave like humans, zombies will need what Moody might call pseudo-consciousness, but useful pseudo-consciousness will share all the observable qualities of human consciousness including what the zombie will be able to report. Robots will require a pseudo-consciousness with many of the intellectual qualities of human consciousness but will function successfully with few if any human emotional conscious qualities if that is how we choose to build them. (shrink)

Mathematical images occur in lectures, books, notes and posters, and on the internet. We extend Kennedy's proposal for classifying these images. In doing so we distinguish three uses of images in mathematics: iconic images; incidental images; and integral images. An iconic image is one that so captures the essence of a concept or proof that it serves for a community of mathematicians as a motto or a meme for an area or a result. A system such as Euclid's can combine (...) such apprehensions with other forms of logical inference and an image that is built into a system of exposition is called an integral image. An incidental image is an image used by a mathematician to reason with a particular concept. In addition to this thematic characterization, we also explore one concept, infinity, in some depth by comparing representations of the infinite by mathematicians and artists. (shrink)

Some philosophers think that two distinct things can occupy exactly the same region of space, as with a statue and a piece of clay. Others think that the statue and the piece of clay are identical, but not necessarily so. I argue that Alan Gibbard’s well-known story of Goliath and Lumpl does not support either of these claims. Not the first, as there is independent reason to think that it cannot be true. Not the second, because there is no need (...) to invoke the dubiously intelligible notion of contingent identity to account for the facts of the story. (shrink)

In 1978 and 1979, while a visiting fellow at Cambridge University, Orlando Patterson engaged in a number of conversations about slavery with Cambridge ancient historian M. I. Finley. Both men were at the time writing influential books on slavery that would mark important benchmarks in their careers and defined two approaches to the study of slavery, one fading in significance, the other introducing a comparative approach to the institution more focused on dynamics of power and social alienation. At the end (...) of 1978, Finley delivered at the Collège de France four lectures that summarized his thinking on the topic over more than thirty years; two years later they appeared in print under the title Ancient Slavery and Modern Ideology. In 1982 Patterson published Slavery and Social Death, a ground-breaking study that to this day remains unparalleled in its attempt to establish a globally valid definition of slavery applicable to some sixty-six slave-owning societies across three millennia. This article explores the intersection of these two works, the intellectual currents of the times in which they were produced, and the influence each exerted on the study of slavery in subsequent decades, as models and paradigms of two approaches to understanding the significance of the institution. (shrink)

William James’ “The Will to Believe” continues to attract scholarly attention. This might seem surprising since James’ central claim—that one may justifiably believe p despite having inconclusive evidence for p—seems both very clear and also very wrong. I argue that many of the interpretive and substantive challenges of this essay can be overcome by framing James’ thesis in terms of what Tamar Gendler defines as “alief.” I consider two readings of James’ position and conclude that the “will to believe” rests (...) on a misnomer. “The Will to Alieve” is more accurate—though the “Right to Alieve” is even better still. (shrink)

The chapter addresses the crucial question of whether in fact sociology actually answers the questions that it purports to and suggests that in much of its present form the subject is still trapped in a framework of Eurocentric and Cartesian assumptions that would be greatly modified and deepened by considering alternative ways of conceptualizing the social world. The chapter attempts to offer exactly such a fresh viewpoint by investigating alternative sources of sociological insight, including those that might arise from Buddhism, (...) significant thinkers left outside the canon of mainstream sociology, ecology and feminism. The notion of “deep sociology” has obvious analogies with “deep ecology”, and the chapter argues that by exploring that analogy new forms of sociology and social theory can be conceived that open up basic existential questions which, while in some sense implied in conventional sociology, need to be foregrounded. While these include the crucial issue of ecology, they also include such topics as death, love, illness and the body. The chapter provides a sketch of potential new forms of social analysis, which, while it does not deny the concept of the ‘social’, attempts to recast it in creative ways. (shrink)

On 27 September 2018 Pope Francis addressed priests, deacons, and lay people at a formation course promoted by the Roman Rota. In the presentation, Francis reaffirmed the need for a permanent catechumenate for the sacrament of matrimony. The Pope noted that the permanent catechumenate for the sacrament of matrimony is a journey that is shared with priests, pastoral workers and Christian spouses. The Pope also stated that in the context of the sacrament of matrimony, a catechumenate concerns marriage preparation, the (...) celebration of the wedding, and the initial period that follows the wedding. (shrink)

In this essay, I try to advance the reception of Karol Wojtyła’s seminal essay “Subjectivity and the Irreducible in Man.” In particular I try to understand and to think through the distinction that he makes between the “personalist” and the “cosmological” image of man. I unpack Wojtyła’s concept of subjectivity, which underlies all that he says about the personalist image of man. I give particular attention to all that he says about the unity formed by the two images. I then (...) proceed to apply Wojtyła’s analysis to a certain cosmological challenge to a personalist understanding of man: it is the challenge that comes from looking at the immensity of the cosmos and at the infinitesimal smallness of man in it and of thinking that man is swallowed up in this immensity and obliterated in his importance. I argue that precisely the subjectivity of the person implies that there is in each person an “infinite abyss of existence” so that each person is in reality his or her own whole and is no mere part of the cosmic whole but is incommensurable with it. (shrink)

Kripke; possible-world semantics; pure and applied semantics; models of modal space; applicability.

In this issue, McCarthy, Homan and Rozier make the case for re-stablishing the relationship between theological and secular bioethics. I find MHR to be quite...