The moral fog is used in spiritual and religious contexts to describe the normative incompetence of our more widely shared and everyday lives. It describes features or circumstances of our worlds that render the nature and consequences of our conduct opaque, and so undermine our capacities for moral understanding and decision‐making. Better understanding the features that enable the problems of moral fog, helps explain much of the explosion in various types of evil that flourish online. Worlds that (...) have brought problems of moral fog, where normalizing and legitimizing influences enable evil to flourish, in ways never seen and otherwise hardly imagined. The milieu and pressures of working or professional lives are a rich source of examples where a moral fog of positive and relatively neutral self‐understandings operates to blind us or screen off other undesirable realities of our lives. (shrink)

Recent findings in evolutionary psychology explain how moral disciplining is connected to the need for collective action. Morals are strict in societies affected by war or perceived collective danger, but loose where peace and security prevail. This theory supplements the moral disciplining theory by providing an evolutionary explanation for the postulated link between puritanism and the need for cooperation.

Fog in August is a German film based on Robert Domes' historical novel of the same name. The film provides a fictionalized account of the institutionalization and eventual killing of children and adults labelled as a burden on the State and unworthy of life. On one level, this is a story of good versus evil, where innocent patients are manipulated by callous doctors and nurses. At a deeper level, however, it is possible to read the characters as more complex and (...) such a reading gives an insight into the paradox of how a genocidal policy was able to be systematically implemented by health care professionals who had previously taken an oath to provide care to all people. Carl Jung argued that powerful stories, told across generations, contain mythical archetypes that help drive the plot and convey beliefs about humanity. The aims of this paper are to explore Jungian ideas within Fog in August that help the historical story it is based on resonate with viewers today, and demonstrate how the application of these insights can help health care professionals more fully understand morally distressing events and, as a result, support and improve the safety of patients. (shrink)

The author takes up a provocative question poised by Charles Taylor about the relationship between our commitments to a good such as neighbor love and the possibilities of achieving and sustaining social justice. Taylor's concern is not only that we make such a commitment but that we make it in such a way that we avoid its ability to lead us towards injustice rather than justice. After articulating conceptions of love, justice, and injustice, the author turns to Charles Dickens's treatment (...) of love and injustice in Bleak House, to explore more fully how love can lead to injustice, and also its potential role in promoting justice. Dickens's view, profoundly shaped by his own sense of Christian virtues, helps us see the inner workings of love, justice, and injustice, so that we can appreciate their interconnectedness anew and understand better the urgency of Taylor's question for our time. (shrink)

This issue of Ethical Perspectives is strongly illuminated by two themes: moral impulse and critical citizenship. Of course, these themes are related – without a critical faculty, the moral impulse is not possible, and impulse, conversely, can be seen as leading toward critique. This is no vicious circle, nor mere tautology – rather, they are both moments of the truly autonomous individual, where the autonomy of the individual is not seen as isolation, but rather as an individual responsibility (...) to and within a society. Hence, a moral impulse fuelled by the individual critic is not enough; criticism must be framed within critical citizenship.Since our schizophrenic age fears for desensitivity, a fear best expressed in our age’s various flavours of political correctness, while it actively or at least tacitly posits this very desensitivity in its canonization of a purely formal ‘freedom to,’ a canonization best exhibited in the extreme examples of reality television, these intertwined themes are of extreme importance, and thus deserve close explication and discussion.I will let the pieces below provide this discussion, but permit me at least to set the table. As Michael Hauskeller so clearly argues in these pages, moral disgust is the moral impulse towards formal ethics, in the sense that it is the initial and immediate moral reaction that normatively colours our comportment with the outside world. I may know or think I know that something is wrong, or right, without giving this impulse a reason. This is not the ethical certitude of Bradley, but it is close in that both Bradley and Hauskeller would argue that the initial feeling need not be explained away, but rather deserves due respect. Moral disgust can clearly be misplaced, and clearly it can fail to withstand ethical scrutiny, but as impulse, it shakes us out of mere consciousness and moves us toward some sort of normativity. In this sense, it is always morally relevant.Lisa Bortolotti joins this discussion by arguing that no moral justification exists for reserving rights to humans. The moral impulse must be widened. At first, her approach comes across as opting for the typical agenda of preference-satisfaction utilitarianism: she wishes to extend the realm of rights in the name of safeguarding the power of reason and autonomy of individuals, who, she argues, are not always human. But then she offers something atypical in this debate: the very safeguarding of the power of reason and autonomy also applies to those who are often seen as marginal humans and thus excluded from in other strands of preference utilitarianism.Co-authors T. Brian Mooney and Samantha Minett apply the question of moral disgust to the question of life-science art, a new form of expression that merges biotechnology with the aesthetic. Like most forms of art that have emerged in recent generations, life-science art sees its task in the questioning of assumptions, which, of course, is a break from past ideas of aesthetics. Mooney and Minett turn their attention to this nascent field and ask: are there good grounds to translate our putative moral disgust at the fanciful and aesthetic use of biotechnology, such as pigs with wings and glowing rabbits? Turning first to utilitarianism and then to Thomastic virtue ethics, they argue clearly: yes, there are.Christian Arnsperger then kicks off our second related theme by posing a simple but profound question: why do English speakers refer to anti-globalism, whereas French speakers refer to alter-mondalism ? This French viewpoint would seem to call for critical global citizens who do not shirk from the increasing interconnectivity of our world, but who also do not take its current form as the inevitable development of immutable laws. Instead, such critical citizenry is called to see the current capitalist framework as an ideology, and as such, as liable to change, a change that citizens themselves can effect.Moving from theory to practice, Andrew Fiala rounds off this issue by giving us an example of critical citizenry, which he sees in just war pacifism. He argues that citizens must not capitulate to political or military authority in judging the justness of war, either regarding ad bellum judgements, or in bello actions. Moreover, seemingly just ad bellum decisions also deserve close scrutiny, largely because once the fog of war descends, in bello actions quickly eclipse justice. For this reason, he argues, a critical citizen should anticipate war crimes and thus be strongly reluctant to authorize war – an authorization that, in democratic societies, ultimately lies in the hands of the citizens themselves through the electoral process.Thus, this number quite clearly furthers the mission of Ethical Perspectives, which is to promote the international dialogue between fundamental and applied ethics. Providing articles written on three separate continents and addressing three of the most characteristic aspects of our age on top of a background well painted by their companion theoretical pieces, our authors once again invite you to take stock of where our world finds itself today. And then, to take action. (shrink)

Evil online is an increasingly disturbing phenomenon across a wide range of fronts, and, as is invariably the case with revolutionary technology. This chapter discusses various kinds of moral fog, from both online and traditional worlds. It then illustrates how thinking of evil doing in this way provides broader and deeper explanations of the territory of so‐called “banal evil”, and takes our understanding of evildoing a long way beyond banality. A notable online trend in which disturbing, even plainly appalling, (...) conduct is often given a light touch and made to look innocent, is the proliferation of so‐called prank videos. Online shaming is now a widely recognized online trend. Online shaming is global and everlasting for the victim; it is also easily open for the rest of us to join in. One of the most broad and transformational impacts of the Internet has been upon the social lives and psychological development of young people. (shrink)

Abstract“Shut the door,” the chief resident said to me. While I was green enough at the beginning of my clinical clerkships to believe that most of my medical education would happen at the bedside, at that moment, I was learning another important fact: a large part of my ethical education was going to happen behind the closed doors of a call room. The health care team was polluted by a pervasive atmosphere of frustration, as silent but tangible as a thick (...) layer of fog, that obscured the patient's ability to evaluate the consequences of the choice that lay before her. The attending did not permit, let alone create, an environment that provided room for dissent.Institutions should encourage the leaders of clinical education to foster an emotionally safer learning environment in which honest moral dialogue may occur without fear of repercussions. If students cannot learn to apply the principles of ethics actively throughout their clerkships, it will be much harder to do so when they practice independently, and ultimately, patient care will suffer. Conversely, when students and trainees are empowered by their teachers, patient care improves. (shrink)

Man will never be virtuous, until his interests instruct him to be so. So long as these shall even so much as seem opposed to his virtue, he will inevitably pursue the former and renounce the latter. That which must be done, is to clear from his mind the horrible mists and fogs of prejudice--bid him no longer worship the cold prescriptions of policy, for the warm principles of justice--to free his soul from the fetters of authority--to remit and exalt (...) him to himself--to let him seek, by the light of his conscience alone, in the joyous, genial climate of his own free spirit, for all the rules of his conduct. Then, and not till then, will he be virtuous and happy.--(PsycINFO Database Record (c) 2008 APA, all rights reserved). (shrink)

Reseña del libro Evil online de Dean Cocking y Jeroen van den Hoven.

"I am delighted to offer my highest praise to Dean Cocking and Jeroen van den Hoven's brilliant new book, Evil Online. The confrontation between good and evil occupies a central place in the challenges facing our human nature, and this creative investigation into the spread of evil by means of all-powerful new technologies raises fundamental questions about our morality and values. Cocking and Van den Hoven's account of the moral fog of evil forces us to face both the demons (...) within each of us as well as the demons all around us. In the end, we are all enriched by their perceptive analyses." —Phil Zimbardo, Professor Emeritus of Psychology, Stanford University Principal Investigator, Stanford Prison Experiment "The internet offers new and deeply concerning opportunities for immorality, much of it shocking and extreme. This volume explains with great insight and clarity the corrupting nature of the internet and the moral confusion it has produced. It will play a vital role in the growing debate about how to balance the benefits of the internet against the risks it poses to all of us. Evil Online is an excellent book." —Roger Crisp, Professor of Moral Philosophy, University of Oxford We now live in an era defined by the ubiquity of the internet. From our everyday engagement with social media to trolls on forums and the emergence of the dark web, the internet is a space characterized by unreality, isolation, anonymity, objectification, and rampant self-obsession—the perfect breeding ground for new, unprecedented manifestations of evil. Evil Online is the first comprehensive analysis of evil and moral character in relation to our increasingly online lives. Chapters consider traditional ideas around the phenomenon of evil in moral philosophy and explore how the dawn of the internet has presented unprecedented challenges to older theoretical approaches. Cocking and Van den Hoven propose that a growing sense of moral confusion—moral fog—pushes otherwise ordinary, normal people toward evildoing, and that values basic to moral life such as autonomy, intimacy, trust, and privacy are put at risk by online platforms and new technologies. This new theory of evildoing offers fresh insight into the moral character of the individual, and opens the way for a burgeoning new area of social thought. A comprehensive analysis of an emerging and disturbing social phenomenon, Evil Online examines the morally troubling aspects of the internet in our society. Written not only for academics in the fields of philosophy, psychology, information science, and social science, Evil Online is accessible and compelling reading for anyone interested in understanding the emergence of evil in our digitally-dominated world. (shrink)

This chapter discusses the following three fundamental features of our online environment: epistemic success, connectivity, and coordination. The Internet connects people and makes communication, interaction, and transactions between them easy and cheap. Two‐sided markets and platforms, like Uber, Airbnb and eBay, allow buyers and sellers, demand and supply, to find each other, and to coordinate their behavior and engage in interactions, transactions, and collaboration. In addition to these features, a number of other features of our online environments shed light on (...) how evil online gets traction. Many of these features – notably, selectivity, anonymity, positionality, domestication, isolation, conflation of public/ private contrasts, high voluntariness, jurisdiction, virtuality, and interpretive flexibility – have enabled the doing and consumption of evil in a particular way. They have created and magnified moral fog in the minds of users. (shrink)

Christianity and Modern Medicine raises moral questions that were merely hypothetical just decades ago. Moreover, traditional moral models are incessantly challenged by the medical community at large, shifting the conversation to patient and societal rights within a framework of moral relativism and rendering the decision-making process morally vague and confusing. In Christianity and Modern Medicine, bioethicist Mark Wesley Foreman and attorney Lindsay C. Leonard delve into the major ethical issues facing today's medical professionals with the purpose of (...) providing principles and guidelines for making critical ethical decisions where medical knowledge, technologies, and capabilities are constantly evolving. Topics covered include: procreational ethics, genetic ethics, abortion, medical research, infanticide, clinical ethics, physician-assisted suicide, legal issues. While Christianity and Modern Medicine is designed specifically for students planning careers in the medical field, it is accessible to any Christian interested in steering through the moral fog in the practice of medicine today. (shrink)

Two centuries after Carl von Clausewitz wrote On War, it lines the shelves of military colleges around the world and even showed up in an Al Qaeda hideout. Though it has shaped much of the common parlance on the subject, On War is perceived by many as a “metaphysical fog,” widely known but hardly read. In War as Paradox, Youri Cormier lifts the fog on this iconic work by explaining its philosophical underpinnings. Building up a genealogy of dialectical war theory (...) and integrating Hegel with Clausewitz as a co-founders of the method, Cormier uncovers a common logic that shaped the fighting doctrines and ethics of modern war. He explains how Hegel and Clausewitz converged on method, but nonetheless arrived at opposite ethics and military doctrines. Ultimately, Cormier seeks out the limits to dialectical war theory and explores the greater paradoxes the method reveals: can so-called “rational” theories of war hold up under the pressures of irrational propositions, such as lone-wolf attacks, the circular logic of a “war to end all wars,” or the apparent folly of mutually assured destruction? Since the Second World War, commentators have described war as obsolete. War as Paradox argues that dialectical war theory may be the key to understanding why, despite this, it continues. (shrink)

Shame is one of a family of self-conscious emotions that includes embarrassment, guilt, disgrace, and humiliation. _On Shame_ examines this emotion psychologically and philosophically, in order to show how it can be a galvanizing force for moral action against the violence and atrocity that characterize the world we live in. Michael L. Morgan argues that because shame is global in its sense of the self, the moral failures of all groups in which we are a member – including (...) the entire human race – reflect on each person individually. Drawing on historical and current affairs to explore the emotion of shame, as well as films such as _Night and Fog_, _Hotel Rwanda_ and _Life is Beautiful_ and the work of Primo Levi, Bernard Williams, and Stanley Cavell, Michael Morgan illustrates how moral responsibility can be facilitated by calling upon an emotional reaction that is familiar, complex, and central to our conception of ourselves as individuals and as members of society. (shrink)

This is a shot at expressing a few of the problems that arise when you try to understand how novels are read. I shall be trying to formulate them in very ordinary language: the subject is becoming fashionable, and most recent attempts seem to me quite unduly fogged by neologism and too ready to match the natural complexity of the subject with barren imitative complications. Of course you may ask why there should be theories of this kind at all, and (...) I can only say that they are needed because of what we have missed by always meditating on what we have read and can survey, as it were, from a distance which allows us to think it's keeping still, rather than upon the ways in which, as we read, we deal with the actual turbulence of a text. Much of what I say will seem obvious enough, but it may throw some light on a fact that we all know so intimately that we don't bother to ask questions about it: the fact of plurality, of which the plurality of our own interpretation is evidence. There are interesting side issues: why do some novels seem to be more plural than others, and why, on the whole, do the ones that seem most plural so often turn out to be fairly recent, not to say modern? Also, perhaps, how do interpretations alter in time? And what's wrong with the sorts of theories we already have? . . . For the natural or naive way of reading - a matter of recognition, the medium being a virtual transparency - is neither natural nor naive. It is conditioned and arbitrary, a false return to "story" - to the "wisdom", as Benjamin calls it, of folklore, a pretence that everybody can agree on a particular construction of reality. It is, however, no more apposite to condemn this on moral grounds than to condemn texts that reject narratives, that reject story, theme, closure, authority, that trap us into contemplation of their own opacity, on the ground that this is deceptive. It seems right to allow into the plurality of readings the naive among the rest, though such a text as Ford's is so evidently not naive that naive readers of it would probably soon grow impatient. It calls for virtuosity elaborately built on the basis of naive competence, a development on productive capacity. Even to think of what that virtuosity entails is to encounter novel problems. It is harder to describe it than to do it, like riding a bicycle. But it is worth trying, because of the errors that accumulate in the absence of serious discussion - false notions of plurality, a too simple view of the history of interpretation, even culpable negligence in the reception of new and difficult work. These are problems that arise from problems native to novels - they are the problems of modern criticism, its scope and responsibilities. We know them about as well, as Dowell knew the Ashburnhams. But that is another sad story. Frank Kermode is King Edward VII Professor of English at Cambridge University. He is the author ofThe Sense of an Ending: Studies in the Theory of Fiction, Continuities, Modern Essays, andShakespeare, Spenser, Donne: Renaissance Essays. His contributions to Critical Inquiry are "A Reply to Denis Donoghue" , "A Reply to Joseph Frank" , and "Secrets and Narrative Sequence". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Joanne Wood LORDJIM AND THE CONSEQUENCES OF KANTIAN AUTONOMY Autonomy IS the fundamental principle of Kantian ethics. This is so because his moral system is based on the crucial idea that nothing in the world can be called "good without qualification except a good will."1 Thus a good will is good in and of itself, without regard to any possible end. For such a will, morality is categorical, (...) for only with such an imperative can moral laws be said to be laws ofcomplete freedom, and willed without regard to any other interest. Thus autonomy is a necessary condition for a good will, because any heteronomous worth a will could achieve would by definition be conditional, and would therefore violate Kant's notion of the unconditional worth of a good will. However, it is precisely this notion of the absolute worth a good will merits on its own that would seem to bear looking into: there is something intuitively wrong with Kant's assertion that even if"it should happen that, by a particularly unfortunate fate or by the niggardly provision of a stepmotherly nature, this will should be wholly lacking in power to accomplish its purpose," it would still "sparkle like a jewel in its own right, as something that had its full worth in itselP (p. 10). The idea implied in this passage, that a good will could exist somehow apart from the world and any effects achieved therein, is problematic to say the least. How could such a will be known? The metaphor ofa "sparklingjewel" is striking, but flawed: ajewel exists in the world, for all eyes to see if they know where to look, whereas a good will exists in the hearts of men. It is for this reason thatJoseph Conrad's LordJim is a fitting supplement to understanding the implications of a Kantian view of morality, for the central concern of the novel is the moral ambiguity that results from our common obscurity ofvision into ourselves and those around us. Given this 57 58Philosophy and Literature ambiguity, which Kant recognizes when he says, "even the strictest examination can never lead us entirely behind the secret incentives, for, when moral worth is in question, it is not a matter of actions which one sees but ofdieir inner principles which one does not see" (p. 23). It seems then irresponsible still to maintain that the worth ofa good will is independent of the way of the world. Since it is evident that if results or other empirical factors are invalid tojudge intentions, then the only judge capable of assessing in advance what maxim is being acted upon is the moral agent; morality becomes a matter of strictly individual conscience or reason. The moral agent thus becomes romanticized, a lone figure needing no other guidance than that which his or her own reason can provide in order to lead a truly good life. LordJim challenges just such a conception of individualist or self-sufficient morality. Due to the essential ambiguity ofwhatjim himselfis, the novel is an extremely difficult one to read. This is further complicated by the fact that, after the first four chapters, the reader is never given an impersonal view ofJim, but instead Marlow's painstaking efforts to fit together the puzzle ofJim's character: "I don't pretend I understood him. The views he let me have of himself were like those glimpses through the shifting rents in a thick fog— bits of vivid and vanishing detail, giving no connected idea of the general aspect of a country... they were no good for purposes of orientation."2 Given this cloud of uncertainty, Jim remains an enigma from beginning to end. The reader is treated to various judgments ofhim during this time from a wide range of viewpoints which Marlow perhaps pursues in an effort to shed some light on the subject, but which nonetheless leave us in darkness because they all omit one factor or another. There is no Authority in this book. The facts ofJim's case are relatively straightforward: it is the interpretation of what lies behind them, ofJim's "inner principles," which is extraordinarily complex. Jim is working as first mate on... (shrink)

In this extended essay, Vittorio Hösle develops a theory of the comical and applies it to interpret both the recurrent personae played by Woody Allen the actor and the philosophical issues addressed by Woody Allen the director in his films. Taking Henri Bergson’s analysis of laughter as a starting point, Hösle integrates aspects of other theories of laughter to construct his own more finely-articulated and expanded model. With this theory in hand, Hösle discusses the incongruity in the characters played by (...) Woody Allen and describes how these personae are realized in his work. Hösle focuses on the philosophical issues in Allen’s major films by exploring the identity problem in _Play It Again, Sam_ and _Zelig_, the shortcomings of the positivist concept of reality in _A Midsummer Night’s Sex Comedy_, the relation between reality and art in _The Purple Rose of Cairo_, the objective validity of morality in _Crimes and Misdemeanors_, the power of evil in _Shadows and Fog_, and the relation between art and morality in _Bullets over Broadway_. He cites Allen’s virtuosic reinterpretation of older forms of expression and his integration of the fantastic into the comic universe—elements like the giant breasts, anxious sperm, extraterrestrials, ghosts, and magicians that populate his movies—as formal moves akin to those of Aristophanes. Both an overview of Allen’s work and a philosophical analysis of laughter, Hösle’s study demonstrates why Allen’s films have more to offer us—morally, philosophically, and artistically—than just a few laughs. “In _Woody Allen_, Vittorio Hösle goes a long way toward explaining everything you wanted to know about Allen but were afraid to ask. Just why exactly is he funny, and why does his humor have a strong appeal for academics? In his comprehensive analysis of Allen’s work, Hösle outlines a workable theory of humor, illustrates his conclusions by referring to the films and prose, and points out several philosophic motifs underlying Allen’s deceptively complex comedies. Hösle’s work elevates the enjoyment of Allen’s films from guilty pleasure to satisfying intellectual engagement with an intriguing contemporary thinker and artist.” —Richard A. Blake, S.J., Boston College “Vittorio Hösle presents a compelling overview of Allen’s work in which he discusses different theories of laughter and argues for the priority of the incongruity theory as the only one able to answer the normative question, what distinguises good from bad laughter? On this theoretical basis he goes on to delve into both the humor and the philosophical profundity of Allen’s films.” —Sander Lee, Keene State College. (shrink)

In ancient Chinese thoughts, de is a comparatively complicated idea. Most of the researchers translated it directly into "virtue", but this translation is not accurate for our understanding of the idea of "de" in pre-Qin times. Generally speaking, in Pre-Qin times, the idea of"de" underwent three developmental periods. The first is the de of Heaven, the de of ancestors; the second the de of system; and the third the de of spirit and moral conducts. In a long period of (...) history, the idea of "de" never cast off the influence of tian Dao (the way of Heaven). It was in Western Zhou Dynasty that the idea of "de" shook off the dense fog of the mandate of Heaven. However, it was the thinkers in Spring and Autumn Period and Warring States who made contributions to bring it deep into people's mind. The ancient Chinese thoughts were mainly concerned with people's recognition and development of their own abilities, with people's seeking harmony and balance between human-beings and nature, and with people's seeking harmonious and balanced human relations. The development of the idea of "de" played a very important role in this context. (shrink)

This article responds to four others that critically and productively engage with my book, Law and Morality at War. Four themes emerge: the law of armed conflict’s claim to legitimate authority, the relationship between the law of armed conflict and the deep morality of war, the moral norms governing killing in the fog of war, and the moral permissibility of targeting civilians.

Until very recently, normative theorizing in ethics was frequently conducted without even mentioning uncertainty. Just a few years ago, Sven Ove Hansson described this state of affairs with the slogan: “Ethics still lives in a Newtonian world.” In the new Oxford Handbook of Philosophy and Probability, David McCarthy writes that “mainstream moral philosophy has not been much concerned with probability,” understanding probability as “the best-known tool for thinking about uncertainty.” This special predilection for certainty in ethics was surprising since (...) most decisions or evaluations are made both by individuals and policy-makers through the fog of a widely understood uncertainty that includes risk, ignorance, indeterminacy. Therefore, the main task of this special issue is to encourage philosophers to rethink the standard paradigm in ethics by redirecting discussions about ethical questions to problems involving different kinds of uncertainty when an individual or a policy maker does not have access to or knowledge about. (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)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Kant’s Early Critics on Freedom of the Will ed. by Jörg Noller and John WalshDai HeideJörg Noller and John Walsh, editors. Kant’s Early Critics on Freedom of the Will. Cambridge: Cambridge University Press, 2022. Pp. xlvii + 297. Hardback, $105.00; paperback, $32.99.This volume collects new (and in many instances the first) English translations of eighteen works—by Johann Fichte, Salomon Maimon, Karl Reinhold, August Heydenreich, and Hermann Pistorius, among (...) others—that engage with Kant’s critical theory of freedom as it is encountered in his three Critiques and other writings from the late 1780s and early 1790s. The essays were written between 1786 and 1800. Noller and Walsh open the volume with a thorough and penetrating introduction to Kant’s historical context, Kant’s theory of freedom, and the newly translated essays themselves. Given how central Kant’s theory of freedom is to every aspect of his systematic philosophy, and how intensely scholars have focused upon it in recent decades, this volume is a welcome addition to the existing literature. Not only is it important to have these essays translated into English, but it is also helpful to have them collected in a single volume. This volume will thus be an invaluable resource, and not merely for English-speaking scholars of Kant. For considerations of space, I cannot discuss every essay in the volume. Instead, I emphasize those contributions that strike me as especially noteworthy or relevant to contemporary discussion.The standout of the first group of essays, on “Freedom and Determinism,” is the contribution by Hermann Andreas Pistorius (1730–98), which reinforces his status as one of Kant’s most trenchant Leibnizian critics. Pistorius subjects Kant’s account of “the concept of freedom itself, its origin, its content, and its objective validity” to a withering critique, contending that this is “the most obscure aspect of his system” (5). Pistorius raises the now familiar worry that Kant’s relegation of transcendental freedom to things in themselves violates his own epistemic strictures. He goes on to argue that even if this worry can be evaded, we must “assume that the human being’s actually free actions (which likewise are things in themselves) appear as necessary to him, as a thing in itself ” (8). In other words, our representations of deterministic sequences are representations of things in themselves “obscured and distorted by the fog of sensibility,” which renders Kant’s philosophy ultimately a version of “the Leibnizian idealism which the author so strongly rejects” (8). Also of note here is the set of careful objections by Johann August Heinrich Ulrich (1746–1813) to the notion of timeless agency that appears to be required for Kant’s account of transcendental freedom, an issue that remains alive and well in contemporary discussions of transcendental freedom.The section on “Freedom and Imputability” begins with two contributions by Carl Christian Erhard Schmid (1762–1812), who contends that only morally good actions are imputable, a claim he takes to be grounded in the doctrine of intelligible fatalism: “the [End Page 669] assertion of the natural necessity of all actions of a rational being according to laws of the causality of things in themselves” (78). Johann Christoph Schwab (1743–1821) responds directly to Schmid’s intelligible fatalism in two essays published in the Philosophisches Archiv. The first essay criticizes Schmid’s endorsement of Kant’s appeal to “a supersensible I in addition to the empirical I” (84, emphasis in original). He contends that this requires Schmid “to attribute predicates to the rational I that elevate it to the rank of the deity” (86). In the second essay, Schwab responds directly to Schmid’s intelligible fatalism, arguing that intelligible fatalism is not superior to ordinary determinism. He concludes by speculating that Schmid’s intelligible fatalism is “at bottom identical with Leibnizian-Wolffian determinism” (91). This section of the book concludes with the attack moved by Karl Leonhard Reinhold (1757–1823) against intelligible fatalism, which Reinhold sees as incompatible with fundamental aspects of the critical philosophy.Each of the essays in the third section, on “Freedom and Consciousness,” takes up Kant’s discussion of the “fact of reason” in his... (shrink)

Here, I investigate the challenges involved in addressing ethical questions related to food policy, food security, and climate change in a public engagement atmosphere where “experts” (e.g., scientists and scholars), policy-makers and laypersons interact. My focus is on the intersection between food and climate in the state of Alaska, located in the circumpolar north. The intersection of food security and climate represents a “wicked problem.” This wicked problem is plagued by “unruliness,” characterized by disruptive mechanisms that can impede how ethical (...) issues in policy-making are broached. Unruliness is exacerbated by conditions of engagement that can be characterized as occurring in a “fog.” In this fog, interlocutors encounter both moral and epistemological conundrums. In considering how to mitigate unruliness, a bottom-up approach is recommended. I discuss “taming” strategies for addressing these ethical concerns; modest suggestions on what should be taken into count when confronting issues of science and ethics within the context of promoting greater deliberative discourse regarding food security issues at more local levels. My recommendations are made in light of developments in food policy in Alaska and may be instructive for other regions pursuing cold climate agricultural expansion, for example. (shrink)

A collective action problem exists not only in offensive warfare, but also in defensive situations. The collective action problem is dealt with in the same way in offensive and defensive warfare: by strong leadership, discipline, rewards and punishments, strong group identification, strict religiosity, and intolerance of deviants. This behavior is explained in terms of evolutionary psychology.

A group in intergroup conflict needs to overcome the collective action problem in order to defend itself against an external enemy. This leads to increasing complexity that cannot be adequately covered by just scaling up the model of intragroup conflicts. Research on cultural evolution and evolutionary psychology shows that external conflict has profound effects on group organization.

The PRDM family has recently spawned considerable interest as it has been implicated in fundamental aspects of cellular differentiation and exhibits expanding ties to human diseases. The PRDMs belong to the SET domain family of histone methyltransferases, however, enzymatic activity has been determined for only few PRDMs suggesting that they act by recruiting co‐factors or, more speculatively, confer methylation of non‐histone targets. Several PRDM family members are deregulated in human diseases, most prominently in hematological malignancies and solid cancers, where they (...) can act as both tumor suppressors or drivers of oncogenic processes. The molecular mechanisms have been delineated for only few PRDMs and little is known about functional redundancy within the family. Future studies should identify target genes of PRDM proteins and the protein complexes in which PRDM proteins reside to provide a more comprehensive understanding of the biological and biochemical functions of this important protein family. (shrink)

The idea of culture has been subject to critical debate in anthropology during the past decade as the result of a shift in emphasis from the bounded local culture to transnational cultural flows. But at the very same time that cultural mobility is being emphasized by anthropologists, the people they study are recasting culture as a place of belonging as they construct local identities. Siting Culture argues that it is only through rich ethnographic studies that anthropologists may explore the significance (...) of place in the global space of relations which mold the lives of people throughout the world. By examining the concept of culture through case studies from Europe, Africa, Oceania, Latin America and the Caribbean, it probes the methodological and theoretical implications of the divergent scholarly and popular concepts of culture. (shrink)

Current frameworks on ethical decision-making process have some limitations. This paper argues that the consideration of moral competencies, understood as moral virtues in the workplace, can enhance our understanding of why moral character contributes to ethical decision-making. After discussing the universal nature of four moral competencies (prudence, justice, fortitude and temperance), we analyse their influence on the various stages of the ethical decision-making process. We conclude by considering the managerial implications of our findings and proposing further (...) research. (shrink)

In Sandrine Bergès’s article ‘Revolution and Republicanism: Women Political Philosophers of Late Eighteenth-Century France and Why They Matter’ [2021], neo-Athenian and neo-Roman principles of republicanism are fused in order to show the idiosyncratic political position of Olympe de Gouges, Marie-Jeanne Phlipon Roland, and Sophie de Grouchy. As Bergès acknowledges, this amalgamation renders possible republican readings of women’s writings which so far have not been regarded as republican. Through my reading of Germaine de Staël and Mary Wollstonecraft, my aim will be (...) to show how Staël and Wollstonecraft embody the principles that Bergès highlights, but also venture into other areas tied to republican thinking that Bergès leaves untouched: religion and progress. Wollstonecraft and Staël both tie Christianity closely to their republicanism, maintaining that a future republican state will come through divine intervention. In this way, I hope to add complexity to Bergès’s project by expanding our knowledge of female republicans. (shrink)

El objetivo de este artículo es realizar una revisión del estado de la cuestión sobre el concepto de estado de naturaleza en el pensamiento de Thomas Hobbes. Dicha revisión permite articular una comprensión de la naturaleza humana, puesto que a diferencia del realismo político el estado de naturaleza en Hobbes no tiene un rol meramente hipotético. Precisamente, la idea de naturaleza humana articula una proto-moralidad que permite comprender la transición hacia el estado civil. Las investigaciones Kavka, Gauthier y Hampton han (...) construido una compleja compresión de la naturaleza humana, la cual permite entender cierto sustrato de proto-moralidad en el pensamiento hobbesiano. (shrink)

Since the 1970s, there has been an increased focus on gender in the research literature concerning British philosopher Mary Wollstonecraft, which most likely is caused by the increasing interest in the social aspects of gender inspired by poststructuralist thinking. Although such readings have been illuminative and fruitful, focusing on the social and the interconnections between Wollstonecraft and modernity seems to have brought with them a neglect of two interesting aspects of Wollstonecraft’s notion about gender. On the one hand, her thoughts (...) on the body seem somewhat underexposed, while her impact on the subsequent British romanticists is equally neglected. The article focuses on these two aspects. Here the analyses are based on Wollstonecraft’s discussions with Jean-Jacques Rousseau and Edmund Burke about the relations gender has to nature, bodies, and aesthetics; discussions which inform a conception of gender that the later romantics would take inspiration from. (shrink)

Este trabajo se ocupa de algunas ideas éticas del filósofo latinoamericano Andrés Bello (1781-1865), en especial de su “teoría de los sentimientos morales”. En la polémica del siglo XIX entre el llamado racionalismo ético (representado por Théodore Jouffroy) y el utilitarismo (Bentham), Bello adopta una postura intermedia, que pudiera calificarse de “hedonismo moderado” o de “eudemonismo”. Sus puntos de vista sobre la motivación moral o la manera en que la razón y el sentimiento se entrelazan para formar nuestras creencias (...) morales, se revelan como muy próximos a las doctrinas de Aristóteles y de algunos autores contemporáneos. (shrink)

In order to explore one aspect of the engaging nature of computer games, this study will propose a method that aims at classifying the experience of engagement in video games. Inspired by a literature review, we will focus on the fundamental causes of engagement that motivate a player so much that he or she wants to continue playing. By organizing this willingness to continue playing into six broad types of causes of engagement—intellectual, physical, sensory, social, narrative, and emotional—we describe a (...) typology of player engagement and a method that is intended to map players’ experience of engagement while playing video games. The engagement mapping method is inspired by card sorting found from a perspective of usability testing, and in order to exemplify the use of the method, occurrences of the six types of engagement were investigated during gameplay in Angry Birds and Wii Sports. (shrink)

As robots and Artificial Intelligences become more enmeshed in rich social contexts, it seems inevitable that we will have to make them into moral machines equipped with moral skills. Apart from the technical difficulties of how we could achieve this goal, we can also ask the ethical question of whether we should seek to create such Artificial Moral Agents (AMAs). Recently, several papers have argued that we have strong reasons not to develop AMAs. In response, we develop (...) a comprehensive analysis of the relevant arguments for and against creating AMAs, and we argue that all things considered we have strong reasons to continue to responsibly develop AMAs. The key contributions of this paper are threefold. First, to provide the first comprehensive response to the important arguments made against AMAs by Wynsberghe and Robbins (in “Critiquing the Reasons for Making Artificial Moral Agents”, Science and Engineering Ethics 25, 2019) and to introduce several novel lines of argument in the process. Second, to collate and thematise for the first time the key arguments for and against AMAs in a single paper. Third, to recast the debate away from blanket arguments for or against AMAs in general, to a more nuanced discussion about the use of what sort of AMAs, in what sort of contexts, and for what sort of purposes is morally appropriate. (shrink)

Positive Psychology has turned its attention to the study of emotions in a scientific and rigorous way. Particularly, to how emotions influence people’s health, performance, or their overall life satisfaction. Within this trend, Flow theory has established a theoretical framework that helps to promote the Flow experience. Flow state, or optimal experience, is a mental state of high concentration and enjoyment that, due to its characteristics, has been considered desirable for the development of the performing activity of performing musicians. Musicians (...) are a population prone to health problems, both psychological and physical, owing to different stressors of their training and professional activity. One of the most common problems is Musical Performance Anxiety. In this investigation, an electronic intervention program was carried out for the development of psychological self-regulation skills whose main objective was to trigger the Flow response in performing musicians and the coping mechanism for Musical Performance Anxiety. A quasi-experimental design was used with a control group in which pre- and post-measures of Flow State, Musical Performance Anxiety and, also, Social Skills were taken. Sixty-two performing musicians from different music colleges in Spain participated in the program. Results indicated that the intervention significantly improved Flow State, and Sense of Control, and decreased Music Performance Anxiety, and self-consciousness of the participants in the EG but not CG. The changes in the EG after the program showed the inverse relationship between Flow and Anxiety. Two important theoretical factors of both variables, such as worry and the feeling of lack of control, could be involved. The results are under discussion and future lines of research are proposed. (shrink)

One of the reasons why moral enhancement may be controversial, is because the advantages of moral enhancement may fall upon society rather than on those who are enhanced. If directed at individuals with certain counter-moral traits it may have direct societal benefits by lowering immoral behavior and increasing public safety, but it is not directly clear if this also benefits the individual in question. In this paper, we will discuss what we consider to be moral enhancement, (...) how different means may be used to achieve it and whether the means we employ to reach moral enhancement matter morally. Are certain means to achieve moral enhancement wrong in themselves? Are certain means to achieve moral enhancement better than others, and if so, why? More specifically, we will investigate whether the difference between direct and indirect moral enhancement matters morally. Is it the case that indirect means are morally preferable to direct means of moral enhancement and can we indeed pinpoint relevant intrinsic, moral differences between both? We argue that the distinction between direct and indirect means is indeed morally relevant, but only insofar as it tracks an underlying distinction between active and passive interventions. Although passive interventions can be ethical provided specific safeguards are put in place, these interventions exhibit a greater potential to compromise autonomy and disrupt identity. (shrink)

Background: In Hospital Emergency Department and Emergency Medical Services professionals experience situations in which they face difficulties or barriers to know patient’s advance directives and implement them. Objectives: To analyse the barriers, facilitators, and ethical conflicts perceived by health professionals derived from the management of advance directives in emergency services. Research design, participants, and context: This is a qualitative phenomenological study conducted with purposive sampling including a population of nursing and medical professionals linked to Hospital Emergency Department and Emergency Medical (...) Services. Three focus groups were formed, totalling 24 participants. We performed an inductive-type thematic discourse analysis. Ethical considerations: This study was approved by ethical committees of Ethical Commitee of Clínic Hospital (Barcelona) and Comittee of Emergency Medical Services (Barcelona). The participants received information about the purpose of the study. Patients’ anonymity and willingness to participate in the study were guaranteed. Findings: There were four types of barriers that hindered the proper management of patients’ advance directives in Hospital Emergency Department and Emergency Medical Services: personal and professional, family members, organisational and structural, and those derived from the health system. These barriers caused ethical conflicts and hindered professionals’ decision-making. Discussion: These results are in line with those of previous studies and indicate that factors such as gender, professional category, and years of experience, in addition to professionals’ beliefs and the opinions of colleagues and family members, can also influence the professionals’ final decisions. Conclusion: The different strategies described in this study can contribute to the development of health policies and action protocols to help reduce both the barriers that hinder the correct management and implementation of advance directives and the ethical conflicts generated. (shrink)