This paper seeks to reconstruct the role of schooling in a moment of accelerated social, political, economic, geo-political, climatic, indeed planetary crisis. It identifies the school as a potentially prefigurative institution, an evolutionary social frontier, capable of nurturing the democratic social character, a form of sensibility apart from which authentic political democracy is not possible. As theorized by Herbert Marcuse and Richard Hart and Antonio Negri, the “new sensibility” or “multitude” is characterized by greater psychological freedom, individuality, social (...) creativity and self-rule, comprising a “whole of singularities” that “acts in common”. It suggests a human subject with a vital, biological drive for liberation, with a consciousness capable of breaking through the material as well as ideological veil of a society based on hierarchy and domination, and is associated politically with democracy and social-anarchism, or what Murray Bookchin called “communalism”. This paper identifies three main characteristics of an institution informed by this form of modal subjectivity, all of them based on student-teacher dialogue: an emergent, project-based curriculum, whole-school direct democratic governance on all levels of the community, and the regular practice of communal philosophical inquiry, through which we problematize the concepts we live by, in the interest of their ongoing reconstruction. (shrink)

Resumen: Este artículo utiliza el método de investigación del contexto histórico para situar la Nueva Sensibilidad de Sontag en el contexto histórico en el que prevalecía “la desaparición del arte”, y plantea que la Nueva Sensibilidad de Sontag es la sensibilidad acorde con las necesidades de esa época al negar “la desaparición del arte” y afirmar la posición dominante del arte visual. Su definición puede resumirse como una capacidad de percepción estética de las artes. Apela a la sensibilidad pura para (...) apreciar las artes visuales, y se dedica a cambiar la conciencia y la sensibilidad de la gente moderna. Al mismo tiempo, al comparar la Nueva Sensibilidad con la sensibilidad de Campamento propuesta por Sontag y la “nueva sensibilidad” propuesta por Marcuse, este artículo señala que la principal connotación de la Nueva Sensibilidad es hacer hincapié en la forma, descuidar el contenido y suspender la moralidad. Sin embargo, la Nueva Sensibilidad, que hace demasiado hincapié en la experiencia perceptiva e ignora la dimensión moral, tiene sus defectos inherentes, que no pueden ignorarse. Por ello, este artículo toma finalmente como ejemplo la práctica crítica de Sontag sobre Riefenstahl para explicar específicamente los defectos de la Nueva Sensibilidad y reflexionar sobre ella. Más de medio siglo después de la Nueva Crítica de Sontag, la orientación y la reflexión de la misma son propicias para replantear el significado y el valor de la misma bajo el trasfondo de un mayor desarrollo de la ciencia y la tecnología y de estilos artísticos más diversificados en la era contemporánea. (shrink)

This paper argues that community gardens, in addition to being economically practical, offer a promising example of an environment that fosters the new sensibility. After exploring Marcuse’s new sensibility and his critique of aesthetic experience under capitalism, the paper turns to some empirical studies of the benefits of the aesthetic qualities of community gardening. These studies correspond to Marcuse’s proposition that aesthetic environments can play a role in challenging domination. The last section of this paper considers how those (...) involved in the D-Town Farm in Detroit self-consciously assert the community garden as a political project that challenges domination. (shrink)

New media theorist Mark Hansen, in Feed-Forward: On the Future of Twenty-first Century Media and a series of articles, argues that the most sophisticated forms of media technology today have the capacity to broaden and enrich human experience and consciousness. Refusing the popular discourses of nonhuman and posthuman, while acknowledging yet turning away from the dystopian, he insists, using the figure of the Pharmakon and the philosophy of Alfred North Whitehead, that while the balance of benefits and costs to human (...) being is tipped toward toxicity, the human, through its imbrication with these media, can be ‘reformed’. In this essay I review Hansen’s argument, his use and critique of Whitehead, the central place of what he calls worldly sensibility in this vision, and consider his attempt to illustrate what this ‘new human’ of new media might be. (shrink)

Sensibility, in any of its myriad realms – moral, physical, aesthetic, medical and so on – seems to be a paramount case of a higher-level, intentional property, not a basic property. Diderot famously made the bold and attributive move of postulating that matter itself senses, or that sensibility (perhaps better translated ‘sensitivity’ here) is a general or universal property of matter, even if he at times took a step back from this claim and called it a “supposition.” Crucially, (...) sensibility is here playing the role of a ‘booster’: it enables materialism to provide a full and rich account of the phenomena of conscious, sentient life, contrary to what its opponents hold: for if matter can sense, and sensibility is not a merely mechanical process, then the loftiest cognitive plateaus are accessible to materialist analysis, or at least belong to one and the same world as the rest of matter. This was noted by the astute anti-materialist critic, the Abbé Lelarge de Lignac, who, in his 1751 Lettres à un Amériquain, criticized Buffon for “granting to the body [la machine, a common term for the body at the time] a quality which is essential to minds, namely sensibility.” This view, here attributed to Buffon and definitely held by Diderot, was comparatively rare. If we look for the sources of this concept, the most notable ones are physiological and medical treatises by prominent figures such as Robert Whytt, Albrecht von Haller and the Montpellier vitalist Théophile de Bordeu. We then have, or so I shall try to sketch out, an intellectual landscape in which new – or newly articulated – properties such as irritability and sensibility are presented either as an experimental property of muscle fibers, that can be understood mechanistically (Hallerian irritability, as studied recently by Hubert Steinke and Dominique Boury) or a property of matter itself (whether specifically living matter as in Bordeu and his fellow montpelliérains Ménuret and Fouquet, or matter in general, as in Diderot). I am by no means convinced that it is one and the same ‘sensibility’ that is at issue in debates between these figures (as when Bordeu attacks Haller’s distinction between irritability and sensibility and claims that ‘his own’ property of sensibility is both more correct and more fundamental in organic beings), but I am interested in mapping out a topography of the problem of sensibility as property of matter or as vital force in mid-eighteenth-century debates – not an exhaustive cartography of all possible positions or theories, but an attempt to understand the ‘triangulation’ of three views: a vitalist view in which sensibility is fundamental, matching up with a conception of the organism as the sum of parts conceived as little lives (Bordeu et al.); a mechanist, or ‘enhanced mechanist’ view in which one can work upwards, step by step from the basic property of irritability to the higher-level property of sensibility (Haller); and, more eclectic, a materialist view which seeks to combine the mechanistic, componential rigour and explanatory power of the Hallerian approach, with the monistic and metaphysically explosive potential of the vitalist approach (Diderot). It is my hope that examining Diderot in the context of this triangulated topography of sensibility as property sheds light on his famous proclamation regarding sensibility as a universal property of matter. (shrink)

Rule systems are used every day to share experience, pre-existing knowledge, beliefs and ethical rules, and to provide instructions for future action. This article expands and builds upon an approach pioneered by Julius M. Moravcsik to argue that ethics cannot be completely codified into a rigid set of rules, because any such set lacks a misapplication-correcting sensibility. Thus, an ethics that is transferred purely by means of a rule-set is incomplete and thus cannot be used reliably to guide future (...) action. The balancing sensibility is formed out of pre-existing expert knowledge and takes account of the limitations of rule-sets in specific contexts. Moravcsik’s approach is then expanded by incorporating it into a holistic framework for the analysis, guidance and development of actions to be taken to support the emergence, selection and implementation of solutions for a sustainable future. This approach has profound implications for managers and organisers in new or critical situations. (shrink)

This essay argues that nano-images would be best understood with an aesthetical approach rather than with an epistemological critique. For this aim, I propose a ‘techno-aesthetical’ approach: an enquiry into the way instruments and machines transform the logic of the sensible itself and not just the way by which it represents something else. Unlike critical epistemology, which remains self-evidently grounded on a representationalist philosophy, the approach developed here presents the advantage of providing a clear-cut distinction between image-as-representation and other modes (...) of existence of images, such as the one of ‘ imaginaction ’ that I draw from a comparison between far-field and near-field microscopies. Once this regime of imaginaction is distinguished from representation, I focus on nanotechnological percepts and argue that they follow a transmodal logic. I then draw the implications of this enquiry in terms of a new sensible condition that changes the way we think of non-living objects. Finally, I conclude that if techno-aesthetics dares to posit and articulate sensibility beyond the privileged sphere of subject/object relationships, it simultaneously engages us to consider the political character of our responsibilities towards the design of nano-engineered sensorial spaces. (shrink)

I present a reading of Marx’s critique of what he terms ‘intuitional materialism’, an expression which suggests a close link to Kant’s account of intuition. On my account, Marx advocates a view of sensibility as active, whereas Kant’s account of sensibility has often been interpreted as passive. In so doing, I claim that Marx offers an implicit critique of the conventional distinction between the ‘higher’ and ‘lower’ faculties, encompassing Wilfrid Sellars’ attack on the myth of the given. Marx (...) claims that limiting the contribution of cognition to the abstraction of particulars into concepts is a symptom of alienation under capitalism, while unalienation consists in the aesthetic attunement of sensible activity to the particularity of experience. This view is importantly related, I claim, to the cue Marx and Engels took from Darwin in reconceiving biological science, including the study of human material life, as dynamic and organic rather than mechanical. (shrink)

This paper seeks to address the question of schooling for democracy by, first, identifying at least one form of social character, dependent, after Marcuse, on the historical emergence of a “new sensibility.” It then explores one pedagogical thread related to the emergence of this form of subjectivity over the course of the last two centuries in the west, and traces its influence in the educational counter-tradition associated with philosophical anarchism, which is based on principles of dialogue and social reconstruction (...) as opposed to monologue and reproduction. The idea of a dialogical school has been made possible by a historical shift in adult views of child as interlocutor rather than “othered” object of adult formation—a shift that can be observed in an historical process of “closer approaches” between adult and child and a recognition of childhood and adulthood as forms of subjectivity that lie on a synchronous rather than a diachronic lifespan continuum. Finally the author identifies an archetype of “school” understood as a specific type of intentional community—an experimental zone in which participants are allowed and encouraged, through explicitly dialogical practice, to develop the personal and relational habits that make authentic democracy possible—a communal form that gives practical meaning to Dewey’s notion of school as “embryonic society”: a utopian space where natality is recognized as a fundamental cultural force, and where the evolutionary possibilities inherent in neoteny are taken as normative. (shrink)

Management and organization researchers are being called to conduct research that is more caring, yet the concept of care and how to practice it within the profession is undertheorized. Adopting a feminist epistemology and methodology, we develop the concept of care by weaving the personal, ethical, and political into the research process. First, we reflect critically on how aspects of care—attentiveness, responsibility, competence, and responsiveness (Tronto, Moral boundaries: a political argument for an ethic of care, Routledge, 1993; Tronto, Caring democracy: (...) markets, equality, and justice, New York University Press, 2013)—unfolded in our personal research experiences, and secondly, we conduct a review of articles published in management and organization studies and analyse expressed or concealed conceptions of care in scholars’ accounts of research purpose and ethics. We find three ethical sensibilities at the heart of enacting care: encountering the ‘other’, interpreting roles and responsibilities, and deliberating needs and resources. We contribute to a feminist research ethics by highlighting issues related to care that are concealed in dominant ethos guiding management and organization research. Further, we develop methodological insights for implementing an ethic of care as an alternative ethical standpoint in business research ethics. Finally, we provide suggestions for how to embed more care within research ethics practices in academic institutions. (shrink)

In this chapter, I focus on the faculties by which we gain knowledge, namely, sensibility and the understanding, as well as on the methodological framework within which Sor Juana Inés de la Cruz examines them. I stress the importance that the author gives to sensibility and the physiological apparatus that grounds and explains sensation.With respect to her conception of understanding, I will show that it is both the sign of man’s filiation with God and a faculty that displays (...) deficiencies and limitations with respect to the difficult task of attaining knowledge.Finally, I examine Sor Juana’s criticism both of the Neoplatonic method, which looks for a vision of the universe as a whole, as well as of the deductive method of the Aristotelian- Scholastic tradition, which attempts to reduce the unmanageable diversity of beings to some specific characteristics and laws.My conclusion is that Sor Juana shares with modern philosophers the critical attitude against tradition; she holds that traditional methods do not enable us to reach knowledge about either the remotest causes or the closest effects. On my view, Sor Juana takes an epistemological approach to philosophy, as do Bacon and Descartes, but she does not propose a new method; this is not because of some radical skepticism on her part, but because of the enormity of the task of the human mind achieving complete knowledge. (shrink)

Aesthetics is fundamentally a theory of sensible experience. Its scope has expanded greatly from an initial centering on the arts and scenic nature to the full range of appreciative experience. Expanding the range of aesthetics raises challenging questions about the experience of appreciation. Traditional accounts are inadequate in their attempt to identify and illuminate the perceptual experiences that these new applications evoke. Considering the range of environmental and everyday occasions aesthetically changes aesthetics into a descriptive and not necessarily celebratory study (...) of sensible experience, for it must now accommodate a complete range of negative as well as positive values. Th is paper develops an analysis of the multiple dimensions of environmental sensibility. (shrink)

There is much to admire in Rafe McGregor's new book: its analytical clarity and precision, depth and systematicity in argumentation, width of the material covered, sharpness of his vision, illuminative power of his examples. I share his concern for the future of aesthetic education within the dominant context of neoliberal imperative, and I am inspired by his dedication to invigorate humanists' battle for preservation of the practices we so deeply believe in. I agree with his overall intuition regarding the ethical (...) dimension of narratives, and I am equally convinced of their capacity to provide understanding, though less optimistic regarding their capacity to decrease our inhumanity. I take his dedication to... (shrink)

Pornographic Sensibilities stages a conversation between two fields-Medieval/Early Modern Hispanic Studies and Porn Studies-that traditionally have had little to say to each other. The collection offers innovative new approaches to the study of gendered and sexualized bodies in medieval and early modern textual production, including literary and historical documents. The volume's embrace of the interpretative tools of Porn Studies also inscribes a critical provocation: in what ways can contemporary modes of reading the past serve to freshly illuminate not only the (...) contours of that same past but also the very critical assumptions of the present upon which fields like medieval and early modern Hispanic Studies are built? In this way, Pornographic Sensibilities encourages at once both rigorous historicizations of pre- and early-modern culture, and playful engagement with "presentism," considered here as a critical tool to undress the hidden assumptions of both past and present. This move substantively challenges long-held critical orthodoxies among scholars of pre-Enlightenment periods, for whom the very category of "pornography" itself has often problematically been framed as an anachronism when applied to their work. (shrink)

Despite Kant’s lasting influence on philosophical accounts of moral motivation, many details of his own position remain elusive. In the Critique of Practical Reason, for example, Kant argues that our recognition of the moral law’s authority must elicit both painful and pleasurable feelings in us. On reflection, however, it is unclear how these effects could motivate us to act from duty. As a result, Kant’s theory of moral sensibility comes under a skeptical threat: the possibility of a morally motivating (...) feeling seems incoherent. My aim in this paper is to reconstruct Kant’s theory in a way that overcomes this threat. By way of conclusion, I show how my reconstruction brings a new perspective to a long-standing dispute over intellectualist and affectivist views of moral motivation. (shrink)

This article analyzes how scientific thinking evolved in Argentina during the 1820s and 1830s. I will focus on liberals’ association of science with the emergence of a new male sensibility that feminized the role of men in society. This gendered scientific culture explains how liberals clashed in the 1830s with the policies of the governor of Buenos Aires, Juan Manuel de Rosas, whose hyper masculinist model based on the authority of the father was perceived not only as anti-civilization, but (...) also as anti-science. This association of gender and science helps us to explain how the introduction of Darwinian ideas that seemed to support a more masculinist representation of evolution, now ruled by laws of survival and competition, was perceived as a contradiction of past ideas by the 1870s. (shrink)

Philosophic attention shifted after Hegel from Kant's emphasis on sensibility to criticism and analyses of the fine arts. The arts themselves seemed as ample as nature; a disciplined science could devote as much energy to one as the other. But then the arts began to splinter because of new technologies: photography displaced figurative painting; hearing recorded music reduced the interest in learning to play it. The firm interiority that Hegel assumed was undermined by the speed, mechanization, and distractions of (...) modern life. We inherit two problems: restore quality and conviction in the arts; cultivate the interiority--the sensibility--that is a condition for judgment in every domain. What is sensibility's role in experiences of every sort, but especially those provoked when art is made and enjoyed? (shrink)

Our aesthetic practices, by which we aim for better well-being, are intertwined with fostering sustainability. This article focuses on Yuriko Saito’s aesthetics of sustainability, an idea denoting a new kind of aesthetic sensibility informed by and featuring both environmental and cultural sustainability. Saito’s idea is based on our aesthetic relationship with everyday experiences. In this article, I defend the idea, on the one hand, by considering the immanence of change as a sense of contemporary everydayness and, on the other (...) hand, by regarding mindfulness as a practice. Situating the discussion in the European context emphasises the aesthetics of sustainability as a sustainability transformation, that is, an ongoing societal change powered by the continuous cultivation of aesthetic sensibility. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Forms of Knowledge and Sensibility: Ernst Cassirer and the Human Sciences and: Dilthey und Cassirer: Die Deutung der Neuzeit als Muster von Geistesund KulturgeschichteSebastian LuftGunnar Foss and Eivind Kasa, editors. Forms of Knowledge and Sensibility: Ernst Cassirer and the Human Sciences. Kristiansand: HøyskoleForlaget, 2002. Pp. 223. Paper, $25.00.Thomas Leinkauf, editor. Dilthey und Cassirer: Die Deutung der Neuzeit als Muster von Geistesund Kulturgeschichte. Hamburg: Meiner, 2003. Pp. (...) 170. Paper, € 34,80.These two new anthologies on Cassirer attest to the new attention that is being paid to what has often been referred to as "the last neo-Kantian." While interest in Cassirer's oeuvre as a whole, specifically his draft of a philosophy of symbolic forms as a philosophy of culture, has awoken again in the last decade on the European continent—mainly in Germany, but also in France and Italy—it is a pleasant surprise to see him also being well received in the Nordic European countries, as the volume edited by Foss and Kasa demonstrates. Both volumes—successfully, it should be noted—make the case that Cassirer can and in fact ought to play an important role for what goes on in contemporary philosophy and its projects, be they historical, hermeneutical, sociological, linguistic or other. These two books do a good job of demonstrating that Cassirer was unrightfully forgotten and deserves to be reconsidered, especially now that his complete works have and continue to become accessible in critical edition. This novel scholarship is not only about a reassessment of Cassirer's original achievements, as attempted in Foss/Kasa, but also about placing him in the context of twentieth-century philosophy. Leinkauf's volume, in particular, attempts to take stock of the history of philosophy and its meaning for us today—projects that were of paramount interest to Cassirer. It is only logical, hence, to compare his method to Dilthey's, whose manner of doing historiography is framed as a critique of historical reason.Leinkauf's anthology appears in the already well-established Cassirer-Forschungen with Meiner Publishers; as is known, Meiner also edits the critical Cassirer edition and the Collected [End Page 504] Works. Foss's and Kasa's volume, however, is an entirely novel venture into a philosopher who has been only little acknowledged in the Scandinavian countries—perhaps with the exception of Sweden to which the Cassirers emigrated and (after a brief stay in England) became naturalized after the Nazis' seizure of power. This seeming unfamiliarity with Cassirer also explains why the articles in the Norwegian volume are more general and intended to orient Cassirer in the intellectual landscape of these Northern countries that have traditionally been more inclined towards Anglo-American and Eastern-European philosophy. This, however, by no means diminishes the importance of this volume. Indeed, in terms of systematic philosophical approaches presented here, the essays in this volume are, with few exceptions, somewhat more lively and fresher than some of the rather staid historical studies of the German anthology. To be fair, the Leinkauf volume has a decidedly more specific agenda, namely, to locate Cassirer's attempts to interpret modernity, especially his studies of the Renaissance period, in a larger project of a historiography of modernity as a whole; a project that has been so much at the forefront in many philosophical endeavors in the late-twentieth and beginning twenty-first century. Cassirer is contrasted, as the title indicates, with another influential attempt at the same task, namely by Wilhelm Dilthey. This is especially interesting since Dilthey, being a generation older, took no notice of Cassirer's work, and Cassirer, in turn, gave only little attention to Dilthey's work, since his writings on the subject were published later. Thus, the anthology closes a gap both in Cassirer and Dilthey scholarship.What both books have outwardly in common, however, is the fact that they both are collections of papers given at conferences, in Potsdam and Trondheim, respectively. The contributors of the German volume are St. Otto, R. A. Makkreel, M. Mulsow, G. Cacciatore, E. Rudolph, H. Holzhey, U. Renz, G. Scholtz, and G. Hartung. It is no surprise to find some of these well-established authors in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Artificial Virtues and the Sensible Knave1 David Gauthier Hume's account in the Treatise ofthe artificial virtues, their obligation and motivation, resists easy interpretation. Two passages, taken from his discussion of promises, will introduce, the problems I propose to examine. First: No action can be requir'd of us as our duty, unless there be implanted in human nature some actuating passion or motive, capable of producing the action. This motive (...) cannot be the sense of duty. A sense of duty supposes an antecedent obligation: And where an action is not requir'd by any natural passion, it cannot be requir'd by any natural obligation; since it may be omitted without proving any defect or imperfection in the mind and temper, and consequently without any vice. Now 'tis evident we have no motive leading us to the performance of promises, distinct from a sense of duty. If we thought, that promises had no moral obligation, we never shou'd feel any inclination to observe them.... But as there is naturally no inclination to observe promises, distinct from a sense of their obligation; it follows, that fidelity is no natural virtue, and that promises have no force, antecedent to human conventions.2 Ignore for the present the last sentence quoted. Hume seems clearly to be claiming that (1) an action can be a duty only if there is some motive to perform it other than a sense of duty, and (2) there is no motive to perform an act of promise-keeping other than a sense of duty. From (1) and (2) we may infer that (3) an act of promise-keeping can not be a duty. But since the sense of duty motivates an action only ifit is apprehended to be a duty, then from (2) and (3) we may conclude that (4) there is no motive to perform an act of promise-keeping that does not involve the mistaken apprehension that it is a duty. And the second passage: Afterwards a sentiment of morals concurs with interest, and becomes a new obligation upon mankind.... The difficulties, Volume XVIII Number 2 401 DAVID GAUTHIER that occur to us, in supposing a moral obligation to attend promises, we either surmount or elude. For instance; the expression of a resolution is not commonly suppos'd to be obligatory; and we cannot readily conceive how the making use of a certain form of words shou'd be able to cause any material difference. Here, therefore, we feign a new act ofthe mind, which we call the willing an obligation; and on this we suppose the morality to depend. But we have prov'd already, that there is no such act of the mind, and consequently that promises impose no natural obligation. (T 523) This time, ignore for the present the first sentence. The remainder would seem to confirm my reading ofthe first passage. Hume claims that (5) there is no natural obligation to perform an act of promise-keeping, but (6) we feign the willing of such an obligation. If, as Hume has claimed in the previous passage, (2) there is no motivation to perform an act ofpromise-keeping other than a sense ofduty, and if obligation and duty may be taken as equivalent, then we may conclude as before that (4) there is no motive to perform an act of promise-keeping that does not involve the mistaken apprehension that it is a duty. In his theory of the artificial virtues and vices, Hume considers "the three fundamental laws ofnature, thatofthestabilityofpossession, of its transference by consent, and of the performance of promises" (T 526). It would seem, from the passages cited, that Hume must suppose that there is no real obligation to keep promises, but only a feigned obligation. And since the reasoning that Hume employs in the first ofthe passages that I have cited is explicitly identified with "that reasoning, which prov'd justice in general to be an artificial virtue" (T 518), it seems clear that he must also suppose that there is no real obligation to uphold stability of possession and its transference by consent—no real obligation to observe the other laws of justice or equity.3... (shrink)

One of the less-appreciated modalities of Lyotard’s rethinking of aesthetics is a consideration of the way that technologies, and in particular information technologies, reconfigure the nature of aesthetic experience. For Lyotard, information technology presents a particular problem in relation to the arts and aesthetic experience. When art uses communication technologies themselves as its matter or medium, the “traditional” model of aesthetic experience becomes problematised. Lyotard argues that this is the case because information technologies determine or “program” a conceptual meaning in (...) advance of an aesthetic experience. Therefore, we no longer have a situation of the “free play” between sensible forms and concepts that constitutes the aesthetics of the beautiful for Kant. Lyotard argues, however, that this decline in aesthetic experience as traditionally conceived need not be understood negatively: rather, it may be seen positively in so far as it furthers experimentation with materials. This chapter concludes by highlighting the positive potentials Lyotard sees in what may now be termed “new media arts,” but also indicates the limitations in Lyotard’s analysis – delimited in part by the theoretical models of information and communication he employed – and suggests directions for further research into new aesthetics from the bearings Lyotard has given us. (shrink)

This chapter introduces and motivates the Null View about standard causally matching hallucinations. The Null View holds that these hallucinations fail to present any objects or sensible qualities, despite being dead ringers for perceptions of ordinary objects and their qualities. Motivation for the Null View comes from a neglected observation about perception-based thought, namely that perception can permit perception-based thought about a sensible quality even while misleading a subject about that quality. The chapter's other contribution is defensive. Most reject the (...) Null View on phenomenological or epistemic grounds. These objections to the Null View are sharpened and then undermined. (shrink)

Experientialism in aesthetics is the view that the artistic merit or the aesthetic value of something is determined by the final value of certain experiences of it. These are usually specified as experiences of it with understanding and appreciation. Until recently, experientialism was the dominant view. Not anymore. Experientialists are now subject to a barrage of objections, many of which they have not answered. Here I argue that all of these objections fail. I develop a new form of experientialism that (...) is immune to them. It also has an independent rationale. It incorporates an account of the value of art appreciation that is plausible in its own right. And it endorses many of the core insights of anti-experientialists, especially concerning the final value of good art. Those of us unconvinced by experientialism need to take this form of it seriously. I conclude by identifying some genuine problems it faces. Even these aren’t clearly insoluble. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Transcendence and SensibilityAffection, Sensation, and Nonintentional ConsciousnessIrina Poleshchuk (bio)Over the years, the question of sensibility has largely been discussed in a variety of discourses developed in the humanities and has gained attention in psychology and the cognitive sciences. Sensibility has been seen as a constituent part of subjectivity, endowing subjectivity with meanings developed in different layers of subjective and inter-subjective life, but also as setting new horizons (...) of ethical becoming. In this context, Emmanuel Levinas represents a unique philosophical approach: sensibility reveals the core of the ethical encounter with the other person, including traumatic experience and ethical gift of this intersubjective encounter. The ethical event starts from sensibility and from the radicality on which the face-to-face relation is built, but it also results from the sensible life of subjectivity. I address here a famous line in Levinas’s Otherwise than Being, or Beyond Essence: “Only a subject that eats can be for-the-other” (OB 74). In its hunger, and in its constant search for the means of feeding itself, subjectivity is for the first time disclosed as a vulnerable and affected self. This vulnerability [End Page 1] is different in its nature from the vulnerability provoked by the appeal of the other. The satisfaction of needs, the ability to enjoy food, to enjoy laboring to acquire it, but also the memory of the pain caused by hunger all indicate fundamental levels of vulnerability whereby the self is exposed to the affection of the otherness. In the following sections of Otherwise than Being, Levinas moves further toward disclosing a sensible subjectivity endowed with transcendence. Sensibility becomes structured as the other-in-the-same, where the trace of the other is exactly transcendence impregnating subjectivity. Here, being affected by the other, the vulnerable and the sensible self takes its crucial forms: it is pure passivity, it is an ultimate exposure, and it is nonintentional. These modalities of sensibility are to indicate ethical mapping of subjectivity where responsibility for the other eventually becomes irreversible.To approach the novelty of sensibility as the central component of the face-to-face relation, I elucidate the function and meaning of mechanisms enabling subjectivity to be structured as the other-in-the-same. The face-to-face relation is, first of all, an experience of the affective trace left by the appeal of the other. Thus, my goal is to explicate how this affection, manifested as the address of the other, is embedded in Levinas’s reading of sensuous intuition and how the affection enlightens an ethical sensibility at the level of nonintentional consciousness and passivity. Beginning with Husserl’s view of hyletic data, I discuss the work of affection and sensation in intentional consciousness and how these feelings participate in constructing sensibility. I analyze the importance of Levinas’s innovative idea of nonintentional consciousness, leading up to the concept of passivity, which acts as the host of transcendence or, in other words, of the other-in-the-same. Finally, I turn to the phenomenon of two sensibilities and provide an interpretation of their structures and their role in building face-to-face relations.Sensation and AffectionThe first step toward unraveling sensibility is to address Urhyle. Urhyle plays an essential role in the dimension of affection, sensation, [End Page 2] and sensibility. In his earlier works, Levinas addresses hyle and, to some extent, follows Husserl’s reflections on Urhyle and affection. A discussion of Urhyle will help to elucidate Levinasian logic.For Husserl, Urhyle is “a foreign core in me” (Ichfremdekern).1 Being something foreign within consciousness, Urhyle indicates a core within consciousness, which leads to a constitutive bifurcation of the self and of the nonself. The appearance of Urhyle is indirect: it is not constitutive, it does not constitute itself, but rather Urhyle structures the constitution of the self. How can Urhyle be shown? Affected consciousness or sensible data is the first strange or alien content within the self, affecting and exciting the self as nonconsciousness (Unbewüßtsein) on the level of original hyletic (Urhyle) preconsciousness and allowing primary sensibility to grow, which apparently becomes a content of the self.2 Consciousness is, first of all... (shrink)

There is a growing discourse on “new sincerity,” and related terms like “quirky” and “metamodernism,” as a movement or sensibility in contemporary cinema developing from the late 1990s onward, exemplified by the work of filmmakers such as Wes Anderson and Charlie Kaufman. However, what this new concept means in the context of cinema has so far remained under-defined and requires further philosophical analysis. This article provides such an analysis by offering a reconceptualization of Jean-Paul Sartre's existentialist-phenomenological notions of good (...) faith and sincerity, which will be connected to developments in film and elaborated in relation to Frances Ha (Noah Baumbach, 2012). I propose, against Sartre's own preference for the problematic term “authenticity,” to understand sincerity as the reflective resumption of good faith's pre-reflective acceptance of human-reality. This conception of sincerity as reflective allows us to accurately understand the combination of self-awareness and affirmation that characterizes new sincerity cinema: its self-awareness does not serve the postmodernist strategy of endless self-ironization; instead, its portrayals affirm the meaningfulness of its filmic reality, while also being aware of film as a medium. An analysis of Frances Ha illustrates how this concept of sincerity might be seen to function both on the level of story world, characters and themes, and on that of narrative structure and audio-visual style, thereby showing how we can meaningfully speak of sincerity in and of film. (shrink)

Perspectives on the difficult topic of the evolution of language can be differentiated to a large extent based on how much relevant continuity or discontinuity they see between humans and nonhuman animals. In general, biologists and psychologists tend to have a broad definition of “language” that highlights significant continuities, whereas linguists tend to define “language” more narrowly, in accord with their emphasis on the uniqueness of human capacities. This article examines the value of Whitehead's innovative theory of language, which is (...) grounded in his account of the fundamental symbolic element in basic perceptual processes, mainly for understanding the continuities between animal and human perceptual and symbolic activity but also for accommodating the discontinuity, or at least the pivotal difference, evident in the full flowering of human language. It will focus particularly on applying Whitehead's approach to gain a new understanding of the emergence, with the rise of amphibians, of the first vocalization in the history of life. (shrink)

In his early writings, Kant says that the solution to the puzzle of how morality can serve as a motivating force in human life is nothing less than the “philosophers’ stone.” In this dissertation I show that for years Kant searched for the philosophers’ stone in the concept of “respect” (Achtung), which he understood as the complex effect practical reason has on feeling. -/- I sketch the history of that search in Chapters 1-2. In Chapter 3 I show that Kant’s (...) analysis in Groundwork I is incomplete because it does not explain how respect functions as a feeling in motivating choice. In Chapter 4 I argue that Kant’s subsequent attempt to sidestep this explanation in Groundwork III is unsuccessful, and that his position remains open to a skeptical threat. The argument in the second Critique, which I reconstruct in Chapters 5-6, overcomes this threat, and in doing so explains how the feeling of respect is both painful and pleasurable. -/- In the course of defending these claims, I provide an alternative reading of the shift in Kant’s ethical project from the Groundwork of 1785 to the second Critique of 1788 Against a common view in the literature, I argue that the shift does not concern the direction of Kant’s deduction (from freedom to morality, or morality to freedom); rather, it concerns his view of human sensibility and the resources he thinks we have to make our practical self-understanding intelligible. In the second Critique, I argue, Kant develops a novel approach to moral feeling from the perspective of the human agent; and this in turn clears room in his ethics for a new kind of a priori knowledge—namely, knowledge of what the activity of practical reason must feel like. By way of conclusion, I offer a few reasons for why the form of Kant’s argument in the second Critique is still relevant today, as it shows why we can only address moral skepticism from a first-personal perspective. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Sense and Sensibility: IARPT’s Four Existential OrientationsWilliam David Hart (bio)I. Introduction: IARPT’s Liberal HorizonThe concerns of the Institute of American Religious and Philosophical Thought are worlds apart from the preoccupations that animate the characters in Jane Austen’s novels. This is not to say that IARPT is disinterested in romance, love, and heartbreak. It is to say, rather, that Sense and Sensibility, the title of Austen’s 1811 novel, (...) is a good cover term for the matters that I wish to address. I say this despite the fact that many characters in the novel, especially Fanny Dashwood, are insufferable members of a British ruling class that, along with its wealth-hording, patriarchy-sustaining institution of primogeniture, needed to be expropriated by the working class. I say this despite the fact that the sensibility of the British aristocracy, as is true of all aristocracies, is off-putting. With this proviso, it is precisely the sense and sensibility of the Institute (the love, romance and, perhaps, tragedy) that I wish to survey through a focus on what I take to be its animating existential concerns. I call these orientations existential rather than merely intellectual because they go beyond ideas, professional commitments, and implicate the entire range of life dispositions. These orientations are habit-forming.Constitutive of these orientations are anxieties regarding the meaning and significance of those things for which we live and die. The sheer fact of consciousness, of conscious matter, of matter conscious of its consciousness and the wonder and awe this inspires as we consider the very existence of things is part of our existential ensemble too. For some of us wonder and awe before the groundless gratuity of existence, let’s call this ontological curiosity, compete with death anxiety and its intimations for preeminence in how we imagine the meaning and significance of our life. This is not a binary matter. For some people, perhaps for most, the joy of existence larded as it is with terrible things exceeds, as the case make be, the quiet desperation, sorrow, or terror, and the emptiness at the center of all things. My exploration focuses on the anxieties rather than the curiosity. I take it for granted that the deep source of anxiety is mortality and its various intimations. Our quest for lives of meaning and significance is threatened by the “horrid d’s”1 of death, disease, dread, despair, [End Page 5] and disappointment. Various thinkers have theorized how we cope with this anxiety. Some argue that denial is a dominant way of dealing with death, which they take to be foundational to the other meaning and significance-threatening phenomena.2 Where the answers to these threats provided by traditional religions are found lacking or otherwise no longer credible, denial expresses itself in the form of various immortality projects: typically, the puritanical, maniacal, and methodical pursuit of health and wealth, in consumerism of all kinds, from the hottest new diet, to a Peloton exercise bike, to a Tesla. And then there is the pursuit of fame and celebrity, which many people can no longer distinguish, the hope, captured so well in the theme song for the television series, Fame. “Fame / I’m going to live forever / Baby, remember my name.”3 We want to be remembered. Whether by future generations or, inside the digital clouds of Instagram or TikTok, or, as some would have it, within the consequent nature of God. Of course, for some populations, death is not so easily denied. Death has an in their face immediacy, insistence, and oppugnancy that rips through flesh and leaves its subject not merely anxious but dead. I speak, for example, of the mind-numbing repetitiveness with which police kill Black people. Or the myriad ways, including environmental racism, in which Blacks are subject to premature death. Some thinkers even theorize that death is the existential horizon for Black people in an ontologically distinctive way.4 Thus the March 2020 police-raid killing of Breonna Taylor in her home may be a statistical anomaly but is experienced as a monstrous revelation of the nature of things, of Black social life as social death. This is not a... (shrink)

Wellek is surely right in arguing that the New Critics did not intend to behave as formalists, but I think he needs to explain why they came so close to doing so in spite of themselves. One explanation may lie in a sphere Wellek mentions but might have probed even more fully, the long-standing Romantic and modernist revolt against the culture of science, positivism, and utilitarianism. In Culture and Society, 1780-1950 , Raymond Williams argues that the Romantic reaction against industrial-utilitarian (...) society led to a specialization of literature that attenuated literature's claims in a self-defeating way. Instead of contesting the realm of objective knowledge, the defenders of literature conceded this territory to science and commerce, either celebrating literature for its very freedom from such knowledge or claiming for it some alternate form of knowledge that could not be made rationally respectable. One could argue that the same pattern of misplaced reaction is seen in the New Criticism, that its revolt against the utilitarian, "Platonic" drives of science and positivism took the form of an attempt to divest literature of objective "truth of correspondence." Having equated this kind of truth with the most reductive forms of scientism, moralism, and propagandizing, the New Critics made it difficult to justify their own ambitious claims for the humanistic knowledge embodied in literature. Their way of reacting against the depravities of technological culture continues to be a common one today and can even be found in such adversaries of the New Critics as the cultural revolutionaries, the phenomenologists, and the deconstructionists—all of whom express the paradigms of our modern "adversary culture." It is an understandable and even perhaps an admirable reaction, but it has led to distortions in our conception of the humanities—one of which is the aggravation of that very dissociation of sensibility into scientific and poetic components that we all say we want to have done with. Gerald Graff, chairman of the English department at Northwestern University, is the author of Poetic Statement and Critical Dogma and, most recently, Literature against Itself: Literary Ideas in Modern Society. He responds in this article to René Wellek's "The New Criticism: Pro and Contra," published in Summer 1978 in Critical Inquiry. (shrink)

One of the most important concepts Baumgarten introduces in his Reflections on Poetry is the concept of sensible perfection. It is surprising that Baumgarten does not elaborate upon this concept in his Metaphysics, since it plays such an important role in the new science of aesthetics that he proposes at the end of the Reflections on Poetry and then further develops in the Aesthetics. This article considers the significance of the absence of sensible perfection from the Metaphysics and its implications (...) for Baumgarten’s aesthetics, before tuming to the use Meier and Kant make of Baumgarten’s concept. In the end, this article shows that Baumgarten did not abandon his conception of sensible perfection in the Metaphysics, though its influence declined significantly after Kant rejected the idea that sensibility and the understanding could be distinguished by the perfections of their cognition. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 99-104 [Access article in PDF] New York Art, Pittsburgh Art, Art 1 David Carrier Champney Family Professor Case Western Reserve University/Cleveland Institute of Art I. New York Art A fully developed artworld requires not only artists, but also a support system — schools to teach the artists, commercial galleries to display art, and the connected artmarket; public museums and their curators to (...) make that art available to the public; and also, last and least, artwriters to interpret and evaluate the art. This has been true for a long time in America and Europe. I speak of artwriters as "last and least" just because we are important only in some artworlds. In the seventeenth century Poussin depended upon commentary of intellectuals, but his contemporaries Rembrandt and Vermeer did not. In this country, New York is such an artworld and so, perhaps, is Los Angeles. These are the places where young artists go to establish themselves, and so they are the places where the most original new art tends to be made. Artists outside of those centers then imitate the art made there.Artworld centers tend to be large business centers because they require major museums and many collectors. Each component of this system is dependent upon the others. Unless they have collectors, artists cannot support themselves without doing other jobs; unless there are museums, there is no public space in which art can be seen. Unless there are artwriters, there is no way to articulate shared experience of this art. This artworld is a product of modernist bourgeois democracy. Premodern cultures did not have public museums. Nowadays information is disseminated quickly, but the role of centers as places where new art is made, seen, and discussed remains essential. Our novel electronic technologies have not changed this situation.A collecting culture requires not just wealth, but also a special sort of sensibility. In fact, the number of serious collectors anywhere is surprisingly small, as one can see in Los Angeles, which has a great deal of wealth, but a surprisingly thin gallery system. Like collectors, artwriters too are odd sorts of creatures. I usually identify myself as a New York-based critic, because that is where I see most of the shows I review. Artforum, the Burlington Magazine, and Tema Celeste, the journals I now work for have a real interest in exhibitions at the Carnegie and the Warhol, in Pittsburgh, but no concern with shows like this one. Partly the problem is that reviewing space is very hard to come by, but also the difficulty is that it is difficult to make sense of a review discussing artists who are known only locally. Even were I to identify [End Page 99] someone local as a wonderful original talent, it would be very difficult for readers who have never seen her art to evaluate that claim.In Pittsburgh we certainly have good artists, and there are several universities with art departments. But here, as elsewhere in the cities I know, the artmarket is focused on New York; and there is, so far as I can see, only modest critical support for artists. Major collectors here, as elsewhere in America, look to New York, which has a critical mass of galleries, museums, and critics. The Carnegie too, tends to look to New York when planning its shows. The curators travel widely, but most of the art they show, whether American or from elsewhere, is displayed in New York galleries. If one adopts this way of thinking about an artworld, then art made in Pittsburgh inevitably will be judged as "provincial." There are a few major artists, and many derivative ones; and those major ones, the innovators, are in the artworld centers.This is the model Vasari adopts, it is Clement Greenberg's model, and it is the basic model driving the present day artworld. To describe Pittsburgh artists as provincial, then, is to identify the sociological structure of this, a typical local artworld. There is a lot of adventure and intelligence in Pittsburgh art, but inevitably to the critic... (shrink)

Although Kant’s legacy for the subsequent continental tradition is widely acknowledged, studies dedicated to this complex and multifaceted relation are not as widespread. Kant and the Continental T...

This article attends to the intimate contradictions that differentially shape and limit caring capacities and relations in a violent world, and the embodied ethical and political transformations at the heart of learning to care otherwise. From manifestos calling for ‘universal care’ in defiance of the state-sanctioned horrors of the pandemic era, to the abolitionist politics of care developed by BLM organizers through movement building and healing, and the proliferation of mutual-aid infrastructures to meet needs and distribute resources in the face (...) of overwhelming crisis and neglect—these examples and so many others illustrate with undeniable clarity that radical care is finally on the agenda. In what follows, I hope to contribute to this urgent conversation by pointing to how care is shaped in fundamentally contradictory ways under conditions of entrenched structural violence, and the limitations of normative frameworks when confronting this reality. To unambiguously valorize care in ethical and political life is to risk occluding the constitutive violence of existing social structures and norms, its impact on the intimacies of caring relations, and ultimately the ways that communities mobilize alternate economies and practices of care towards healing and social change. While it is crucial to value care and work for a more caring society, I claim that efforts to transform patterns of relational harm and develop new sensibilities should also be highlighted as integral components of radical caring praxis. (shrink)

KANT AND HEGEL FIND THEMSELVES ON SIMILAR PATHS toward their respective goals to give a total account of reality. They share a deep commitment to science, Wissenschaftlichkeit, and raise the question: Where does science begin? Similarly, they answer: It begins with sense knowledge yet it is not founded in the senses. This essay attempts to reflect on, with the aim of cautiously reassessing, the nonsensible, universal features of sense experience from an idealist perspective. A study of the “science of (...) class='Hi'>sensibility,” raised to new levels of interest in recent debates of how the mind works, seems to have lost nothing of its fascination, indeed urgency in contemporary discussions, in the Kant-Hegel scholarship, in the philosophy of mind, philosophy of science as well as the natural and cognitive sciences in general. (shrink)

There have recently been attempts in the academic discourse to describe what is referred to as the demise of the postmodern due to the perceived insufficiency of the latter concept to adequately express the uniqueness of the 21st-century world. The younger generation of scholars, therefore, suggest adopting a new discourse, termed ‘metamodernism’, to do justice to this transforming sensibility. Metamodernism can be characterised by an oscillation between the modern and the postmodern, enthusiasm and irony, hope and nihilism, construction and (...) deconstruction. This article seeks to reflect on this new discourse from the perspective of theological anthropology. It will bring theorists of metamodernism in conversation with theological discussion to explore how Christians can respond and contribute to this ongoing transformation in the human interpretation of reality. It will be suggested that this momentum should be viewed by Christians as a ‘paradigm shift’ that they are to embrace critically, yet affirmatively. (shrink)

Political theory is a field that finds nourishment in others. From economics, history, sociology, psychology, and political science, theorists have drawn a rich repertoire of schemas to parse the social world and make sense of it. With each of these encounters, new subjects are brought into focus as others recede into the background, ushering a change not only in how questions are tackled but also in what questions are thought worth asking.