In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:On the Inconvenience of Other People by Lauren BerlantNicholas AdlerBerlant, Lauren. On the Inconvenience of Other People. Duke University Press, 2022. 256pp.An Ambivalent TriumphAttachment is a double-edged sword. This idea is the scaffolding of the late Lauren Berlant's pivotal work, Cruel Optimism (2011), which explores the idea that attachment to a collectively invested fantasy of "the good life" acts in disservice of personal growth and lasting fulfillment. The (...) Inconvenience of Other People ostensibly repeats this structure while reattributing the role of fantasy. The premise here is that attachments to other people act in disservice to the fantasy of personal sovereignty. Of course, both texts argue for collectivity and for a recasting of the ordinary that structures current fantasies. But while Cruel Optimism builds around the unavoidable condition of fantasy, Inconvenience takes relations within the present as its fundamentally unavoidable condition, specifically the drive to be in relation even though such relations are inconvenient. "People" in the work's title stands for any attachment, any person or thing to which we exist in relation. To be part of the world is to be constantly taking in and living with the objects around us. This constant process of adjustment generates constant friction with our fantasy of sovereignty, or control, over ourselves. In Berlant's words, "inconvenience is another way of pointing to the experience of nonsovereign relationality," making our inconvenience drive the urge to maintain and explore those nonsovereign relations despite the uncomfortable friction they produce (18). Berlant's final monograph investigates the complexities of living with that inconvenience as well the potential for "loosening [those inconvenient objects] and becoming loose with them" in order to make that inconvenience generative of new perspectives and approaches (150).The prospect of overhauling our relationship with inconvenience takes place on multiple registers, both in terms of the affective states that guide the experience of inconvenience and the frameworks that determine its expression in the world. Refiguring ambivalence and dissociation, [End Page 123] the traditional affective responses to inconvenience, as well as offering a more dynamic structure for engaging with inconvenience than that of the institution, Berlant demonstrates—in a contained and structured way—the very object-loosening for which the text advocates. Although the book is presented as a collection of "assays...clusters of actions that become forms of life that shift the pressures of being in relation," it is nonetheless broken into three distinct chapters that focus on the role of the inconvenient in political relations, sexual relations, and relations with the self (11). These chapters, respectively, take up the inconvenient with regard to infrastructure, ambivalence, and dissociation.To productively engage with inconvenience, it must be accommodated within a social infrastructure. The term infrastructure positions the material of lived relationality as more flexible than that of institutions and more legible than that of expressive causality. For Berlant, "infrastructures are productive, durationally extensive spaces for the pliable forms of life that people use to make rules and norms and other means of extending the world" (23). In Chapter 2, they invoke the concept of the commons, "an orientation toward life and value unbound by concepts of property as constituted by division and ownership," using it as a way to illustrate infrastructuralism in effect (82). The commons can refer to as concrete a physical space as the Boston Common, as explored through Ralph Waldo Emerson's "Nature," or as abstract an inheritance as shared language, as explored through Juliana Spahr's lyrical autobiography, The Transformation (2007).The commons of both Emerson and Spahr make use of the concept of analogy. For Emerson, it stands for "the separation within the nonsovereign relation [of the commons] that makes linking possible" (Berlant 94). Spahr takes a more critical approach, continuing Emerson's use of the term while shining light on the glitches that emerge when any analogy is examined too closely. Acknowledging the rhetorical gymnastics required to "figure equally valued social being" within "imperialist capitalist infrastructures" reveals every possible analogy as both grossly oversimplifying and only temporarily comprehensible (105). Objects within these commons are constantly adjusting and generating new relations. The sense of an ongoing dynamic is what Berlant hopes this... (shrink)

All disciplines have their histories in addition to their theories. In general, the history of a set of problems is treated separately from the nature of the problems themselves. The axioms of a given discipline may be the object of external inquiry but are not usually subject to historical examination. In this way, psychoanalysis has been investigated, even challenged, by a variety of other disciplines: biology, linguistics, history, philosophy, literature, and so forth. One may ask whether psychoanalysis can also become (...) its own object, effectively distancing itself from itself. Will historical scrutiny provide criticism from within and thereby alter the nature of psychoanalysis?It has been our observation that the history of the creation of psychoanalysis and of the psychoanalytic movement suggests deficiencies and omissions within psychoanalytic theory. This implies something far beyond the simple idea that no serious examination of theoretical problems can occur without an understanding of their history. Not only the past but the future of psychoanalysis, both as a theory and as a clinical practice, may well depend on the conscious assessment and assimilation of its own history. “The Secret of Psychoanalysis: History Reads Theory” is intended in part as an introduction to Nicolas Abraham’s “Notes on the Phantom” which will, in turn, illuminate the theoretical and practical scope of this essay.A history of Freudian psychoanalysis could be written based on the voices of dissenting insiders, without including schismatics such as Carl Jung, Alfred Adler, Wilhelm Stekel, and others who eventually developed independent systems of thought. The detailed interpretation of such firsts is already a consecrated approach to psychoanalytic history. But much remains to be learned from the internal criticism of those who have participated in Freud’s movement or have sought sympathetically to understand the birth and progress of Freudian psychoanalysis. Most of the disagreements concern theoretical and clinical issues or the clocked access to documents that are essential to the history assessment of psychoanalysis. This is Ludwig Marcuse’s case as he writes to Ernest Jones on 10 October 1957.1 1. Ludwig Marcuse is the author of Freud und sein Bild vom Menschen [Freud and his image of man] . Nicholas Rand, assistant professor of French at the University of Wisconsin—Madison, is completing a book on the notion of hiding in literature, philosophy, and psychoanalysis. Maria Torok is the author of The Wolf Man’s Magic Word , recently published in translation. “The Secret of Psychoanalysis” is part of a book-length study Rand and Torok are writing on Freud and psychoanalytic theory. (shrink)

Introduction: the age of reflexion Part I. Romanticism: 1. Romanticism and the sciences David Knight 2. Schelling and the origins of his Naturphilosophie S. R. Morgan 3. Romantic philosophy and the organization of the disciplines: the founding of the Humboldt University of Berlin Elinor S. Shaffer 4. Historical consciousness in the German Romantic Naturforschung Dietrich Von Engelhardt 5. Theology and the sciences in the German Romantic period Frederick Gregory 6. Genius in Romantic natural philosophy Simon Shaffer Part II. Sciences of (...) the Organic: 7. Doctors contra clysters and feudalism: the consequences of a Romantic revolution Nelly Tsouyopoulos 8. Morphotypes and the historical-genetic method in Romantic biology Timothy Lenoir 9. ’Metaphorical mystifications’: the Romantic gestation of nature in British biology Evelleen Richards 10. Transcendental anatomy Philip F. Rehbock 11. Romantic thought and the origins of cell theory L. S. Jacyna 12. Alexander von Humbolt and the geography of vegetation Malcolm Nicholson Part III. Sciences of the Inorganic: 13. Goethe, colour, and the science of seeing Dennis L. Sepper 14. Johann Wilhelm Ritter: Romantic physics in Germany Walter D. Wetzels 15. The power and the glory: Humphrey Davy and Romanticism Christopher Lawrence 16. Oersted’s discovery of electromagnetism H. A. M. Snelders 17. Caves, fossils and the history of the earth Nicholas A. Rupke Part IV. Literature and the Sciences: 18. Goethe’s use of chemical theory in his Elective Affinities Jeremy Adler 19. Kleist’s bedlam: abnormal psychology and psychiatry in the works of Heinrich von Kleist Nigel Reeves 20. Coleridge and the sciences Trevor H. Levere 21. Nature’s book: the language of science in the American Renaissance David van Leer 22. The shattered whole: Georg Buchner and Naturphilosophie John Reddick. (shrink)

I critically engage Max Horkheimer’s “Art and Mass Culture” from Critical Theory. I split Horkheimer’s essay into three parts, which correspond to the three sections of my essay. The first section details the objective historical conditions that have lead up to Horkheimer’s diagnosis. The second section describes the change in consciousness that corresponds to these conditions, and the third section outlines Horkheimer’s critique of Mortimer Adler and art that belongs to “the amusement industry.” I describe the basic elements of (...) Horkheimer’s aesthetic theory, use several pieces of art as examples of the application of the theory, andprovide contemporary analogues in order to illustrate the relevance of the essay to today’s world. (shrink)

In 2014, the New York Times columnist Nicholas Kristof wrote: ‘Some of the smartest thinkers on problems at home and around the world are university professors, but most of them just don't matter in today's great debates … I write this in sorrow, for I considered an academic career and deeply admire the wisdom found on university campuses. So, professors, don't cloister yourselves like medieval monks – we need you!’ At that time, a group of academics were working to (...) launch the International Panel on Social Progress, with the aim of preparing a report analysing the current prospects for improving our societies.1 It gathered about 300 researchers from more than 40 countries and from all disciplines of the social sciences, law and philosophy. (shrink)

In the target article, Christie, Brusse, et al. argue that selected effect functions do not, in general, explain why a trait exists in a population and, therefore, theories of representational content should not rely on selected effect functions. This response focuses on the claim about functions-for-representation. The role of evolutionary functions in a theory of content is to pick out outcomes that have been systematically stabilized by natural selection. Correctness conditions are conditions involved in explaining how that happened. Selected effect (...) functions can play that role in the complex equilibria that Christie, Brusse, et al. identify. Non-equilibrium cases are also discussed. (shrink)

Lucy Allais’s anti-phenomenalist interpretation of transcendental idealism is incomplete in two ways. First of all, like some phenomenalists, she is committed to denying the coherence of claims of numerical identity of appearances and things in themselves. Secondly, she fails to explain adequately what grounds the actuality of appearances. This opens the door to a phenomenalist understanding of appearances. View HTML Send article to KindleTo send this article to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail (...) List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about sending to your Kindle. Find out more about sending to your Kindle. Note you can select to send to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be sent to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply. Find out more about the Kindle Personal Document Service.Appearances and Things in Themselves: Actuality and IdentityVolume 21, Issue 2Nicholas F. Stang DOI: https://doi.org/10.1017/S1369415416000078Your Kindle email address Please provide your Kindle [email protected]@kindle.com Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Send article to Dropbox To send this article to your Dropbox account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to Dropbox. Appearances and Things in Themselves: Actuality and IdentityVolume 21, Issue 2Nicholas F. Stang DOI: https://doi.org/10.1017/S1369415416000078Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Send article to Google Drive To send this article to your Google Drive account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to Google Drive. Appearances and Things in Themselves: Actuality and IdentityVolume 21, Issue 2Nicholas F. Stang DOI: https://doi.org/10.1017/S1369415416000078Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Export citation. (shrink)

Many Global North contexts are experiencing conflict in feminist discourses between supporters of trans and gender diverse self-identification and self-proclaimed ‘gender critical’ feminists who consider this to undermine feminist goals. We argue that the channelling of contemporary feminist discourse into defensive and oppositional channels has foreclosed the space for more nuanced and future-oriented, utopian thought around freedom from sex/gender, limiting the prospect of developing a coalition of actors focused not on difference, but rather on commonality. Putting classic feminist works by (...) Simone de Beauvoir, Shulamith Firestone and Luce Irigaray into dialogue, we consider an alternative approach to freedom premised on an ontology of potentiality combined with acceptance of the materiality of the binary gender hierarchy, that nonetheless remains utopian and open-ended, demonstrating the capacity to transcend these impasses and potentially overcome these divides. (shrink)

Kant's Critique of Judgement analyses our experience of the beautiful and the sublime in relation to nature, morality, and theology. Meredith's classic translation is here lightly revised and supplemented with a bilingual glossary. The edition also includes the important First Introduction.

Should the law punish the mere utterance of lies even if the listener has not been deceived? Seana Shiffrin has recently answered this question in the affirmative. She argues that pure lying as such harms the moral fabric of sincerity and distorts the testimonial warrants which underpin communication. The article begins with a discussion of Shiffrin’s account of lying as a moral wrong and the idea of impersonal harm to moral goods. Then I raise two objections to her theory. First, (...) it does not explain persuasively why the fabric of sincerity is so vulnerable to pure lying. Second, it underestimates the need for a causal link between the alleged harm and the speech the government suppresses. I explore the function of the causal inquiry in constitutional law and suggest that if Shiffrin’s theory were to become the standard for adjudication in freedom of expression cases, protection for speech would deteriorate. (shrink)

Resumen: Partiendo del texto clásico Vanguardia y kitsch, nos proponemos analizar la obra del crítico norteamericano Clement Greenberg. Después de la intervención del Estado norteamericano en el arte entre 1935 y 1943, Clement Greenberg surge como uno de los principales críticos que buscaron unificar el “arte elevado” de ese país. Para tanto, el crítico norteamericano busca justificar el nivel artístico de esa vanguardia acercando esa producción a las vanguardias europeas, especialmente el cubismo. Veremos los problemas de Greenberg al forjar una (...) “historicidad inmanente” a las obras de arte para justificar una posible convergencia de las vanguardias europeas en el nuevo contexto de la vanguardia norteamericana: el “expresionismo abstracto”. Greenberg, con ayuda del MoMA y del Estado norteamericano buscó fomentar una “pintura a la americana”, una vanguardia conocida como escuela de Nueva York. Buscamos analizar el contexto en que se forjó esa tendencia artificiosamente unificada y cómo el pop art emerge como una crítica performática de ese contexto. Más que vanagloriarse de sus métodos técnicos, el pop art busca subvertir el contexto de recepción del arte que hasta entonces era expectante del “arte serio y elevado” defendido por Greenberg.: Starting from the classic text Avant-garde and kitsch, we propose to analyze the work of the North American critic Clement Greenberg. After the US state intervention in the arts between 1935 and 1943, Clement Greenberg emerged as one of the main critics who sought to unify the “high art” of that country. The critic attempted to justify the artistic level of the American avant-garde by bringing it closer to the European avant-gardes, especially Cubism. We will see Greenberg’s problems in forging an “immanent historicity” of works of art in order to justify a possible convergence of the European avant-garde in the new context of an American avant-garde of “abstract expressionism”. Greenberg, with the help of the MoMA and the American government, sought to promote an “American painting”, a vanguard known as the New York school. We seek to analyze the context in which this artificially unified tendency was forged, and to analyze how pop art emerged as a performance critique of that context. More than boasting of its technical methods, pop art sought to subvert the context of the reception of art that until then expected the “serious and high art” defended by Greenberg. (shrink)

A step towards a theory of consciousness would be to characterise the effect of consciousness on information processing. One set of results suggests that the effect of consciousness is to interfere with computations that are optimally performed non-consciously. Another set of results suggests that conscious, system 2 processing is the home of norm-compliant computation. This is contrasted with system 1 processing, thought to be typically unconscious, which operates with useful but error-prone heuristics. -/- These results can be reconciled by separating (...) out two different distinctions: between conscious and non-conscious representations, on the one hand, and between automatic and deliberate processes, on the other. This pair of distinctions is used to illuminate some existing experimental results and to resolve the puzzle about whether consciousness helps or hinders accurate information processing. This way of resolving the puzzle shows the importance of another category, which we label ‘type 0 cognition’, characterised by automatic computational processes operating on non-conscious representations. (shrink)

My thesis is that there is an aesthetic dimension of nature that is metaphysically significant, qualitatively pluralistic, and artistically creative, and that this accounts for the sensuous complexity of experience, as well as the possibility of discovering new qualitative features about the world and expressing them in novel forms, as exemplified in art. I call the philosophy that endorses the reality of this dimension Transcendentalist Aesthetics. The term "Transcendentalist" recalls the philosophy of New England Transcendentalism with its core in Ralph (...) Waldo Emerson, and which influenced the philosophical writings of Charles S. Peirce and the art of the nineteenth-century American landscape painters of the Hudson River School and Luminism. The primary overall goal is to present and argue for a Transcendentalist Aesthetics by making use of the philosophy of Emerson and Peirce, together with the writings and landscapes of the painters. More specifically, Emerson's claims about nature and art and the painters' representations of nature provide various poetic observations of nature that provide an empirical starting point concerning the rich aesthetic complexity of the world. This complexity finds a theoretical ground in Peirce's metaphysical cosmology, which presents a rationally coherent account of the greater structures and processes of the universe while possessing important aesthetic consequences for lived experience and art. The landscape paintings also have a role in that they are expressive of the Transcendentalist philosophy itself, serve as case studies for theoretical interpretation, and are concrete evidence that new qualitative features about the world may be discovered and realized in novel artistic ways. (shrink)

In this entertaining and provocative introduction, Royle offers lucid explanations of various key ideas, including deconstruction, undecidability, iterability, differance, aporia, the pharmakon, the supplement, a new enlightenment, and the democracy to come. He also gives attention, however, to a range of less obvious key ideas of Derrida, such as earthquakes, animals and animality, ghosts, monstrosity, the poematic, drugs, gifts, secrets, war, and mourning. Derrida is seen as an extraordinarily inventive thinker, as well as a brilliantly imaginative and often very funny (...) writer. Other critical introductions tend to highlight the specifically philosophical nature and genealogy of his work. Royle's book proceeds in a new and different way, in particular by focusing on the crucial but strange place of literature in Derrida's writings. He thus provides an appreciation and understanding based on detailed reference to Derrida's texts, interwoven with close readings of such writers as Shakespeare, Coleridge, P.B. Shelley, Poe, Emily Brontë, Franz Kafka and Elizabeth Bowen. In doing so, he explores Derrida's consistent view that deconstruction is "a coming-to-terms with literature". He emphasizes the ways in which "literature", for Derrida, is indissociably bound up with other concerns, such as philosophy and psychoanalysis, politics and ethics, responsibility and justice, law and democracy. (shrink)

Comparing the ways in which the French cultural theorist Paul Virilio and the Australian cybernetic performance artist Stelarc criticize or defend technological cultural practices, this article argues that Virilio's ambiguous responses to avant-garde art highlight his key ideas far move clearly than his single-minded critique of 'termninal' mass-cultural practices - without any relationship to art - in Polar Inertia and Open Sky. Virlio's The Art of the Motor attacks the strategies of 20th-century technological avant- gardes (such as Futurism and the (...) work of Stelarc) for their apparent eugenicist and fascist sympathies, but Virilios more recent interviews in Cyberrnonde and Voage d'hiver defend the ways in which the pre-technological avant-gardes (such as Impressionism) resist the realist perspective of photography, and argue that the technological arts should offer similar resistance to the impact of cyberculture. Whereas Virilio concludes that such technological 'resistance' is probably impossible, Stelarc's recent research identifies exceptions to Virilio's rules. (shrink)

A famous Kant scholar once distinguished two faces of the critical philosophy, one facing the past and less interesting and the other looking forward to the future and still fruitful (Strawson 1966). Rawls's work also has two faces and many of his readers look toward the past, wishing, for instance, that Rawls had been able to provide principles of justice that have the ontological status of categorical imperatives. I thank Andrew Valls for inviting me to clarify points where I diverge (...) from many Rawls scholars. Although this is an academic debate, I believe that the stakes are huge: namely, the future of liberalism in an increasingly interconnected, multicultural world. My response will elaborate how I read Rawls, why I engage Islamic political thought, and how liberals living in Europe or North America may converse with fellow citizens such as Taha Jabir Al-Alwani, who orient themselves politically by the Qur'an rather than, say, the United States Constitution. (shrink)

The writer responds to the commentary “Physician Burnout Calls for Legal Intervention,” by Sharona Hoffman, in the November‐December 2019 issue of the Hastings Center Report.

Habermas has alleged: (1) that Hegel has given a social theory that is abstract and technical, separating theory from practice ; and (2) that the criticism Hegel exercises at times is compromised by his uncritical acceptance of modern western culture. Both allegations amount to the claim that in some way Hegel proscribes internal critique, a citizen’s critique of her own nation-state. However, this charge is based on a misunderstanding of the role that history plays in Hegel’s account, and the difference (...) as Hegel understands it between nations of antiquity and those modernity. Once these are properly understood, it is clear that Hegel advocates identification with a supranational modern culture for which national particularity is necessarily an object of criticism. (shrink)