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)

Enkrasia and the Fixed Point Thesis are equivalent.

Francis Fukuyama's controversial new book, Our Posthuman Future: Consequences of the Biotechnology Revolution, has elicited varied reactions, but like it or not, it seems likely to be influential. Here are three opinions. —Ed.

Nicholas Wolterstorff discusses the ethics of belief which Locke developed in Book IV of his Essay Concerning Human Understanding, where Locke finally argued his overarching aim: how we ought to govern our belief, especially on matters of religion and morality. Wolterstorff shows that this concern was instigated by the collapse, in Locke's day, of a once-unified moral and religious tradition in Europe into warring factions. His was thus a culturally and socially engaged epistemology. This view of Locke invites a (...) new interpretation of the origins of modern philosophy. He maintained that instead of following tradition we ought to let 'reason be our guide.' Accordingly, after discussing Hume's powerful attack on Locke's recommended practice, Wolterstorff argues for Locke's originality and emphasizes his contribution to the 'modernity' of post-sixteenth-century philosophy. (shrink)

The rapid developments in technologies -- especially computing and the advent of many 'smart' devices, as well as rapid and perpetual communication via the Internet -- has led to a frequently voiced view which Nicholas Agar describes as 'radical optimism'. Radical optimists claim that accelerating technical progress will soon end poverty, disease, and ignorance, and improve our happiness and well-being. Agar disputes the claim that technological progress will automatically produce great improvements in subjective well-being. He argues that radical optimism (...) 'assigns to technological progress an undeserved pre-eminence among all the goals pursued by our civilization'. Instead, Agar uses the most recent psychological studies about human perceptions of well-being to create a realistic model of the impact technology will have. Although he accepts that technological advance does produce benefits, he insists that these are significantly less than those proposed by the radical optimists, and aspects of such progress can also pose a threat to values such as social justice and our relationship with nature, while problems such as poverty cannot be understood in technological terms. He concludes by arguing that a more realistic assessment of the benefits that technological advance can bring will allow us to better manage its risks in future. (shrink)

This book explores the core categories of communism and capital in conjunction with a wealth of contemporary and historical political concepts and movements - from the lumpenproletariat and anarchism, to Italian autonomia and Antonia Negri, immaterial labour and the refusal of work. Drawing on literary figures such as Kafka and Beckett, Deleuze, Marx and Politics develops a politics that breaks with the dominant frameworks of post-Marxism and one-dimensional models of resistance toward a concern with the inventions, styles and knowledges that (...) emerge through minority engagement with social flows and networks. (shrink)

The increasingly lively controversy over scientific realism has become one of the principal themes of recent philosophy. 1 In watching this controversy unfold in the rather technical way currently in vogue, it has seemed to me that it would be useful to view these contemporary disputes against the background of such older epistemological issues as fallibilism, scepticism, relativism, and the traditional realism/idealism debate. This, then, is the object of the present book, which will recon sider the newer concerns about scientific (...) realism in the context of these older philosophical themes. Historically, realism concerns itself with the real existence of things that do not "meet the eye" - with suprasensible entities that lie beyond the reach of human perception. In medieval times, discussions about realism focused upon universals. Recognizing that there are physical objects such as cats and triangular objects and red tomatoes, the medievels debated whether such "abstract objects" as cathood and triangularity and redness also exist by way of having a reality indepen dent of the concretely real things that exhibit them. Three fundamen tally different positions were defended: (1) Nominalism. Abstracta have no independent existence as such: they only "exist" in and through the objects that exhibit them. Only particulars (individual substances) exist. Abstract "objects" are existents in name only, mere thought fictions by whose means we address concrete particular things. (2) Realism. Abstracta have an independent existence as such. (shrink)

The article urges a negative answer to the question if values merely lie ‘‘in the eyes of the beholder’’. It argues the objectivity of values via their status as tertiary properties that are neither on dispositionally inherent in their objects nor yet affective (dispositionally evoked in the interaction between objects and sense–observers), but rather reflective in being dispositionally evoked in suitably competent minds considering the matters involved.

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)

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)

This paper offers practical advice about how to interact with machines that we have reason to believe could have minds. I argue that we should approach these interactions by assigning credences to judgements about whether the machines in question can think. We should treat the premises of philosophical arguments about whether these machines can think as offering evidence that may increase or reduce these credences. I describe two cases in which you should refrain from doing as your favored philosophical view (...) about thinking machines suggests. Even if you believe that machines are mindless, you should acknowledge that treating them as if they are mindless risks wronging them. Suppose your considered philosophical view that a machine has a mind leads you to consider dating it. You may have reason to regret that decision should these dates lead on to a life-long relationship with a mindless machine. In the paper’s final section, I suggest that building a machine that is capable of performing all intelligent human behavior should produce a general increase in confidence that machines can think. Any reasonable judge should count this feat as evidence in favor of machines having minds. This rational nudge could lead to broad acceptance of the idea that machines can think. (shrink)

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)

In this personal tribute to Pamela Sue Anderson, based on many conversations, I try out the idea that she was seeking to locate an underlying metaphysical and ethical unity that makes our human vulnerability, love and reflective self-understanding both possible and intelligible. I trace this unity in Pamela’s philosophical imaginary to resonances or retrievals from three philosophers who featured in her “internal dialogues”: Spinoza, Kant and Levinas. I also allude to the great influence on Pamela and myself of our mutual (...) friend Adrian Moore. My thought is that Pamela was pursuing something fundamental about our humanity as open, creative, fluid and risky becoming rather than being. I suggest that she found kinship with Spinoza’s thinking of vulnerability and love together and his vision of underlying unities to make sense of ourselves. In Kant’s First Critique, I suggest that she found a unified deduction of the possibility of objectivity and subjectivity and that she also traced in his moral philosophy the richer conception of ourselves offered by the “humanity” version of the categorical imperative and by the joint origin of the objectivity of the moral law and the subjectivity of our moral agency. These resources made room for human vulnerability, self-love and the love of others within the scope of the Kantian project. Of the three philosophers, Levinas was closest to Pamela’s perception of vulnerability and love and her conception of gendered human selves living lives of complex becoming rather than of being. His fusion of morality and metaphysics and the unity of his post-phenomenological deduction of subjectivity and saying bring into focus the influences I discern. (shrink)

German Idealism is arguably the most influential force in philosophy over the past two hundred years. This major four-volume work is the first comprehensive survey of its impact on science, religion, sociology and the humanities, and brings together fifty-two leading scholars from across Europe and North America. Each essay discusses an idea or theme from Kant, Hegel, Schelling, Fichte, or another key figure, shows how this influenced a thinker or field of study in the subsequent two centuries, and how that (...) influence is felt in contemporary thought. Crossing established scholarly divides, the volumes deal with fields as varied as feminism, architectural history, psychoanalysis, Christology and museum curation, and subjects as diverse as love, evolution, the public sphere, the art of Andy Warhol, the music of Palestrina, the philosophy of Husserl, the literature of Jane Austen, the political thought of fascism and the foundations of international law. (shrink)