Scientific realism is typically associated with metaphysics. One current incarnation of such an association concerns the requirement of a metaphysical characterization of the entities one is being a realist about. This is sometimes called “Chakravartty’s Challenge”, and codifies the claim that without a metaphysical characterization, one does not have a clear picture of the realistic commitments one is engaged with. The required connection between metaphysics and science naturally raises the question of whether such a demand is appropriately fulfilled, (...) and how metaphysics engages with science in order to produce what is called “scientific metaphysics”. Here, we map some of the options available in the literature, generating a conceptual spectrum according to how each view approximates science and metaphysics. This is done with the purpose of enlightening the current debate on the possibility of epistemic warrant that science could grant to such a metaphysics, and how different positions differently address the thorny issue concerning such a warrant. (shrink)

The problem with how we mythologise reality is arguably at the core of humanity’s ecological/existential crisis. While others have pointed to this, F. W. Schelling produced a philosophy of art which both confirms it and lays the foundations for how it can be addressed. This involves reversing the polarities of the ‘modern mythology’, related directly to Art-and-Humanity’s joint meaning crisis which Schelling claimed originates in our alienation from Nature and the rise of ‘revealed religion’. Despite his resurgence (inspiring Complexity Science), (...) the relevance of Schelling’s aesthetics to resolving humanity’s long-standing ethical problems has been neglected. In this paper, I begin by framing Schelling’s view on religion, contextualising his ontological, cosmological approach to art. I then argue why his ‘dialectical aesthetics’, grounded in ‘process metaphysics’, presents a radical advance on Kant’s and Hegel’s ‘reflective’ standpoint featured in our dominant theoretical aesthetic paradigm (causing art’s sharpest decline via the evolving ‘modern’ suppression of metaphoric thinking by ‘symbolic idealism’, at the heart of our ‘worlding’ problems). Then, showing how Schelling’s Principle of Art leads us archetypally back to the normative sciences, I argue redirecting the self-destructive modern mythology means reorienting ‘final cause’ in our narratology. And why this firstly requires distinguishing proper metaphor from the symbolic constructions common in ‘conceptual art’. (In a subsequent paper, Schelling’s Art ‘in the Particular’ will be revealed to offer the practical application of his Principle to any artforms/works ‘for all time’ in praxis, advancing my argument here for why his system offers a suitable framework for collectively re-worlding the world). (shrink)

Accounts of the ontology of musical works seek to uncover what metaphysically speaking a musical work is and how we should identify instances of musical works. In this article, I examine the curious case of the mash-up and seek to address two questions: are mash-ups musical works in their own right and what is the relationship between the mash-up and its source materials? As mash-ups are part of the broader tradition of rock, I situate this discussion within an ontology of (...) rock as defended by Theodore Gracyk and Stephen Davies and offer some interpretation as to what their positions might be in regard to mash-ups. Finally, I argue that the account of mash-ups that best makes sense of our evaluative practices would hold that they are emergent musical works that are distinct in their own right and yet also happen to be cases of musical works that instantiate parts of other musical works. (shrink)

I consider the field of aesthetics to be at its most productive and engaging when adopting a broadly philosophically informative approach to its core issues (e.g., shaping and testing putative art theoretic commitments against the relevant standard models employed in philosophy of language, metaphysics, and philosophy of mind) and to be at its most impotent and bewildering when cultivating a philosophically insular character (e.g., selecting interpretative, ontological, or conceptual models solely for fit with pre-fixed art theoretic commitments). For example, (...) when philosophical aesthetics tends toward insularity, we shouldn’t be surprised to find standard art-ontological categories incongruous with those standardly employed in contemporary metaphysics. Of course, when contemporary metaphysics tends to ignore aesthetic and art theoretic concerns, perhaps we likewise shouldn’t be surprised to find the climate of contemporary metaphysics inhospitable for a theory of art. While this may seem to suggest at least a prima facie tension between our basic art theoretic commitments considered from within philosophical aesthetics and our standard ontological commitments considered from without, I think any perceived tension or antagonism largely due to metaphysicians and aestheticians (at least implicitly) assuming there to be but two available methodological positions with respect to the relationship between contemporary metaphysics and philosophical aesthetics (in the relevant overlap areas). I call these two opposing views the Deference View and the Independence View. I argue that either view looks to lead to what I call the Paradox of Standards. (shrink)

the Mona Lisa, the Mondscheinsonate, the Chanson d’automne are works of art, the salt shaker on your table, the car in your garage, or the pijamas on your bed are not. the basic question of the metaphysics of works of art is this: what makes a thing a work of art? that is: what sort of property do works of art have in virtue of which they are works of art? or more simply: what sort of property being a (...) work of art is? In this paper we argue that things are works of art in virtue of what they are like, their intrinsic features, that is, in virtue of the fact that they have the perceptual (auditory, visual, etc.) properties they have. In other words: being a work of art supervenes on perceptual-intrinsic features. Currently, this metaphysical view is extremely unpopular within the philosophy of art. It is unpopular because there allegedly exists a knock-down objection to it, the well-known argument from indiscernible counterparts. our thesis implies, among other things, that every perceptual duplicate of a work of art is also a work of art. according to the argument from indiscernible counterparts, however, there could be (or even: there are) indiscernible counterparts such that one of them is a work of art while the other is not. hence things cannot be works of art solely in virtue of what they are like. Our paper divides into three parts. In the first part we state our views. In the second part we defend it against various versions of the argument from indiscernible counterparts. (In doing so our position will become more plausible, we hope). In the final part we provide some meta-reflections on the matter. (shrink)

In this essay I consider the end-of-art thesis in its metaphysical and empirical versions. I show that both use the correspondence theory of truth as the basis for their conception of the history of art. As a counterpart to these theories I have chosen Patočka’s conception of the history of art. His theory is based also on the relationship between art and truth, but he conceives truth in the phenomenological sense of manifestation. In the rest of the essay I seek (...) to show the consequences Patočka’s conception has for the history of art. In the rst part, I set out to show Patocka’s critique of Hegel’s aesthetics as a system based on the correspondence theory of truth. In particular, I endeavour to explain his critique of some intrinsic problems of Hegel’s aesthetics, the general failure of Hegel’s system to achieve its goal, and, lastly, Hegel’s giving up on the meaning of the art in the present. I also seek to show that Danto’s version runs into the same problems and conclusions as Hegel’s. In the second part I discuss Patočka’s analysis of modern art and the aesthetic attitude, where he nds a hidden a nity between art and aletheia, which Hegel overlooked. e last part of the essay focuses on the consequences that the conception of the truth of art as aletheia have for the history of art. I conclude that art in such a conception represents an independent eld of the manifestation of being in history beside philosophy. Moreover, modern and contemporary art do not mean the end of art; rather, they have their place in art history based on aletheia, since they are more focused on the manifestation itself than on what is manifested. Unlike Hegel and Danto, therefore, Patočka retains the historical meaning of modern and contemporary art. His conception of the history of art, summed up under the idea of aletheia, has greater explanatory potential than Hegel’s and Danto’s conceptions, and it retains the historical meaning of modern and contemporary art. (shrink)

This article investigates a tension that arises in Hegel’s aesthetic theory between theoretical and practical forms of reason. This tension, I argue, stems from Hegel’s appropriation of an Aristotelian framework for a historically unfolding social teleology which puts practical reason to work for the aims of theoretical reason. Recognizing that this aspect of Hegel’s dialectic is essential in overcoming problems left in Kant’s transcendental idealism, the appearance of incongruence does not lessen. Grouped together with absolute spirit, Hegel positions art as (...) a transitory mode of mind, a vehicle, which aims to raise spirit to the higher cognition of philosophy. When the unfolding absolute concept becomes too complex for articulation in the material, art must end, as spirit’s message can be expressed only through the non-material form of philosophy. This study focuses on the ambivalence found in Hegel’s writings regarding his account of historical completion. Though Hegel sees in the Absolute a metaphysical solution to the unity of subject and object, the practical aspects of the unity appear to falter when philosophy becomes the dominant mode of expression at the close of a historical cycle. In Lectures on the History of Philosophy, Hegel links his notion of the Absolute, albeit with modification, to Aristotle’s nous. As described in De Anima, this entails a progression in which active and possible intellect rise to the level of the eternal, while passive intellect, the imaginative element, passes on with the body. Because the architecture of Aristotle’s nous, which is not in line with his defense of poetry, is integrated into the blueprint of Hegel’s absolute, an unresolved tension emerges in the spirit of art. A divergence of aims is forced to the surface through Hegel’s application of a template for achievement of theoretical knowledge, with an end in the universal, to a form of practical knowing which has an end in the particular. (shrink)

This paper argues that Hegel attempts to appropriate the irreversible aspects of Romantic aesthetics in four ways: (i) Hegel radicalizes Kantian aesthetics on the basis of a basically textual approach to sublime experience that opens up the question of community as a philosophical one; (ii) without demoting classical conceptions of art, Hegel privileges Romantic conceptions that demonstrate the ascendancy of sign over symbol in a spiraling chain; (iii) Hegel laments the fate of art in the triumph of Romantic subjectivism but (...) also suggests how communities can reconstitute themselves on the horizon of aesthetic dissolution; so that, finally, (iv) art can be reconceived as a emancipatory adventure that redefines metaphysics through its historical unfolding as an unending series of semiotic transformations. (shrink)

This book is a compilation of papers that Zangwill has had published previously in a number of journals; this journal among them. The topics of these papers centre on the nature of aesthetic properties. Read as such, the papers are, for the most part, erudite and illuminating, presenting as they do a very clear synthesis of various well known positions on the relation of aesthetic properties to non-aesthetic properties; the relation of beauty to other aesthetic concepts; and the nature of (...) the aesthetic. (shrink)

This thesis analyses Deleuze & Guattari’s notion of becoming through certain performative encounters in contemporary political art, and re-conceptualizes them as “art(s) of becoming”. Art(s) of becoming are actualizations of a non-representational –minoritarian– mode of becoming and creation as well as the political actions of fleeing quanta. The theoretical aim of the study is, on the one hand, to explain how Platonic Idealism is overturned by Deleuze’s reading of Nietzsche and Leibniz, and on the other hand, how Cartesian dualism of (...) mind and body is surpassed by following a Spinozistic theory of affects. In this respect, the dissertation has both theoretical and practical dimensions. Since art(s) of becoming are bodies without organs which constitute their own lines of flight through a process of minoration, the concepts of body, affect, becoming, and intensity are central to this study. For the same reason, this is an attempt to show the intersections of philosophical, political and aesthetic domains in Deleuze’s theory of sensation which is part of his general practice of philosophy, that is, a quest for establishing an ontology of immanence as opposed to identitarian metaphysics. (shrink)

Since the time Nietzsche declared the death of God, while Auguste Comte postulated in the Law of Three Stages that humankind had gone pass the religious/mythical stage as well as the metaphysical/speculative stage and was now living in the positive/scientific stage, there has been the consistent institutionalization of atheism and secularism. The early part of the 20th century saw Freud’s publication of the Future of an Illusion in which he predicted that as science continues to advance, religion will become obsolete. (...) The logical positivist too lumped up metaphysical and religious propositions as meaningless and nonsensical. It is within this atmosphere that Alfred North Whitehead comes into philosophy. The main question that this paper seeks to answer is: Why does the concept of God occupy an eminent place in Whitehead’s system when all his contemporaries consider God a hypothesis they no longer needed as Laplace had earlier maintained? Of great interest here is the fact that before 1925 Whitehead’s writings had no concern for God. However, in his 1925 Science and the Modern World, the chapter on “Abstractions” required that there be such an explanatory factor, reason for which it is immediately followed by the chapter on “God”. The last part of his Process and Reality treats elaborately the nature of the relationship between God and the world. This paper explores the reasons why Whitehead places a lot of interest on God and the role that this God plays in his system. (shrink)

هدف از پژوهش حاضر، بررسی مسائل اخلاق هوش مصنوعی در حوزۀ هنر است. به‌این‌منظور، با تکیه بر فلسفه و اخلاق هوش مصنوعی، موضوعات اخلاقی که می‌تواند در حوزۀ هنر تأثیرگذار باشد، بررسی شده است. باتوجه‌به رشد و توسعۀ استفاده از هوش مصنوعی و ورود آن به حوزۀ هنر، نیاز است تا مباحث اخلاقی دقیق‌تر مورد توجه پژوهشگران هنر و فلسفه قرار گیرد. برای دست‌یابی به هدف پژوهش، با استفاده از روش تحلیلی‌ـ‌توصیفی، مفاهیمی همچون هوش مصنوعی، برخی تکنیک‌های آن و موضوعات (...) اخلاقی هوش مصنوعی در هنر تبیین و بررسی شده است. نتایج پژوهش نشان می‌دهد موضوعات اخلاقی همچون حریم خصوصی و نظارت، دستکاری در رفتار، تاری و شفافیت، سوگیری در تصمیمات سیستم، و اتوماسیون و اشتغال حوزۀ هنر قابل‌بررسی است. این موضوعات اخلاقی، گاهی درتقابل و گاهی در ارتباط مستقیم و هم‌سو با یکدیگر قرار دارند. بررسی‌ها نشان می‌دهد پاسخ به پرسش‌های اخلاق هوش مصنوعی در حوزۀ هنر، نیازمند پاسخ به پرسش‌های اخلاقی به‌صورت عام در هوش مصنوعی است. The aim of this paper is to explore the ethical implications of artificial intelligence (AI) in the realm of art. Drawing on the philosophy and ethics of AI, this study examines the ethical challenges that may arise in the art domain. Given the increasing use and penetration of AI in the field of art, there is a need for more careful attention to the ethical dimensions of this phenomenon by scholars of art and philosophy. To achieve the objective of the paper, concepts such as AI, some of its techniques, and the ethical issues of AI in art are explained and analyzed using the analytical-descriptive method. The findings of the study reveal that ethical issues such as privacy and surveillance, manipulation of behavior, opacity and transparency, bias in decision systems, and automation and employment can be investigated in the field of art. These ethical issues are sometimes in conflict and sometimes in direct relation with each other. This study suggests that addressing the ethical questions of AI in the field of art requires addressing the ethical questions of AI in general. (shrink)

Peter Lamarque, in chapter 4 of his 2010 book Work and Object, argues that certain artworks, like musical scores and literary texts, are such that there can be no forgeries of them that purport to be of an actually existing work—what Lamarque calls “referential forgeries”. Lamarque motivates this claim via appeal to another distinction, first made by Goodman, between “allographic” and “autographic” artworks. This article will evaluate Lamarque’s argument that allographic literary works are unable to be referentially forged and will (...) find them wanting. In so doing, the distinction between allographic and autographic artworks (and therefore artforms) will be called into question. In section I, I characterize referential forgery and Lamarque’s definition of allographic and autographic artforms. Section II critically examines Lamarque’s argument against the possibility of referential forgery in allographic artforms. Section III offers a case where it appears that a putatively allographic text’s type membership is sensitive to facts about its causal-intentional provenance. This case serves as pretext for Section IV’s identification of this causal-intentional relation with the sanctioning relation as formulated by Sherri Irvin. On the basis of considerations treated in sections I through IV, section V questions the tenability of the allographic/autographic distinction. -/- . (shrink)

This book covers the field of and points to the intersections between politics, art and philosophy. Its hero, the late Sir Roger Scruton had a longstanding interest in all fields, acquiring professional knowledge in both the practice and theory of politics, art and philosophy. The claim of the book is, therefore, that contrary to a superficial prejudice, it is possible to address the philosophical issues of art and politics in the same oeuvre, as the example of this Cambridge-educated analytical philosopher (...) proves. Accordingly, the book has a bold thesis on the general, theoretical level, mapping the connections between politics, art and philosophy. However, it also has a pioneering commitment on the level of the particular, offering the first full-length study into the philosophical legacy of Roger Scruton, probably the most important British conservative philosopher of the late 20th and the first decades of the 21st century. It also allows reader to look into the philosopher’s fascination with Central European art and culture. Finally, it also provides a daring analysis of the late Scruton’s metaphysical inspirations, connecting the arts, and especially music, with religion and the bonds of love. (shrink)

Kant uses the concept of the symbol to show the complicated relationship between the autonomy of beauty and its systematic function as a transition from nature to freedom, which are the two most important topics in the third Critique. Beauty’s symbolism of morality lies in the analog between aesthetic reflection and moral disposition; concretely, it lies in the purity or disinterestedness and self-legislation as negative and positive freedom in both subjective states of mind. In this scenario, beauty’s symbolism does not (...) refer to aesthetic ideas that either involve intelligent interests (in the beauty of nature) or presuppose an end (in the beauty of art); it also cannot be grounded in the supersensible substrate, which is an elevated and metaphysical principle of the judgment of taste given in the Dialectic but not the original principle of subjective purposiveness in the Analytic. With this formal relationship, beauty and morality accelerate each other in the empirical-anthological sense—but they are also not a sufficient or necessary condition for each other. Furthermore, through symbolism, taste looks toward the intelligible and serves as a transition from nature to freedom from the transcendental perspective. (shrink)

Greek philosophical tradition, not only the Aristotelian one, is strongly associated with proportion (Eco, 1993: 90). This principle of symmetry is generalisable; forasmuch as it is used as a normative rule in figurative arts. Nonetheless, the proportion for Ancient Greeks does not only describe a mathematical relation, but also represents a metaphysical principle. Thus, beauty is the measurement of the elements of the external form (in the case of tragedy, the meter, the symmetry of the parts, the number of syllables, (...) the number of verses) as well as the aesthetic harmony which the play transmits as total to the spectators (in the same case, the content must be neither superior nor inferior to the chosen form; otherwise the form would give the impression of grotesque or inadequate). (shrink)

The premise that every work belongs to an art-kind has recently inspired a kind-centred approach to theories of art. Kind-centred analyses posit that we should abandon the project of giving a general theory of art and focus instead on giving theories of the arts. The main difficulty, however, is to explain what makes a given kind an art-kind in the first place. Kind-centred theorists have passed this buck on to appreciative practices, but this move proves unsatisfactory. I argue that the (...) root of this dissatisfaction stems not from the act of kicking the can down the road, but from not kicking it far enough. The missing ingredient, I argue, is a notion of convention which does the work of marking the difference between art and non-art for a given physical medium. (shrink)

We reflect on the nature of art, the creative process, and the connection between art and philosophy.

In the traditional sense, a work of art creates an illustration of the outside world, or of a certain text or doctrine. Sometimes it is considered that such an illustration is not literal, but is an interpretation of what is visible, or an interpretation of a certain literary or ideological message. It can also be assumed that a work of art creates its own visual world, a separate story or a separate philosophical statement. The Parc de La Villette represents the (...) last of these possibilities: it is a philosophical statement that develops the premises derived from poststructuralist philosophies and the philosophy of deconstruction. The uniqueness of its being status, however, is that it does so not only at the level of the theoretical assumptions, but also through its functioning as an active philosophical work. This means that a park is a happening philosophy. Its activity, however, does not refer only to the present tense, but is also an attempt to penetrate the future, all otherness and impossibility. This kind of activity assumes that the work, in a sense, does not yet fully exist, but is also still produced in the processes of its interpretation. The theoretical foundations of the park included texts by Bernard Tschumi, in which he questioned traditional ways of creating a work of architecture, postulating in return the use of a long series of negations, which were comparable to the crisis of metaphysics characteristic of contemporary philosophy. It is therefore no coincidence that the publication containing Tschumi’s theoretical text on Parc de La Villette was accompanied by an essay by Jacques Derrida developing some of the architect’s concepts. The next step in integrating philosophy into the process of park design was a series of discussions between Peter Eisenman and Derrida, who completely moved the creation of the park into the world of thoughts, without accentuating the need for their realization in the material reality. The main topic of these discussions was the problem of the chôra, which was taken up by later commentators and used to interpret the park as a work in which the philosophy of the beginning is manifested relating to issues of politics, morality and religion. The park was therefore interpreted as a space of invention within the scope of creating new rules of functioning of the community and democracy. Thinking about the political future may, however, exceed the horizon of ordinary expectations. Although philosophical thought is always connected with contemporary problems and metaphysics sometimes intertwines with current politics, yet at the same time the customs of philosophy also include crossing horizons and thinking about absolute otherness and impossibility. Initially, the chôra, différance, Absolute Otherness (tout autre) and the Impossibile were concepts of pure philosophy of atheistic character, but with the further development of the discussion, more and more theological motifs began to emerge. One of the reasons for this phenomenon was the fact that radical negations of all being, which were contemplated in contemporary philosophy (by Heidegger and Derrida, among others), had previously been manifested in negative and apophatic theologies (by Master Eckhart, among others). Also the category of the “Other”, taken from Emmanuel Levinas, was clearly connected with the thought about God. A further reason for connecting the chôra with the theological thought was the interest in the philosophy of deconstruction expressed by some theologians. Caputo in particular managed to persuade Derrida to participate in discussions on the current status of religion. In the late period of Derrida’s writing, further statements on religious topics appeared. All these reasons led to posing a question about the identity of the chôra and God. Although there were no satisfactory conclusions on this issue, the discussion was also important to create an interpretation of the park as a place of worship. The chôra, representing, according to Plato, the preoriginal emptiness is the place of every beginning, but it turns out that it is not neutral to the being created in it. The chôra deposits itself in every being as an irremovable beginning that interferes with its stability. The chôra, therefore, forces us into a palintropical movement, but it also turns out to be a pure compulsion, an erring necessity and a fundamental force from which, in the human perception, motifs useful to the individual and to the community are extracted. All definitions of this force, including its anthropomorphisation, are formulated in such a way that they allow for building private and collective morality upon them. Such definitions are changed depending on variable political situations. It is difficult to determine whether in the processes of changes in the formulation of “God’s names” any essential value is retained, which is not subject to change. The current definitions of the chôra (God?), which can be found, for example, in the philosophy of Caputo, stress that she is a combination of various and contradictory forces. This characteristic inherits much of Plato’s concept, reminds us of Master Eckhart’s views on Gottheit and, at the same time, is not unfamiliar to Tschumi, whose essays were an apologia of contradictions. The current concept of chôra, transferred into the sphere of politics, is the praise of social diversity and the protection of the difference from the forces of order. In the Parc de La Villette, the future community and democracy were elevated as a system of safe existence of individuals in all their singularity. The park is a temple of a future community in which individual beings have nothing in common. (shrink)

It may come as a surprise to readers familiar with the life and work of the Arts Master that he discusses the Eucharist at all. As he likes to remind us, theological topics are generally out of his wheelhouse. Even so, in his Questions on the “Metaphysics” of Aristotle (QM) 4.6, Buridan takes the sacrament of the Eucharist as a key data point in his discussion of Aristotle’s Categories. In the Eucharist, the accidents of the bread and wine—their color, (...) texture, and so on—remain intact, but the underlying substance is transubstantiated into the body and blood of Christ. Accordingly, God can preserve accidents independent of their underlying substance. Therefore, for our part we can use accidental terms, like whiteness, without connoting any substances, like communion bread. Moreover, it follows that, contrary to Aristotle, substance and the accidental categories are not the most general genera. Instead, being (ens) is, as Buridan concludes. Here, I trace Buridan’s thought on the metaphysical and semantic matters of substance in light of the Eucharist. The Eucharist is for him not only a theological truth, but a metaphysical and semantic datum as well. I conclude by asking why Buridan did not take any and all questions about the Eucharist to be out of his ken. What does this tell us about his attitude toward theology? This paper also includes, as an appendix, the first ever English translation of the question under discussion (QM 4.6): “Does the term being (ens) signify substances and accidents by one single concept or notion?”. (shrink)

In this essay, our goal is to discover science in Martin Heidegger's Introduction to Metaphysics, lecture notes for his 1935 summer semester course, because, after all, his subject is metaphysica generalis, or ontology, and this could be construed as a theory of the human brain. Here, by means of verbatim quotes from his text, we attempt to show that indeed these lectures can be viewed as suggestion for an objective scientific theory of human perception, the human capacity for deciphering (...) phenomena, ie. hermeneutics in its broadest sense. His added notes from the 1953 edition, all of which are comments, not corrections, imply that he never abandoned these thoughts on metaphysics, despite all of his utterances about a need to overcome it, and their popular interpretations to that effect. In his presentation, he further develops the colorful and intuitive style, an hermeneutic language, that he had created in his earlier work Being and Time. Of human existence he speaks in such expressions as being-there -- ``Dasein" -- and being-in-the-world, the latter term no longer explicit in the 1935 lectures. The lectures can be read as a pre-scientific analysis of how man, being-there, perceives his environment, artfully managing to deal with the manifold challenges posed by the phenomenal structures of the universe. Man attentively recognizes and deciphers their pre-linguistic contents and, while trying to make sense of it all, puts into words his awareness. There are numerous passages in Heidegger's work where he in fairly concrete terms provides us with hints for a perceptive science that, as it turns out and is demonstrated below in this essay, can be explained in terms of recent advances in neuroscience. It would be implausible, even unthinkable, unimaginable, for there not to be found essential agreement between on one hand his philosophical insights gained by hermeneutics of Dasein, into how our brain functions to let us know what's happening & on the other hand, scientific discoveries obtained through anatomy, EEG, fMRI, TMS, electrode implants, etc, of brain structures & functions employed in perception of the momentary scene. A nexus between science and philosophy is provided in Heidegger's definitive treatment of the Logos, here interpreted as a structural version of Platonic forms (Burchard, 2014). This allows for neurolinguistic brain functions to serve as meta-context for Heidegger's being-in-the-world. The logical functions of Dasein's anatomical brain are performed by the logos machine, formerly the human soul, using top-down processing based on a global context, the noumenal cosmos which humans maintain internally. Heidegger's 1942/43 winter semester lectures Parmenides extend in unbroken fashion his 1935 work, proving that he never abandoned, as is widely claimed, his metaphysical avenue of thought. (shrink)

The question of how people change artworks is important for the metaphysics of art. It’s relatively easy for anyone to change a painting or sculpture, but who may change a literary or musical work is restricted and varies with context. Authors of novels and composers of symphonies often have a special power to change their artworks. Mary Shelley revised Frankenstein, and Tchaikovsky revised his Second Symphony. I cannot change these artworks. In other cases, such as those involving jazz standards (...) and folk songs, performers and ordinary folks have more power to change artworks. My preferred explanation of these facts is the created-abstract-simples view, according to which literary and musical works, unlike paintings and sculptures, are created abstract objects that have no parts. On this view, the way to change a literary or musical work is for an individual, empowered by social practices, to change rules about how a literary work should be published or a musical work should be performed. A. R. J. Fisher and Caterina Moruzzi object that the created-abstract-simples view doesn’t allow for literary and musical works to genuinely change, and Nemesio Garcia-Carríl Puy objects that the view doesn’t allow for these artworks to be repeatable. This paper clarifies the created-abstract-simples view and defends the view against these objections. -/- . (shrink)

Wittgenstein once wrote, “a wheel that can be turned though nothing else moves with it, is not part of the mechanism,” and Nyberg’s explanation as to why Hilary Putnam’s answer to the question of whether we might intelligibly suppose ourselves to be “brains in a vat” is wrong takes us, by way of Wittgenstein’s statement, to the intersection of metaphysics and epistemology, i.e., to the very cornerstone of western philosophy, where we find, waiting for us, the absolute I of (...) solipsism. Yet, it is the solipsistic I which in its articulation most obviously violates the private language argument’s stricture against criterionless reference, though the solipsist has available a reply of sorts – the reply of silence, a complete silence which shrouds equally the blank slates of absolute solipsism and pure realism. Through silence, the I of solipsism becomes the eye of realism and, no longer visible even to itself, vanishes from the realm of analytic discourse, only to be reborn at the correspondent point of each successive incarnation of the paradigm. Other methods of philosophy must, thus, be adopted if we are ever to escape the analytic paradigm’s cyclic limits. It is here, at the point where analysis alone can carry us no further, that “Zen” transitions from an unusually-structured but still traditional philosophic essay into something else entirely, with the incorporation into its closing pages of 15 poetic pieces, each drawn from Nyberg’s 100, a longer text of philosophical poetry which takes up where “Zen” leaves off. [email protected] Iowa City, Iowa/Palo Alto, California/New York, New York/Los Angeles, California/Rapid City, South Dakota June 1982-January 2020 . (shrink)

My title is derived from Heidegger's 1936-37 lectures, The Will to Power as Art, and my discussion is keyed to two of the Nietzschean remarks on art which Heidegger discusses. The first is: "The phenomenon 'artist' is still the most perspicuous" (Nietzsche 69), and the second is: "The will to semblance, to illusion, to deception, to becoming and change is deeper, more 'metaphysical,' than the will to truth, to reality, to Being" (Nietzsche 74). Heidegger reformulates them respectively as: "Art is (...) the most perspicuous and familiar configuration of will to power," and "Art is worth more than the truth" (75). I propose to tease out what these aphorisms imply for Heidegger's answer to the panel question: "What is a work of art?/Was ist ein Kunstwerk? (shrink)

Perfazendo a primeira filosofia existencial trágica, a doutrina de Schopenhauer atribui a origem do caráter simultaneamente trágico, absurdo e doloroso da existência ao querer viver, implicando um pessimismo que impõe à felicidade uma condição negativa, à medida que o sofrimento emerge como o fundamento de toda a vida, constituindo-se o prazer estético uma possibilidade quanto à superação da dor e do tédio, conforme assinala o artigo cujo trabalho mostra a correlação envolvendo a perspectiva da metafí­sica da vontade e o pensamento (...) de Nietzsche que, detendo-se no niilismo como um acontecimento que expressa a negação da vida e converge para a sua própria superação, sobrepõe ao dualismo metafí­sico o princí­pio da unidade-múltipla através da construção da sua metafisica de artista, que supõe um movimento da consciência ética para o pathos artí­stico. (shrink)

A tarefa que assumimos nesta dissertação foi colocar a pergunta: como as reflexões de Nietzsche sobre arte puderam, ao menos em parte, terem vindo a ser realizadas por meio de uma fisiologia da estética (cf. GM III 8; CW 7; NW, Objeções)? Antes de pretendermos esgotar o assunto, tentamos compreender a possibilidade de elaboração coerente desse problema ao longo do caminho de pensamento nietzschiano. Mas, para tanto, precisamos lidar com as variações de perspectiva próprias de uma filosofia que não se (...) pretende sistemática e assume suas tensões; e 1886 parece-nos ser um momento chave para vermos essas nuances, em particular no que diz respeito à arte. Naquele ano, Nietzsche escreveu novos prefácios para seus cinco livros publicados até então – O Nascimento da Tragédia (1872), Humano, demasiado humano I (1878) e II (1879-1880), Aurora (1881) e A Gaia Ciência (1882) –, buscando ressaltar o caráter unitário de sua obra, ou, como ele mesmo afirma em uma carta, apresentar a “história de um desenvolvimento”. E justamente a seu livro de estreia, ele adicionou um prefácio intitulado Tentativa de Autocrítica, no qual aponta para os aspectos que o inserem no todo de sua obra, mas, ao mesmo tempo, se distancia das concepções que ali configurariam uma “metafísica de artista”. Essa tensão é tratada no Capítulo I desta dissertação a partir de um contraste entre O Nascimento da Tragédia e a posterior Autocrítica. Após esse primeiro passo, procuramos mostrar no Capítulo II como, já em Humano, Nietzsche apresenta uma reorientação de sua estética, o que em Aurora e A Gaia Ciência se consolida com o enraizamento da moral, da filosofia e das artes na fisiologia, a qual argumentamos poder ser lida como logos da physis. No Capítulo III, indicamos como o ganho do âmbito fisiológico constitui o solo sobre o qual Nietzsche pensa o problema da inferência regressiva que o leva à sua distinção dos valores artísticos entre empobrecimento e abundância (cf. GC 370), que parece orientar sua fisiologia da estética. Por fim, discutimos como o exercício autocrítico nietzschiano e a inferência regressiva convergem em O Caso Wagner na antinomia entre os músicos Wagner e Bizet e na autoencenação nietzschiana como décadent que reconheceu sua doença, seu wagnerismo, e experimentou uma nova saúde. (shrink)

Metaphors abound in both the arts and in science. Due to the traditional division between these enterprises as one concerned with aesthetic values and the other with epistemic values there has unfortunately been very little work on the relation between metaphors in the arts and sciences. In this paper, we aim to remedy this omission by defending a continuity thesis regarding the function of metaphor across both domains, that is, metaphors fulfill any of the same functions in science as they (...) do in the arts. Importantly, this involves the claim that metaphors in arts as well as science have both epistemic and aesthetic functions. (shrink)

The importance of The Origin of The Work of Art in Heidegger’s path of thought is notorious. Besides adding to the framework of the thematization of the question of being a reflection on art, the conference is considered a landmark of the displacement from the existential analytic of Dasein to the problem of history of being. Divided in three parts, this paper connects such a displacement to the relationship between art and truth established in the conference. In the first part, (...) it indicates how the criticism of aesthetic tradition is inserted in the project of overcoming metaphysics through the problematization of subjectivism. The second is dedicated to the theme of the origin of the work of art in its nexus to the notions of history and institution. In the third part, it discusses the idea of art as a setting-itself-into-work of truth as alétheia, bound to the tension between world and earth that would expose itself in art. In the final remarks, I suggest that, going beyond the Greek paradigm and Heidegger’s hesitations, the association between art and alétheia also applies to the experience offered by modern and contemporary works. (shrink)

As with most other areas of reproduction, surrogacy is highly regulated. But the legislation and policies on surrogacy are written in such ways that make large (and possibly mistaken) assumptions about the metaphysical relationship between the mother and the fetus – whether the fetus is a part of, or contained by, the mother. It is the purpose of this chapter to highlight these assumptions, and to demonstrate the impact that alternative metaphysical views can have on our conceptualization of surrogacy. With (...) that in mind, I recommend that our public policies on surrogacy be at least neutral or otherwise responsive to metaphysics rather than presupposing it, such that the regulation and legislation of surrogacy will be metaphysically informed. (shrink)

The cultural project is a therapeutic melding of emotion, symbols, and knowledge. In this paper, I describe how spiritual emotions engendered through encounters in imaginative culture enable fixation of metaphysical beliefs. Evolved affective systems are domesticated through the social practices of imaginative culture so as to adapt people to live in culturally defined cooperative groups. Conditioning, as well as tertiary-level cognitive capacities such as symbols and language are enlisted to bond groups through the imaginative formats of myth and participatory ritual. (...) These cultural materializations can be shared by communities both synchronically and diachronically in works of art. Art is thus a form of self-knowledge that equips us with a motivated understanding of ourselves in the world. In the sacred state produced through the arts and in religious acts, the sense of meaning becomes noetically distinct because affect infuses the experience of immanence, and one's memory of it, with salience. The quality imbued thereby makes humans attentive to subtle signs and broad “truths.” Saturated by emotions and the experience of alterity in the immanent encounter of imaginative culture, information made salient in the sacred experience can become the basis for belief fixation. Using examples drawn from mimetic arts and arts of immanence, I put forward a theory about how sensible affective knowledge is mediated through affective systems, direct perception, and the imagination. (shrink)

A lot of words investigated by philosophers get their inception for conventional or extra-philosophical dialect. Yet the idea of substance is basically a philosophical term of art. Its employments in normal dialect tend to derive, often in a twisted way, different from its philosophical usage. Despite this, the idea of substance differs from philosophers, reliant upon the school of thought in which it is been expressed. There is an ordinary concept in play when philosophers discuss “substance”, and this is seen (...) in the concept of object, or thing when this is contrasted with properties, attributes or events. There is also a difference in view when in the sense that while the realists would develop a materialistic theory of substance, the idealist would develop a metaphysical theory of substance. The problem surrounding substance spans through the history of philosophy. The queries have often been what is substance of? And can there be substance without its attributes? This paper tends to expose the historical problems surrounding substance. This paper criticizes the thinking which presupposes that there could be a substance without its attributes or substance existing alone. This paper adopts complimentary ontology principles which state that for anything to exist, it must serve as a missing connection to reality. This suggests that everything interconnects to each other and substance cannot exist in isolation. (shrink)

The aim of this paper is to bring to light some of the fundamental differences between Heidegger’s approach to art and the traditional approach, and to do so within the context of Heidegger’s project of what he calls “overcoming metaphysics”.

Abstract: According to Marcuse, esthetics is an essential component to the process of freedom of consciousness and behavior of individuals. It is, in Hegelian language, to free the absolute spirit. In this sense, art configures itself as fantasy, which makes the “apparent” reveal the essence of things. Essence here is understood not as a metaphysical field, but as an unveiling of questions, within a false truth of the (establishment), in the totality of relationships. In dialectical terms, art manifests itself in (...) the face of internal and external contradictions, seeking the opposition to the representation of the aesthetic form. Marcuse refutes the conceptions of some “orthodox Marxist aesthetes”, making, therefore, the defense in relation to the art when recognizing that it transcends the material relations. He still considers the literary currents of romanticism and surrealism fundamental to awaken critical consciousness, and that the autonomy of art (independence, freedom, and fantasy), integrate the categorical imperative that “things must change” against the realism of the Marxist aesthetes. In this sense, we intend to expose Marcuse’s critical to the Marxist esthetes in order to understand the critical function of art for the liberation struggle. Keywords: Aesthetics. Orthodoxy. Critic. (shrink)

The Guggenheim’s spring retrospective of the seminal Swedish painter, Hilma Af Klint, has, naturally, evoked a multitude of art critics and visual culture scholars who laud her radical abstraction which, at the beginning of the 20th century, preceded Kandinsky, Malevich, Mondrian. Yet, where much attention has been given to the symbology and motifs riddling Klint’s work – bold, private, untethered and nonrepresentational as they are – there has been a modicum of nuanced thought on how, exactly, esotericism and theology fomented (...) Klint’s pedagogical projects. Jillian Steinhauer, for instance, has underscored Klint’s naturalistic watercolors; featuring flowers and lifelike drawings of women; Summer Landscape (1888) suggests Klint’s technical aptitude for rendering light. Jadranka Ryle, in a clever article titled “Reinventing the Yggdrasil,” invokes Klint’s motif of the Yggdrasil, or the holy tree of Norse mythology, as a political axle for Nordic romanticism. Ryle makes the claim that by redirecting the Yggdrasil towards androgynous abstraction, Klint’s engagement with Norse mythology subverts the nationalist and patriarchal romanticism that previously characterized the nineteenth century’s use of the Yggdrasil. Others have adroitly uncovered biographical fragments from Klint’s life, detailing how she and four friends formed De Fem (“the Five”), an exclusively female coven that met weekly, praying, meditating, and holding seances to commune with spiritual guides. Rather than poise the Swedish maverick within the cannon of abstraction qua a political praxis, feminist subject-being, or historiography – projects that have been exhaustively overwrought, to the point of rendering Klint’s work both mute and reductively technical– I would like to take this time to closely examine simply one of Klint’s paintings and foreground it as an axiomatic modernist injunction between metaphysics and epistemology. (shrink)

This paper proposes a reading of Jacques Derrida's "Memories of the Blind" as opposed to Heidegger's attempt, in "The Origin of the Work of Art", to break with the metaphysical paradigm of "seeing" through an insistence on the idea of Truth.

Abstract (German) Dieses Buch faßt meine Forschungen zur Semiotik Giordano Brunos und zu deren Grundlagen in der Kosmologie und in der Gedächtnistheorie zusammen, wobei sowohl die Heterogenität als auch der Universalität des Denkers den Charakter dieses Buches geprägt haben. Es wird kein glattes Bild seiner Person oder seines Werkes angeboten, kein bejahender Jubel über eine epochale Leistung; wichtiger war mir die bis ins Detail gehende, manchmal mühselige Interpretation seiner Systementwürfe, wobei ich versucht habe, auch deren formales und technisches Niveau deutlich (...) zu machen. Nicht seine Weltanschauung soll dargestellt werden, sondern sein Versuch, eine Vielfalt von Detaillösungen in eine wohlproportionierte, wenn auch ins Unendliche reichende Wissensarchitektur zu integrieren. Als Startsignal mag folgende Frage dienen: Inwiefern ist Giordano Bruno Semiotiker? Der Philosoph Bruno wird von Jacobi als Beispiel spinozistischer Tendenzen wieder ins Gespräch gebracht; später wird er für die spekulative Naturphilosophie, die aus Kants Schatten heraustritt, z.B. für Schelling und Hegel, interessant, und schließlich wird er als Märtyrer der Freiheit von den Antiklerikalen im Risorgimento hochgehoben. Der Heroenkult um die „Kopernikanische Wende" weiß mit Bruno nichts anzufangen, er ist kein Naturwissenschaftler, wie man ihn sich im 20 . Jh . wünscht. Von Yates ( 1964 ) wird er als Hermetiker und Ahnherr der Rosenkreuzer entdeckt, und plötzlich soll er auch noch ein Semiotiker sein ? Die Etikette „Semiotiker" ist allerdings weniger riskant als jene früher an Bruno herangetragenen. Bruno ist Philosoph, in einem allgemeinen Sinn , insofern er alle wesentlichen Aspekte: metaphysische, natur philosophische, ethische, semiotische, poetologische zum Entwurf eines möglichst kohärenten Bildes vereint, und er ist ein Renaissance-Philosoph, d .h. das antike Erbe, besonders jenes in den orientalischen Tiefen der Kulturgeschichte (Ägypten und Chaldäer) ist sein Ausgangspunkt. Selbst den Entwurf des Copernicus versteht Bruno in erster Linie als eine Wiederentdeckung antiker Einsichten. Es gibt jedoch in Brunos Schaffen einen roten Faden: die Architektur unseres Wissens, das Gedächtnis der Kultur- und Wissensgemeinschaft und natürlich desjenigen, der wie Bruno dieses Wissen zu einer Synthese vereinigen will . Seine Philosophie versucht, wie jede große Philosophie, alles, was wir wissen und was wir daraus an weiterem impliziten Wissen erschließen können, in einer Einheit zu denken, und diese Einheit ist notwendigerweise nur als Zeichensystem (begrifflich, argumentativ, bildhaft, als imaginierte Welt) zu realisieren. -/- Abstract (English) This book summarizes my research on Giordano Bruno's semiotics and its foundations in cosmology and memory theory, whereby both the heterogeneity and the universality of the thinker have shaped the character of this book. No smooth picture of his person or his work is offered, no affirmative jubilation over an epochal achievement; What was more important to me was the sometimes laborious interpretation of his system designs, which went down to the last detail, and I also tried to make their formal and technical level clear. It is not his worldview that should be presented but his attempt to integrate various detailed solutions into a well-proportioned, albeit infinitely reaching, architecture of knowledge. The following question may serve as a starting signal: To what extent is Giordano Bruno a semiotician? Jacobi brings up the philosopher Bruno again as an example of Spinozist tendencies; later, he becomes important for the speculative natural philosophy emerging from Kant's shadow, e.g., for Schelling and Hegel. He is finally extolled as a martyr of freedom by the anticlericals in the Risorgimento. The hero cult around the "Copernican turn" does not know what to do with Bruno; he is not a natural scientist as one would wish in the 20th century. Yates (1964) discovered him as a hermetic, even an ancestor of the Rosicrucians. The etiquette "semiotic" is certainly less risky than the associations that Bruno used to have. Bruno is a philosopher, in a general sense, in that he combines all the essential aspects: metaphysical, natural philosophical, ethical, semiotic, poetological to project a picture that is as coherent as possible, and he is a Renaissance philosopher, i .e . the ancient heritage, especially that in the oriental depths of cultural history (Egypt and Chaldeans) is his starting point. Bruno sees even the draft of Copernicus primarily as a rediscovery of ancient insights. However, there is a common thread in Bruno's work: the architecture of our knowledge, the memory of the cultural and knowledge community and, of course, of those who, like Bruno, want to unite this knowledge into a synthesis. His philosophy, like every great philosophy, tries to think of everything that we know and what we can deduce from it as further implicit knowledge as a unit, and this unit is necessarily only available as a system of signs (conceptual, argumentative, pictorial, as an imagined world). to realize. (shrink)

The post-Kantians were inspired by Kant’s Critique of Judgment to forge a new synthesis of natural philosophy, art and history that would overcome the dualisms and gulfs within Kant’s philosophy. Focusing on biology and showing how Schelling reworked and transformed Kant’s insights, it is argued that Schelling was largely successful in laying the foundations for this synthesis, although he was not always consistent in building on these foundations. To appreciate this achievement, it is argued that Schelling should not be interpreted (...) as an idealist but as a process metaphysician; as he claimed, overcoming the oppositions between idealism and realism, spiritualism and materialism. It is also argued that as a process metaphysician, Schelling not merely defended an organic view of nature but developed a theory of emergence and a new conception of life relevant to current theoretical and philosophical biology. This interpretation provides a defense of process metaphysics as the logical successor to Kant’s critical philosophy and thereby as the most defensible tradition of philosophy up to the present. It provides the foundations for post-reductionist science, reconciling the sciences, the arts and the humanities, and provides the basis for a more satisfactory ethics and political philosophy. Most importantly, it overcomes the nihilism of European civilization, providing the foundations for a global ecological civilization. (shrink)

The Limits of Free Will presents influential articles by Paul Russell concerning free will and moral responsibility. The problems arising in this field of philosophy, which are deeply rooted in the history of the subject, are also intimately related to a wide range of other fields, such as law and criminology, moral psychology, theology, and, more recently, neuroscience. These articles were written and published over a period of three decades, although most have appeared in the past decade. Among the topics (...) covered: the challenge of skepticism; moral sentiment and moral capacity; necessity and the metaphysics of causation; practical reason; free will and art; fatalism and the limits of agency; moral luck, and our metaphysical attitudes of optimism and pessimism. (shrink)

The post-Kantians were inspired by Kant’s Critique of Judgment to forge a new synthesis of natural philosophy, art and history that would overcome the dualisms and gulfs within Kant’s philosophy. Focusing on biology and showing how Schelling reworked and transformed Kant’s insights, it is argued that Schelling was largely successful in laying the foundations for this synthesis, although he was not always consistent in building on these foundations. To appreciate this achievement, it is argued that Schelling should not be interpreted (...) as an idealist but as a process metaphysician; as he claimed, overcoming the oppositions between idealism and realism, spiritualism and materialism. It is also argued that as a process metaphysician, Schelling not merely defended an organic view of nature but developed a theory of emergence and a new conception of life relevant to current theoretical and philosophical biology. This interpretation provides a defense of process metaphysics as the logical successor to Kant’s critical philosophy and thereby as the most defensible tradition of philosophy up to the present. It provides the foundations for post-reductionist science, reconciling the sciences, the arts and the humanities, and provides the basis for a more satisfactory ethics and political philosophy. Most importantly, it overcomes the nihilism of European civilization, providing the foundations for a global ecological civilization. (shrink)

I reconcile the spatiotemporal location of repeatable artworks and impure sets with the non-location of natural numbers despite all three being varieties of abstract objects. This is possible because, while the identity conditions for all three can be given by abstraction principles, in the former two cases spatiotemporal location is a congruence for the equivalence relation featuring in the relevant principle, whereas in the latter it is not. I then generalize this to other ‘physical’ properties like shape, mass, and causal (...) powers. (shrink)

An effort to expand and defend aspects of my earlier reading of the Deduction of Taste. The Red Scorpion is just for fun. -/- .

Contingency is the presence of non-actualized possibility in the world. Fatalism is a view of reality on which there is no contingency. Since it is contingency that permits agency, there has traditionally been much interest in contingency. This interest has long been embarrassed by the contention that simple and plausible assumptions about the world lead to fatalism. I begin with an Aristotelian argument as presented by Richard Taylor. Appreciation of this argument has been stultified by a question pertaining to the (...) source of necessity and possibility and a closely related one regarding the nature of metaphysics itself. Answering these questions reveals the crucial issue here, to wit, necessity and possibility in a temporal world. This issue is investigated through an important later criticism of Taylor by David Foster Wallace. Wallace’s critique is significant because it brings to the fore the pivotal notion for understanding contingency in a temporal world, that of synchronic possibility, the idea that incompatible states of affairs are possible at a single moment. This notion provides the basis of distinguishing two systematic accounts of truth, modality and time: two metaphysics of contingency. On one account, Taylor’s Aristotelian argument is straightforwardly valid and compelling; on the other, it is fallacious. In closing, I present reasons why the former account, supporting the Aristotelian views of time and truth, is correct and make some comments to ameliorate this conclusion. (shrink)

-/- ABSTRACT: The concept of beauty has been central to the understanding of Aesthetics, but most modern scholars examine and celebrate Aesthetics presupposing that beauty exists in this Universe, and that by merely being patrons and proponents of art, they can exercise their metaphysical-value judgment however they feel is fulfilling. Contemporary artists fail to realize the etiology and phenomenological value of beauty. The perfect exemplification of this can be seen in the veritable themes and allegories of Postmodernism. The fetishistic penchant (...) of Post-structuralists and Post-modernists has made the treatment of art and literature destructively convoluted and obfuscated, and offers infinite leeway for analysis of any kind. The trite adage ''Kill the writer’’ has been grossly misused and misidentified. Having said that, this essay also does not aim to blindly ridicule Postmodernism, and It will be apparent from the tone of the essay that I myself subscribe to the incontrovertible absolutism that Postmodernism offers, but only in the sense of axiom and logic. I, however, do not value and extol the senseless plurality and verbosity of non-analytical assessment that is ubiquitously pronounced in Postmodern content. (shrink)

This book addresses the metaphysics of Armstrongian states of affairs, i.e. instantiations of naturalist universals by particulars. The author argues that states of affairs are the best candidate for truthmakers and, in the spirit of logical atomism, that we need no molecular truthmakers for positive truths. In the book's context, this has the pleasing result that there are no molecular states of affairs. Following this account of truthmaking, the author first shows that the particulars in (first-order) states of affairs (...) are bare particulars. He then argues that the properties in states of affairs are simple, non-relational and concrete universals. Next, he argues that (material) relations in states of affairs are external relations. Lastly, he argues that a state of affairs is unified by a distinctive formal relation without giving rise to Bradley’s regress. (shrink)

In the traditional sense, a work of art creates an illustration of the outside world, or of a certain text or doctrine. Sometimes it is considered that such an illustration is not literal, but is an interpretation of what is visible, or an interpretation of a certain literary or ideological message. It can also be assumed that a work of art creates its own visual world, a separate story or a separate philosophical statement. The Parc de La Villette represents the (...) last of these possibilities: it is a philosophical statement that develops the premises derived from poststructuralist philosophies and the philosophy of deconstruction. The uniqueness of its being status, however, is that it does so not only at the level of the theoretical assumptions, but also through its functioning as an active philosophical work. This means that a park is a happening philosophy. Its activity, however, does not refer only to the present tense, but is also an attempt to penetrate the future, all otherness and impossibility. This kind of activity assumes that the work, in a sense, does not yet fully exist, but is also still produced in the processes of its interpretation. The theoretical foundations of the park included texts by Bernard Tschumi, in which he questioned traditional ways of creating a work of architecture, postulating in return the use of a long series of negations, which were comparable to the crisis of metaphysics characteristic of contemporary philosophy. It is therefore no coincidence that the publication containing Tschumi’s theoretical text on Parc de La Villette was accompanied by an essay by Jacques Derrida developing some of the architect’s concepts. The next step in integrating philosophy into the process of park design was a series of discussions between Peter Eisenman and Derrida, who completely moved the creation of the park into the world of thoughts, without accentuating the need for their realization in the material reality. The main topic of these discussions was the problem of the chôra, which was taken up by later commentators and used to interpret the park as a work in which the philosophy of the beginning is manifested relating to issues of politics, morality and religion. The park was therefore interpreted as a space of invention within the scope of creating new rules of functioning of the community and democracy. Thinking about the political future may, however, exceed the horizon of ordinary expectations. Although philosophical thought is always connected with contemporary problems and metaphysics sometimes intertwines with current politics, yet at the same time the customs of philosophy also include crossing horizons and thinking about absolute otherness and impossibility. Initially, the chôra, différance, Absolute Otherness (tout autre) and the Impossibile were concepts of pure philosophy of atheistic character, but with the further development of the discussion, more and more theological motifs began to emerge. One of the reasons for this phenomenon was the fact that radical negations of all being, which were contemplated in contemporary philosophy (by Heidegger and Derrida, among others), had previously been manifested in negative and apophatic theologies (by Master Eckhart, among others). Also the category of the “Other”, taken from Emmanuel Levinas, was clearly connected with the thought about God. A further reason for connecting the chôra with the theological thought was the interest in the philosophy of deconstruction expressed by some theologians. Caputo in particular managed to persuade Derrida to participate in discussions on the current status of religion. In the late period of Derrida’s writing, further statements on religious topics appeared. All these reasons led to posing a question about the identity of the chôra and God. Although there were no satisfactory conclusions on this issue, the discussion was also important to create an interpretation of the park as a place of worship. The chôra, representing, according to Plato, the preoriginal emptiness is the place of every beginning, but it turns out that it is not neutral to the being created in it. The chôra deposits itself in every being as an irremovable beginning that interferes with its stability. The chôra, therefore, forces us into a palintropical movement, but it also turns out to be a pure compulsion, an erring necessity and a fundamental force from which, in the human perception, motifs useful to the individual and to the community are extracted. All definitions of this force, including its anthropomorphisation, are formulated in such a way that they allow for building private and collective morality upon them. Such definitions are changed depending on variable political situations. It is difficult to determine whether in the processes of changes in the formulation of “God’s names” any essential value is retained, which is not subject to change. The current definitions of the chôra (God?), which can be found, for example, in the philosophy of Caputo, stress that she is a combination of various and contradictory forces. This characteristic inherits much of Plato’s concept, reminds us of Master Eckhart’s views on Gottheit and, at the same time, is not unfamiliar to Tschumi, whose essays were an apologia of contradictions. The current concept of chôra, transferred into the sphere of politics, is the praise of social diversity and the protection of the difference from the forces of order. In the Parc de La Villette, the future community and democracy were elevated as a system of safe existence of individuals in all their singularity. The park is a temple of a future community in which individual beings have nothing in common. (shrink)

The authors included in this anthology of historical texts on aesthetics and philosophy of art, address the big questions. They attempt to place art within experience generally or within the life of a community; or they attempt to understand the nature of the aesthetic and its role within experience. Topics include mimesis, the relation between art and truth, the metaphysics of beauty, the function of art, and the ontology of art. All of the extracts included were written prior to (...) the middle of this century. The only aspect of this anthology which suggests that it was published recently is the inclusion of three Chinese pieces and one Indian piece. (shrink)

Following C. S. Peirce’s claim that aesthetics precedes ethics and logic, I argue for reconceiving aesthetics as a normative science. The deteriorated relations between these links in the ‘modern mythology’ is associated with art’s decline and apparent indistinguishability from the ‘general aesthetic’ (aided by ‘aesthetics as theory’). ‘Naturalizing’ art, according to F. W. Schelling’s system, is proposed to ameliorate this. Bringing together Peircian semiotics with Schelling’s ‘process metaphysics’ suggests how to restore the historicized split between Art ‘as principle’ and (...) the Person (two ‘perfect signs’) by attending to the ‘ethical phenomenology’ of artworks. An argument is then made for how modern ethics and ‘morals’ may be reconnected. (shrink)

This issue of Technoetic Arts: A Journal of Speculative Research (TA) encompasses eight articles by artists and scholars from around the globe who engage with methodologies of art practice within research that reflects on technological and ecological change, contributing to the discourse on the inclusion of subjective experience in research. The articles by authors Dulmini Perera, Kate Doyle, Nora S. Vaage, Merete Lie, Nikita Peresin Meden, Kristina Pranjić, Peter Purg, Nicolaas H. Jacobs, Marth Munro, Chris Broodryk, Semi Ryu, Rahul Mahata, (...) Doreswamy, Sana Altaf and Aqib Javid Parry form a collection that crosses disciplines and genres to engage in fundamental critique of existing modes of enquiry and conclusion. The texts situate art and design methodologies in particular cultural contexts and in relation to frameworks defined by research methodologies of the sciences and humanities to gain agency for critique and to counter a sense of inevitability that has come to mark the most recent crises. (shrink)