This article argues for four interrelated claims: Metaphilosophy is not one sub-discipline of philosophy, nor is it restricted to questions of methodology. Rather, metaphilosophical inquiry encompasses the general background conditions of philosophical practice. These background conditions are of various sorts, not only those routinely considered “philosophical” but also those considered biographical, historical, and sociological. Accordingly, we should be wary of the customary distinction between what is proper and merely contingent to philosophy. “What is philosophy?” is best understood as a practical (...) question concerning how members of different philosophical sub-communities identify what is pertinent to their respective activities and self-conceptions. Given –, understanding what philosophy is requires us to take more seriously the social-institutional dimension of contemporary philosophical practice. (shrink)

This sustained and distinctively Buddhist challenge to the ontology of Jean-Paul Sartre's Being and Nothingness resolves the incoherence implicit in the Sartrean conception of nothingness by opening to a Buddhist vision of emptiness. Rooted in the insights of Madhyamika dialectic and an articulated meditative (zen) phenomenology, Nothingness and Emptiness uncovers and examines the assumptions that sustain Sartre's early phenomenological ontology and questions his theoretical elaboration of consciousness as "nothingness." Laycock demonstrates that, in addition to a "relative" nothingness (the for-itself) defined (...) against the positivity and plenitude of the in-itself, Sartre's ontology requires, but also repudiates, a conception of "absolute" nothingness (the Buddhist "emptiness"), and is thus, as it stands, logically unstable, perhaps incoherent. The author is not simply critical; he reveals the junctures at which Sartrean ontology appeals for a Buddhist conception of emptiness and offers the needed supplement. (shrink)

Focusing on the connections between the artwork and its internal and external network, the article presents four different approaches to the sociology of art developed by Lyotard, Bourdieu, Luhmann, and Hennion and Latour. While Lyotard, from a phiosophical point of view, emphasizes the transcendence of the artwork in relation to its network, for Bourdieu the work of art is part of a network and the ‘social genesis’ grounds the artwork as an artwork. In contrast to Bourdieu, Luhmann conceives of art (...) as an autopoietic system and the artwork as a communicative artefact. Yet, in this, the materiality of the artwork disappears in communication, which is why Hennion and Latour’s approach to the world of art as heterogeneous networks of human and non-human mediators is significant. ‘Thinking with’ these different approaches, the article produces three main results. First, Bourdieu’s and Luhmann’s otherwise very different sociologies significantly parallel each other regarding arts and modernity. Second, the question of the artwork radically unravels the difficult relationship between social theory and material objects. In this respect most contemporary social theories (e.g. Bourdieu’s and Luhmann’s) remain essentially modernist. Third, a focus on artworks demonstrates that the conceptual vocabulary of social theory and the sociology of art must be reconsidered. Furthermore, the article demonstrates the discovery of a ‘lucid illusio’ and specifies a Spinozist moment in Bourdieu’s social theory. (shrink)

If you do not wish to construe philosophical discourse as simply a discourse of cognition, a theoretical discourse; if you think it is also a practical, ethical discourse: how should you write? How should you frame the ethos, the authority of your discourse? This article re-presents an extended preface I wrote and rewrote obsessively over a period of nearly two years in an effort to forge a voice and mode of address adequate to my sense of philosophical discourse as a (...) practical discourse, whilst also being accountable to the generic requirements of a PhD. As the textual record of this struggle, the value of this text must remain primarily in its capacity to evoke or provoke similar generic memories or ambitions in the reader. (shrink)