In The Revenge of Gaia, James Lovelock provides a memorable description of what the future might hold for us in a world severely blighted by climate change. In this scenario the human population has been pushed to the high Northern latitudes: Meanwhile in the hot arid world survivors gather for the journey to the new Arctic centres of civilization; I see them in the desert as the dawn breaks and the sun throws its piercing gaze across the horizon at the (...) camp. The cool fresh night air lingers for a while and then, like smoke, dissipates as the heat takes charge. Their camel wakes, blinks and slowly rises on her haunches. The few remaining members of the tribe mount. She belches, and sets off on the long .. (shrink)

Journal of Social Philosophy, Volume 53, Issue 1, Page 59-75, Spring 2022.

Hegel famously accuses Christianity of ‘unhappy consciousness’: it has a normative goal – union with the divine – that it cannot, in principle, satisfy. Kierkegaard was intimately aware of this criticism and, unlike some of Hegel’s other accusations, takes it seriously. In this paper my co-author and I investigate the way in which Kierkegaard addresses this issue in two texts published in 1843: Fear and Trembling and ‘The Expectancy of Faith’. We are especially interested in how the two texts describe (...) faith’s relationship to finitude: for instance, whether the person of faith is permitted to expect that God will bless her in particular and concrete ways. My co-author and I offer competing interpretations. I argue that there is a deep tension in the way faith is described in the two texts; my co-author argues that there is consonance. (shrink)

Being in a mood—such as an anxious, irritable, depressed, tranquil, or cheerful mood—tends to alter the way we react emotionally to the particular objects we encounter. But how, exactly, do moods alter the way we experience particular objects? Perceptualism, a popular approach to understanding affective experiences, holds that moods function like "colored lenses," altering the way we perceive the evaluative properties of the objects we encounter. In this essay, I offer a phenomenological analysis of the experience of being in a (...) mood that illustrates the limitations of the colored lens metaphor and demonstrates the basic inadequacy of the perceptualist account of moods. I argue that when we are in a mood, it is common to experience a kind of "emotional disconnection" in which we perceive evaluative properties that would normally elicit strong emotional reactions from us, but nonetheless we find that, in our present mood, we remain emotionally numb to these perceptions. Such experiences of "seeing but not feeling" are difficult to understand from within the perceptualist paradigm. Building on the work of Martin Heidegger, I sketch an alternative, phenomenological analysis of moods that can better account for experiences of emotional disconnection. On this alternative account, being in a mood does not merely alter the content of our perceptions but, rather, alters the way we interpret the overall significance of what we perceive, relative to a certain situational context. (shrink)