Can an agent deliberating about an action A hold a meaningful credence that she will do A? 'No', say some authors, for 'Deliberation Crowds Out Prediction' (DCOP). Others disagree, but we argue here that such disagreements are often terminological. We explain why DCOP holds in a Ramseyian operationalist model of credence, but show that it is trivial to extend this model so that DCOP fails. We then discuss a model due to Joyce, and show that Joyce's rejection of DCOP rests (...) on terminological choices about terms such as 'intention', 'prediction', and 'belief'. Once these choices are in view, they reveal underlying agreement between Joyce and the DCOP-favouring tradition that descends from Ramsey. Joyce's Evidential Autonomy Thesis (EAT) is effectively DCOP, in different terminological clothing. Both principles rest on the so-called 'transparency' of first-person present-tensed reflection on one's own mental states. (shrink)

There is a long-standing disagreement in the philosophy of probability and Bayesian decision theory about whether an agent can hold a meaningful credence about an upcoming action, while she deliberates about what to do. Can she believe that it is, say, 70% probable that she will do A, while she chooses whether to do A? No, say some philosophers, for Deliberation Crowds Out Prediction (DCOP), but others disagree. In this paper, we propose a valid core for DCOP, and identify terminological (...) causes for some of the apparent disputes. (shrink)

What follows here is not a definition of art by decree. Nor is this some kind of art manifesto. We are not saying this is how art should be, or could be, but how it is, if you let go of the prison of aesthetics, and follow an infinitely more interesting conceptual trail. This is about uncovering and identifying an approach to art which avoids the triviality of sensory-based aesthetic theory and moves instead towards exploring the experiential worlds that art (...) presents us with. And this approach is not about diminishing the sensory enjoyment of artworks, but about placing them in a much richer context, where they can work a far greater magic. (shrink)

This article challenges conventional views of Chomsky’s critique of American foreign policy as political extremism. It argues that it is necessary to begin with an understanding of the theoretical and philosophical framework he employs in all of his political writings. Chomsky has a political theory. Although it is underpinned by an essentialist view of human nature, it is neither reductionist nor conservative. The core of that view is a hopeful (and unverifiable) view of human need, and celebration of freedom. In (...) this respect, he is in the company of many of those in power, who claim to pursue policies that are consistent with these same value orientations. Chomsky’s methodology does not lead him to question the authenticity of beliefs about human nature. Rather, he probes the policies, testing for consistency and with reference to what he believes is good for humans. His politically ‘extreme’ conclusions are derived from his use of evidence created and supplied by those in power. It is the systematic maintenance of the logical connection in his theory between his hopeful view of human need, his view of the good society, and his critique of existing social organization that accounts for Chomsky’s resolutely subjective, yet consistent and assertive analysis of events. Recognition of the nature of Chomsky’s thought is a proper prerequisite for the kind of discussion about the quality and value of his political analysis that the issues deserve, but at present is sadly lacking. Contemporary Political Theory (2005) 4, 129–153. doi:10.1057/palgrave.cpt.9300155.. (shrink)

Scholarly discussions of the live burials of Gauls and Greeks in the Forum Boarium in the mid- and late Republic replay the debate on Roman imperialism; those supporting the theory of “defensive” imperialism connect religious fears with military ones, while other scholars separate this ritual and the “enemy nations” involved in it from the actual enemies of current warfare in order to corroborate a more aggressive sense of Roman imperialism. After reviewing earlier interpretations and the problems of ancient evidence for (...) these Roman instances of “human sacrifice,” I propose a new reading based on a ritual parallel, a slightly earlier Greek oracle related to purification from avenging spirits. As burials of symbolic former enemies haunting Rome, the ritual suggests an insight into the experience of constant warfare and close-contact killing by citizen-soldiers in an aggressively imperialistic state. Especially with the disappearance of captive killings in the symbolic context of aristocratic burials and the emergence of Hellenistic epic to address elite glory, the live burials could have been critical in providing psychological closure to the once-soldiers back in Rome. Remarkably, the ritual offered an outlet in the religious realm for sentiments unwelcome in the Roman army: in the larger dynamic of the military and religious spheres, the strict world of military discipline was complemented by a religious realm that was much more open to external influence and innovation. (shrink)

In this paper, I propose an account of self-knowledge for desires. According to this account, we form beliefs about our own desires on the basis of our grounds for those desires. First, I distinguish several types of desires and their corresponding grounds. Next, I make the case that we usually believe that we have a certain desire on the basis of our grounds for it. Then, I argue that a belief formed thus is epistemically privileged. Finally, I compare this account (...) to two other similar accounts of self-knowledge. (shrink)

From the late 1960s until his death in 2014, the filmmaker and artist Harun Farocki repeatedly returned in his work to the subject of labour. This article examines a selection of Farocki’s films and video installations, delineating his recurrent chronicling of the historical trajectory of the labour process and technological development under capitalist industrialisation. In particular, it focuses on Farocki’s sustained investigation into capitalism’s drive to systematically displace forms of skilled craft from the production process by subordinating both manual and (...) intellectual labour to an incremental process of deskilling and mechanisation, as well as his interrogation of the implication of various instrumental and automated visual technologies in such processes. In doing so, I underline the continuing significance of Marxist theory for analysing Farocki’s critical portrayal of capitalist modernity as dominated by an abstract and alienated historical dynamic toward the increasing rationalisation and control of production and social life. (shrink)

In the field of U.S. art history, the photography specialization is fairly new and the discourse is dominated by a handful of voices like Walter Benjamin and Roland Barthes, while Vilém Flusser has been virtually ignored. This essay examines the trilogy of “technical image” texts Flusser wrote in the 1980s—Towards a Philosophy of Photography, Into the Universe of Technical Images, and Does Writing Have a Future? —and beyond these, locating the seeds of Flusser’s “photophilosophy” in his use of information and (...) communications theory to develop concepts like “image,” “apparatus,” “program,” and “information.” It considers the U.S. art historical bias toward writers like Jean Baudrillard, Paul Virilio, and the “control society” ethos of Gilles Deleuze and Flusser’s proposal that technical images and photography criticism could provide models for creative disruption of apparatus and finally, “human freedom.” Placed in the current moment, with its crises of environment, technology, economy, and geopolitics, this essay considers Flusser’s writing as a form of ethics and politics in which photography serves as a model for thinking about history, culture, revolution, and consciousness. (shrink)

This article examines recent scholarly work on boredom by drawing on Mikhail Bakhtin’s account of modernity, irony, and mass skepticism. In The Arcades Project, Walter Benjamin noted that, beginning in the 1840s, Western societies had been gripped by an “epidemic of boredom.” He was referring to a peculiarly modern form of mass boredom, associated with the “atrophy of experience” in a mechanized and urbanized social life—a boredom Elizabeth S. Goodstein has characterized as the “democratization of skepticism.” Although Bakhtin says little (...) about “boredom” directly, he probes the sociocultural conditions that give rise to it. Bakhtin, for example, celebrates the liberatory and egalitarian promise of modern vernacular speech, which displays a healthy suspicion of “monotonic” qualities of elite genres, and which springs not from the pulpit or the palace, but from the street, the marketplace and the public square. Bakhtin is concerned about the nihilistic implications of this disenchantment of the world and the threats it poses—indifference, reification and alienation—to the “participative” mode of social life he favours. (shrink)

This paper explores how gender can operate as a disguise for class in an examination of the self-sacrifice of the Maiden in Euripides' Children of Herakles. In Part I, I discuss the role of human sacrifice in terms of its radical potential to transform society and the role of class struggle in Athens. In Part II, I argue that the representation of women was intimately connected with the social and political life of the polis. In a discussion of iconography, the (...) theater industry and audience I argue that female characters became one of the means by which different groups promoted partisan interests based on class and social status. In Part III, I show how the Maiden solicits the competing interests of the theater audience. After discussing the centrality and marginality of the Maiden's character, I draw upon the funeral oration as a comparative model with which to understand the quite different role of self-sacrifice in tragedy. In addition to representing and mystifying the interests of elite, lower class and marginal groups, the play glorifies a subordinate character whose contradictory social status embodies the social position of other “marginal” members of Athenian society. The play stages a model for taking political action to transform the social system and for commemorating the tragic costs of such undertakings. (shrink)

This article discusses Lysias’ Against Eratosthenes as an ancient Athenian instance of the superior orders plea, a line of defence made notorious during the Nuremberg trials, which in turn became the cornerstone of modern war crime legislation. Whereas the pre-Nuremberg jurisdiction largely embraced the principle of superior responsibility, whereby a subordinate executing criminal orders was not to be held liable for them, the trials of the Nazi war criminals brought about a complete reversal of this doctrine. While remaining faithful to (...) the spirit of the Nuremberg jurisdiction, the subsequent legislative acts sought to further elaborate its underlying principle of absolute liability, in order to precisely determine the question of guilt and innocence. I argue that despite the close relationship between modern legal systems and Roman law, which fully embraced the doctrine of superior responsibility, it is in the juridical thought of ancient Athens that one finds the archetype of contemporary war crime legislation. (shrink)

There has long been a tension in Fredric Jameson’s work regarding the extent to which it is possible or warranted to develop transhistorical categories for literary interpretation across of the whole of the capitalist mode of production. In my contribution to this symposium, I take up the problem of how Jameson’s Allegory and Ideology participates in such questions in its consideration of periodisation and narrativisation through the particular construction of allegory, from the early modern age to our financial present.

In light of Perry Anderson's recent re-Iaunch of New Left Review, and the publication of Gregory Elliott's Perry Anderson: The Merciless Laboratory of History, it is perhaps an opportune moment for Marxists to assess Anderson's contribution to socialist strategic thought. At the heart of Anderson's manifesto is the claim that the principal aspect of the past decade ‘can be defined as the virtually uncontested consolidation, and universal diffusion, of neoliberalism'. There is, obviously, something in this claim. However, Anderson also briefly (...) notes, amongst other counter-currents, the labour upsurge in France in 1995, but dismisses the significance of these events with the claim that ‘capital has comprehensively beaten back all threats to its rule'. Anderson compares the context of the launch of the first New Left Review with that of the present day. He writes that, back then, a third of the planet had broken with capitalism, the discrediting of Stalinism in 1956 had unleashed a vital process of the rediscovery of authentic Marxism, while, culturally, there had been a qualitative break with the conformism of the 1950s. Today, by contrast, American capitalism has reasserted its international primacy, European social-democratic governments are implementing policies designed to follow the American model, Japan is suffering from a slump, while the Russian catastrophe has produced no popular backlash. Moreover, the Western powers have recently asserted themselves successfully in the Balkans, and, despite upsurges against capital in the 1990s, ‘no collective agency able to match the power of capital is yet on the horizon’. How are socialists to respond to this diagnosis? In this essay, I want to locate the logic of Anderson's interpretation of the present conjuncture within the context of his previous strategic claims. I will argue that, while socialists will always have much to learn from Anderson, strategically his thought has systematically suffered from a form of political impressionism. This suggests that his interpretation of the present conjuncture may fail the test of history. (shrink)

ABSTRACTThis paper examines ideas of individual freedom in the Hellenistic city-states. It concentrates on the civic ideas expressed in the laws and decrees of Hellenistic cities, inscribed on stone, comparing them with Hellenistic historical and philosophical works. It places different Hellenistic approaches alongside modern liberal, neo-Roman republican and civic humanist theories of individual liberty, finding some overlaps with each of those modern approaches. The argument is that the Hellenistic Greeks developed innovative ways of combining demanding ideals of civic virtue and (...) the common good with equally robust ideals of individual freedom and ethical choice. They did so not least by adapting and developing traditional Greek approaches close to modern civic humanism, in ways very relevant to modern debates about how to reconcile civic duty, the common good and pluralism. (shrink)

This essay will discuss some of the ways that narrative works to promote philosophy, called fictive narrative philosophy. The strategy is to discuss the ways that direct and indirect discourse work and to show why indirect discourse fills an important void that direct discourse cannot fulfill. In the course of this examination several famous narrative-based philosophers are examined such as Plato, Kierkegaard, Nietzsche, Sartre, Murdoch, Johnson, and Camus. These practitioners used the indirect method to make plausible to readers the vision (...) that they were presenting. This article also offers some constraints in this process. (shrink)

Scholars have disagreed about whether the Great Dionysia was celebrated in 404 BCE, despite the grim circumstances in Athens on the eve of the city's surrender to Sparta. This article reconsiders the problem and reviews the positive documentary evidence for the festival's celebration. The evidence indicates that the festival was indeed held, which speaks to the centrality of the Great Dionysia to Athenian civic life. The article then re-examines the conditions in Athens in the spring of 404, the practical consequences (...) that these may have had for the festival, and the celebration of other festivals during times of war and crisis. Despite the evidence that the Great Dionysia was celebrated, the scale of its festivities must have been reduced. The first regular celebration after the war did not likely take place until 402/1, when the posthumous premiere of Sophocles' Oidipous at Kolonos would have served partially as a symbolic proclamation that Athens' great theatrical tradition would continue undiminished. (shrink)

Departing from a critical assessment of the most widespread and initiated definitions of Contemporary Art from the last decade and a half, sustaining a world-wide discourse on contemporary art and contemporaneity, this article will deal with two aspects of an immodest proposal captured by the keywords actualization and anachrony. While current discussions on contemporary art are arguably reproducing modernist assumptions on the primacy of innovation, bolstered by a veiled avant-garde logic, the proposal to regard contemporary art as actualized art upsets (...) not only ideas on what art after postmodernism might mean, but the whole edifice of historicist historiography. An anachronic perspective, a bi- or polychronic situatedness of the work of art, could be used to liberate art from being defined according to its unique descent, and to embrace, instead, a chronologic open to art’s continuous “life” through its successive aesthetic accessions and actualizations in time. (shrink)

This paper examines the importance of artist names and artistic identity, especially as expressed in artist signatures, to the interpretation of ancient Greek pottery. Attention is focused on a calyx krater signed ΣϒPIΣKOΣ EΓPΦΣEN [sic], and it is argued that the non-Greek ethnikon used as artist name encourages a non-Athenian reading of the iconography. The painted labels for all six figures on this vase, together with parallels from other Athenian red-figure vases—including others from the Syriskos workshop—all suggest the presentation of (...) an alternative, un-Athenian world view. Okeanos, Dionysos, and Epaphos are read as representing faraway lands at the edges of the Ge Panteleia, or “entire earth,” while the central figure of Themis, Greek personification of divine right, is depicted pouring a libation to Balos, the Hellenized form of the Syrian supreme god Baal, thereby recognizing his status as a supreme deity. Other overtly political messages have been read elsewhere in the oeuvre of the Syriskos Workshop, where it seems that at least two distinct artistic identities were at play—the explicitly foreign “little Syrian,” and the more conventional Pistoxenos, or “trustworthy foreigner.” When explicitly signed on vessels, these artistic identities necessarily sway interpretation, whereas on the many unsigned pieces, the viewer is left to consider which identity is at play. (shrink)

: Some of the great physicists' belief in the existence of a connection between the aesthetical features of a theory (such as beauty and simplicity) and its truth is still one of the most intriguing issues in the aesthetics of science. In this paper I explore the philosophical credibility of a version of this thesis, focusing on the connection between the mathematical beauty and simplicity of a theory and its truth. I discuss a heuristic interpretation of this thesis, attempting to (...) clarify where the appeal of this Pythagorean view comes from and what are the arguments favoring its acceptance or rejection. Along the way, I sketch the historical context in which this heuristic interpretation gained credibility (the quantum crisis in physics in the 1920s), as well as the more general implications of this thesis for physicists' metaphysical outlook. (shrink)

This thesis examines the notion of experience in the philosophy of Walter Benjamin. It focuses on the relationship between its constructive and disruptive features in four facets of Benjamin’s work, starting with the early writings dedicated to history and tradition and then moving towards different analyses of the reception of the work of art in modernity. Chapter I examines Benjamin’s early characterisation of experience on the basis of the transmissibility of tradition and suggests that the constructive character of experience manifests (...) in the historical development of knowledge and truth in language. Chapter II is dedicated to The Origin of the German Mourning-Play and the shift towards an examination of the development of language from the perspective of the moments of rupture, forgetting and those deviations inherent in the transmissibility of tradition. I argue that experience appears immanently in the momentary suspension or interruption of the transmissibility of tradition: origin and allegory serve to characterise the double movement of concentrating the totality of tradition and suspending its objectivity. The ‘shattering of tradition’ that Benjamin regards to be the hallmark of modernity in his later writings is located within this dynamics. This shattering undermines the conditions for understanding the conflict out of which the present emerges, thereby producing a historiographic crisis which unsettles experience. Chapter III examines modern epic narration and the resources it develops to contests the forgetting which informs late capitalism. I specifically discuss the method of montage and the fragmentary memory associated with it to suggest that Benjamin looks at history from the standpoint of memory rather than from the perspective of tradition. Chapter IV discuses the radicalisation of the forgetting informing modernity and the possibility of developing, though momentarily, an equilibrium or interplay between technology and sensibility by means of long-term practice formed according to technical reproducibility and the principle of montage. It is finally argued that despite Benjamin’s constant emphasis on its destructive character, experience necessarily entails a cumulative or constructive dimension which Benjamin reformulates throughout his authorship in terms of tradition, memory and practice. (shrink)

This paper seeks to contextualize Lycurgus' use of the historical example of King Codrus' self-sacrifice within Athenian social memory and public discourse. In doing so, it offers a solution to the puzzle of Lycurgus' calling Codrus one of the ἐπώνυμοι τῆς χώρας . I make the case that Codrus was one of the forty-two eponymous age-set heroes who played an important role in the Athenian military and socio-political system. I contend that devotion to the city's gods and heroes and knowledge (...) of their mythology were essential parts of the religious and ideological instruction of Athenian ephebes. Consequently, Lycurgus' citation of the Ephebic Oath, the self-sacrifices of King Codrus and the daughters of Erechtheus, as well as his repeated invocation of the city's gods and shrines, must be seen as integral elements of his indictment of Leocrates for cowardice and treason, behavior that is diametrically opposed to the hoplite ethos and religious devotion that were instilled into young ephebes. Lycurgus thus brings the jurors' memories of their own ephebate into the courtroom and taps into emotions and values that lie at the heart of Athenian collective identity. (shrink)

As with other aspects of post-Minoan Crete studies there has been a tendency to accept a pan-Cretan economic model. A Dorian aristocracy, served by pre-Dorian serfs and their descendants, depended upon the produce of their private kleroi for membership in an andreion and citizen status. The elite preserved their political, social, and economic position by discouraging the development of a market economy on Crete in favor of a subsistence economy based upon agriculture, animal husbandry, and hunting. Discouraged were production of (...) coinage, elite display, and manufacture for export . Specialist craftsmen and other kinds of wage earners were either foreigners or members of a dependent population. (shrink)

Modern universities often become a subject of discussion in the public sphere, during which the relevance of university programs, the financing of science and higher education, and a number of other issues are discussed. These discussions again and again prompt political theorists to reflect on the “idea of a university”. These ideas are associated with values, expectations and beliefs, and are most often expressed in the form of normative representations based either on pragmatism that define the university as a functional (...) element of the state system, or on utilitarianism that required from the university to satisfy the economic demands of society, or on idealism that forces position the university as an “ivory tower”. The presented positions somewhat exaggerate the value of some of the university’s abilities to the detriment of others and distort not only the optics of research, but also the social beliefs that influences the development of state systems and universities. Based on the institutional approach, the authors of this article propose a theoretical position that allows to grasp the current pragmatics of the university community, the market and the state regarding the development of universities and their contribution to the organization of the societal order. According to this position, the university should be considered as an intermediary institution that has public subjectivity; acts as an organizational form of the university community and agent of societal relations; carries out a communicative exchange with the external environment ; creates conditions for the interaction of various agents of societal relations, including on their own space via a formalized rational public discussion; finally, it produces knowledge that influences the organization of the societal order. All of this taken together allows us to consider the university a mediator. This position of the university allows it to successfully fulfill its mediating role, both within the university corporation and outside it, balance between different social expectations and remain in one of the most stable and adaptive organizational forms that constitute the societal order. (shrink)

Although Presocratics in 600 B.C founded new research ways in science and philosophy, wrote the first scientific essays, introduced basic conceptions of deduction, and abandoned mythological explanations, all we have of their works is but the fragments in the works of further doxographers, biographers, historians or philosophers who brought their statements between their own words. This would sometimes result in misunderstanding the presocratics’ purposes. Hermann Diels in his Doxographi Graeci raised a new method for dealing with doxography tradition. Diels’ new (...) approach to doxography returned all this tradition to Aristotle’s pupil, Theophrastus. Some scholars like Jaap Mansfield criticized his disregard for the sophists like Gorgias and Hippias, and the successions of philosophers. According to his criticism, some matters like the Sophists’ influence on Plato, Aristotle’s definition of Doxa in the Placita and the influence of the succession and interpretation tradition on doxogtaphy are more noteworthy than Diels has thought. (shrink)

The article deals with the oldest criticism of Anaximander’s monism, for which we have evidence, found in John Philoponus’ commentary on the first book of Aristotle’s Physics . Philoponus’ argumentation is analytically examined and explained, its premises brought to light and its conclusions evaluated. It is shown how his inquiry, although anticipating modern discussions about the classification of Anaximander’s doctrine in terms of ‘monism’ and ‘pluralism’, differs from the contemporary approach to the problem when it comes to both results and (...) methodology. (shrink)

A scholiast's note on Lysistrata mentions that there was an alternative title to the play: Adôniazousai. A close reading of the play with this title in mind reveals that Lysistrata and her allies metaphorically hold an Adonis festival atop the Acropolis. The Adonia, a festival that is typically regarded as “marginal” and “private” by modern scholars, thus becomes symbolically central and public as the sex-strike held by the women halts the Peloponnesian war. The public space of the Acropolis becomes, notionally, (...) a private rooftop, and Adonia-like activity proliferates; boars, myrrh, Aphrodite, “gardens of Adonis,” and lamentation all play important roles. The notion that the women of Lysistrata hold an unexpected Adonis festival on the Acropolis, at the very heart of the Athenian polis, provides a more nuanced reading of the play and forces us to rethink the place of the Adonia at Athens as well as, more generally, the distinction between public and private festivals. (shrink)

The present text tackles the old problem of artistic autonomy given the constitutive heteronomy of post-conceptual artistic practices in terms of their medium-specificity. Instead of considering the idea of artistic autonomy as a modernist prejudice to be discarded, I suggest that it may be revised as the performative autonomy of discourse against ideological uses of language, given that conceptual art is considered as practice and activity rather than the production of objects. Resistance may be itself redefined as the performative re-articulation (...) of language within its conventional use. Therefore, if aesthetic formalism tried to achieve the autonomy of art in the social sphere by means of medium-specificity, whereas early conceptualists strolled towards a functionalist type of artistic autonomy in the artistic sphere, contemporary post-conceptual practices revised the very concept of form as the critical communicative articulation of the social sphere. (shrink)

Cet ouvrage ambitieux rassemble des articles publiés entre 1974 et 1984. Cette collation est précédée d'une première partie sur les conditions de possibilité d'une théorie des rapports entre sexisme et philosophie, et suivie d'un exposé visant à éclaircir ce qu'il en est du sexisme et "à quels signes philosophiques (on) peut le reconnaître". La présente étude critique en dévoile certaines lacunes: élaboration insuffisante du champ sémantique du sexisme; typologie confuse des critères du sexisme; méthode déficiente; image évanescente tant du lecteur (...) que de l'auteure elle-même; et absence d'une définition claire du féminisme, de ses principales tendances et de son rapport aux disciplines traditionnelles. (shrink)

The master narrative of a profound crisis in traditional faith leading to a hardening of authority and religious persecution in late fifth-century Athens has a long scholarly history, one that maintains a persistent presence in current research. This paper proposes to reexamine some aspects of religious authority in late fifth-century Athens through one case-study: the trial of Andocides in 400 BCE. Instead of proposing a new reconstruction of the events that led to this trial, it will compare and contrast the (...) rival rhetorics of authority deployed by Andocides in De mysteriis and Ps.-Lysias in In Andocidem and attempt to locate them in their respective social and cultural contexts. (shrink)

The author considers the problem of beauty. He identifies beauty as an analogically understood property of reality, of human products (including art), and of the human mode of conduct, and as that which, in the tradition of Western culture, is expressed under the form of harmony, perfection, or splendor, which as beheld and for beholding arouses complacency or pleasure. The article discusses the following topics: classical theories of beauty, beauty in the metaphysical conception, beauty in aesthetics, the separation of beauty (...) from reality, and the problem of ugliness. (shrink)

British capitalism has from the very beginning entertained an ambivalent relationship with the process of European unification. But that ambivalence has gone through different stages and since the outbreak of the financial crisis in 2008 a new, conflictual, stage in that relationship began. This is the essential backdrop against which the Brexit referendum should be understood and its consequences evaluated.