What begins with an unlikely collection of unrelated phenomena--mechanical dolls, weather, atoms, lyric poetry--blossoms in the course of _Toy Medium_ into a subtle and persuasive meditation on one of Western philosophy's biggest puzzles: the relation of mind and matter. What is the role of the imagination in defining material substance? In a dazzling study of the poetics of materialist philosophy and of the materialism of lyric poetry, Daniel Tiffany traces the historical conjunction of matter and metaphor through a remarkable range (...) of topics: automata in classical antiquity and the eighteenth century; Kepler's treatise on snowflakes; animal magnetism; fireworks and cloud-chamber photographs; the origins of the microscope as a philosophical toy and its bearing on the figure of the virtuoso. At critical junctures in modern Western culture, Tiffany finds uncanny parallels between the metaphorics of science and visions of material substance rooted in popular culture and lyric poetry. _Los Angeles Times Best Nonfiction Book of 2000_. (shrink)

I discuss an argument for the monistic idea that the cosmos is the one and only fundamental thing, drawing on the idea that the cosmos is the one and only thing that evolves by the fundamental laws.

Leibniz speaks, in a variety of contexts, of there being two realms—a "kingdom of power or efficient causes" and "a kingdom of wisdom or final causes." This essay explores an often overlooked application of Leibniz's famous "two realms doctrine." The first part turns to Leibniz's work in optics for the roots of his view that nature can be seen as being governed by two complete sets of equipotent laws, with one set corresponding to the efficient causal order of the world, (...) and the other to its teleological order. The second part offers an account of how this picture of lawful over-determination is to be reconciled with Leibniz's mature metaphysics. The third addresses a line of objection proposed by David Hirschmann to the effect that Leibniz's doctrine undermines his stated commitment to an efficient, broadly mechanical account of the natural world. Finally, the fourth part suggests that Leibniz's thinking about the harmony of final and efficient causes in connection with corporeal nature may help to shed light on his understanding of the teleological unfolding of monads as well. (shrink)

This article discusses Leibniz’s unique blend of aesthetics and diplomacy. While his art extended diplomacy beyond the bounds of political realism, his diplomacy gave occasion to his art. His identity of indiscernibles inspired philosopher Arthur Danto to define contemporary art in terms of a qualitative perceptual division between the world and the Artworld. Although Leibniz would have disputed Danto’s bifurcated artistic perspective, Danto vindicates Leibniz’s major contribution to contemporary aesthetic philosophy by defending his belief in the moral foundation of art. (...) Leibniz was not only one of the pre-eminent men of German letters of his time, he also excelled in diplomacy on behalf of the Hanoverian court. His international relations theory of peace through grand global alliances is only just beginning to be understood, though his aesthetics and correct diplomacy continue to validate individual creativity, liberal freedoms, and universal enlightenment up to this very day. (shrink)

This thesis argues for the significance of G.W Leibniz’s concepts of ‘expression’, ‘force’ and ‘perspective’ to the writings of Walter Benjamin and Gilles Deleuze. By triangulating the philosophical projects of Benjamin, Deleuze and Leibniz, as has not yet been done, the thesis opens up new perspectives and provides new readings of all three. Designating a structure of relations in which every simple substance or monad serves as a ‘living mirror’ of the universe, Leibniz’s concept of ‘expression’ denotes virtual inclusion or (...) immanence. His concept of ‘force’ denotes the self-incurred drive that motivates the monad to action, while his ‘perspectivism’ defines the monads individuality through their infinite points of view on the world. Deleuze and Benjamin, I suggest, appropriate Leibniz’s concepts as part of their respective critiques of epistemology, which target Kant’s conception of experience as a hierarchic relation of representation, allowing them to redefine experience as non-hierarchal, de-centred and embodied. At the same time, for both, Leibniz’s philosophy serves to criticize historicist views of chronological time. Leibniz’s perspectivism is reformulated by Deleuze and Benjamin as part of their respective critical theories of the image, culminating in their later formulations of the ‘dialectical’ and ‘crystal’ image, respectively. The conclusion however, highlights the diverging paths formed by their returns to Leibniz. Benjamin develops a politically effective ‘historical perspectivism’ in which the discontinuity of history enables ‘true historical time’ to replace chronological time. Deleuze, on the other hand, opts for an ahistorical pure form of temporality, his ‘mannerist perspectivism’ describing a continuous, perpetually repeated ‘becoming’. (shrink)