Hartmut Rosa’s research has been extremely influential in promoting the view that modernity and late modernity are characterized by “speeding up,” or structural “dynamic stabilization.” More recently, Rosa has turned to describing the existential effects of living in late modernity, and the particular view of the good life it encourages. Late modernity began with the promise to make the world more available, attainable, and accessible. Unfortunately, however, the high-level instrumentalization that characterizes these changes led to feelings of alienation. Rosa’s solution (...) is to develop a philosophical method for fostering what he calls “resonance.” In this article, I will introduce the Daoist notions of the “mechanical heart-mind,” “self-so,” “nonaction,” “knowing satisfaction,” and “rambling” as potential complements to Rosa’s concept of resonance. I argue that they can serve to bolster Rosa’s view and provide a more active way to conceive of the good life through engagement with our social and natural environments. (shrink)

This article explores how aspects of traditional Chinese thought regarding creativity can influence and enrich contemporary thought about related topics: specifically, how creativity can be construed as an epistemic or intellectual virtue, and the benefits of considering it as such. It proceeds in three parts. First, I review a conception of creativity suggested by aspects of the Zhuangzi that centrally involves forms of spontaneity and adaptivity engendered by embracing you 遊, or “wandering”, contrasting it with more conventional conceptions of creativity (...) that emphasize novelty or originality. Second, I explain how this conception of creativity illuminates how creativity can be an epistemic virtue of a surprising sort: one that concerns a disposition to—borrowing an expression from Chris Fraser—“ride along with things”. This “riding along” is ironically engendered by letting go of what David Wong has characterized as “the obsession with being right”, about which the Zhuangzi expresses concern. I argue that, while this conception of creativity eschews fixed goals, including epistemically-oriented goals like apprehending truth or developing knowledge, there are nevertheless good reasons to count creativity (so understood) as an epistemic virtue. Third, I connect these explorations with current conversations (begun by Matthew Kieran and C. Thi Nguyen) that already treat creativity or, relatedly, play as an epistemic or intellectual virtue, and explore how engaging the Zhuangzi in the manner outlined promises to help extend them. (shrink)

This paper examines and defends a conception of the education of emotions found in the Zhuang-Zi. I begin by exploring four principal features of Zhuang Zi’s philosophy as it relates to the emotions: his epistemological perspectivism, his view of the self, his ethics of wandering and natural spontaneity, and his playful non-seriousness. Together these four features allow us to discern a general orientation to the education of the emotions, including a normative account of a good emotional life as well some (...) suggestions for a pedagogy for the development of such a life. (shrink)