We discuss the concept of a cardinal number and its history, focussing on Cantor's work and its reception. J'ay fait icy peu pres comme Euclide, qui ne pouvant pas bien >faire< entendre absolument ce que c'est que raison prise dans le sens des Geometres, definit bien ce que c'est que memes raisons. (Leibniz) 1.

Throughout his career, Husserl identifies naturalism as the greatest threat to both the sciences and philosophy. In this paper, I explicate Husserl’s overall diagnosis and critique of naturalism and then examine the specific transcendental aspect of his critique. Husserl agreed with the Neo-Kantians in rejecting naturalism. He has three major critiques of naturalism: First, it (like psychologism and for the same reasons) is ‘countersensical’ in that it denies the very ideal laws that it needs for its own justification. Second, naturalism (...) essentially misconstrues consciousness by treating it as a part of the world. Third, naturalism is the inevitable consequence of a certain rigidification of the ‘natural attitude’ into what Husserl calls the ‘naturalistic attitude’. This naturalistic attitude ‘reifies’ and it ‘absolutizes’ the world such that it is treated as taken-for-granted and ‘obvious’. Husserl’s transcendental phenomenological analysis, however, discloses that the natural attitude is, despite its omnipresence in everyday life, not primary, but in fact is relative to the ‘absolute’ transcendental attitude. The mature Husserl’s critique of naturalism is therefore based on his acceptance of the absolute priority of the transcendental attitude . The paradox remains that we must start from and, in a sense, return to the natural attitude, while, at the same time, restricting this attitude through the on-going transcendental vigilance of the universal epoché. (shrink)

Abstract The rise of social neuroscience has brought the second-person perspective back into the focus of philosophy. Although this is not a new topic, it is certainly less well understood than the first-person and third-person perspectives, and it is even unclear whether it can be reduced to one of these perspectives. The present paper argues that no such reduction is possible because the second-person perspective provides a unique kind of access to certain facts, namely other persons' mental states, particularly, but (...) not only, in social contexts. The paper starts with the idea that perspectives are ways of epistemic access that determine an epistemic subject's recognition of a certain object. While the first-person perspective is subjective because it is based on, and directed at, the epistemic subject's experiences, the third-person perspective, which is based on objective evidence and gives access to all kinds of entities, is objective. The second-person perspective, by contrast, is intersubjective because it is a relation between an epistemic subject and another sentient being's mental states. It involves the epistemic subject's replication of those states, a basic self/other distinction and a basic awareness of the relevant situational differences between the epistemic subject and the other being. This is why the second-person perspective is a perspective on a perspective, which involves a basic awareness of perspectivalness, even if second-person perspective taking may be subpersonal to a large extent. (shrink)

In this paper I develop a theory of the physical realization of higher-level properties. I argue that physical realization is in an important sense indirect, and that at each level causal relations are crucial to realizing next-level phenomena. My account makes it intelligible how higher-level properties can be realized by wide stretches of physical reality without the inter-level dependence becoming weak, or global; it also explains how both physicalism and non-reductivism can be true.

In this essay, I argue that a genius's creation consists of a special unity of free human activity and nature, whereby ‘nature’ signifies not just another aspect of, but rather something that transcends, creative subjectivity. This interpretation of a genius's creative process throws a new light on a special normative status of a genius's rule, i.e. its originality and exemplarity. With respect to the former, I demonstrate that because the organizing principle of the works of genius remains inscrutable to our (...) limited human understanding, a work of genius appears to the observer's limited cognitive capacities as undetermined and, hence, as contingent and original. With respect to the latter, I show how a genius must evolve within the context of her own tradition and how this ‘humbleness’ of a genius still allows for a multiplicity of co-existent schools or genres with their own distinct standards of excellence. -/- http://journals.cambridge.org/abstract_S1369415411000343. (shrink)