The essay distils from Badiou's writing a pedagogy based on his theories of knowledge and truth, as brought to bear on poetry and the arts. By following Badiou's implicit ontology of learning, which presupposes a dynamic and passionate engagement with a concrete situation, the essay argues that Badiou's view of modernity, in particular, contributes greatly to the educational topic, and offers an alternative teaching paradigm to the outmoded schools of criticism of the 20 th century. It also argues that the (...) concept of universalism in education, as against identitarian particularism, is further evinced from a discussion of Badiou's study of St. Paul. (shrink)

This paper articulates and explores in some detail the main features of Whitehead’s early temporal ontology. By ‘early temporal ontology’ I refer to the views Whitehead developed during his London years, more specifically in his Enquiry Concerning the Principles of Natural Knowledge (1919) and the more approachable Concept of Nature (1920). These works are not usually read through a heavily ontological lens. It is often said that Whitehead developed his metaphysics later, when he moved to the United States, in 1924. (...) I believe, however, that these earlier works should not merely be read as works in natural philosophy or merely as stepping stones to his later magnum opus Process and Reality (1929). Although Whitehead’s stated goal in these works is not to provide a systematic ontology of time, such an ontology is present and is worth distilling and interpreting. (shrink)

There is a feeling of dissatisfaction with the traditional way of defining the A-theories of time. One reason is that these definitions rest on an ontological question—‘Do the future and the past exist?’—to which no non-speculative answer can be provided. Another reason is that these definitions fail to distinguish between various A-theories of time at all times and, therefore, cannot be regarded as essential to them. In the present paper, I make a fresh start in the debate, by introducing two (...) questions whose specific answers allow one to get a comprehensive categorization of the A-theories of time. This alternative way of defining the A-theories of time addresses the two above-mentioned issues and reveals the metaphysical singularity of underrated theories, such as the growing block theory. (shrink)

One can extrapolate from the art of language instruction to discover methods applicable across the disciplines in higher education. The paradigm presented by language instruction is applicable throughout the arts and sciences. If cultivated—and there are institutional pressures working against it—such an art can impact the languages and codes of the individual disciplines so as to advance the research mission of scholars in those fields; it can also favor the interrelationships between the disciplines. How the student learns another language (L2) (...) is comparable to the process of learning a scientific discipline. (shrink)

Ethical becoming represents a novel framework for teaching engineering ethics. This framework insists on the complementarity of pragmatism, care, and virtue. The dispositional nature of the self is a central concern, as are relational considerations. However, unlike previous conceptual work, this paper introduces additional lenses for exploring ethical relationality by focusing on indebtedness, harmony, potency, and reflective thought. This paper first reviews relevant contributions in the engineering ethics literature. Then, the relational process ontology of Alfred North Whitehead is described and (...) identified as the foundation of the ethical becoming concept. Following this, ethical becoming is imagined as comprising five components: relationality and indebtedness, harmony and potency (i.e., beauty), care, freedom and reflective thought, and ethical inquiry. Each component will be unpacked and knit together to argue that (1) becoming in all its forms is relational and, therefore, whatever becomes is indebted to all to which it relates; (2) one’s ethical engagement must be directed toward the creation of harmony and potency; (3) care practices are necessary to ensure that multiplicity is valued and safeguarded in the meeting of needs; (4) the capacity for reflective thought is necessary to fashion one’s self and others in the direction of harmony, potency, and care; and (5) ethical thought and action must operate through a cycle of ethical inquiry. This paper will close with a brief exploration of how ethical becoming could be utilized in engineering education contexts. (shrink)

This article proposes a new account of the relation between the sciences and common sense. A debate between Alfred North Whitehead and Arthur S. Eddington highlighted both the tendency of the natural sciences to repudiate commonsense conceptions of the world and the greater closeness of the human sciences to common sense. While analytic writers have mostly regarded these features as self-evident, I offer an explanation of them by appealing to Wilhelm Dilthey and the phenomenological tradition. Dilthey suggested that, whereas the (...) natural sciences could individuate their phenomena purely from empirical data, human sciences were compelled to refer to commonsense understanding in order to individuate mental phenomena. I apply this insight to episodes from the history of science, and use it to contrast the work of Alfred Schutz and Carl G. Hempel in philosophy of social and natural science. In the final section, I argue that Dilthey’s framework also offers resources to challenge present-day reductionism about mental phenomena. (shrink)

This article is based on a performance piece, Thought Conductor # 2, by the artist Bruce Gilchrist. In a live-art context, the signals generated by an individual hooked up to an EEG are converted into passages of musical notation and played by a string quartet. What is happening here, or rather what kind of happening is taking place, is the focus of this article. The article explores the relations between the author, the score, and the sound in Thought Conductor # (...) 2 as well in John Cage’s 4’33” (1952), the landmark work that inspired the Thought Conductor pieces, and which has been described as one of the first happenings in America. These key elements offer clues to the different kinds of ‘presences’ that the performances embody, and the different notions of ‘life’ to which they refer. The sound of TC2 is the sound of an event. (shrink)