The Principle of Ariadne, formulated in 1988 ago by Walter Carnielli and Carlos Di Prisco and later published in 1993, is an infinitary principle that is independent of the Axiom of Choice in ZF, although it can be consistently added to the remaining ZF axioms. The present paper surveys, and motivates, the foundational importance of the Principle of Ariadne and proposes the Ariadne Game, showing that the Principle of Ariadne, corresponds precisely to a winning strategy for the Ariadne Game. Some (...) relations to other alternative. set-theoretical principles are also briefly discussed. (shrink)

Book review of Tsilipakos, Leonidas: Clarity and Confusion in Social Theory: Taking Concepts Seriously. Farnham : Ashgate Publishing Limited, 2015.

What aesthetic interest do we have in watching films? In a much debated paper, Roger Scruton argued that this interest typically comes down to the interest in the dramatic representations recorded by such films. Berys Gaut and Catharine Abell criticized Scruton’s argument by claiming that films can elicit an aesthetic interest also by virtue of their pictorial representation. In this article, we develop a different criticism of Scruton’s argument. In our view, a film can elicit an aesthetic interest that does (...) not come down to an interest in the dramatic representation or in the pictorial representation. We will argue that this is a distinctively cinematic interest. In section I we outline Scruton’s argument. In section II we point out an interest in how the cinematic medium presents the portrayed subject as detached from the spectator’s environment. In section III, by referring to Wittgenstein’s account of the contemplation from outside, we contend that the interest in films introduced in section II can count as an aesthetic interest. In section IV we argue that both documentaries and fiction films can elicit this kind of interest. In section V we compare the three different kinds of aesthetic interest that, in our view, a film can elicit. In section VI we describe the corresponding kinds of cinematic achievements. (shrink)

In 1931, writing in a personal journal, Wittgenstein enumerated the names of those thinkers whom he deemed to have been his most important intellectual influences. He makes the strong claim that these are thinkers whose seminal ideas he has taken over, further elaborated and incorporated into his own work. Here are the names he lists in their order of appearance: Boltzmann, Hertz, Schopenhauer, Frege, Russell, Kraus, Loos, Weininger, Spengler, Sraffa. At the time of the first publication of this list in (...) Culture and Value, those familiar primarily with the most widely read and influential writings on Wittgenstein and his philosophical influences, Norman Malcolm's Memoir and Toulmin and Janik's Wittgenstein's Vienna, would most likely have been surprised by the inclusion of Spengler's name. His is the only one on the list that does not appear in either book. Every other thinker named is not only mentioned as an influence on Wittgenstein in one or the other work, but some of the purported details of that influence are offered. And the appearance of Spengler's name is doubly surprising, given the relatively low esteem in which his work is generally held. Of the others listed, perhaps only Weininger fails to emerge as a respected figure. (shrink)

Do Wittgenstein's late philosophical writings represent a religious point of view? There is a good deal of evidence—including a number of Wittgenstein's own avowals—for an affirmative answer. Against this, there is the stark fact that Wittgenstein's late philosophical writings never directly discuss questions of God and religion. So, if they do represent a religious viewpoint, a correct account of it would, it seems, need to address subtleties and hidden tendencies. While a number of philosophical authors have offered such accounts, nothing (...) resembling a consensus has so far emerged. (shrink)

Simon Critchley, Professor of Philosophy at the University of Essex, investigates humour. And tells some pretty good jokes.

Much contemporary philosophy of religion suffers from an overly abstract and intellectualized methodology. A more ‘humane’ approach would acknowledge the vital contribution of the emotions and passions to a proper cognitive grasp of the nature of the cosmos and our place within it. The point is illustrated by reference to a number of writers, including Descartes, whose path to knowledge of God, often thought to depend on dispassionate argument alone, in fact relies on a synergy between intellect and emotions.

Some truths cannot be accessed ‘cold’, from a detached and impersonal standpoint, but require personal commitment and even moral change in order for the relevant evidence to come to light. The truths of religion may be of this kind. Moreover, recent work in psychology and neurophysiology suggests that our knowledge of the world comes in different forms, the detached critical scrutiny associated with ‘the left-brain’ and the more intuitive and holistic awareness mediated by the ‘right brain’. Much contemporary philosophy privileges (...) the former kind of knowledge, but in areas such as religion this may be a mistake.1. (shrink)

In 1929, doubtless to the discomfort of his logical positivist host Moritz Schlick, Wittgenstein remarked, ‘To be sure, I can understand what Heidegger means by Being and Angst’. I return to what Heidegger meant and Wittgenstein could understand later. I begin with that remark because it has had an instructive career. When the passage which it prefaced was first published in 1965, the editors left it out—presumably to protect a hero of ‘analytic’ philosophy from being compromised by an expression of (...) sympathy for the arch-fiend of ‘continental’ philosophy. It was as if a diary of Churchill's had been discovered containing admiring references to Hitler. This was the period, after all, when Heidegger was, as Michael Dummett recalls, a ‘joke’ among Oxford philosophers, the paradigm of the sort of metaphysical nonsense Wittgenstein had dedicated himself to exposing. (shrink)

This paper offers an overview of Joseph Margolis’s philosophy of culture, highlighting how Margolis’s radical historicism is not inconsistent with our realistic intuitions regrading facts and objectivity. While Margolis identifies interpretation as the work of culture, the paper suggests that a much more basic sense of human labor needs to be thematized more fully than Margolis does in any defensible account of culture. Margolis of course appreciates work in this sense, but he does not consistently make it integral to his (...) conception of culture. Even so, what he so forcefully defends is, as one commentator has put it, “beautiful. It’s also erudite, elegant, and insightful (and frightfully, dialectically intricate).”. (shrink)

His discussion of aesthetics was mingled in a curious way with criticism of assumptions which he said were made by Frazer in The Golden Bough and also with criticisms of Freud ’.

His discussion of aesthetics was mingled in a curious way with criticism of assumptions which he said were made by Frazer in The Golden Bough and also with criticisms of Freud ’.

This article assembles reasons for holding that the propaedeutic rationale for much of the discourse produced by ‘ethogenic science’ is inadequate. One reason is that the interactional principles that are the pretext for assembling the situational vignettes, which are the staple of ethogenics, are truisms and do not require documentation. Our familiarity with the risks and rewards of social life is already considerable and it is not clear how, or to what end, ethogenic science can augment them. Moreover ethogenic theorists (...) do not explain how a discipline that eschews experiment and causal inquiry can transcend the understanding of the subject and how, if it does not, it can do more than provide perspicuous views of the social facts and practices already known, or at least within reach of unspecialized observation. The programme of uncovering the mechanisms by which we register and evince our social standing is not one of which we are given a coherent account and is, in any case, not to be served by multiplying examples of how respect and contempt are merited or meted out. It is suggested that the need such discourse surreptiously meets is that of an autonomous craving for Wittgensteinian Übersichten - overviews - of the vicissitudes of social existence. (shrink)

The intellectual journey on which I am about to embark, although not an unusual one in philosophy, may at first seem strange to those who are in the habit of looking to science for the answers to their big questions, including their philosophical questions. For I propose to shed light on the problematic relationship between two things, namely, mental illness and physical illness, by comparing their relationship to the relationship between two other things, namely, a rhyme for the eye—which will (...) be explained shortly for the benefit of anyone unfamiliar with this concept—and a rhyme for the ear. Yet these two pairs of things are not related in any way by subject-matter. In philosophy, however, this sort of deliberate dislocation can be beneficial. As Wittgenstein himself once remarked, ‘A philosophical] problem can be solved only in the right surrounding, we must give the problem a new surrounding, we must compare it to cases we are not used to compare [sic] it with.’. (shrink)

As the title – Husserl’s Legacy – and subtitle – Phenomenology, Metaphysics, and Transcendental Philosophy – make clear, Dan Zahavi’s new book is centrally concerned with developing and defending a particular account of Husserl’s legacy. Rather than tracing lines of influence or measuring the impact of various of Husserl’s ideas, Zahavi is interested in Husserl’s legacy in a different and more demanding sense that pertains to what he refers to as ‘the overarching aims and ambitions of Husserlian phenomenology’. He is (...) interested in the continued significance and relevance of Husserl’s philosophy as a comprehensive philosophical system that accordingly stakes out a position on fundamental questions concerning the mind, experience, and the nature of reality; hence the subtitle’s trio of phenomenology, metaphysics, and transcendental philosophy. The legacy that concerns Zahavi lies here, with how the first two notions find their completion in the third: properly understood, Husserl’s transcendental philosophy, which offers a phenomenological form of transcendental idealism, offers a powerful philosophical vision that is directly relevant to contemporary philosophical concerns.1 1 Thus Zahavi is interested in Husserl as a systematic philosopher, whose system is not just of historical interest, a relic from our philosophical past; in keeping with the notion of a legacy, Husserl’s philosophy is something whose inheritance might profit us here and now. (shrink)

In this paper, I consider how we ought to read the aspect‐perception passages in the Tractatus Logico‐Philosophicus (TLP) in the light of its ethics. I engage with a recent proposal, of Genia Schönbaumsfeld's, that we should replace the TLP account of aspect‐perception with that which Wittgenstein puts forward in the Philosophical Investigations (PI). I show that, far from helping us to grasp the ethical vision contained in the TLP, this proposal obscures it. I go on to draw some conclusions from (...) this as to how to read the TLP in its relation to Wittgenstein's other work. (shrink)

Is a philosophical theory needed to ‘underwrite’ attitudes of toleration and respect in a multicultural and religiously diverse world? Many philosophers of religion have thought so, including Victoria Harrison. This article interrogates Harrison’s theory of internalist pluralism, which, though offering a welcome alternative to other theories, such as John Hick’s ‘pluralistic hypothesis’, nevertheless faces problems. Questioning the coherence of the theory’s account of how the existence of objects of worship can avoid being fully conceptual-scheme dependent, and raising doubts about its (...) pretensions to promote interreligious harmony, I also critically discuss the common philosophical tendency to work with under-described and insufficiently analysed examples. What philosophy ought to be able to offer in relation to religious diversity, I propose, is attentiveness to nuances and particularities, thereby aiding religious understanding without the need for a general theory. (shrink)

This article reflects upon the debate, initiated by Bernard Williams in 1973, concerning the desirability of immortality, where the latter expression is taken to mean endless bodily life as a human or humanoid being. Williams contends that it cannot be desirable; others have disputed this contention. I discuss a recent response from Timothy Chappell and attempt to pinpoint the central disagreement between Chappell and Williams. I propose that neither side in the debate has firm grounds for its claims, and then (...) proceed to consider four reasons for suspecting that the whole debate has yet to be placed on a conceptually coherent footing. (shrink)

Was Jesus Christ a deluded prophet who expected an imminent collapse of the world followed by the dawning of a kingdom that has never eventuated? Some who reject Christianity think that he was, and as a consequence are highly suspicious about any other claims that are attributed to Jesus. However, other interpretations of the apparently eschatological pronouncements in the New Testament exist, one of which is realized eschatology, this being the idea, roughly, that the kingdom or reign of God was (...) realized in or through the ministry of Jesus itself. Debates surrounding the competing interpretations of New Testament eschatology raise fascinating issues, both exegetical and conceptual. Exploring some of these issues from the perspective of philosophy of religion, informed by theological and biblical studies, this article argues that realized eschatology is a religious option that, contrary to common criticisms, is neither incoherent nor implausibly reductive. (shrink)

Is it absurd to believe that, in the absence of bodily continuity, personal identity could be retained? Bernard Williams argued for an affirmative answer to this question partly on the basis of a well-known thought experiment. Some other philosophers, including D. Z. Phillips, have accepted, or appear to have accepted, Williams' conclusion.Yet the argument has the consequence of dismissing as absurd the sorts of reincarnation beliefs which, within their proper contexts, have a meaningful role in the lives of many millions (...) of people. Drawing upon philosophical work by David Cockburn, and also on anthropological studies concerning reincarnation beliefs, this paper questions the extent to which ostensibly meaningful beliefs can be deemed unintelligible in the absence of careful attention to their cultural contexts. (shrink)

My starting point for this paper is a problem in critical thinking pedagogy—the difficult of bringing students to a point where they are able, and motivated, critically to evaluate their own deeply held beliefs. I first interrogate the very idea of a deeply held belief, drawing upon Wittgenstein’s idea of a framework belief—a belief that forms part of a ‘scaffolding’ for our thoughts—or of a belief that functions as a hinge around which other beliefs pivot. I then examine the role (...) of deeply held beliefs, thus conceived, in our ways of being in the world, exploring the extent to which engagement with others whose deeply held beliefs differ from ours may be possible through imaginative ‘travel’. Finally, I reflect upon the extent to which these imaginative moments also offer up opportunities for critical reflection upon our own deeply held beliefs and, thus, the possibility of changing or adapting those beliefs. (shrink)

This essay argues for a convergence between, on the one side, Foucault’s characterization of the care of the self as a way of overcoming the traps of anthropological sleep, and on the other side, Deleuze’s characterization of initiating becomings as a way of fleeing the traps of organization, a line of flight, becoming becoming. This convergence is defended on the basis of a Bergsonian ontology of becoming, and in particular, Bergson’s opposition to what he calls the retrograde motion of truth. (...) One result of this convergence is that a Wittgensteinian approach to the sense of life floats to the surface. A kind of mysticism. (shrink)

An examination of the genre of philosophical autobiography sheds light on the role of personal judgment alongside objective rationality in philosophy. Building on Monk's conception of philosophical biography, philosophical autobiography can be seen as any autobiography that reveals some interplay between life and thought. It is argued that almost all autobiographies by philosophers are philosophical because the recounting of one's own life is almost invariably a form of extended speech act of self-revelation. When a philosopher is the autobiographer, this self-revelation (...) illuminates the interplay between thought, life, and personality. Understanding how this works allows us to address three problems of biography raised by Honderich: how to give an account of something as large and complex as a human life; how a life-story is also a judgment; and how we can justify identifying one part of a causal circumstance as 'the cause'. There is also a new ethical problem raised about the autobiographer's right to make public details of a shared private life. (shrink)

RésuméQue voulait dire Wittgenstein lorsqu'ilaremarqué: «Je ne suispas un homme religieux, maisje nepuis m'empecher de voir tout problème d'un point de me religieux»? La thèse de Malcom, c'est que cette remarque pointe du doigt les analogies entre la perspective philosophique de Wittgenstein et une vision religieuse de la vie. En revanche, Winch fait valoir que la remarque de Wittgenstein peut être interprétée comme ne faisant pas référence aux problèmes exclusivement philosophiques; Wittgenstein exprimait plutôt sa propre perspective quasi religieuse sur la (...) vie et soulignait l 'importance spirituelle de la clarté philosophique. Contrairement à Malcom et Winch, jefais valoir qu'il faut plutôt considérer que cette remarque signifie en gros: «Je ne suispas religieux moi-même, mais quand je réfléchis philosophiquement à ce que cela signifie pour quelqu'un de faire face à un certain type de problemes, par exemple les dilemmes moraux et autres décisions difficiles dans la vie, il importe de reconnoître la diversité des perspectives possibles d'oú ces problèmes peuvent être vus. Ce faisant, je nepuis m'empêcher d'imaginer comment de tels problèmes apparaîtraient depuis la perspective de quelqu'un de religieux.». (shrink)

This paper presents the concept of ‘religious certainty’ I have developed by drawing inspiration from Wittgenstein’s notion of ‘certainty’. After describing the particular traits of religious certainty, this paper addresses two difficulties derived from this concept. On the one hand, it explains why religious certainty functions as such even though all its consequences are far from being absolutely clear; on the other hand, it clarifies why, unlike the rest of certainties, the loss of religious certainty does not result in the (...) collapse of the world-picture made up of all certainties. Subsequently, it analyzes to what extent the teacher can teach religious certainty by acting as a facilitator for its acquisition–if desired—particularly bearing in mind that religious certainty cannot be attained at will. These basic teaching guidelines have several advantages. First, they make it possible to know the nature of religious certainty even better. Second, and most importantly, the fact of having adopted the perspective of a teacher who tries inculcating a religious certainty contributes to detecting and preventing forms of indoctrination that, arguably, might go unnoticed even when attempting to properly present religious certainty—or rather, this way of being religious—in current schools to foster understanding thereof. (shrink)

After describing Wittgenstein's notion of ‘certainty’, in this article I provide four arguments to demonstrate that no certainty can be acquired at will. Specifically, I argue that, in order to assimilate a certainty, it is irrelevant whether the individual concerned has found a ground that seemingly justifies that certainty; has a given mental state; is willing to accept the certainty on the proposal of a persuader; or tries to act according to the certainty involved. Lastly, I analyse how each of (...) these arguments is reflected in the way children acquire certainties. (shrink)

Gottfried Wilhelm Leibniz is the self-proclaimed inventor of the binary system and is considered as such by most historians of mathematics and/or mathematicians. Really though, we owe the groundwork of today’s computing not to Leibniz but to the Englishman Thomas Harriot and the Spaniard Juan Caramuel de Lobkowitz, whom Leibniz plagiarized. This plagiarism has been identified on the basis of several facts: Caramuel’s work on the binary system is earlier than Leibniz’s, Leibniz was acquainted—both directly and indirectly—with Caramuel’s work and (...) Leibniz had a natural tendency to plagiarize scientific works. (shrink)

Inducing aspect-experiences – the sudden seeing of something anew, as when a face suddenly strikes us as familiar – can be used as a philosophical method. In seeing aspects, I argue, we let ourselves experience what it would be like to conceptualize something in a particular way, apart from any conceptual routine. We can use that experience to examine our ways of conceptualizing things, and re-evaluate the ways we make sense of them. I claim that we are not always passive (...) with regard to these experiences, and explain how we can actively induce them. I distinguish this method from other standard Wittgensteinian philosophical methods. (shrink)

Georg Henrik von Wright was not only the first interpreter of Wittgenstein, who argued that Spengler’s work had reinforced and helped Wittgenstein to articulate his view of life, but also the first to consider seriously that Wittgenstein’s attitude to his times makes him unique among the great philosophers, that the philosophical problems which Wittgenstein was struggling, indeed his view of the nature of philosophy, were somehow connected with features of our culture or civilization. -/- In this paper I draw inspiration (...) and courage from Von Wright’s insistence that trying to understand Wittgenstein in relation to his times is a philosophic task in its own right in order to probe into a relatively obscure region in Wittgenstein’s thought: his relation to the music of his times. It is a topic, on which Von Wright, and most other prominent Wittgenstein scholars, have said very little, but it is also one, which Wittgenstein himself attested was so important to him that he felt without it he was sure to be misunderstood. -/- I offer textual and historical evidence in support of my claim that, parallel to Wittgenstein’s exposure to Spengler’s Decline of the West in 1930, he was also introduced to the music theory of Heinrich Schenker, which helped him to articulate, partly by way of critique, a complex and unique position concerning the modern music of his times, which exhibits his rejection of what Von Wright later dubbed ‘the myth of progress’. As Von Wright observed in other regions of Wittgenstein’s work, he believed also with regards to the arts and to music in particular, neither in a brilliant future nor in the good old days. -/- I argue that Wittgenstein actually made a distinction between three kinds of modern music: (a) bad modern music, which is clearly a case of confusing means for ends, the hallmark of the myth of progress, as Von Wright observed; (b) vacuous modern music, which embodies some sort of diffidence, a difficulty to see through the omnipresence of what Von Wright called (following Habermas) a ‘colonialization’ of reified measures of progress; (c) good modern music, a paradoxical notion for Wittgenstein, which betokens the unlikely yet possible striving to penetrate through what appears as dissolution of the resemblances which unite this culture’s ways of life by rendering this condition as expressible and intransitively understandable. In the context of this third category, I offer an interpretation of Wittgenstein’s complex remarks on the music of Gustav Mahler, which palpably show that the problem of good modern music and the problem of philosophizing in the time of civilization were one and the same in Wittgenstein’s mind. -/- I conclude that, with regards to Von Wright’s own critical view of the modern myth of progress, we can learn from Wittgenstein that progress in the realm of art is closely aligned with the ideal of the perfection of man, yet transcending a social or political context. It is the ideal of cultural cohesion: affinity that the arts show to other human practices and cultural artifacts of its period. Wittgenstein’s tentative notion of good modern music (and its circumscription by his notion of the music of the future) may show its true colors when viewed in the context of Von Wright’s plea not to abandon work for progress as a critical task. (shrink)

There are certain remarks in Culture and Value in which Wittgenstein writes about Jews and about what he describes as their ‘Jewish mind’. In these remarks he appears to be trying to make a distinction between two different spiritual forces which operate in Western culture and which give rise to two different types of artists and works of art. On one side of the divide are Jews and works of art imbued with Jewish spirit. On the other side are men (...) of culture and works of art which exhibit a non-Jewish spirit. Among the various remarks made in this context, he offers the following thoughts about the spiritual nature of Jews, their mentality, character and artistic achievements: ‘You get tragedy when a tree, instead of bending, breaks. Tragedy is something un-Jewish’ . Following Renan he writes: ‘The Semitic races have an unpoetic mentality, which heads straight for what is concrete’ . This, he explains, is because Jews are attracted by ‘pure intellectualism’. ‘I think it would be possible now to have a form of theatre played in masks. The characters would simply be stylized human types.’ ‘Masked theatre is anyway the expression of an intellectualistic character. And for the same reason perhaps it is a theatrical form that will attract only Jews’ . ‘The Jew is a desert region, but underneath its thin layer of rock lies the molten lava of spirit and intellect’ . ‘It is typical for a Jewish mind to understand somebody else's work better than that person understands it himself.’ But intellect, it seems, is not a mental attribute providing for genius and true creative powers. ‘Amongst Jews “genius” is found only in the holy man. Even the greatest of Jewish thinkers is no more than talented. … It might be said that the Jewish mind does not have the power to produce even the tiniest flower or blade of grass; its way is rather to make a drawing of the flower or blade of grass which has grown in the soil of another's mind and to put it into a comprehensive picture. We aren't pointing to a fault when we say this and everything is all right as long as what is being done is quite clear. It is only when the nature of a Jewish work is confused with that of a non-Jewish work that there is any danger, especially when the author of the Jewish work falls into the confusion himself, as he so easily may. ’. (shrink)

The work of the eye has a powerful influence across culture and philosophy—not least in Goethe's approach to understanding. Aligned to aesthetic appreciation, seeing has the potential to offer an authorial gift of ‘other-ness’ when brought to bear on evaluative relationships. Yet this penetrating gaze might also be seen as limiting when put to work in the services of ‘other’. From the subtle sideways glance, to the lingering gaze of lovers, a look can mean many things. But the eye does (...) not work alone—what can be seen is directly impacted by the ideologies that influence interpretation, the time and space of its origin, and the genre of its capture. But it is only later, through post-modern eyes, that the image finally falls victim to its subjective stance and can be thus rendered obsolete. As such, the work of the eye far exceeds literal notions of visuality. These same tensions are evident in the work of the early Bakhtin Circle through their engagement with neo-Kantism, Russian formalism, phenomenology and Russian Avant-Gardes. In this article the art of seeing is reconciled in educational practice for the early years as a relational event through Goethian-inspired interpretations of visual surplus and aesthetics. Through this lens seeing is brought to life as an encounter of authorship—implicating the ‘I’—as a potential relationship of meaning and accountability at the centre of visuality. (shrink)

ABSTRACT In order to explore what it means to pursue philosophical investigations for theological reasons, this paper argues that Ludwig Wittgenstein continues and corrects Pseudo-Denys’ project in The Divine Names. I first argue that The Divine Names should be interpreted as attempting to render human thought transparent to the divine by relativizing our concepts. The success of this project is compromised because the concept of ‘unity’ is not relativized. I then develop the claim that Wittgenstein does relativize unity in a (...) similar way and for similar religious reasons to Pseudo-Denys. As such, he can be read as continuing and correcting the Pseudo-Dionysian project. I conclude by reflecting on several of this argument’s implications for the relationship between philosophy and Christian systematic theology. (shrink)

Many classic philosophical debates converge on the twin questions ‘What is man?’ and ‘What is his place in nature?’, in the sense that taking up a position in those debates normally commits one to a certain range of answers to these questions. Such answers typically lie near the centre of one's web of belief, deeply entrenched in the structure of one's concepts, and thus remain remarkably resistant to the standard techniques of confirmation and refutation.

The idea of immanent transcendence is constitutive for Winch's philosophy of religion and his ethics. Winch's philosophy of religion insists on the ‘immanent’ dimension of religion. His ethics insists on the ‘transcendent’ dimension of ethics. In this sense, both religion and ethics embody a perspective ‘beyond’ this world and yet must have practical consequences in this world. Transcendence without immanence is idle, and immanence without transcendence is empty—this is the kernel of Winch's philosophy of religion and of his ethics.

Whereas Christians often give guilt a prominent role, Buddhists are encouraged not to dwell on feelings of guilt. Leading members of the Triratna organisation – Sangharakshita, Subhuti and Subhadramati – characterise guilt as a negative emotion that hinders spiritual growth. However, if we carefully examine the concept of guilt in the manner of Wittgenstein we find that the accounts of guilt given by leading members of Triratna mischaracterise it and so ignore its positive aspects. They should acknowledge the valuable role (...) that guilt can play in our lives. (shrink)

Jean Baudrillard, the misfit. Jean Baudrillard, who told us that the Gulf Warnever happened, who drew our attention to the perils of a civilization thatchoses to lead a virtual existence in an arena of images and simulacra - this isthe Baudrillard we are mostly familiar with. But Jean Baudrillard, thechampion of appearances? Baudrillard, more-feminist-than-the-feminists?This Baudrillard remains buried in the stacks of a prolific career spanningover forty years and involving some of the most radical systematicdeconstructions of Western culture, society and politics. (...) Baudrillard hasprimarily been heralded as an enemy of the world of images, the surfacesuperficiality of consumer culture; it stands as no surprise, then, that in mosttheoretical assessments of his work there is little mention of Seduction , a text aimed at restoring a great amount of value to the surface ofthings.1While apostles of Baudrillard such as Norman K. Denzin tend tooffer brief and, in this writer’s opinion, erroneous summaries of seduction’s‘potential of unmasking the order of appearances’ , Seduction hasyet to be understood as a praise for the world of appearances, play, andreversibility, as encouragement for the resistance of the orders of law certainty, and production. 2 In the following pages, I hope to introduce readers to a fascinating but often overlooked text of Baudrillard’s and, in doing so, to demonstrate that Baudrillard’s text offers a unique and yet unexplored insight into the dichotomous and contradictory nature of cinema - this medium which as an instrument of popular culture acts according to the modern logic of production, but as a form owes more to the transformative and playful semiology of the pre-modern. (shrink)

There seems to be an overall agreement that parents qua parents are, almost by definition, in need of support and hence that there is always a ‘parental deficit’. In order to help parents out many initiatives are taken, predominantly drawing from a technical conception of parenting. This particular conception defines the deficit as a shortage of practical and theoretical knowledge, and conceives of the predicament of parenting or upbringing as something that can be successfully dealt with. Two criticisms are developed (...) in this article. First, this conception of parenting is exposed as a ‘frictionless fiction’ that makes a very strong appeal to many of us, inhabitants of late modern Western societies, perhaps because it promises answers where there are none to be given. Second, a different conception of the parental deficit is developed following Ramaekers and Suissa who spelled out a parental hermeneutical-existential deficit drawing upon Cavell. This specific kind of deficit picks out another kind of support. I develop this alternative by sketching a figure of strong engagement that provides parent support. (shrink)

Relativism has always proved tempting when people who had previously lived a settled and complacent life have suddenly been confronted with new and different ideas or practices. The obvious example is the ferment produced in ancient Athens when the contrast with Eastern ideas chronicled by Herodotus showed vividly that not everyone thought like the Athenians, or even the Greeks. The result was a far-reaching scepticism. Protagoras, according to Plato, maintained that man is the measure of all things and anything ‘is (...) to me as it appears to me and is to you as it appears to you’. (shrink)

‘Gaslighting’ describes a form of manipulation that induces doubt in someone’s perceptions, experiences, understanding of events or conception of reality in general. But what kind of doubt is it? How do ‘ordinary’ epistemic doubts differ from those doubts that can lead to despair and the feeling of losing one’s mind? The phenomenon of ‘gaslighting’ has been attracting public attention for some time and has recently found its way into philosophical reflections that address moral, sexist and epistemic aspects of gaslighting. Little (...) has been said, however, about the nature of gaslighting-induced doubts themselves, how they differ from ordinary, even ‘reasonable’ epistemic (self-) doubts and how it can come to someone doubting their own perception and conception of reality in the first place. The aim of this paper is to shed some light on these aspects by drawing on some of Wittgenstein’s remarks on doubt, published mainly in On Certainty. To this end, I will first outline the phenomenon of gaslighting as an epistemic injustice before presenting Wittgenstein’s reflections on doubt(ing). These will then be applied to the phenomenon of gaslighting, with a more specific focus on the evocation of such fundamental self-doubt in successful gaslighting, again drawing on some of Wittgenstein’s remarks. (shrink)

ABSTRACTThis article retrieves, situates, and interprets Ludwig Wittgenstein's overlooked remarks about the composer Gustav Mahler, and connects them with Wittgenstein's philosophical perspective and practice, as well as with his musical aesthetics.

pour l'autre en nous et parmi nousAn apologia seeks to cover up the revolutionary moments in the course of history. The establishment of continuity is dear to its heart. It only gives importance to those elements of a work that have already generated an after-effect. It misses those points at which the transmission breaks down and thus misses those jags and crags that offer a handhold to someone who wishes to move beyond them.I am all the same convinced that these (...) notes [in Culture and Value] can be properly understood and appreciated only against the background of Wittgenstein’ s philosophy and, furthermore, that they make a contribution to our understanding of that philosophy. (shrink)