This collection of five essays by Germany’s most prominent and influential social thinker both links Luhmann’s social theory to the question “What is modern about modernity?” and shows the origins and context of his theory. In the introductory essay, “Modernity in Contemporary Society,” Luhmann develops the thesis that the modern epistemological situation can be seen as the consequence of a radical change in social macrostructures that he calls “social differentiation,” thereby designating the juxtaposition of and interaction between a growing number (...) of social subsystems without any hierarchical structure. “European Rationality” defines rationality as the capacity to see the difference between systems and their environment as a unity. Luhmann argues that, in a world characterized by contingency, rationality tends to become coextensive with imagination, a view that challenges their classical binary opposition and opens up the possibility of seeing modern rationality as a paradox. In the third essay, “Contingency as Modern Society’s Defining Attribute,” Luhmann develops a further and probably even more important paradox: that the generalization of contingency or cognitive uncertainty is precisely what provides stability within modern societies. In the process, he argues that medieval and early modern theology can be seen as a “preadaptive advance” through which Western thinking prepared itself for the modern epistemological situation. In “Describing the Future,” Luhmann claims that neither the traditional hope of learning from history nor the complementary hope of cognitively anticipating the future can be maintained, and that the classical concept of the future should be replaced by the notion of risk, defined as juxtaposing the expectation of realizing certain projects and the awareness that such projects might fail. The book concludes with “The Ecology of Ignorance,” in which Luhmann outlines prospective research areas “for sponsors who have yet to be identified.”. (shrink)

Translated and with an Introduction by Daniel W. Smith Afterword by Tom Conley Gilles Deleuze had several paintings by Francis Bacon hanging in his Paris apartment, and the painter’s method and style as well as his motifs of seriality, difference, and repetition influenced Deleuze’s work. This first English translation shows us one of the most original and important French philosophers of the twentieth century in intimate confrontation with one of that century’s most original and important painters. In considering Bacon, Deleuze (...) offers implicit and explicit insights into the origins and development of his own philosophical and aesthetic ideas, ideas that represent a turning point in his intellectual trajectory. First published in French in 1981, _Francis Bacon_ has come to be recognized as one of Deleuze’s most significant texts in aesthetics. Anticipating his work on cinema, the baroque, and literary criticism, the book can be read not only as a study of Bacon’s paintings but also as a crucial text within Deleuze’s broader philosophy of art. In it, Deleuze creates a series of philosophical concepts, each of which relates to a particular aspect of Bacon’s paintings but at the same time finds a place in the “general logic of sensation.” Illuminating Bacon’s paintings, the nonrational logic of sensation, and the act of painting itself, this work—presented in lucid and nuanced translation—also points beyond painting toward connections with other arts such as music, cinema, and literature. _Francis Bacon_ is an indispensable entry point into the conceptual proliferation of Deleuze’s philosophy as a whole. Gilles Deleuze was professor of philosophy at the University of Paris, Vincennes–St. Denis. He coauthored _Anti-Oedipus_ and _A Thousand Plateaus_ with Félix Guattari. These works, as well as _Cinema 1, Cinema 2, The Fold, Proust and Signs_, and others, are published in English by Minnesota. Daniel W. Smith teaches in the Department of Philosophy at Purdue University. (shrink)

This ambitious work aims to shed new light on the relations between Husserlian phenomenology and the present-day efforts toward a scientific theory of cognition—with its complex structure of disciplines, levels of explanation, and ...

"This book is a sorely needed corrective. Animal Spirits is an important--maybe even a decisive--contribution at a difficult juncture in macroeconomic theory.

In the nineteenth century, there was substantial and sophisticated interest in neuroscience on the part of social theorists, including Comte and Spencer, and later Simon Patten and Charles Ellwood. This body of thinking faced a dead end: it could do little more than identify highly general mechanisms, and could not provide accounts of such questions as `why was there no proletarian revolution?' Psychologically dubious explanations, relying on neo-Kantian views of the mind, replaced them. With the rise of neuroscience, however, some (...) of the problems of concern to earlier thinkers, such as imitation, have revived because of the discovery of neuronal mechanisms, or through fMRI studies. The article reviews the history and discusses the implications of current work for the reconsideration of traditional social theory concepts. It is suggested that certain kinds of bridging work with neuroscience would enable us to answer many questions in social theory that empirical sociology has failed to answer. (shrink)

The notion of `memes' as replicators similar to genes, but concerned with cultural units, was put forward by Dawkins (1976). Blackmore (1999) used this notion to elaborate an ambitious theory designed to account for numerous aspects of human evolution and psychology. Her theory is based on the human capacity for imitation, and although the operation of the `memes' is said to be purely mechanical, the figurative language used implies that their `actions' are purposive. This article will show that imitation had (...) been regarded as important for human advance well before Darwinism. Moreover, at the end of the 19th century descriptions of the functioning of imitation in society had been put forward that closely parallel those given by Blackmore. Hence it is argued that what is convincing about her thesis is not new, and what is new is speculative and highly questionable. (shrink)

The work of the artist and the science of vision may seem distantly related as subjects.

Ideas about heredity and evolution are undergoing a revolutionary change. New findings in molecular biology challenge the gene-centered version of Darwinian theory according to which adaptation occurs only through natural selection of chance DNA variations. In Evolution in Four Dimensions, Eva Jablonka and Marion Lamb argue that there is more to heredity than genes. They trace four "dimensions" in evolution -- four inheritance systems that play a role in evolution: genetic, epigenetic, behavioral, and symbolic. These systems, they argue, can all (...) provide variations on which natural selection can act. Evolution in Four Dimensions offers a richer, more complex view of evolution than the gene-based, one-dimensional view held by many today. The new synthesis advanced by Jablonka and Lamb makes clear that induced and acquired changes also play a role in evolution.After discussing each of the four inheritance systems in detail, Jablonka and Lamb "put Humpty Dumpty together again" by showing how all of these systems interact. They consider how each may have originated and guided evolutionary history and they discuss the social and philosophical implications of the four-dimensional view of evolution. Each chapter ends with a dialogue in which the authors engage the contrarieties of the fictional "I.M.," or Ifcha Mistabra -- Aramaic for "the opposite conjecture" -- refining their arguments against I.M.'s vigorous counterarguments. The lucid and accessible text is accompanied by artist-physician Anna Zeligowski's lively drawings, which humorously and effectively illustrate the authors' points. (shrink)

Instead of treating art as a unique creation that requires reason and refined taste to appreciate, Elizabeth Grosz argues that art-especially architecture, music, and painting-is born from the disruptive forces of sexual selection. She approaches art as a form of erotic expression connecting sensory richness with primal desire, and in doing so, finds that the meaning of art comes from the intensities and sensations it inspires, not just its intention and aesthetic. By regarding our most cultured human accomplishments as the (...) result of the excessive, nonfunctional forces of sexual attraction and seduction, Grosz encourages us to see art as a kind of bodily enhancement or mode of sensation enabling living bodies to experience and transform the universe. Art can be understood as a way for bodies to augment themselves and their capacity for perception and affection-a way to grow and evolve through sensation. Through this framework, which knits together the theories of Charles Darwin, Henri Bergson, Gilles Deleuze, Félix Guattari, and Jakob von Uexküll, we are able to grasp art's deep animal lineage. Grosz argues that art is not tied to the predictable and known but to new futures not contained in the present. Its animal affiliations ensure that art is intensely political and charged with the creation of new worlds and new forms of living. According to Grosz, art is the way in which life experiments with materiality, or nature, in order to bring about change. (shrink)

This paper begins with an appreciation and critique of the remarkable work of Peter Sloterdijk which makes it possible to open up a number of issues concerning philosophy and its relation to the social sciences and humanities, most particularly concerning the role of evidence and the pervasiveness of Eurocentrism. In particular, the paper argues that it is possible to think of different ways of raising the spectre of space which are as plausible as the account provided by Sloterdijk’s spatial philosophy/philosophy (...) of space. Navigating by the compass of classical Chinese civilisation, I proceed to sketch out a different diagnosis from that of Sloterdijk of how space is being materialised in contemporary Euro-American cultures. Drawing on logographic traditions of writing the world, I argue that, rather than describing what is now being produced by capitalism and other actors as a warehoused world full of lost souls, it is possible to think of different means of describing how the future is being scripted. (shrink)

Lettered selves and beyond -- The alphabetic body -- Gesture and non-alphabetic writing -- Technologized mathematics -- Parallel selves -- Ghost effects.

Facing up to the head -- The secreting head -- Being my head -- The head comes to -- Airhead : breathing and its variations -- Communicating with air -- Enjoying and suffering my head -- Communicating without air -- Notes on the red-cheeked animal : the geology of a blush -- The watchtower -- The sensory room -- Having and using my head -- Head traffic : eating, vomiting and smoking -- Head on head : notes on kissing -- (...) Headgear -- Caretaking my head -- In the wars -- The dwindles -- Knowing (and not knowing) my head -- Head and world -- The thinking head -- Epilogue: Heading off. (shrink)

Since economies are dynamic processes driven by creativity, social norms, and emotions as well as rational calculation, why do economists largely study them using static equilibrium models and narrow rationalistic assumptions? Economic activity is as much a function of imagination and social sentiments as of the rational optimisation of given preferences and goods. Richard Bronk argues that economists can best model and explain these creative and social aspects of markets by using new structuring assumptions and metaphors derived from the poetry (...) and philosophy of the Romantics. By bridging the divide between literature and science, and between Romanticism and narrow forms of Rationalism, economists can access grounding assumptions, models, and research methods suitable for comprehending the creativity and social dimensions of economic activity. This is a guide to how economists and other social scientists can broaden their analytical repertoire to encompass the vital role of sentiments, language, and imagination. (shrink)

St. Thomas Aquinas (c. 12251274) is widely viewed as one of the greatest Christian thinkers of all time.