John Shook’s Systematic Atheology, “composed mainly for the edification of atheism’s defenders,” (p. 37) is an attempt to understand and defend atheism in an organized way. The book is divided into three sections. The first is the attempt to define ‘atheist’, ‘atheology’, and their relationship by tracking historical uses of the terms. The second is an extensive history of atheistic and atheological western philosophers, and the third, which occupies the last half of the book, is the attempt to (...) systematically undermine every kind of argument for the existence of a god. In this review, I state the strengths and weaknesses of the book, summarize its main points, and provide reasons to think that the atheological project in the last half of the book fails. (shrink)

Occasionally, in the introductory philosophy courses I teach, a student will give an interesting argument for non-belief in God. Though I have never seen this argument in print, it seems familiar. Basically, the argument goes like this. Religious belief is largely determined by geography – where you are born and raised largely determines your religious beliefs. But believing something just because of where you are born and raised is not a reliable indication of whether that belief turns out to be (...) true. So, in some sense, you are not justified in your religious beliefs. I will attempt a more rigorous reconstruction of this argument and offer an objection to it. (shrink)

What we call “the evidential argument from evil” is not one argument but a family of them, originating (perhaps) in the 1979 formulation of William Rowe. Wykstra’s early versions of skeptical theism emerged in response to Rowe’s evidential arguments. But what sufficed as a response to Rowe may not suffice against later more sophisticated versions of the problem of evil—in particular, those along the lines pioneered by Paul Draper. Our chief aim here is to make an earlier version of skeptical (...) theism more responsive to the type abductive atheology pioneered by Draper. In particular, we suggest a moderate form of skeptical theism may be able to resist Draper’s abductive atheology. (shrink)

I argue that Anselmians ought to abandon traditional Anselmianism in favor of Moderate Anselmianism. Moderate Anselmianism advances the view that a being x = God iff for every essential property P of x, it is secondarily necessary that x has P, for most essential properties of x, it is not primarily necessary that x has P and the essential properties of x include omnipotence, omniscience, perfect goodness and necessary existence. Traditional Anselmians have no cogent response to most a priori atheological (...) arguments. But a priori atheological arguments present no serious problem for moderate Anselmians. Unlike traditional Anselmianism, Moderate Anselmianism explains why a priori atheological arguments can be convincing and nonetheless illusory. (shrink)

Not-I/Thou: The Other Subject of Art & Architecture is to be a highly focused exhibition/folio of works by perhaps 12 artists (preferably little-known or obscure), with precise commentaries denoting the discord between the autonomous object (the artwork or architectural object per se) and the larger field of reference (worlds); inference (associative magic), and insurrection (against power and privilege) – or, the Immemorial. Engaging the age-old “theological apparatuses” of the artwork, the folio is intended to upend the current fascination with personality, (...) celebrity, and fashion to reach the timeless horizon of the subject of Art and Architecture as the subject other than the subject of Art and Architecture proper. Word as image, and image as word, is the central paradox given to this discord – an elective, yet universal condition that also makes certain art and architectural works heedlessly existential-metaphysical (and, therefore, “theological”). This paper, as part of the essay “White Paper: Gray Areas and Black Zones,” is a preliminary investigation of the conceptual architecture for the overall, ongoing exhibition/book project. (shrink)

It is commonly believed that intrinsically bad possible worlds are inconsistent with the perfect goodness of God. A perfectly good being could not exist in possible worlds that are intrinsically bad. Indeed it is widely believed that possible worlds that are insufficiently good are inconsistent with a perfectly good God. Modal atheological arguments aim to show that, since the pluriverse includes intrinsically bad worlds and insufficiently good worlds, there necessarily does not exist a perfectly good God. I show that modal (...) atheological arguments are in general invalid. Modal atheological arguments fail to show that there exists no perfectly good God even on the assumption that there are extremely bad worlds in the pluriverse. Modal atheological arguments depend entirely on the logic of modality in S5. But the logic of S5 ensures that a perfectly good God is consistent with extremely bad possible worlds and so guarantees that a perfectly good God is consistent with a plenitudinous pluriverse. (shrink)

Recent work on the evidential argument from evil offers us sundry considerations which are intended to weigh against this form of atheological arguments. By far the most provocative is that on a priori grounds alone, evil can be shown to be evidentially impotent. This astonishing thesis has been given a vigorous defense by Keith Yandell. In this paper, we shall measure the prospects for an a priori dismissal of evidential arguments from evil.

Resumen: El presente artículo busca presentar sumariamente las principales críticas elaboradas por Karl Löwith y Leo Strauss en su recepción del clásico trabajo de Carl Schmitt Der Begriff des Politischen [El concepto de lo político]. Se intentará explorar, en un primer apartado, la acusación löwithiana de “ocasionalismo ateológico”, formulada, aunque bajo pseudónimo, en un texto crítico de 1935 cuyo título original fue luego reemplazado por aquel con el que se lo conoce actualmente: Der okkasionelle Dezisionismus von Carl Schmitt [El decisionismo (...) ocasional de Carl Schmitt]. En la segunda sección, siguiendo principalmente la lectura propuesta de Heinrich Meier, se buscará dar cuenta de la interpretación que aparece en los Anmerkungen zu Carl Schmitt, Der Begriff des Politischen [Comentarios sobre El concepto de lo político de Carl Schmitt], las notas de Leo Strauss, publicadas en 1932, que sugieren entender la afirmación de lo político en la obra de Schmitt como constitutiva de la posterior crítica schmittiana de la filosofía política de Thomas Hobbes. Palabras clave: político, ocasionalismo, decisión, teología política, liberalismo. Abstract: This article seeks to briefly present the main criticisms elaborated by Karl Löwith and Leo Strauss in their reception of the classic work of Carl Schmitt Der Begriff des Politischen [The Concept of the Political]. It will be explored, in a f irst section, the Löwithian accusation of “atheological occasionalism”, offered, although under a pseudonym, in a text of 1935 whose original title was later replaced by that with which it is currently known: Der okkasionelle Dezisionismus von Carl Schmitt [The Occasional Decisionism of Carl Schmitt]. In the second section, following mainly the reading of Heinrich Meier, I will seek to give an account of the interpretation present in the Anmerkungen zu Carl Schmitt, Der Begriff des Politischen [Comments on Carl Schmitt’s Concept of the Political], the critical notes by Leo Strauss, published in 1932, which suggest understanding the assertion of politics in Schmitt’s work as constitutive for the later Schmittian critique of Thomas Hobbes’ political philosophy. Keywords: political, occasionalism, decision, politcal theoology, liberalism. (shrink)

This study firstly addresses three threads in Chris Marker’s work – theology, Marxism, and Surrealism – through a mapping of the work of both Giorgio Agamben and Jacques Derrida onto the varied production of his film and photographic work. Notably, it is late Agamben and late Derrida that is utilized, as both began to exit so-called post-structuralism proper with the theological turn in the late 1980s and early 1990s. It addresses these threads through the means to ends employed and as (...) ends proper (as production of semi-autonomous works that also, paradoxically, index a much larger field of inquiry and theoretical praxis). It is perhaps French “schizophrenia” regarding theological versus political agency that best accounts for the sardonic deployment of irony and humor in Marker’s work in the face of Big History. Such means to ends (plus a subtle anti-intellectualism vis-à-vis fashionable academic trends) tend to underscore the severity and ultimate sincerity of Marker’s overall cultural-political project. -/- Dossier Chris Marker is also a study of a late-modern chiasmus, impersonal-personal agency, as it comes to expression in the works of Marker, as the dynamic interplay of political and subjective agency. As chiasmus, the complementary halves of this often-apocalyptic dynamis (a semi-catastrophic, temporal or historical force-field) also – arguably – secretly agree to meet, through the work of art, in the futural (problematized in contemporary French post-phenomenological and post-post-structuralist theory as “the event).” Consistent with the classical figure of concordia discors, Marker resolves these irreducible warring aspects of life experience in an atemporal and ahistorical moment that inhabits the work of art from its inception. This redemptive aspect in art is also the ultimate gesture of the artwork as autonomous subject and “mask” (or “screen”) for forces that reside beyond the frame of the image or work, as its proverbial Other, or within the frame, as other to that Other. -/- Despite the complications of the as-yet unresolved post-modern condition (its nihilist-relativist bias), and its similar, mostly circular concerns with the image and/or media, Marker’s work is clearly not post-modern. In fact, when tested against immemorial cultural epiphenomena, that work withstands all attempts at categorization and/or art-historical analysis proper. It remains unassimilable to the post-modern cause ... What emerges, upon closer examination, and through rigorous re-contextualization, is the prescient force of Marker’s works toward that futural state buried in art that is also “theological,” versus atheological, and heedlessly anterior to cultural politics per se. -/- In the case of Marker, this age-old or immemorial “thing-in-itself” (the artwork as image of world-chiasmus) finds its foremost or penultimate formation in his very-still photography – the singular images that are also the building blocks for his renowned ciné-essays. Not without irony, this same austere, reductive force of the still image (as form of proscription) also inhabits the more complex, synthetic works (or montages) that he has formulated and presented “dramatically,” here and there, through the often-sketchy apparatuses of his new-media experiments, as of the late 1980s. Ultimately, this world-image as chiasmus was always present within his earliest literary projects, from the 1940s forward – most especially in books and essays, with or without actual images. -/- Marker’s “return” to photography (to exhibiting still photography in galleries), in the late 2000s, is in many ways a return to the singular object of the artist-critic’s desire; the image in/for itself, while that image – endlessly troubled or interrogated for decades – continues to speak “in tongues” anyway, often against, or oblivious to, the voice of the author/artist/narrator. -/- Marker is a High Romantic Christian Marxist. The “Christic” aspect is rightly well-hidden, but emerges when the eschatological versus historical center of his work is exposed (the existential-metaphysical fuse such as also inhabits the works of Caravaggio), and when his early years are examined in light of his later and/or final years. Marker’s semi-personal/semi-impersonal apocalyptic vision is writ large in diverse works that cross decades, figuring a redemptive, world-shattering formation of art as pleroma. (shrink)

The article considers Georges Bataille’s concept of sovereignty. It argues that Bataille’s concept of sovereignty covers three principal domains: materialist (economic), transcendental (epistemological), and temporal. Here, Bataille’s sovereignty is defined as anti-servile, anti-utilitarian and anti-rationalist. Also, Bataille’s sovereignty is described as egalitarian, rebellious and based on useless and nonproductive consumption. Bataille’s temporal sovereignty is defined as presentism. The article proposes the notions of acephalous sovereignty and political atheology. Finally, the research reveals that Bataille’s concept of sovereignty is more economic (...) than political. This is what makes it original and distinguishes it from other theories of sovereignty. (shrink)

Many have said that God is hidden. This alleged hiddenness is particularly troublesome for evangelical Christianity, much more so than generally recognized, for it would render certain facts about the world and about the Bible very hard to explain on the hypothesis that the God of evangelical Christianity exists. Those facts would be best explained by appeal to the alternate hypothesis that that deity does not exist. Three evidential, epistemic, atheological arguments emerge from this consideration. One of them is the (...) Argument from Nonbelief, which focuses on the fact that there is widespread nonbelief in the given deity. I have written essays and a book (NONBELIEF & EVIL) on that one. The other two are the Argument from Confusion (to be labeled AC) and the Argument from Biblical Defects (ABD). AC focuses on the fact that there is widespread confusion among Christians regarding important doctrinal issues, including morality and salvation. ABD focuses on the fact that there are various defects in the Bible. The present essay is devoted to the latter two arguments. (shrink)

Although the concept of glory has a central place in religious thought, philosophers of religion have had remarkably little to say about glory. What follows is a philosophical analysis of two distinct concepts we express with the term ‘glory’ and an explanation of how we can use one of them to dislodge Bayne and Nagasawa’s recent atheological argument from worship.