Should high‐income countries engage in solar geoengineering research and possible deployment? On the assumption that the speed of the energy transition will be insufficient to abate catastrophic climate impacts, research into solar geoengineering begins to look like a technically and socially feasible route to mitigate such impacts. But on the assumption that a rapid and relatively just energy transition is still within the realm of political possibility, research into solar geoengineering looks more like an ideological tool designed to divert time (...) and resources from less risky climate solutions. At the heart of debates over solar geoengineering, then, is disagreement over what political actors can be expected to do in the future. In this article, I argue that both objectors to and proponents of solar geoengineering research often make background assumptions regarding expected future actions that are either (a) inaccurate or (b) inconsistent. I propose an account of expected future actions that avoids these problems and sketch what the debate over solar geoengineering looks like with these assumptions in place. (shrink)

Suppose the present generation leaves future ones with a world depleted of all the natural resources required for many valuable human pursuits. Has the present generation acted unjustly? According to contemporary theories of liberal egalitarian intragenerational and intergenerational justice, the answer, it appears, is no. The explanation for this verdict lies in the liberal commitment to remaining neutral between different ways of life: many value-laden environ- mental sites and species are not an all-purpose means to any reasonable human end and (...) so their existence is not directly relevant in an assessment of whether justice obtains. Against this view, I argue that a commitment to neutrality and its underlying justification – the idea that individuals should be equipped to live lives of their own design – in fact supports the opposite conclusion. If justice requires that citizens can pursue whatever way of life they do or might value, then it will also demand the continued existence of the natural resources necessary for those pursuits. (shrink)

This is a volume of twelve essays concerning the fundamental tension in personalised medicine between individual choice and the common good.

The purpose of this essay is to advocate the ideas of Wilhelm Worringer, John Dewey, and Nelson Goodman on the roles of perception, empathy, emotion, and enjoyment in aesthetic experience. I will attempt to do this by offering a novel interpretation of some of these thinkers’ insights from a biological perspective. To this end, I will consider the following questions. What is an aesthetic experience? Does such a thing exist at all? If yes, is there a correlation between the (...) concept of the aesthetic and perception? Is it possible, then, to find a biological basis for aesthetic experience? My argument is that a fresh analysis of the aesthetics of Worringer, Dewey, and Goodman, in light of some of the discoveries and theories of the cognitive neurosciences – such as the biological correlations of emotions, the “as-if-body-loop” theory, the discovery of mirror neurons, and the phenomenon of embodied simulation – may provide a contribution to longstanding philosophical problems relating to the nature of aesthetic experience. (shrink)

In his groundbreaking work, Abstraction and Empathy, Wilhelm Worringer delved into the intricacies of various abstract and figurative artworks, contending that they evoke distinct impulses in the human audience—specifically, the urges towards abstraction and empathy. This article asserts the presence of empirical evidence supporting the extension of Worringer’s concepts beyond the realm of art appreciation to the domain of art-making. Consequently, it posits that abstraction and empathy serve as foundational principles guiding the production of both abstract and figurative (...) art. This holds particular significance in the 21st century, where artificial intelligence (AI) assumes a creative role that was absent during Worringer’s initial formulation of his theory. Thus, this paper postulates that AI inherently harbors a predisposition for the generation of abstract art, owing to its non-living and inorganic origins and functioning. (shrink)

We investigate the fundamental relationship between philosophical aesthetics and the philosophy of nature, arguing for a position in which the latter encompasses the former. Two traditions are set against each other, one is natural aesthetics, whose covering philosophy is Idealism, and the other is the aesthetics of nature, the position defended in this article, with the general program of a comprehensive philosophy of nature as its covering theory. Our approach is philosophical, operating within the framework of the ontology of the (...) process of the production of art, especially the views of Antonin Artaud, Heidegger, Bakhtin, Deleuze, and Guattari. We interrogate Dilthey and Worringer while outlining an ontology of art based on the production of nonhuman images and a nonpersonal experiential field of nature. (shrink)

A review of the Collected Writings of T. E. Hulme. Argues that Hulme, a philosopher/journist/poet who was killed in WWI, was a forerunner of the 20th-cent. mind, esp. as reflected in modernist poetry (T. S. Eliot, Imagism, Ezra Pound), aesthetics (Wilhelm Worringer), philosophy (Bergson, Jaspers, Wittgenstein), and politics (Charles Maurras, Georges Sorel).

El cine de Jim Jarmusch es reconocible por captar momentos de quietud en los que la acción y el drama son secundarios. Es por ello que su film Only Lovers Left Alive ha sido tan destacado por críticos y académicos. Esta película ha llevado a la pantalla la estética ruinosa de Detroit. Este artículo amplía esas recientes investigaciones, para postular que la Detroit de Jarmusch es una ciudad estéticamente inorgánica. Siguiendo a grandes rasgos los lineamientos de Wilhelm Worringer, se (...) analiza el estilo postindustrial de la arquitectura de Detroit y la figura del vampiro. Esto permite concluir que lo inorgánico —Detroit— tiene capacidades estéticas propias, las cuales son exaltadas por el particular estilo de Jarmusch. (shrink)

This transcription of a keynote for the Speculative Art Histories conference in May 2013 is a mixture of the main argument of The Sympathy of Things and some new insights. The text might be helpful for those who have not read the Sympathy book, which has been sold out for a number of years. This essay will appear as a chapter in Sjoerd van Tuinen's Speculative Art Histories, to be published with Edinburgh University Press in 2017.