Ontological pluralism is the view that there are different fundamental ways of being. Trenton Merricks has recently raised three objections to combining pluralism with a generic way of being enjoyed by absolutely everything there is: first, that the resulting view contradicts the pluralist’s core intuition; second, that it is especially vulnerable to the charge—due to Peter van Inwagen—that it posits a difference in being where there is simply a difference in kind; and, third, that it is in tension with various (...) historically influential motivations for pluralism. I reply to each of these objections in turn. My replies will help to bring out the true nature of the pluralist’s basic commitments. (shrink)

Pessimism is, roughly, the view that life is not worth living. In chapter 46 of the second volume of The World as Will and Representation, Arthur Schopenhauer provides an oft-neglected argument for this view. The argument is that a life is worth living only if it does not contain any uncompensated evils; but since all our lives happen to contain such evils, none of them are worth living. The now standard interpretation of this argument (endorsed by Kuno Fischer and Christopher (...) Janaway) proceeds from the claim that the value—or rather valuelessness—of life’s goods makes compensation impossible. But this interpretation is neither philosophically attractive nor faithful to the text. In this paper, I develop and defend an alternative interpretation (suggested by Wilhelm Windelband and Mark Migotti) according to which it is instead the actual temporal arrangement of life’s goods and evils that makes compensation impossible. (shrink)

Optimism and pessimism are two diametrically opposed views about the value of existence. Optimists maintain that existence is better than non-existence, while pessimists hold that it is worse. Arthur Schopenhauer put forward a variety of arguments against optimism and for pessimism. I will offer a synoptic reading of these arguments, which aims to show that while Schopenhauer’s case against optimism primarily focuses on the value or disvalue of life’s contents, his case for pessimism focuses on the ways in which life (...) as a whole is structurally defective. (shrink)

The distinction between qualitative and non-qualitative properties should be familiar from discussions of the principle of the identity of indiscernibles: two otherwise exactly similar individuals, Castor and Pollux, might share all their qualitative properties yet differ with respect to their non-qualitative properties—for while Castor has the property being identical to Castor, Pollux does not. But while this distinction is familiar, there has not been much critical attention devoted to spelling out its precise nature. I argue that the class of non-qualitative (...) properties is broader than it is often taken to be. When properly construed, it will not only include properties such as being identical to Castor, which somehow make reference to particular individuals, it will also include more general properties such as identity, composition, set membership, as well as various peculiarly ontological properties. Given that some of these more general properties help to explain objective similarity, we have reason to believe that there are fundamental non-qualitative properties. (shrink)

A consensus exists among contemporary philosophers of biology about the history of their field. According to the received view, mainstream philosophy of science in the 1930s, 40s, and 50s focused on physics and general epistemology, neglecting analyses of the 'special sciences', including biology. The subdiscipline of philosophy of biology emerged (and could only have emerged) after the decline of logical positivism in the 1960s and 70s. In this article, I present bibliometric data from four major philosophy of science journals (Erkenntnis, (...) Philosophy of Science, Synthese, and the British Journal for the Philosophy of Science), covering 1930-59, which challenge this view. (shrink)

Ontological pluralism is the view that there are different fundamental ways of being. Recent defenders of this view—such as Kris McDaniel and Jason Turner—have taken these ways of being to be best captured by semantically primitive quantifier expressions ranging over different domains. They have thus endorsed, what I shall call, quantificational pluralism. I argue that this focus on quantification is a mistake. For, on this view, a quantificational structure—or a quantifier for short—will be whatever part or aspect of reality’s structure (...) that a quantifier expression carves out and reflects. But if quantificational pluralism is true, then a quantifier should be more natural than its corresponding domain; and since it does not appear to be the case that a quantifier is more natural than its corresponding domain, quantificational pluralism does not appear to be true. Thus, I claim, an ontological pluralist should not be a quantificational pluralist. (shrink)

Philosophy in community projects provide powerful, immersive introductions to philosophical thinking for both children and tertiary students. Such introductions can jumpstart transformative learning as well as diversify who seeks out philosophy in the longer term, both in schools and in universities. Using survey responses from teachers, parents, participants, staff, and volunteers of two such programs – Eurekamp Oz! and philosothons – we show how participants find value in engaging in communities of inquiry and philosophical thinking more broadly. We argue correspondingly (...) that such philosophy in community projects are an asset to universities, both as highly successful university outreach programs and in offering high school, undergraduate, and postgraduate students mentoring and employment opportunities utilising their growing philosophical skills. For these reasons, philosophy in community programs provide alternative and supplementary pathways into sustained philosophical thinking to those available within traditional philosophy in the classroom approaches. (shrink)

Recent discussion of mechanism has suggested new approaches to several issues in the philosophy of science, including theory structure, causal explanation, and reductionism. Here, I apply what I take to be the fruits of the 'new mechanical philosophy' to an analysis of a contemporary debate in evolutionary biology about the role of natural selection in speciation. Traditional accounts of that debate focus on the geographic context of genetic divergence--namely, whether divergence in the absence of geographic isolation is possible (or significant). (...) Those accounts are at best incomplete, I argue, because they ignore the mechanisms producing divergence and miss what is at stake in the biological debate. I argue that the biological debate instead concerns the scope of particular speciation mechanisms which assign different roles to natural selection at various stages of divergence. The upshot is a new interpretation of the crux of that debate--namely, whether divergence with gene flow is possible (or significant) and whether the isolating mechanisms producing it are adaptive. (shrink)

English version of collaborative text with Bruno Varela on his film La máquina de futuro (2024), published in the catalog of Umbrales experimental film section of the FICUNAM film festival.

In Leviathan chapter 31 Hobbes refers to atheists and deists as "God's enemies." The contrast class is God's subjects in what he calls the Kingdom of God by Nature. This chapter offers an account of how one submits to God to become God's natural subject. The explanation reinforces the distinction between a primary and secondary state of nature. Submission to God obligates natural subjects to obey the laws of nature because the precepts of those laws acquire thereby the normative force (...) of law. The view further explains why submission to God differs from submission to a civil sovereign, despite the fact that both are voluntary. (shrink)

Jean-Jacques Rousseau is often associated with a certain political mode of relating to another, where a person is a locus of enforceable demands. I claim that Rousseau also articulated an affective mode of relating to another, where a person is seen as the locus of a kind of value that cannot be demanded. These are not isolated sides of a distinction, for the political mode constitutes a solution to certain problems that the affective mode encounters in common social circumstances, allowing (...) us to see how these modes might be distinct while the political nevertheless shapes the affective. I contrast this approach with that of some contemporary Kantian writers on affective phenomena who, for reasons rooted in Kant’s moral philosophy, have modeled affective ways of relating to others on duty. I claim that Rousseau’s writing provides us with a way of capturing the correct insight of these accounts—that some of our emotional responses to others are ways of appreciating their personhood—while avoiding the characteristic implausibilities of their close association between the affective and the political. (shrink)

This essay provides an interpretation of the potential and limits of Michael Fried's difficult claims in his essay "Art and Objecthood" (1967) that cinema by its nature escapes the problems of modernism and also escapes the problems of theater. By focusing on Stanley Cavell's account of how cinema as an automatic medium escapes problems associated with variability across performances, I try to render a version of Fried's claim about cinema and theater that can ground a figurative version of his claim (...) about cinema and modernism, where film at least provides us a symbol of relief from concerns about medium specificity. In the second part of the essay I argue that something close to Cavell's and Fried's thoughts (about using the figure of theater to remind us of cinema's specificity, but also of cinema in its character as a symbol of relief from medium-specific concerns) takes on a certain urgency in questions about what cinema is in the digital age, manifested in representations of theater in the digitally photographed "Shakespeariadas" series by the contemporary Argentine filmmaker Matías Piñeiro. (shrink)

This essay aims to understand the relations between Stanley Cavell’s theoretical generalities regarding the medium of film and his readings of individual films, with a particular focus on his writing on color in his book The World Viewed. I argue that a specific idea of color as connected to abstraction (as well as a correlative idea of black-and-white as connected to figuration) grounds the relations between Cavell’s general statements about color and his readings of individual color films, and that this (...) conception of color helps to bring out the level of medium specificity required for understanding Cavell’s notion of “projecting” a world. I likewise argue that this idea of color and abstraction lies behind Cavell’s claims about projecting a “unified” world in his writing on color’s connection with fantasy and futurity, in his approach to Jean-Luc Godard’s films, and even in his writing on color that follows The World Viewed. (shrink)

Memorial notice for Stanley Cavell originally published on the Harvard Philosophy Department website.

Este artículo explora ciertas conexiones entre la representación de la mortalidad en el retrato y el tratamiento filosófico de nuestra necesidad de ser reconocidos por los demás. En primer lugar, se examina la conexión que establece Georg Simmel en su estudio filosófico sobre Rembrandt entre la capacidad del artista para representar en sus retratos individuos irrepetibles, y su capacidad para capturar la finitud de los mismos en tanto que seres mortales. Tras señalar que ninguna de las explicaciones de Simmel sobre (...) el carácter trágico de los sujetos de los retratos de Rembrandt resulta completamente satisfactoria, recupero los escritos de Rousseau sobre nuestra necesidad de ser reconocidos por los otros, para argumentar que consideramos que los otros son insustituibles porque son capaces de satisfacer esta necesidad ; y que es, precisamente, a esta clase de insustituibilidad a la que apunta Simmel al enlazar los conceptos de individualidad y mortalidad en sus escritos sobre los retratos de Rembrandt. A partir de este punto, sostengo que las ideas anteriores son, de hecho, centrales para la comprensión de la escritura psicoanalítica de Melanie Klein, y, en particular, al planteamiento de Klein sobre la percepción de las otras personas por parte de los niños, que relaciona con sus ansiedades acerca de la posibilidad de la pérdida irreparable de esas personas; su planteamiento de que la condición de persona del otro se debe a que los percibimos como fuentes de reconocimiento; y su análisis de la pintura de retratos como una actividad con la que abordar estas ansiedades. (shrink)

This article examines some work by the Oaxaca-based Mexican experimental filmmaker and video artist Bruno Varela in order to explore the sense of Gilles Deleuze’s view that modern political cinema is characterized by a “missing” people, to which the adequate response is the people-sustaining or people-generating trance. I argue that the element missing from Deleuze’s discussion is how the typical way for a people to go “missing” under capitalism involves the obfuscation of their labor, an idea that sustains the materially (...) grounded trance in Varela’s Papeles Secundarios (2004) and Cuerpos Complementarios (2022), drawn from the filmmaker’s experience as casting director of Iranian artist Shirin Neshat’s production of her video installation Tooba (2002) in Oaxaca. The article discusses the “baroque critique” involved in Varela’s elliptically representing the workday of the non-professional Oaxacan actors employed in Neshat’s production, understood here as a critique articulated using the detritus of that production. The result is a paradigm of trans-temporal playfulness on film that also challenges the claims to trans-temporal experience sought in Neshat’s work. Thus, the article also locates these arguments within debates about whether films can “do philosophy”, including a hypothesis about the obfuscations of labor lying behind why making-of documentaries—and their capacities to critique the philosophical pretensions of their original subjects—have not figured more centrally in those debates. (shrink)

The hole argument purportedly shows that spacetime substantivalism implies a pernicious form of indeterminism. We show that the argument is seductive only because it mistakes a trivial claim (viz. there are isomorphic models) for a significant claim (viz. there are hole isomorphisms). We prove that the latter claim is false -- thereby closing the debate about whether substantivalism implies indeterminism.

Spanish version of collaborative essay with Oaxaca-based Mexican experimental filmmaker Bruno Varela on his found footage project La máquina de futuro. Published on the website Los Experimentos together with the release of Varela's diptych Anáhuac contra los robots, consisting of the films La máquina de futuro and La ranura en el tiempo.

Spanish version of essay on the film ¡Aoquic iez in Mexico! / ¡Ya México no existirá más! (Annalisa D. Quagliata Blanco, 2024).

Analysis in English of Annalisa D. Quagliata Blanco’s experimental feature film ¡Aoquic iez in Mexico! /¡Ya México no existirá más! (2024).

This essay distinguishes some significant commonalities and differences between the film-philosophies of Chilean filmmaker Raúl Ruiz (especially in his book Poetics of Cinema) and U.S. philosopher Stanley Cavell. I argue that despite shared senses of the poetics of the film image and certain shared philosophical references, Ruiz and Cavell differed over their conceptions of the model spectator and their relations to autonomous films and worlds from which spectators are excluded (on Cavell's picture) versus fragments out of which the spectator might (...) create their own films and worlds in which a spectator might become included (on Ruiz's picture). I then argue that a striking reconciliation between these perspectives takes place via each's conception of television, since it was precisely the features of the medium and its heteronomous parts that Cavell found bemusing from the perspective of his view of film (and its supposedly autonomous works) that allowed for Ruiz's natural career-long relationship with television and heteronomy, especially in Latin American telenovelas. I thus approach Ruiz's relation to telenovelas via Cavell's understanding of the possibilities of soap operas to explore arguments between different temporalities: "dialectical," narrative time and "undialectical" recurrences of needs and drives. I further explore this possibility with a reading of Ruiz's neglected, late-career Chilean TV series Litoral (2008), focused on the construction of stories by sailors aboard a ghost ship. I argue that the series' treatment of these different temporalities reaches its culmination in the poignant image of a sailor-storyteller stuck within a story of his own creation: a stark rendering of his taking a sideways-on view of the role of his own fantasies in its construction. (shrink)

In this paper, I investigate under-explored moments in Rousseau’s and Adam Smith’s writings in which each presents speech, and particularly testimony, as a manifestation of the desire for others’ recognition. I begin by considering some features of Rousseau’s understanding of amour-propre (or the desire for recognition from others) as well as that desire’s relevance for the conception of vocal speech (as in its nature passional) at the center of Rousseau’s Essay on the Origin of Languages. Since a feeling of insult (...) is the characteristic response to the thwarting of amour-propre, this connection between amour-propre and vocal speech might help to illuminate the distinctive insult (remarked upon by several philosophers) in having one’s speech act rejected. But there is also something incomplete in this thought insofar as it cannot yet distinguish the rejection involved in, say, not being believed from just any thwarting of amour-propre (or any instance of taking oneself to be demoted in another’s opinion). I then consider the possibility that this latter sort of observation might lie behind not only Adam Smith’s interest in what he calls our “mortification” in not being believed, but also his interest in a distinctive kind of response that we typically think of ourselves as owed, especially in the context of our addressing another person, but whose satisfactoriness consists in its being unforced. I end the paper by considering how Rousseau’s egalitarian political prescriptions (which contrast with the individual psychological maneuvers that Smith offers to those who go unbelieved) can be understood, in part, as aiming to limit the social significance of our dependence on another’s capricious judgment about our trustworthiness. (shrink)

Analysis of Bruno Varela's 2022 feature film El Prototipo.

Discussion of two documentaries by the Oaxacan filmmaker and anthropologist Sandra Luz López Barroso, Artemio (2017) and The One Amongst the Shadows (El compromiso de las sombras, 2021), both focused on the Costa Chica of Guerrero.

This paper explores some connections between depictions of mortality in portrait-painting and philosophical (and psychoanalytic) treatments of our need to be recognized by others. I begin by examining the connection that Georg Simmel makes in his philosophical study of Rembrandt between that artist’s capacity for depicting his portrait subjects as non-repeatable individuals and his depicting them as mortal, or such as to die. After noting that none of Simmel’s explanations of the tragic character of Rembrandt’s portrait subjects seems fully satisfactory, (...) I then turn to Rousseau’s writing on our need for the recognition of others in order to argue that (1) it is at least as sources for the satisfaction of this need that other persons figure for us as irreplaceable (in a way that contrasts with the kinds of satisfaction that intersubstitutable things afford us); and that (2) it is exactly this kind of irreplaceability that Simmel is gesturing at in connecting the concepts of individuality and mortality in his writing on Rembrandt’s portraits. For the remainder of the paper I argue that the foregoing ideas are in fact central to the psychoanalytic writing of Melanie Klein, and in particular (a) Klein’s understanding the infant’s apprehension of other persons as internally related to their anxieties about the possibility of those persons’ irretrievable loss; (b) her understanding that it is as sources of recognition that others’ personhood is made salient to us; and (c) her treatment of portrait-painting as an activity for working through those aforementioned anxieties. (shrink)

Spanish version of my analysis of Oaxaca-based experimental filmmaker Bruno Varela's 2022 feature-length film El Prototipo, which draws on ideas from Philip K. Dick's novel Valis.

An analysis of some work by the Oaxaca-based Mexican experimental filmmaker and video artist Bruno Varela via the latter’s reading of the late U.S. philosopher Stanley Cavell, especially Cavell’s 1982 essay “The Fact of Television.” This essay focuses on the aesthetic possibilities of the very constitution of the electronic image, based in Cavell’s understanding of television’s dependence on notions of “switching,” as opposed to “succession,” as well as how those notions play a role in Varela’s understanding of what it is (...) to critique communications media while retaining their communal potential. Audiovisual work by Varela discussed in this essay include Línea 3 (2010-11) and Materia oscura (Dark Matter, 2016). (shrink)

Spanish version of essay discussing two documentaries by the Oaxacan filmmaker and anthropologist Sandra Luz López Barroso, Artemio (2017) and The One Amongst the Shadows (El compromiso de las sombras, 2021), both focused on the Costa Chica of Guerrero.

This essay argues that, despite the potential for an encounter between Stanley Cavell’s thought and found-footage experimental filmmaking, this has not yet taken place because the early Cavell’s picture of films as autonomous “wholes,” together with his "global-holistic" conception of modernism, prevented him from appreciating the expressive possibilities of filmic fragments. I then argue that these impediments to an encounter with found footage recede in Cavell’s later thought, as he moves away from a concern with modernism and as J. L. (...) Austin’s How to Do Things with Words comes to play a greater role in his film writing. In this late period, Cavell no longer conceives of topics of film criticism as filmic “wholes” but rather, more loosely, along the lines of what Austin called “total speech situations.” I claim that the culmination of this turn lies in Cavell’s writing on the expressive powers of collections. In closing, I demonstrate the possibilities of the late Cavell’s thinking about collections and “passionate utterances” for found-footage filmmaking by discussing Mexican experimental filmmaker Bruno Varela’s Monolito (2019), with particular attention to how Varela uses archival footage to fulfill the exigencies of finding new modes of expression at just the moment when a world is receding from view. (shrink)

Spanish translation, with some additions, of "Spectators and Giants in Rousseau and Víctor Erice.".

This essay explores how some themes in the writing of Jean-Jacques Rousseau—particularly having to do with what it is to be a spectacle before others—might illuminate two feature films by the Spanish director Víctor Erice, The Spirit of the Beehive (El espíritu de la colmena, 1973) and El sur (1983).

Part of a symposium on Stanley Cavell's memoir Little Did I Know held at the Johns Hopkins Humanities Center in 2011, this brief essay connects some themes from that book to concerns about knowledge of "what we say" as treated in the opening essays of Cavell's first book, Must We Mean What We Say?; and it attempts to illuminate the latter concerns by comparing them to recent philosophical work on self-knowledge, especially Richard Moran's book Authority and Estrangement.

Review essay of The Shape of Motion: Cinema and the Aesthetics of Movement by Jordan Schonig (Oxford University Press, 2022) and Disformations: Affects, Media, Literature by Tomáš Jirsa (Bloomsbury Academic, 2021).

The volume includes topics from political philosophy and normative ethics on the one hand to philosophy of science and the philosophical underpinnings of water management policy on the other. It contains reflections on ecological nationalism, the legacy of Grey Owl, the meaning of ‘outside’ to Canadians, the paradigm shift from mechanism to ecology in our understanding of nature, the meaning of the concept of the Anthropocene, the importance of humans self-identifying as ‘earthlings’, the challenges of biodiversity protection and the status (...) of cross-bred species, how to ground the moral considerability of ecosystems, the collapse of the Newfoundland and Labrador cod fishery, and much more. It covers metaphysics, ontology, ethics, political philosophy, critical history, and environmental policy. The range of topics and frames is as diverse and challenging as the land itself. (shrink)

Although an inverse relationship between religion and deviance is empirically well-established in the western context, previous studies on Islam and deviance conducted in non-western countries are limited. To address this gap in deviance research, we hypothesized that individual religiosity would be inversely related to deviance with the inverse relationship being more likely for ascetic than anti-ascetic or secular deviance. To test this hypothesis, we applied ordinary least squares and logistic regression methods to analyze data collected from 2,005 survey participants of (...) a Turkish public university student population. Regression results provided partial support for the hypothesis, as we found that religiosity was inversely related to both ascetic and secular deviance. The observed inverse relationship is noteworthy in that it was found in an institutionally secular, Muslim country. Implications of our findings are discussed. (shrink)

Canadian Environmental Philosophy is the first collection of essays to take up theoretical and practical issues in environmental philosophy today, from a Canadian perspective. The essays cover various subjects, including ecological nationalism, the legacy of Grey Owl, the meaning of “outside” to Canadians, the paradigm shift from mechanism to ecology in our understanding of nature, the meaning and significance of the Anthropocene, the challenges of biodiversity protection in Canada, the conservation status of crossbred species in the age of climate change, (...) and the moral status of ecosystems. This wide range of topics is as diverse and challenging as the Canadian landscape itself. Given the extent of humanity's current impact on the biosphere – especially evident with anthropogenic climate change and the ongoing mass extinction – it has never been more urgent for us to confront these environmental challenges as Canadian citizens and citizens of the world. Canadian Environmental Philosophy galvanizes this conversation from the perspective of this place. (shrink)

In Byron, Shelley, and Goethe’s Faust, author Ben Hewitt has provided us with a carefully done and convincing study. Given this, it would have been interesting to see Hewitt’s effort to integrate Mary Shelley’s work into his narrative. Apart from any similarities between Faust and Frankenstein, it bears remembering that Goethe himself remained unconvinced by efforts to clearly demarcate works as “tragic” or “epic”; a fact that becomes especially clear in the number of works he’d devoted to rewriting the (...) story of Prometheus. One cannot help but wish that Hewitt had considered the connection between these works and Shelley’s own “Modern Prometheus” in juxtaposition to his reading of P.B. Shelley’s Prometheus Unbound, for this would have made for an especially good ending to Hewitt’s story. Wayne Deakin’s consideration of Hegel and the English Romantic Tradition does indeed close with a brief consideration of Mary Shelley’s Prometheus, but this comes only at the end of a much longer set of considerations. In this book Deakin adopts a similar strategy as that of Hewitt, namely, foregoing any historical recovery of Hegel’s direct influence on the English Romantics—in Deakin’s case, Coleridge, Wordsworth, and P.B. Shelley—to focus instead on a reading of key poetic works in concert with their Hegelian framework. This reading essentially flows from Deakin’s effort to rethink Hegel’s relatively early notion of self-consciousness through his late lectures on aesthetics. For Deakin, this leads to “aesthetic recognition”; a situating of the self in relation to the world that remains in tension so far as the subject’s drive for autonomy will automatically be humbled by its reception of and to alterity—be that other “Nature” or other subject. (shrink)

Response to Steven Bland’s ‘Interactionism, Debiasing, and the Division of Epistemic Labour’ (in Social Virtue Epistemology, (eds.) M. Alfano, C. Klein & J. de Ridder). Biased cognition is an obvious source of epistemic vice, but there is some controversy about whether cognitive biases generate reliabilist or responsibilist epistemic vices. Bland’s argument, in a nutshell, is that since the development of cognitive biases is due to the interplay of internal psychological processes and external (i.e., environmental) conditions, it cannot be (...) expected that a solution to the problem tackles only one of these dimensions. We argue that the complex architecture on which Bland’s coordinated approach is grounded appears to lose some stability once we analyze more closely its pillars. We shall concentrate our attention on the notion of reliabilist and responsibilist epistemic virtues that the approach should foster as well as on the educational implications of Bland’s view. (shrink)

The agent portrayed in much philosophy of action is, let's face it, a square. He does nothing intentionally unless he regards it or its consequences as desirable. The reason is that he acts intentionally only when he acts out of a desire for some anticipated outcome; and in desiring that outcome, he must regard it as having some value. All of his intentional actions are therefore directed at outcomes regarded sub specie boni: under the guise of the good. This agent (...) is conceived as being capable of intentional action—and hence as being an agent—only by virtue of being a pursuer of value. I want to question whether this conception of agency can be correct. Surely, so general a capacity as agency cannot entail so narrow a cast of mind. Our moral psychology has characterized, not the generic agent, but a particular species of agent, and a particularly bland species of agent, at that. It has characterized the earnest agent while ignoring those agents who are disaffected, refractory, silly, satanic, or punk. I hope for a moral psychology that has room for the whole motley crew. I shall begin by examining why some philosophers have thought that the attitudes motivating intentional actions involve judgments of value. I shall then argue that their conception of these attitudes is incorrect. Finally, I shall argue that practical reason should not be conceived as a faculty for pursuing value. (shrink)

My aesthetic judgements seem to make claims on you. While some popular accounts of aesthetic normativity say that the force of these claims is third-personal, I argue that it is actually second-personal. This point may sound like a bland technicality, but it points to a novel idea about what aesthetic judgements ultimately are and what they do. It suggests, in particular, that aesthetic judgements are motions in the collective legislation of the nature of aesthetic activity. This conception is recommended (...) by its ability to explain some important but otherwise recondite features of aesthetic practice and, more importantly, by allowing us to ground the normativity of aesthetic judgement in the familiar normativity of practice. It also offers a more systematic way of understanding the rivalry between the ideals of aesthetic universality and diversity. (shrink)

Why Rosenberg's bland of nihilistic atheism is problematic.

Marginalized people have used body aesthetic practices, such as clothing and hairstyles, to communicate their worth to the mainstream. One such example is respectability politics, a set of practices developed in post-Reconstruction black communities to prevent sexual assault and convey moral standing to the white mainstream. Respectability politics is an ambivalent strategy. It requires assimilation to white bourgeois aesthetic and ethical standards, and so guides practitioners toward blandness and bodily erasure. Yet, it is an aesthetic practice that cultivates moral agency (...) and helps communities avoid violence and meet social and economic goals. I contrast respectability politics with the anti-assimilationist body aesthetics of Chike Jeffers and Janell Hobson. Because these accounts do not seek to neutralize or erase the body, they fundamentally value black people. As such, they more effectively convey personhood than assimilationist strategies do and also demonstrate the positive role that body aesthetics can play in everyday ethical projects. (shrink)

Der berühmte Ameisenmann E.O. Wilson war schon immer einer meiner Helden - nicht nur ein hervorragender Biologe, sondern eine der winzigen und verschwindenden Minderheit von Intellektuellen, die es zumindest wagt, die Wahrheit über unsere Natur anzudeuten, die andere nicht verstehen oder, soweit sie es verstehen, aus politischen Gründen unermüdlich vermeiden. Leider beendet er seine lange Karriere auf äußerst schäbige Weise als Partei eines ignoranten und arroganten Angriffs auf die Wissenschaft, der zumindest teilweise durch die religiöse Inbrunst seiner Harvard-Kollegenmotiviertist. Es zeigt (...) die abscheulichen Folgen, wenn Universitäten Geld von religiösen Gruppen annehmen, Wissenschaftszeitschriften von großen Namen so bewundert sind, dass sie eine ordnungsgemäße Peer Review vermeiden und wenn Egos außer Kontrolle geraten dürfen. Es führt uns in die Natur der Evolution, die Grundlagen der wissenschaftlichen Methodik, wie Mathematik mit Wissenschaft zusammenhängt, was eine Theorie ausmacht, und sogar, welche Einstellungen zu Religion und Großzügigkeit angemessen sind, wenn wir uns unaufhaltsam dem Zusammenbruch der industriellen Zivilisation nähern. Ich fand Abschnitte in 'Conquest' mit dem üblichen prägnanten Kommentar (obwohl nichts wirklich Neues oder Interessantes, wenn man seine anderen Werke gelesen hat und auf biologie im Allgemeinen ist) in der oftgestylten Prosa, die sein Markenzeichen ist, aber war ziemlich überrascht, dass der Kern des Buches seine Ablehnung inklusiver Fitness (die seit über 50 Jahren ein Standbein der Evolutionsbiologie ist) zugunsten der Gruppenauswahl ist. Man nimmt an, dass von ihm kommen und mit den articles er bezieht sich auf veröffentlicht von sich selbst und Harvard Mathematik Kollege Nowak in großen Peer-Review-Zeitschriften wie Nature, muss es ein wesentlicher Fortschritt sein,, trotz der Tatsache, dass ich wusste, Gruppenauswahl wurde fast überall abgelehnt, da mit jeder großen Rolle in der Evolution. Ich habe zahlreiche Rezensionen im Netz gelesen und viele haben gute Kommentare, aber die, die ich am meisten sehen wollte, war, dass von renommierten Wissenschaftsautor und Evolutionsbiologe Richard Dawkins. Im Gegensatz zu den meisten von Fachleuten, die in Zeitschriften nur für diejenigen mit Zugang zu einer Universität zur Verfügung stehen, ist es leicht im Netz verfügbar, obwohlanscheinend, entschied er sich, es nicht in einer Zeitschrift zu veröffentlichen, da es angemessen abscheulich ist. Leider findet man eine vernichtende Ablehnung des Buches und den acerbic Kommentar über einen wissenschaftlichen Kollegen, den ich je von Dawkins gesehen habe -- über alles in seinem vielen Austausch mit dem verstorbenen und unbeklagten Demagogen und Pseudowissenschaftler Stephan Jay Gould. Obwohl Gould für seine persönlichen Angriffe auf seinen Harvard-Kollegen Wilson berüchtigt war, stellt Dawkins fest, dass ein Großteil von "Conquest" einen unbequem an Goulds häufige Verfehlungen in "bland, unfocussed ecumenicalis" erinnert. Dasselbe gilt mehr oder weniger für Wilsons populäres Schreiben, einschließlich seines jüngsten Buches "The Meaning of Human Existence" – eine weitere schamlose Eigenwerbung seiner diskreditierten Ideen zu Inklusiver Fitness (IF). Dawkins weist darauf hin, dass das berüchtigte 2010-Papier von Nowak, Tarnita und Wilson in Nature von über 140 Biologen, die einen Brief unterzeichnet haben, fast überall abgelehnt wurde und dass es in Wilsons Buch kein Wort darüber gibt. Auch in den folgenden 4 Jahren mit Artikeln, Vorträgen und mehreren Büchern haben sie dies nicht korrigiert. Es gibt keine andere Wahl, als Dawkins trenchant Kommentar zuzustimmen: "Für Wilson nicht zu zugeben, dass er für sich selbst gegen die große Mehrheit seiner professionellen Kollegen spricht - es schmerzt mich, dies von einem lebenslangen Helden zu sagen -- ein Akt mutwilligen Arroganz." Angesichts von Nowaks späterem Verhalten muss man ihn auch einbeziehen. Ich habe das Gefühl, dass einer der fassungslosen Menschen, die man im Fernsehen sieht, interviewt wird, nachdem der nette Mann von nebenan, der seit 30 Jahren alle Kinder babysitten, als Serienmörder entlarvt wird. Dawkins weist auch darauf hin (wie er und andere seit vielen Jahren), dass inklusive Fitness mit dem Neo-Darwinismus (d.h. logischerweise folgt) entsteht und nicht abgelehnt werden kann, ohne die Evolution selbst abzulehnen. Wilson erinnert uns erneut an Gould, der Kreationisten von der einen Seite seines Mundes anprangerte, während er ihnen Trost spendete, indem er endlosen ultraliberalen marxistisch gefärbten Kauderwelsch über Spandrels, unterbrochenes Gleichgewicht und Evolutionspsychologie von der anderen ausspeist. Die Unbestimmtheit und mathematische Opazität (für die meisten von uns) der Mathematik der Gruppen- oder Mehrebenenauswahl ist genau das, was die Sanftmütigen ihnen ermöglichen wollen, dem rationalen Denken in ihren endlosen antiwissenschaftlichen Gerüchten und (in der Wissenschaft) postmodernen Wortsalate zu entkommen. Schlimmer noch, Wilsons "Eroberung" ist ein schlecht durchdachtes und schlampig geschriebenes Durcheinander voller Nonsequiturs, vager Streifzüge, Verwirrungen und Inkohärenz. Eine gute Bewertung, die einige davon im Detail ist, dass von Absolvent Gerry Carter, die Sie im Netz finden können. Wilson hat auch nichts mit unserem gegenwärtigen Verständnis der Evolutionspsychologie (EP) zu tun (siehe z.B. die letzten 300 Seiten von Pinkers 'The Better Angels of our Nature'). Wenn Sie eine seriöse Buchlänge Bericht über die soziale Evolution und einige relevante EP von einem Experten wollen, siehe 'Principles of Social Evolution' von Andrew F.G. Bourke, oder ein nicht ganz so ernster und zugegebenermaßen fehlerhafter und irrender Bericht, aber ein Muss,das Robert Trivers dennoch lesen muss—'The Folly of Fools: The Logic of Deceit and Self-Deception in Human Life' und ältere, aber immer noch aktuelle und durchdringende Werke wie 'The Evolutionof Cooperation':Revised Edition by Robert Axelrod and 'The Biology ofMoral Systems' von Richard Alexander. (shrink)

THE WORD IN AFRICAN ONTOLOGY Socrates Ebo, PhD ABSTRACT The word in African ontology is more than mere expression of sounds. It is a being which is intra-mental and extra-mental. It is a creation of human mind and the human lips. But it is also an independent entity with enormous causal powers in the African universe of forces. It is an art as well as a means of communication. It is the embodiment of the history of the African community. Embedded (...) in the word, is the community’s ethics. Yet, the word is also a series of sounds which can be learnt and repeated. It can be uttered by anyone yet not everyone can put it to every use. The word can be profound in a context and meaningless in another context. The same word that is commonplace in common speech can be a causal force in a coded ritual. Yet, it is the word: ubiquitous and cryptic, mystic and plebeian; sacred and profane, artistic, yet plain bland on the lips of many. -/- . (shrink)

According to Schopenhauer’s compensation argument for pessimism, the non-existence of the world is preferable to its existence because no goods can ever compensate for the mere existence of evil. Standard interpretations take this argument to be based on Schopenhauer’s thesis that all goods are merely the negation of evils, from which they assume it follows that the apparent goods in life are in fact empty and without value. This article develops a non-standard variant of the standard interpretation, which accepts the (...) relevance of the negativity thesis but rejects that the argument assumes that life’s goods are all empty and valueless. Instead, it argues that whatever value negative goods might possess, they do not have the kind of value to compensate for positive evils. This involves additional development of the negativity thesis and a defence of it against objections from Byron Simmons (2021). (shrink)

Disney’s Frozen (2013) and Frozen 2 (2019) are among the highest-grossing films of all time (IMDb 2021) and are arguably among the most influential works of fantasy produced in the last decade in any medium. The films, based loosely on Hans Christensen Andersen’s “The Snow Queen” (Andersen 2014) focus on the adventures of the sisters Anna and Elsa as they, together with their companions, seek to safeguard their people both from external threats and (importantly) from Elsa’s inabilities to control her (...) magical abilities to summon ice and snow. While Anna’s choices drive much of the action of both films, Elsa has undoubtedly been the more influential and popular of the two characters, as indicated by measures such as merchandise sales (Ellen Byron and Paul Ziobro 2014), Google search data (Play Like Mum 2020), and even baby name choices (Wolfers 2015). -/- Despite her popularity, Elsa is in many ways a paradoxical sort of hero, as she finds her actions all but predetermined by both external and internal forces. This is particularly the case in the first film, where we meet an Elsa who has been born with a power she cannot control, and which appears more as a force of nature than as anything that “belongs” to Elsa. The film’s action is driven, in large part, precisely by Elsa’s failures to exert control over her emotions and abilities. She begins the film by accidentally injuring Anna. This, in turn, causes Elsa to become fearful and withdrawn and to isolate herself from her sister, even after their parents die on a quest to find a cure for Elsa. Elsa's fear and lack of control lead to an even more dire outcome when she inadvertently calls down winter on Arendelle and abandons her people for the mountains. It is only through Anna's devoted quest to rescue her sister, first by pursuing her to the mountains, and later by throwing herself in front of the villainous Hans’ sword attack on her sister, that Elsa (and Arendelle) are saved. Elsa's most active contribution to this is to appreciate the import of Anna's sacrifice and to discover the power of "love" to overcome her fear. -/- What then, are we to make of Elsa as a character? It is the younger sister Anna who corresponds most closely to Gerda, the unquestioned protagonist of Andersen’s original tale, and her character arc fits neatly with the well-known “Hero’s Journey” model for describing myth (Campbell 2020). It is Anna, for example, who goes on a quest, meets a group of motley companions (the human Kristoff, the reindeer Sven, and the magical snowman Olaf), accepts advice from wise elders (the trolls), undergoes a severe trial, and even gets the "reward" of romantic love at the end. All of this has led some scholars (Niemiec and Bretherton 2015; Heit 2019) to hold up Anna, rather than Elsa, as something like the hero of the story. Existing scholarship on Elsa, by contrast, has focused largely on issues related to her gender and sexuality (Law 2014; Lee 2015; Steinhoff 2017; Streiff and Dundes 2017; Dundes, Streiff, and Streiff 2018; Dundes 2020; Llompart and Brugué 2020). In what follows, I’ll be taking a closer look at Elsa’s unique status as a protagonist, and what her struggles with fate reveal about the nature of free will and ethical responsibility. I’ll argue that Elsa provides a useful model of a “Stoic hero” and that her strengths and weaknesses as a character provide valuable insight into an often-misunderstood school of philosophy. My argument will proceed in several stages. I’ll begin by describing the basic tenets of Stoic philosophy, paying special attention to the role of fate and nature. I’ll then move on to a more detailed treatment of Stoic ethics, as exemplified by Elsa’s own character development. I’ll close by considering the infamous “Lazy Argument” against. (shrink)

Despite the fact that Mary Shelley and E. M. Cioran have never been previously analyzed in the same context (they belong not only to different ages but also to divergent genres), we will find that they share at least two similar themes. The motif of solitude, common among Romantic poets (Coleridge, Byron, Poe), finds a deep expression in Shelley’s Frankenstein and in Cioran’s early oeuvre. A more thorough investigation of the British novelist and the Romanian-French self-described “anti-philosopher” discloses that (...) hatred (a theme that is not frequently researched from a philosophical point of view) might be another of their obsessions. The concept of the nihilistic not-man becomes useful when we will follow the tripartite shape of hatred (of others, of myself and of God) not only in literature or philosophy but also in pop culture. (shrink)

Fiction is often characterized by way of a contrast with truth, as, for example, in the familiar couplet “Truth is always strange/ Stranger than fiction" (Byron 1824). And yet, those who would maintain that “we will always learn more about human life and human personality from novels than from scientific psychology” (Chomsky 1988: 159) hold that some truth is best encountered via fiction. The scrupulous novelist points out that her work depicts no actual person, either living or dead; nonetheless, (...) we use names from fiction in ways that suggest that we take these names to refer. Philosophers who investigate fiction aim to reconcile such apparently incompatible phenomena, and, in general, to account for the myriad ways that we talk, think, and feel about fiction. (shrink)