I propose in this text a rhythmic theory of signs drawn from the thought of Gilles Deleuze and Félix Guattari. I name this theory a semiorhythmology. I suggest that the theory of rhythm developed in A Thousand Plateaus (1980) can be understood, in part, as the culmination of the diverse set of inquiries into signs that both Deleuze and Guattari undertook, individually and together, beginning in the 1960s. I first outline Deleuze’s theory of signs as a theory of encounter as (...) developed in Proust and Signs (1964) and Difference and Repetition (1968), following which I sketch Guattari’s engagements with signs and semiotics throughout the 1960s and 1970s, particularly through his notion of “a-signifying semiotics” and the concept of the “diagram” he adapts from the semiotics of Charles Sanders Peirce. I close by showing how these heterogeneous theories of the sign are drawn together in A Thousand Plateaus through the Spinozist reading of the ethology of Jakob von Uexküll and the theorisation of rhythm in the form of the refrain. (shrink)

In a series of articles Christopher Cowie has provided what he calls a ‘Master Argument’ against the Companions in Guilt (CG) defence of moral objectivity. In what follows I defend the CG strategy against Cowie. I show, firstly, that epistemic judgements are relevantly similar to moral judgements, and secondly, that it is not possible coherently to deny the existence of irreducible and categorically normative epistemic reasons. My argument for the second of these claims exploits an analogy between the thesis that (...) epistemic norms are non-categorical and G.E. Moore’s paradox concerning first personal belief ascriptions. I argue that the absurdity of the assertion “I have evidence that p but no reason to believe it” shows that the norms of belief are categorical. I then consider the counter-argument that this categoricity is a ‘conceptual’ rather than an ‘objective’ requirement. By drawing on the work of Hilary Putnam and Charles Travis, I show that this counter-argument is unsuccessful. Putnam is one of the original proponents of the Companions in Guilt strategy. Thus, by supporting the CG argument through appeal to other Putnamian theses, I show that its insights can only fully be appreciated in the context of broader metaphysical and semantic lessons. (shrink)

Fourteen philosophers share their experience teaching Peirce to undergraduates in a variety of settings and a variety of courses. The latter include introductory philosophy courses as well as upper-level courses in American philosophy, philosophy of religion, logic, philosophy of science, medieval philosophy, semiotics, metaphysics, etc., and even an upper-level course devoted entirely to Peirce. The project originates in a session devoted to teaching Peirce held at the 2007 annual meeting of the Society for the Advancement of American Philosophy. The session, (...) organized by James Campbell and Richard Hart, was co-sponsored by the American Association of Philosophy Teachers. (shrink)

Where does agency lie in musical performance? How is it expressed? Recent music scholarship has highlighted an increasingly prominent tendency to conceive of agency as not confined to any one individual or type of individual, instead being distributed across diverse individuals that can be found occupying performance situations. . This article uses two ‘percussion’ works from the 1970s by the composer John Cage, Child of Tree (1975) and its multi-performer elaboration Branches (1976), as a foil for engaging with these practical (...) and theoretical musical concerns, and for suggesting some heretofore underappreciated distinctions within the ongoing work on multi-agential performance. (shrink)

This article concerns the place of Plato’s eschatology in his philosophy. I argue that the theory of reincarnation appeals to Plato due to its power to explain how non-human animals came to be. Further, the outlines of this theory are entailed by other commitments, such as that embodiment disrupts psychic functioning, that virtue is always rewarded and vice punished, and that the soul is immortal. I conclude by arguing that Plato develops a view of reincarnation as the chief tool that (...) the gods have to ensure that virtue is victorious over vice throughout the whole cosmos. (shrink)

I argue that, according to Plato, the body is the sole cause of psychic disorders. This view is expressed at Timaeus 86b in an ambiguous sentence that has been widely misunderstood by translators and commentators. The goal of this article is to offer a new understanding of Plato’s text and view. In the first section, I argue that although the body is the result of the gods’ best efforts, their sub-optimal materials meant that the soul is constantly vulnerable to the (...) body’s influences. In the second section, I argue that every psychic disorder is a disruption of the motions of the inner psychic circles by the body; moreover, I defend my translation of 86b. In the final section, I argue that the goal of education is to restore the circles to their original orbits, and I disarm a possible objection that bad education is also a cause of psychic disorder. (shrink)

This book review of Lieber and Press's “The myth of the nuclear revolution: Power politics in the atomic age" challenges the authors' position that nuclear weapons essentially have the same properties of conventional weapons. We argue that nuclear weapons alter warfare because they can end human civilization, and they pose a shared risk of mutual destruction.

What kind of technology is the piano? It was once a distinctly everyday technology. In the bourgeois home of the nineteenth century it became an emblematic figure of gendered social life, its role shifting between visually pleasing piece of furniture, source of light entertainment, and expression of cultured upbringing. It performed this role unobtrusively, acting as a transparent mediator of social relations. To the composer of concert music it was, and sometimes still is, says Samuel Wilson, like the philosopher’s table: (...) “an assumed background on which one writes.” Like other instruments standard to Western art music, the piano was designed to facilitate the production of a consistent and refined timbre. More than most other such instruments, the piano also facilitated a kind of sonic neutrality. With its wide pitch range and smoothing of the percussive attack of its predecessor instruments, the piano presented composers with a technological means of approaching composition from a seemingly objective vantage point. It exemplified, in Heideggerian terms, the instrumentality of the instrument, serving as a mediator between idea and expression that apparently adds no character of its own. -/- This notion of the invisibility, or transparency, of the mediations that musical technologies such as the piano enact is one of my areas of concern here. So too is its inverse: when these mediations become visible or opaque. Transparency has been a topic of significant recent theoretical attention. Stefanos Geroulanos, for example, has detailed how the supposed transparency of intersubjective, epistemological, and social relations was a major point of critique in postwar French thought, where the supposition of transparency was taken to suppress how the world was “complex, layered, structured, filled with heterogeneity” – and, as I will stress here, contingency. The thinkers Geroulanos considers, from Jean-Paul Sartre through to Jean-François Lyotard, can be said to be united in their refusal to invisibilise mediatedness. From a starting point of conceiving of the piano as a technological artifact, and in particular from John Cage’s ‘prepared piano,’ I will explore how a similar concern has appeared in musical contexts, albeit not without the risk of reversion back into a logic of transparency. (shrink)

This paper concerns Plato’s characterization of the body as the soul’s tool. I take perception as an example of the body’s usefulness. I explore the Timaeus’ view that perception provides us with models of orderliness. Then, I argue that perception of confusing sensible objects is necessary for our cognitive development too. Lastly, I consider the instrumentality relationship more generally and its place in Plato’s teleological worldview.

I argue that Plato believes that the soul must be both the principle of motion and the subject of cognition because it moves things specifically by means of its thoughts. I begin by arguing that the soul moves things by means of such acts as examination and deliberation, and that this view is developed in response to Anaxagoras. I then argue that every kind of soul enjoys a kind of cognition, with even plant souls having a form of Aristotelian discrimination (...) (krisis), and that there is therefore no completely unintelligent, evil soul in the cosmos that can explain disorderly motions; as a result, the soul is not the principle of all motion but only motion in the cosmos after it has been ordered by the Demiurge. (shrink)

I argue that Plato thinks that the soul has location, surface, depth, and extension, and that the Timaeus’ composition of the soul out of eight circles is intended literally. A novel contribution is the development of an account of corporeality that denies the entailment that the soul is corporeal. I conclude by examining Aristotle’s objection to the Timaeus’ psychology and then the intellectual history of this reading of Plato.

This article evaluates the theoretical and practical grounds of recent debates around Christoph Cox’s realist project of a ‘sonic materialism’ by returning to Gilles Deleuze, a key theoretical resource for Cox. It argues that a close engagement with Deleuze’s work in fact challenges many of the precepts of Cox’s sonic materialism, and suggests a rethinking of materialism in the context of music. Turning to some aspects of Deleuze’s work neglected by Cox, the ‘realist’ ontological inquiry Cox affirms is challenged through (...) the ‘onto-ethology’ that Deleuze and Félix Guattari develop in their A Thousand Plateaus, with this diversely constructive theory of relations explicated through musical examples from John Cage and Pauline Oliveros. To conclude, this article suggests that Deleuze can indeed be understood as subscribing to a materialism, but a materialism that is practical rather than doctrinal. (shrink)

Hume describes his own “open, social, and cheerful humour” as “a turn of mind which it is more happy to possess, than to be born to an estate of ten thousand a year.” Why does he value a cheerful character so highly? I argue that, for Hume, cheerfulness has two aspects—one manifests as mirth in social situations, and the other as steadfastness against life’s misfortunes. This second aspect is of special interest to Hume in that it safeguards the other virtues. (...) And its connection with the first aspect helps explain how it differs from Stoic tranquility. For Hume, I argue, philosophy has a modest role in promoting human happiness by preserving cheerfulness. (shrink)

Veblen's concept of conspicuous consumption, although widely known and commonly invoked, has rarely been examined critically; the associated "theory" has never been tested. It is suggested that the reason for this lies in the difficulty of determining the criterion that defines the phenomenon, a difficulty that derives from Veblen's failure to integrate two contrasting conceptual formulations. These are, first, an interpretive or subjective version that conceives of conspicuous consumption as action marked by the presence of certain intentions, purposes, or motives, (...) and second, a functionalist formulation in which conspicuous consumption is viewed as a form of behavior characterized by particular end results or outcomes. Consideration of each of these strands reveals major difficulties that prevent the construction of an operational definition of conspicuous consumption and hence the extraction of a workable theory from Veblen's discussion. (shrink)

The counterfactual account of physical computation is simple and, for the most part, very attractive. However, it is usually thought to trivialize the notion of physical computation insofar as it implies ‘limited pancomputationalism’, this being the doctrine that every deterministic physical system computes some function. Should we bite the bullet and accept limited pancomputationalism, or reject the counterfactual account as untenable? Jack Copeland would have us do neither of the above. He attempts to thread a path between the two horns (...) of the dilemma by buttressing the counterfactual account with extra conditions intended to block certain classes of deterministic physical systems from qualifying as physical computers. His theory is called the ‘algorithm execution account’. Here we show that the algorithm execution account entails limited pancomputationalism, despite Copeland’s argument to the contrary. We suggest, partly on this basis, that the counterfactual account should be accepted as it stands, pancomputationalist warts and all. (shrink)

Nietzsche's writing style is designed to elicit affective responses in his readers. Humour is one of the most common means by which he attempts to engage his readers' affects. In this article, I explain how and why Nietzsche uses humour to achieve his philosophical ends. The article has three parts. In part 1, I reject interpretations of Nietzsche's humour on which he engages in self‐parody in order to mitigate the charge of decadence or dogmatism by undermining his own philosophical authority. (...) In part 2, I look at how Nietzsche uses humour and laughter as a critical tool in his polemic against traditional morality. I argue that one important way in which Nietzsche uses humour is as a vehicle for enhancing the effectiveness of his ad hominem arguments. In part 3, I show how Nietzsche exploits humour's social dimension in order to find and cultivate what he sees as the right kinds of readers for his works. (shrink)

Many parents cite intimacy as one of their reasons for deciding to educate at home. It seems intuitively obvious that home education is conducive to intimacy because of the increased time families spend together. Yet what is not clear is whether intimacy can provide justification for one’s decision to home educate. To see whether this is so, we introduce the concept of ‘attentive parenting’, which encompasses a set of family characteristics, and we examine whether and under what conditions attentive parents (...) risk loss of intimacy by sending their children to school; or, alternatively, whether they can avoid this risk by educating children at home. What we will determine is whether families who exhibit the specified characteristics are prima facie justified in educating their children at home under the conditions of interest. We argue that, for attentive parents, home education not only promotes greater intimacy, but also provides insurance against the loss of intimacy that may occur under certain conditions when children attend schools. (shrink)

Kierkegaard’s ideal supports a radical form of “deep diversity,” to use Charles Taylor’s expression. It is radical because it embraces not only irreducible conceptions of the good but also incompatible ones. This is due to its paradoxical nature, which arises from its affirmation of both monism and pluralism, the One and the Many, together. It does so in at least three ways. First, in terms of the structure of the self, Kierkegaard describes his ideal as both unified (the “positive (...) third”) and plural (a “negative unity”). Second, he affirms a process which brings together unity, as implied by the linear notion of “stages”, with plurality, in the form of “spheres of existence” (aesthetic, ethical, and religious). And third, the culmination of the process implies that we should embrace both a unified dialectic (“Religiousness A”) alongside the plural remnants of the ethical/aesthetic, that is, both the infinity of the former and the finitudes of the latter. Unsurprisingly, while Kierkegaard describes those who are able to exemplify his ideal in practice as “always joyful,” he also considers the ideal to be “extremely hard, the hardest task of all.” This is why those such as Hubert L. Dreyfus are wrong to claim that it provides an experience of bliss; on the contrary, those who realize it “are always in danger.” As I shall show, one form this danger takes is that it threatens to dirty the hands of those who manage to uphold Kierkegaard’s ideal. Moreover, it does so in ways that, I claim, tend to be missed by Kierkegaard himself. Nevertheless, the danger is also essential to the creativity of his approach, and I conclude by pointing out how this creativity makes it capable of tackling one of the profoundest challenges in contemporary ethics: that arising from what just war theorists call a “supreme emergency.” . (shrink)

This article reconstructs Gilles Deleuze’s engagement with phenomenology, and with the phenomenological problematic of sensation, in his Francis Bacon: The Logic of Sensation. Considering Deleuze’s adoption, from the phenomenology of art, of notions of sensation and rhythm, it examines how Deleuze complexifies these phenomenological notions by aligning them with his profoundly non-phenomenological notion of the body without organs, as well as with the concepts of modulation and the diagram. In mapping Deleuze’s complexification of rhythm and his development of a logic (...) of rhythmic modulation, this article shows how Deleuze immanently refines an approach to working beyond phenomenology, through phenomenology. (shrink)

Rhythm is generally taken to refer to a temporal pattern of events. Yet in recent years, across diverse fields in the arts, humanities, and social sciences, it has come to serve as the conceptual marker for a wide range of new approaches to understanding relations and relationality, following most explicitly from the late work of Henri Lefebvre. This article explores the temporal aspect of such relational thinking, in particular asking how time is implicated in relations, and how it can be (...) meaningful in those relations. The sense of time is surveyed from the perspectives of both cognition and metaphysics as well as with reference to music scholarship and social theory, and key threads are drawn, from the writings of Gaston Bachelard and Charles Sanders Peirce in particular, in order to suggest that time can be a sign, and that the signifying properties of rhythm have critical social consequences. (shrink)

In this article, I make the case for the continued relevance of Plato’s Timaeus. I begin by sketching Allan Bloom’s picture of the natural sciences today in The Closing of the American Mind, according to which the natural sciences are, objectionably, increasingly specialized and have ejected humans qua humans from their purview. I argue that Plato’s Timaeus, despite the falsity of virtually all of its scientific claims, provides a model for how we can pursue scientific questions in a comprehensive way (...) that stresses their connections to other disciplines, including the humanities, and that puts humanity qua humanity back in the picture. I then argue that being led by Plato’s philosophy to return humanity conceptually to the natural world can improve our thinking regarding climate change and other important environmental crises. (shrink)

In this essay we will take the American experimental composer John Cage’s understanding of sound as the starting point for an evaluation of that term in the field of sound studies. Drawing together two of the most influential figures in the field, Cage’s thought and work will serve as a lens through which to engage with recent debate concerning the uptake in sound studies of the philosophy of Gilles Deleuze. In so doing we will attempt to develop a path between (...) conflicting sides of sound studies, putting forward an understanding of sound that presents it not as an uninterrogated ontological essence, nor as only a term in a discursive web, but as a problem which must be repeatedly posed anew. We will consider points where this may yet be pushed towards a reified, essentialized understanding of the nature of sound, but move to offset this by emphasizing the production of a practical process of learning and experimentation. (shrink)

Kierkegaard’s ideal supports a radical form of “deep diversity,” to use Charles Taylor’s expression. It is radical because it embraces not only irreducible conceptions of the good but also incompatible ones. This is due to its paradoxical nature, which arises from its affirmation of both monism and pluralism, the One and the Many, together. It does so in at least three ways. First, in terms of the structure of the self, Kierkegaard describes his ideal as both unified (the “positive (...) third”) and plural (a “negative unity”). Second, he affirms a process which brings together unity, as implied by the linear notion of “stages”, with plurality, in the form of “spheres of existence” (aesthetic, ethical, and religious). And third, the culmination of the process implies that we should embrace both a unified dialectic (“Religiousness A”) alongside the plural remnants of the ethical/aesthetic, that is, both the infinity of the former and the finitudes of the latter. Unsurprisingly, while Kierkegaard describes those who are able to exemplify his ideal in practice as “always joyful,” he also considers the ideal to be “extremely hard, the hardest task of all.” This is why those such as Hubert L. Dreyfus are wrong to claim that it provides an experience of bliss; on the contrary, those who realize it “are always in danger.” As I shall show, one form this danger takes is that it threatens to dirty the hands of those who manage to uphold Kierkegaard’s ideal. Moreover, it does so in ways that, I claim, tend to be missed by Kierkegaard himself. Nevertheless, the danger is also essential to the creativity of his approach, and I conclude by pointing out how this creativity makes it capable of tackling one of the profoundest challenges in contemporary ethics: that arising from what just war theorists call a “supreme emergency.”. (shrink)

In this paper Peirce's notion of sign is studied to try to characterize the artistic sign as representation. Then, some considerations about the work of art as a sign are developed involving three elements: experience, expression and interpretation. Finally it is concluded that beauty requires for Peirce a peculiar balance, the imaginative conjunction of the sensible and the reasonable in an artistic sign; it requires moreover the expression of something that transcends the sensible; it requires, as a sign, an interpretation (...) which is not exact and which implies growth. It requires, finally, love, because an artist will only reach beauty guided by agape updating and harmonizing possibilities through abduction, that is, creating new signs that give form to what does not have it; the artist only reaches beauty when he loves what he does and when he can express himself freely. -/- En este artículo se estudia, en primer lugar, la noción de signo de Peirce para tratar de caracterizar después el signo artístico como representación. Se desarrollan enseguida algunas consideraciones sobre la obra de arte como signo que como tal conlleva tres elementos: experiencia, expresión e interpretación. Finalmente se concluye que la belleza requiere para Peirce un peculiar equilibrio, la conjunción imaginativa de lo sensible y lo razonable en un signo artístico; requiere además la expresión de algo que trasciende lo sensible; requiere, en tanto signo, de una interpretación que no es exacta y que implica crecimiento. Requiere, por último, amor, pues el artista solo alcanzará lo bello cuando sea guiado por el ágape y a través de la abducción vaya actualizando y armonizando posibilidades, creando nuevos signos que den forma a lo que no la tiene, cuando ame lo que hace y se exprese libremente. (shrink)

My aim here is to make sense of Plato's account of desire in the middle dialogues. To do that I need to unify or reconcile what are at first sight two quite different accounts: the doctrine of eros in the Symposium and the tripartite theory of motivation in the Republic. It may be that the two theories are after all irreconcilable, that Plato simply changed his mind on the nature of human desire after writing the Symposium and before composing the (...) Republic. But that conclusion can be justified only if attempts to reconcile the two theories end in failure. The attempt must be made first. (shrink)

Famous examples of conceivability arguments include (i) Descartes’ argument for mind-body dualism, (ii) Kripke's ‘modal argument’ against psychophysical identity theory, (iii) Chalmers’ ‘zombie argument’ against materialism, and (iv) modal versions of the ontological argument for theism. In this paper, we show that for any such conceivability argument, C, there is a corresponding ‘mirror argument’, M. M is deductively valid and has a conclusion that contradicts C's conclusion. Hence, a proponent of C—henceforth, a ‘conceivabilist’—can be warranted in holding that C's premises (...) are conjointly true only if she can find fault with one of M's premises. But M's premises are modelled on a pair of C's premises. The same reasoning that supports the latter supports the former. For this reason, a conceivabilist can repudiate M's premises only on pain of severely undermining C's premises. We conclude on this basis that all conceivability arguments, including each of (i)–(iv), are fallacious. (shrink)

There are a bewildering variety of claims connecting Darwin to nineteenth-century philosophy of science—including to Herschel, Whewell, Lyell, German Romanticism, Comte, and others. I argue here that Herschel’s influence on Darwin is undeniable. The form of this influence, however, is often misunderstood. Darwin was not merely taking the concept of “analogy” from Herschel, nor was he combining such an analogy with a consilience as argued for by Whewell. On the contrary, Darwin’s Origin is written in precisely the manner that one (...) would expect were Darwin attempting to model his work on the precepts found in Herschel’s Preliminary Discourse on Natural Science. While Hodge has worked out a careful interpretation of both Darwin and Herschel, drawing similar conclusions, his interpretation misreads Herschel’s use of the vera causa principle and the verification of hypotheses. The new reading that I present here resolves this trouble, combining Hodge’s careful treatment of the structure of the Origin with a more cautious understanding of Herschel’s philosophy of science. This interpretation lets us understand why Darwin laid out the Origin in the way that he did and also why Herschel so strongly disagreed, including in Herschel’s heretofore unanalyzed marginalia in his copy of Darwin’s book. (shrink)

Atwater v. Lago Vista is a stand-alone case in Fourth Amendment jurisprudence. Often basic Fourth Amendment jurisprudence builds off other case law. There is a clear buildup regarding the exclusionary rule from Weeks v. United States (1914) to Silverthorne Lumber Co. v. United States (1920) to the expansion of “the fruit of the poisonous tree” doctrine to Mapp v. Ohio (1961) incorporating U.S. Constitution the Fourth Amendment to the states. -/- Likewise, there are cases building up from the incorporation into (...) the states from United States v. Leon (1984) to Arizona v. Evans (1995), expanding Fourth Amendment case law and rights. The cavalcade of these cases somewhat plays a ballet of expanding and contracting the rights in certain circumstances. But the rights build off and limit each other in a cognizable method. -/- Atwater v. Lago Vista is not based on such a cavalcade of cases. It is a stand-alone case at best citing 1600s case law, norms, and rules from before the founding of the United States. Granted, the United States adopted much of the English jurisprudence in the founding of the United States. (shrink)

In this article I address some questions concerning the emerging conjunction of musical research on improvisation and work in the ‘posthumanities’, in particular the theoretical results of the ‘ontological turn’ in the humanities. Engaging with the work of the composer John Cage, and George E. Lewis’s framing of Cage’s performative indeterminacy as a ‘Eurological’ practice that excludes ‘Afrological’ jazz improvisation, I examine how critical discourse on Cage and his conception of sound is relevant to the improvisation-posthumanities conjunction. After discussing some (...) criticisms of ontological and materialist approaches to sound, I consider the Actor-Network Theory (ANT) of Bruno Latour, posed as offering an alternative to these approaches. Following an examination of some limitations to ANT based around the themes of critique and abstraction, I draw from the work of Gilles Deleuze and Georgina Born to suggest that work on improvisation and the posthumanities may be fruitful, but must be part of a pluralistic mode of inquiry that does not reject critique and abstraction, as some work in the posthumanities has done. (shrink)

In this paper I consider Kendall Walton’s provocative views on the visual arts, including his approaches to understanding both figurative and nonfigurative painting. I introduce his central notion of fictionality, illustrating its advantages in explaining the phenomenon of ‘perceptual twofoldness’. I argue that Walton’s position treats abstract artwork reductively, and I outline two essential components of our aesthetic encounters with the nonfigurative that Walton excludes. I then offer some criticisms of his commitment to photographic realism, emphasising its theoretical inconsistencies with (...) his account of representation. My own proposal is that in our apprehension of non-figurative artworks, our attention is drawn to the underlying structures of both emotive and perceptual experience. In this way, paintings, particularly abstract ones, disclose human cognition in a manner that makes fictionality an inappropriate tool for their analysis. (shrink)

This paper is concerned with the aesthetic and discursive gap between music and contemporary art, and the recent attempts to remedy this in the field of New Music through a notion of “New Conceptualism.” It examines why, despite musical sources being central to the emergence of conceptual artistic strategies in the 1950s and ’60s, the worlds of an increasingly transmedial “generic art” and music have remained largely distinct. While it takes New Music’s New Conceptualism as its focus, it argues that (...) the perspective on New Music it takes has wider implications in music and art. It begins by defining what exactly “New Music” refers to, and outlines some of the conditions for the recent rise of conceptualism in New Music. It then takes the work of the composer Johannes Kreidler as a key example of some artistic tendencies and theoretical presuppositions in New Conceptualism. Following this it draws on work in the field of sound studies in order to critically examine the theoretical attempt to connect New Music with contemporary art that is found in the notion of “Music in the Expanded Field.” To conclude it offers some reflections on how a more robust conversation between contemporary art and New Music can begin to be conceived. (shrink)

Hannah Arendt’s politics is aesthetic rather than practical, motivated by enjoyment rather than well-being, and so it should be rejected. I begin with an account of aestheticism as the doctrine according to which seemingly non-aesthetic things are actually aesthetic, parts of a whole dimension of reality that we might simply call “the aesthetic.” We access it by taking a disinterested attitude, one that affirms things for their own sakes, and there are four ways of doing this: disinterested appreciating (e.g., of (...) beautiful art), fun playing, fantasizing, and putting on shows or spectacles. While Arendt’s politics takes a classical republican form that is like a competitive game, an analysis of her conceptions of acting and judging reveals that the modes of disinterested showing and appreciating are also present. Her philosophy has another motivation, however, alongside enjoying the aesthetic: the need to escape the reality of evil. (shrink)

Hume describes skeptical philosophy as having a variety of desirable effects. It can counteract dogmatism, produce just reasoning, and promote social cohesion. When discussing how skepticism may achieve these effects, Hume typically appeals to its effects on pride. I explain how, for Hume, skeptical philosophy acts on pride and how acting on pride produces the desirable effects. Understanding these mechanisms, I argue, sheds light on how, why, when, and for whom skeptical philosophy can be useful. It also illuminates the value (...) of skeptical philosophy for a humanistic education, giving us a reason to include Hume in curricula. (shrink)

In this article we wish to share the work in which the Group of Peirce Studies of the University of Navarra has been involved since 2007: the study of a very interesting part of the extensive correspondence of Charles S. Peirce, specifically, his European letters. Peirce wrote some of these letters over the course of his five trips to Europe (between 1870 and 1883), and wrote others to the many European scientists and intellectuals he communicated with over the course (...) of his life. The translation of those letters has been an excellent practical example of the creative and abductive nature of translation, as well as of the cooperative character of research. Translating Peirce's letters has allowed us a deep study of some theoretical aspects, and at the same time it has permitted us to work creatively and cooperatively to enrich the common vision of this scientist and philosopher. (shrink)

In this chapter I look at some questions around the notion of experimentation in philosophy, science, and the arts, through the thought of Gaston Bachelard and Gilles Deleuze. My argument is articulated around three areas of enquiry – Bachelard’s work on the experimental sciences, Deleuze’s notion of philosophy as an experimental practice, and recent musicological debate around the practical and political stakes of the term ‘experimental music’. By drawing together these three senses of experimentation, I test the possibilities of understanding (...) experimentation as a transdisciplinary concept and/or method. I develop a notion of experimentation as open, fluid, and non-hierarchical, but also consider points where such an idea is short-circuited by the reassertion of disciplinary closure and more top-down forms of method. My frame for discussing this question is a commonly posited distinction between the experiment and the experimental. Here the experiment is something like a controlled and closed environment in which a privileged observer tests predefined hypotheses, while the experimental concerns attempts to relinquish such control and to produce contexts in which the unknown and the unexpected can arise. By turning to Bachelard’s studies of the practice of science, I will question the common conception of a disciplinary split between the experiments of science and experimental art, showing both how such a distinction cannot be so neat and how these terms are often not easily separable. Putting this notion into conjunction with recent critical discourse on experimentation in music, namely regarding the kinds of exclusions and closures that the term ‘experimental music’ has produced, and with Deleuze’s criticisms of scientific method as well as the apparent disciplinary closure of his transdisciplinary project that is present and his and Félix Guattari’s final work, What is Philosophy?, I argue that refining our understanding of experimentation as a pluralistic and fragile concept will help us engage with the difficulties raised in these fields. More generally I point towards a project of mapping out the diverse and divergent relations that a transdisciplinary understanding of experimentation may draw between philosophy, science, and art. (shrink)

The inclusion of De astrologia in the Lucianic corpus has been disputed for centuries since it appears to defend astrological practices that Lucian elsewhere undercuts. This paper argues for Lucian’s authorship by illustrating its masterful subversion of a captatio benevolentiae and subtle rejection of Stoic astrological practices. The narrator begins the text by blaming phony astrologers and their erroneous predictions for inciting others to “denounce the stars and hate astrology” (ἄστρων τε κατηγοροῦσιν καὶ αὐτὴν ἀστρολογίην μισέουσιν, 2). The narrator assures (...) readers that he, the knowledgeable astrologer, will correct for the “stupidity and laziness” (ἀμαθίῃ καὶ ῥαθυμίῃ, ibid.) that bring about false predictions. The narrator’s credibility quickly decays when he attempts to recast Orpheus, Bellerophon, Icarus, Daedalus, and a host of other mythological figures as Greek astrologers. Lucian’s audience would expect such far-fetched interpretations of myth from the stereotypical Stoic philosopher, a character lampooned elsewhere in the Lucianic corpus. (shrink)

The current standard interpretation of Moore’s proof assumes Moore offers a solution to Kant’s famously posed problem of an external world, which Moore quotes at the start of his 1939 lecture “Proof of an External World.” As a solution to Kant’s problem, Moore’s proof fails utterly. Similarly, a second received interpretation imputes an aim of refuting metaphysical idealism that Moore’s proof does not at all achieve. This study departs from the received interpretations to credit Moore’s stated aim for the proof (...) Moore performed in his 1939 lecture that is to impose a counter-example to an explicitly stated presupposition of Kant’s famously posed problem of an external world. The outcome would therefore subvert Kant’s problem. There is not, however, any rival external world problem that Moore commends in place of Kant’s problem. (shrink)

The current standard interpretation of Moore’s proof assumes he offers a solution to Kant’s famously posed problem of an external world, which Moore quotes at the start of his 1939 lecture “Proof of an External World.” As a solution to Kant’s problem, Moore’s proof would fail utterly. A second received interpretation imputes an aim of refuting metaphysical idealism that Moore’s proof does not at all achieve. This study departs from received interpretations to credit the aim Moore announced for the proof (...) Moore performed in his 1939 lecture. Moore’s aim was to impose a counter-example to a stated presupposition of Kant’s problem of an external world. Moore’s lecture nevertheless neither endorses a replacement for Kant’s problem nor acknowledges that an immediate implication of achieving his announced aim would subvert Kant’s famously posed problem of an external world. (shrink)

Charles Taylor defines `hypergoods' as the fundamental, architechtonic goods that serve as the basis of our moral frameworks. He also believes that, in principle, we can use reason to reconcile the conflicts that hypergoods engender. This belief, however, relies upon a misindentification of hypergoods as goods rather than as works of art, an error which is itself a result of an overly adversarial conception of practical reason. For Taylor fails to distinguish enough between ethical conflicts and those relating to (...) the religio-aesthetic domain. A proper identification of hypergoods as aesthetic, moreover, requires us to revise his accounts of ordinary life, of evil and of the controversy over university curricula. (shrink)

This paper considers the role of myth and phenomenology in Pierre Schaeffer’s research into music and sound, and argues that engagement with these themes allows us to rethink the legacy and contemporary value of Schaeffer’s thought in sound studies. In light of critique of Schaeffer’s project, in particular that developed by Brian Kane and Schaeffer’s own apparent self-disavowal, this paper returns to Schaeffer’s early remarks on the “myth of the seashell” in order to examine the conditions of this critique. While (...) Kane argues that Schaeffer’s recourse to myth, coupled with his adoption of Husserlian phenomenology, leads to a closure of his inquiry and a failure to accommodate the contingency of his position, this paper argues that Schaeffer’s myth of the seashell brings into focus an open-ended, motivating phenomenological problem concerning subjectivity and objectivity that runs through his thought. Drawing on the philosophical work of Gaston Bachelard and Gilles Deleuze, this paper considers the epistemological significance of this moment in Schaeffer’s thought, suggesting a “problematic” account of the myth of the seashell that puts Schaeffer into conversation with contemporary work in epistemology. (shrink)

This article is concerned with the status and stakes of Gilles Deleuze’s “break” with structuralism. With a particular focus on a transitional text of Deleuze, the 1967/1972 article “How Do We Recognize Structuralism?,” it asks how Deleuze understood structuralism and why, after his encounter with Félix Guattari and Guattari’s own transitional text, 1969’s “Machine and Structure,” Deleuze felt the need to break with structuralism. It argues that reading these two texts together allows us to see that Deleuze already perceived tensions (...) within the structuralist project, and argues that Guattari’s non-structural account of the machine allowed Deleuze to clarify this perception, and see it as necessitating a departure from structuralism. To close, however, it turns to recent work by philosophers such as Étienne Balibar and Patrice Maniglier that re-examines the structuralist moment and identifies an ongoing legacy that the “poststructuralism” of Deleuze and Guattari may be part of. By considering Deleuze and Guattari’s break with structuralism in light of this work, this article considers how the polemical rejection of structuralism by Deleuze and Guattari may not fully account for the ongoing legacy of the structuralist program and the persistence of a structuralist problematic in their thought. (shrink)

Frank Snare had a puzzle. Noncognitivism implies No-Ought-From-Is but No- Ought-From-Is does not imply non-cognitivism. How then can we derive non-cognitivism from No-Ought-From-Is? Via an abductive argument. If we combine non-cognitivism with the conservativeness of logic (the idea that in a valid argument the conclusion is contained in the premises), this implies No-Ought-From-Is. Hence if No-Ought-From-Is is true, we can arrive at non-cognitivism via an inference to the best explanation. With prescriptivism we can make this argument more precise. I develop (...) an account of imperative consequence that underwrites Hare’s principle that you cannot derive imperatives from indicatives. Thus if moral judgments contain an imperative component, it will be impossible to derive moral conclusions from indicative or non-moral premises. Given this account of imperative consequence, we can explain No-Ought-From-Is without appealing to anything as nebulous as the conservativeness of logic. Hence if No-Ought-From-Is is true, we have an inference to the best explanation for prescriptivism. Both lines of argument face problems from Prior. Given Prior’s counterexamples, No-Ought-From-Is as originally conceived is false. The version that survives is No-Non-Vacuous-Ought-From-Is. But the best explanation of this does not include non-cognitivism. With prescriptivism it is worse. For the version of No-Ought-From-Is that prescriptivism ‘explains’ – that is, the version of No-Ought-From-Is that prescriptivism implies – would exclude Prior’s counter-examples to Autonomy as invalid. But they are not invalid. Thus Prior’s counter-examples to No-Ought-From- Is refute prescriptivism. Thus from 1960 onwards R. M.Hare was a dead philosopher walking. But if non-cognitivism cannot be derived from No-Ought-From-Is, this suggests that it is not what Hume was trying to prove. I argue that what Hume was trying to prove is that moral truths are not demonstrable. To be demonstrable, a proposition must be either self-evident or logically derivable from self-evident propositions. By Treatise 3.1.1.27, Hume had proved to his own satisfaction that no moral propositions are self-evident. That leaves open the possibility that they are logically derivable from self-evident but NON-moral propositions. The point of No-Ought-From-Is was to exclude this possibility. If you cannot logically derive moral conclusions from non-moral premises, you cannot demonstrate the truths of morality by deriving them from self-evident but NON-moral truths. I also discuss why Hume abandoned No-Ought-From-Is in the EPM. He had no need of it since he thought he had a proof that (with some exceptions) no nontrivial truths are demonstrable. Hence no non-trivial MORAL truths are demonstrable. No-Ought-From-Is drops out as unnecessary. (shrink)

Despite his position as one of the first philosophers to write in the “post- Darwinian” world, the critique of Darwin by Friedrich Nietzsche is often ignored for a host of unsatisfactory reasons. I argue that Nietzsche’s critique of Darwin is important to the study of both Nietzsche’s and Darwin’s impact on philosophy. Further, I show that the central claims of Nietzsche’s critique have been broadly misunderstood. I then present a new reading of Nietzsche’s core criticism of Darwin. An important part (...) of Nietzsche’s response can best be understood as an aesthetic critique of Darwin, reacting to what he saw as Darwin having drained life of an essential component of objective aesthetic value. For Nietzsche, Darwin’s theory is false because it is too intellectual, because it searches for rules, regulations, and uniformity in a realm where none of these are to be found – and, moreover, where they should not be found. Such a reading goes furthest toward making Nietzsche’s criticism substantive and relevant. Finally, I attempt to relate this novel explanation of Nietzsche’s critique to topics in contemporary philosophy of biology, particularly work on the evolutionary explanation of culture. (shrink)

Recently, Charles Goldhaber (2019) has argued that Tyler Burge’s (2005, 2010, 2011) arguments against disjunctivism in the philosophy of perception fail when juxtaposed with the literature in perceptual psychology. In addition, Goldhaber traces Burge’s motives for dismissing disjunctivism: his underlying theoretical assumptions vis-à-vis human rationality virtually force him to maintain that there is a genuine inconsistency between disjunctivism and perceptual psychology. While Goldhaber aims to defend epistemological disjunctivism à la John McDowell, my concern will be the other target of (...) Burge’s attack, namely John Campbell’s (2002a, 2002b, 2011a) relationism. I will reexamine the Burge/Campbell debate concerning the role of perceptual psychology in theorizing about the nature of perception and the status of perceptual beliefs so that I can support Goldhaber’s stance that Burge’s plan to put the kibosh on disjunctivism backfires in the end. Finally, by using the challenge of cognitive penetrability, I show how Burge’s argumentation strategy can be turned against him. (shrink)

The ninth and tenth chapters of the Origin mark a profound, if perhaps difficult to detect, shift in the book’s argumentative structure. In the previous few chapters and in the ninth, Darwin has been exploring a variety of objections to natural selection, some more obvious (where are all the fossils of transitional forms?) and some showing careful attention to challenging consequences of evolution (could selection really produce instincts?). Starting in the tenth, however, Darwin turns to showing us what kinds of (...) new and unexpected results evolutionary theory might be able to offer us, again in domains both predictable (extinction) and unexpected (biogeography, embryology). It is notable that it is the fossil record that serves as this pivot point, being both a source of potentially powerful objections to evolutionary theory and home to some of its most compelling new explanations. In this chapter, I present both sets of arguments and consider what role Darwin gave to fossil evidence, in the process attempting to discover why it might have played this unique role in two different parts of Darwin’s “long argument” for evolution by natural selection. Geology’s special place, I argue, derives at least in part from its particular importance in Darwin’s social and intellectual context. (shrink)

In this article, I approach some phenomena seen predominantly on social-media sites that are grouped together as cancel culture with guidance from two major themes in Plato’s thought. In the first section, I argue that shame can play a constructive and valuable role in a person’s improvement, just as we see Socrates throughout Plato’s dialogues use shame to help his interlocutors improve. This insight can help us understand the value of shaming people online for, among other things, their morally reprehensible (...) views. In the second section, I argue that it is required for the proper functioning of democratic institutions that some views be excluded from the public sphere, which follows some Platonic ideas from the Laws. In neither case do I argue that this approach is good in an unqualified sense or even ultima facie good. However, I maintain that these important insights from Plato’s dialogues illuminate crucial aspects of how we should think about cancel culture. (shrink)

A brief history of the reception of Charles S. Peirce in the city of Tucuman in the North of Argentina is described with some detail: 1) Courses and lectures; 2) Publications.

Denis Diderot’s natural philosophy is deeply and centrally ‘biologistic’: as it emerges between the 1740s and 1780s, thus right before the appearance of the term ‘biology’ as a way of designating a unified science of life (McLaughlin), his project is motivated by the desire both to understand the laws governing organic beings and to emphasize, more ‘philosophically’, the uniqueness of organic beings within the physical world as a whole. This is apparent both in the metaphysics of vital matter he puts (...) forth in works such as D’Alembert’s Dream (1769) and the more empirical concern with the mechanics of life in his manuscript Elements of Physiology, on which he worked during the last twenty years of his life. This ‘biologism’ obviously presents the interpreter of Diderot with some difficulties, notably as regards his materialism, given that contemporary forms of materialism have on the contrary strongly rejected notions of emergence, vitalism, teleology and any concepts appealing to unique, irreducible features of organisms. In response, some have described him as a ‘holist’ (Kaitaro) while others have emphasized his materialist, naturalist project (Bourdin, Wolfe). In what follows I examine a little-known aspect of Diderot’s articulation of his biological project: his statement in favour of epigenesis within the short but suggestive Encyclopédie article “Spinosiste.” Diderot was, of course, a partisan of epigenesis (the developmental-biological theory opposed to preformation, according to which beings develop by successive adjunction of layers of matter), but why include a statement in favour of a particular biological (or developmental) theory within an entry dealing with a philosopher, Spinoza, who does not seem to have been concerned at all with the specific properties of living beings, how they grow from embryonic to developed states, and so on? By trying to answer this question I also try and locate Diderot’s biological project in relation to what will become, in the years after his death, the project for a science called ‘biology’, with figures such as Treviranus and Lamarck. For it is not clear that the two can be easily correlated or causally linked: Diderot’s ‘epigenetic Spinozism’ is a different conceptual entity from what we find in histories of biology. (shrink)