Hume establishes a link between our capacity to conceive or form “clear and distinct ideas” and metaphysical possibility. Hume’s so-called Conceivability Principle is usually assumed to be epistemic: conceivability is supposed to inform us of independent metaphysical facts. In this chapter, however, I argue that Hume is not engaged in modal epistemology. For Hume, there is no epistemic relation between conceivability and an independent metaphysical world of possibilities. On my reading, conceivability is more like the “mètre étalon” in Paris—the standard (...) unit of measurement of length—than a window or telescope into some metaphysical world. Conceivability is the standard of metaphysical possibility. And just as the meter is defined as a certain distance of light traveled, for Hume, conceivability is defined in terms of the liberty of the imagination. I discuss how Hume deploys conceivability along with knowledge—the standard of metaphysical necessity—as tools for measuring or assessing the alleged metaphysical necessity of a cause to every beginning of existence and the alleged rational foundation of causal inferences. (shrink)

Hume’s views concerning the existence of body or external objects are notoriously difficult and intractable. The paper sheds light on the concept of body in Hume’s Treatise by defending three theses. First, that Hume’s fundamental tenet that the only objects that are present to the mind are perceptions must be understood as methodological, rather than metaphysical or epistemological. Second, that Hume considers legitimate the fundamental assumption of natural philosophy that through experience and observation we know body. Third, that many of (...) the contradictions and difficulties that interpreters attribute to Hume’s concept of body should be attributed instead, as Hume does, to every system of philosophy. (shrink)

Hume appeals to a mysterious mental process to explain how to world appears to possess features that are not present in sense perceptions, namely causal, moral, and aesthetic properties. He famously writes that the mind spreads itself onto the external world, and that we stain or gild natural objects with our sentiments. Projectivism is founded on these texts but it assumes a reading of Hume’s language as merely metaphorical. This assumption, however, conflicts sharply with the important explanatory role that “spreading” (...) and “staining” are supposed to play, which, ironically, is the very appeal of Hume’s texts to projectivists. In this paper, I first consider the difficulties readers of Hume have encountered in their attempts to ascertain nature of the key psychological process. I then identify in Hume’s texts novel theoretical resources that allow Hume to produce a satisfying answer to the question of process, that is, an account of the precise nature of the key process. I offer this explanation assuming what I take to be Hume’s austere conception of the elements involved in the process: sense impressions and “internal impressions” lacking intrinsic intentionality. On my reading, the spreading process explains the gap between the meager input and the rich, novel output: causal, moral and aesthetic judgments. (shrink)

In the Introduction to the Treatise Hume very enthusiastically announces his project to provide a secure and solid foundation for the sciences by grounding them on his science of man. And Hume indicates in the Abstract that he carries out this project in the Treatise. But most interpreters do not believe that Hume's project comes to fruition. In this paper, I offer a general reading of what I call Hume's ‘foundational project’ in the Treatise, but I focus especially on Book (...) 1. I argue that in Book 1 much of Hume's logic is put in the service of the other sciences, in particular, mathematics and natural philosophy. I concentrate on Hume's negative thesis that many of the ideas central to the sciences are ideas that we cannot form. For Hume, this negative thesis has implications for the sciences, as many of the texts I discuss make evident. I consider and criticize different proposals for understanding these implications: the Criterion of Meaning and the ‘Inconceivability Principle’. I introduce what I call Hume's ‘No Reason to Believe’ Principle, which I argue captures more adequately the link Hume envisions between his logic, in particular his examination of ideas, and the other sciences. (shrink)

The paper addresses two difficulties that arise in Treatise 1.2.5. First, Hume appears to be inconsistent when he denies that we have an idea of a vacuum or empty space yet allows for the idea of an “invisible and intangible distance.” My solution to this difficulty is to develop the overlooked possibility that Hume does not take the invisible and intangible distance to be a distance at all. Second, although Hume denies that we have an idea of a vacuum, some (...) texts in Treatise 1.2.5 are taken by interpreters to suggest that Hume nonetheless believes that there are vacuums in nature. I discuss the relevant texts and defend the view that Hume does not in fact countenance belief in vacuums. I conclude by outlining an interpretation of Hume’s intention in the Treatise that allows us to understand his discussion of ideas as having implications for the sciences. (shrink)

What is the source of normativity in Hume’s account of causal reasoning? In virtue of what are causal beliefs justified for Hume? To answer these questions, the literature appeals, almost invariably, to custom or some feature thereof. I argue, in contrast, that causal beliefs are justified for Hume because they issue from experience. Although he denies experience the title of justifying reason, for Hume experience has normative authority. I offer an interpretation of the source and nature of the normativity of (...) experience in causal reasoning. I argue that the senses and memory have a special, positive status within the mind in virtue of their force and vivacity, which, on my reading, Hume identifies with a sense of presentness and a strong effect on the mind. Hume dignifies the system of memory and the senses with the title of reality because of these features. Causal beliefs are dignified as “realities” because they issue from reality. However, because the imagination can sometimes enhance the force and vivacity of ideas without the help of experience, Hume appeals to coherence and general rules as well. (shrink)

A reading of Hume's famous Conclusion to Book 1 of the Treatise.

Hume appeals to different kinds of certainties and necessities in the Treatise. He contrasts the certainty that arises from intuition and demonstrative reasoning with the certainty that arises from causal reasoning. He denies that the causal maxim is absolutely or metaphysically necessary, but he nonetheless takes the causal maxim and ‘proofs’ to be necessary. The focus of this paper is the certainty and necessity involved in Hume’s concept of knowledge. I defend the view that intuitive certainty, in particular, is certainty (...) of the invariability or necessity of relations between ideas. Against David Owen and Helen Beebee, I argue that the certainty involved in intuition depends on the activity of the mind. I argue, further, that understanding this activity helps us understand more clearly one of Hume’s most important theses, namely that experience is the source of a distinct kind of certainty and of necessity. (shrink)

The last few decades have witnessed intense debates in Hume scholarship concerning Hume’s account of causation. At the core of the “old–new Hume” debate is the question of whether causation for Hume is more than mere regularity, in particular, whether Hume countenances necessary connections in mind-independent nature. This chapter assesses this debate against the background of Hume’s “foundational project” in the Treatise. The question of the role and import of Hume’s account of the idea of cause is examined and compared (...) with Hume’s treatment of other ideas. (shrink)

In his discussion of our idea of time in the Treatise, Hume makes the perplexing claim that unchanging objects cannot be said to endure. While Hume is targeting the Newtonian conception of absolute time, it is not at all clear how his denial that unchanging objects are in time fits with this target. Moreover, Hume diagnoses our belief that unchanging objects endure as the product of a psychological fiction, but his account of this fiction is also riddled with puzzling claims (...) about our experience of unchanging objects. In this paper, we argue that Hume’s claims are a lot less baffling and indeed, much more sophisticated than they appear. We do so by considering his arguments as a response to Locke’s specific approach to the concept of absolute time. (shrink)

Edward Feser defends the ‘Neo-Platonic proof ’ for the existence of the God of classical theism. After articulating the argument and a number of preliminaries, I first argue that premise three of Feser’s argument—the causal principle that every composite object requires a sustaining efficient cause to combine its parts—is both unjustified and dialectically ill-situated. I then argue that the Neo-Platonic proof fails to deliver the mindedness of the absolutely simple being and instead militates against its mindedness. Finally, I uncover two (...) tensions between Trinitarianism and the Neo-Platonic proof. (shrink)

Interpreters have found it exceedingly difficult to understand how Hume could be right in claiming that his two definitions of ‘cause’ are essentially the same. As J. A. Robinson points out, the definitions do not even seem to be extensionally equivalent. Don Garrett offers an influential solution to this interpretative problem, one that attributes to Hume the reliance on an ideal observer. I argue that the theoretical need for an ideal observer stems from an idealized concept of definition, which many (...) interpreters, including Garrett, attribute to Hume. I argue that this idealized concept of definition indeed demands an unlimited or infinite ideal observer. But there is substantial textual evidence indicating that Hume disallows the employment of idealizations in general in the sciences. Thus Hume would reject the idealized concept of definition and its corresponding ideal observer. I then put forward an expert-relative reading of Hume’s definitions of ‘cause’, which also renders both definitions extensionally equivalent. On the expert-relative reading, the meaning of ‘cause’ changes with better observations and experiments, but it also allows Humean definitions to play important roles within our normative practices. Finally, I consider and reject Henry Allison’s argument that idealized definitions and their corresponding infinite minds are necessary for expert reflection on the limitations of current science. (shrink)

Living organisms are exposed to numerous influencing factors. This holds also true for their infrastructures that are processing and transducing information like endocrine networks or nerval channels. Therefore, the ability to compensate for noise is crucial for survival. An efficient mechanism to neutralise disturbances is instantiated in form of parallel complementary communication channels exerting antagonistic effects at their common receivers. Different signal processing types share the ability to suppress noise, to widen the system’s regulation capacity, and to provide for variable (...) gains while leaving the transferred signal to a large extent unchanged. (shrink)

Honors Research: PPE @ UPenn | This thesis seeks to address some of the most central questions to the fields of political philosophy and political economy. How can social order and government develop from anarchy under standard economic assumptions of rationality, where all agents act strictly in their own interests? What are the deontological limits to the State’s use of force such that political legitimacy is maintained, and how do these ethical boundaries of government relate to moral obligations conferred upon (...) individuals? Finally, what sets of policies and social institutions ought the State implement to achieve the best welfare outcomes for a society, and is there a necessary conflict between policy consequentialism and deontological ethics? This thesis will first show that a laissez-faire capitalist social order spontaneously emerges from the State of Nature as a result of mutual self-interest between rational agents, with the institution of government being a mere product of market forces that is best modeled as a locally-monopolized, excludable, collective entity with global competition. Then, this thesis will defend a theory of natural rights on the basis that persons are normatively separate, before establishing that laissez-faire capitalism and its contractual form of government are uniquely in compliance with these universal moral standards of conduct that predate the institution of any state. Finally, it will be argued in this thesis that the key tenets of laissez-faire capitalism - strong individual rights to life, liberty, and property - produce maximal human welfare from both individualist and collectivist aggregations, before such conclusions are translated into a foundation for limited government. These arguments serve to solidify libertarianism as both the dominant political philosophy and the globally convergent equilibrium of political organization, while also demonstrating that laissez-faire capitalism is the optimal form of social order. (shrink)

Stapp and others have proposed that reality involves a fundamental life process, or creative process. It is shown how this process description may be unified with the description that derives from quantum physics. The methods of the quantum physicist and of the biological sciences are seen to be two alternative approaches to the understanding of nature, involving two distinct modes of description which can usefully supplement each other, and neither on its own contains the full story. The unified view explains (...) the major features of quantum mechanics and suggests that biological systems may function more effectively than would be expected on the basis of quantum mechanics alone. (shrink)

Reading Tamás Demeter's recent book, "David Hume and the Culture of Scottish Newtonianism," feels like visiting a curiosity shop. There are some general themes that are meant to harmonize the work, such as the emphasis on the conceptual and methodological unity of natural and moral philosophy. This merging of cultures of inquiry is nicely illustrated with the case study of anger in the period. There is the main thesis: that Hume's science of mind was influenced, not as much by Newton's (...) Principia, as by Newton's Opticks. Newton's Opticks informs the "sciences of quality," such as chemistry and physiology in eighteenth-century Scotland, and then chemical and anatomical thinking makes its way to Hume's science of... (shrink)

One of the interpretive principles Jay Garfield follows in this book is the “cover principle”: “If you are unsure about what Hume is doing, close the book and read the cover”. The principle did not help when I was unsure about what Garfield was doing. The book starts with too many and incompatible goals. Garfield claims that book 2 of Hume’s Treatise is foundational to the entire Treatise and that “by taking Book II as foundational, we come to a reading (...) that reconciles Hume’s skepticism and his naturalism, and that the key to this reconciliation is his communitarianism”. But Garfield also insists that we should read the Treatise “as an early text in cognitive science”. He also maintains that Hume... (shrink)

In his bold and excellent book on Hume's scientific methodology, David Landy positions himself between the "Deductive-Nomological" reading, which explains particular phenomena in terms of empirical regularities, and the "New Hume" position, which considers empirical regularities to be the explananda and unknowable essences the explanans. Landy sides with the New Humeans, except that for him the essences, or "theoretical posits," are knowable. These essences become knowable, despite their being in principle unobservable, through the tool of "perceptible models." Landy argues that (...) "theoretical posits are only possible via the deployment of a perceptible model," and he explains that perceptual models allow us to... (shrink)

This is a wonderful book that ambitiously and impressively brings to convergence two parallel, perennial lines of inquiry in Hume’s scholarship. One is the classic Kemp Smith question concerning the relation between Hume’s naturalism and skepticism. The other is about the relation of the first Enquiry to book 1 of the Treatise. Qu observes that the Treatise is most distinctively naturalist or descriptive, while the Enquiry is decidedly normative. His approach is to examine the two questions through a single lens (...) by inquiring into the nature and causes of Hume’s epistemological evolution.Any evolutionary account must identify what evolutionary biologists refer to as the “transitional form.” For Qu, this is part 4 of... (shrink)

We present bibliometric evidence for increasing estrangement between the philosophy of economics and economics itself. Our analysis centers on research articles published in the Journal of Economic Methodology (JEM) between 1994 and 2021. We analyze the citations within these research articles, in particular with respect to the citations of economics. Our results are fourfold. (1) The share of economic citations in JEM articles has been decreasing. (2) The remaining economic citations in JEM articles are increasingly older relative to citation patterns (...) within economics. (3) The profile of economic citations in JEM articles is increasingly dissimilar when compared to what is cited within economics. (4) There is decreasing diversity with regards to the share of attention towards different economic subfields in the articles published in JEM when compared to economics. We discuss interpretations of this evidence for estrangement between philosophy of economics and economics. (shrink)

It is tempting to always try to distinguish convincing from poor literary imitation by micro-analysis. The analysis observes various patterns of word and punctuation use in the original and compares those with the imitation. I argue that no such sophistication is needed when faced with Max Beerbohm’s imitation of Joseph Conrad.

In this essay I argue that Ridley Scott's first feature film, The Duelists, which is an adaptation of a Joseph Conrad novella, contains his deepest meditation on honor in his entire career. The film may be said to answer the following question about honor: is being bound to do something by honor, when it is contrary to one's self-interest, a good thing, or a bad thing? It may be said to give the answer that it may be either good (...) or bad. It is bad that D'Hubert is bound by honor to duel with Feraud; it is good that, in the end, Feraud is bound by honor to cease dueling with D'Hubert. In this way, Kant was correct that "the inclination to honor" may light "upon that which is in fact in the common interest and in conformity with duty," or it may light upon what is contrary to duty. (shrink)

This essay pertains to Nietzsche's and Spinoza's philosophical/historical relationship, and the hitherto unnoticed role Kant plays as an intermediary for Spinoza's ideas and legacy. We advance two main assertions: 1) that Nietzsche is historically related to Spinoza via Kant's Antinomies of Pure Reason and their legacy, and 2) that both the striking similarities and tremendous differences between these two thinkers are best described with reference to the Antithesis positions of Kant's Antinomies. Our account rests primarily on the works of two (...) other scholars. The first is Omri Boehm, who argues convincingly that a) Spinoza was both the single greatest influence on and primary target of Kant's Antinomies, and b) that Spinoza's position is remarkably similar to the first three Antithesis positions (and no other relevant thinker comes close). The second is Michael Steven Green, who argues with equal force that c) Nietzsche's mature philosophy is heavily dependent upon Afrikan Spir's concept of the "fundamental antinomy," and d) that Nietzsche's view of empirical reality amounts to an "antithetic" view of reality. We demonstrate that these two scholars were, independently of one other, pointing to a single historical/philosophical connection between Nietzsche and Spinoza, and begin an exploration of the ramifications of this discovery. (shrink)

Joseph Conrad’s Heart of Darkness is a frequent point of reference for Edward Said’s investigations into the various forces that structure and define the encounter of imperial societies with others. In Culture and Imperialism, Said explains the importance of Conrad’s novella by linking it to his concept of culture as the aesthetic acme of a society that simultaneously marks it and divides it from others. In Heart of Darkness, Said claims, we have a narrative that challenges its own (...) imperial society by emphasizing the ambiguity of its cultural limit. Heart of Darkness is thereby able to dramatize and emphasize the constituent elements of imperial society, even as it is unable to exceed that society’s fundamental character. Said’s reading is important, and even vital, for an appreciation of the complexities of Conrad’s novella, but it does not go far enough. The ambiguity of Conrad’s depiction of imperial society is only an ambiguity to the extent that the novella is critiqued at the level of content, with a corresponding lack of emphasis upon its rhetorical form. Through a consideration of the three primary elements of this form – the careful situation of the Nellie as the site of the narrative, the work of interruption in Marlow’s narrative, and the reverberation of Kurtz’s dying words in the conclusion of the novella – this essay argues that there is very little ambiguity in Conrad’s text. Indeed, what ambiguity remains is a function of its effort to dramatize the limit of imperialism precisely as a limitation, as a cultural determinant that through its form perpetually determines other societies as inferior, even as this very culture, as a limit set against these other societies, shows their richness to which imperialism is essentially blind. (shrink)

Andrew Chignell and Omri Boehm have recently argued that Kant’s pre-Critical proof for the existence of God entails a Spinozistic conception of God and hence substance monism. The basis for this reading is the assumption common in the literature that God grounds possibilities by exemplifying them. In this article I take issue with this assumption and argue for an alternative Leibnizian reading, according to which possibilities are grounded in essences united in God’s mind (later also described as Platonic ideas intuited (...) by God). I show that this view about the distinction between God’s cognition of essences as the ground of possibility and the actual world is not only explicitly stated by Kant, but is also consistent with his metaphysical picture of teleology in nature and causality during the pre-Critical period. Finally, I suggest that the distinction between the conceptual order of essences embodied in the idea of God and the order of the objects of experience plays a role in the transition into the Critical system, where it is transformed into the distinction between the intelligible and the sensible worlds. (shrink)

This article addresses the subject of the ekphrastic description of experiencing music. It shows the main differences between ekphrasis and commonly used analysis in music theory and musicology. In approaching the problem of ekphrasis with what is called pure music, I emphasize its ancient understanding, thus differing from Lydia Goehr (2010) and Siglind Bruhn (2000, 2001, 2019). The ekphrastic analysis of the first movement of Arnold Schoenberg’s Six Little Piano Pieces Op. 19 conducted in this article uses the methodology developed (...) by Gottfried Boehm (2014) and Georges Didi-Huberman (2005, 2015, 2017, 2018) in the discipline of art history. This article aims to delineate a new way of researching the art of music, an essential feature of which is the combination of the traditions of analytic philosophy and phenomenology. (shrink)

A work of music as an artefact is a particular acoustic material. However, the sounds are not identical with music since they only constitute the external appearance of a musical work and its most explicit layer, while aesthetic perception is certainly not limited to the superficial perception of sounds. Contemporary research in the field of fine arts by Gottfried Boehm and Georges Didi-Huberman showed new possibilities of revealing the hidden inner phenomenality of a work of art. Yet, is it possible (...) to apply the methodology of research on the invisible visuality of a painting to the field of non-acoustic sound of a musical work? What kind of additional research problems does a work of music cause, taking into account the fact that it is not only created by its author-composer, but it also requires a re-creational performance to phenomenally exist? The article provides the critical analysis of Roman Ingarden’s views on the subject of a musical work and indicates the need to expand the research horizon as regards the issue of nonsounding elements of music. The article aims mainly at bringing new research perspectives on a work of music in the light of contemporary phenomenology. (shrink)

The standard interpretation of Descartes's ethics maintains that virtue presupposes knowledge of metaphysics and the sciences. Lisa Shapiro, however, has argued that the meditator acquires the virtue of generosity in the Fourth Meditation, and that generosity contributes to her metaphysical achievements. Descartes's ethics and metaphsyics, then, must be intertwined. This view has been gaining traction in the recent literature. Omri Boehm, for example, has argued that generosity is foundational to the cogito. In this paper, I offer a close reading of (...) Cartesian generosity, arguing that the meditator cannot acquire generosity in the Second or Fourth Meditation. (shrink)

According to cultural evolutionary theory in the tradition of Boyd and Richerson, cultural evolution is driven by individuals' learning biases, natural selection, and random forces. Learning biases lead people to preferentially acquire cultural variants with certain contents or in certain contexts. Natural selection favors individuals or groups with fitness-promoting variants. Durham (1991) argued that Boyd and Richerson's approach is based on a "radical individualism" that fails to recognize that cultural variants are often "imposed" on people regardless of their individual decisions. (...) Fracchia and Lewontin (2005) raised a similar challenge, suggesting that the success of a variant is often determined by the degree of power backing it. With power, a ruler can impose beliefs or practices on a whole population by diktat, rendering all of the forces represented in cultural evolutionary models irrelevant. It is argued here, based on work by Boehm (1999, 2012), that, from at least the time of the early Middle Paleolithic, human bands were controlled by powerful coalitions of the majority that deliberately guided the development of moral norms to promote the common good. Cultural evolutionary models of the evolution of morality have been based on false premises. However, Durham (1991) and Fracchia and Lewontin's (2005) challenge does not undermine cultural evolutionary modeling in nonmoral domains. (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

Judging a person as morally responsible involves believing that certain responses (such as punishment, reward, or expressions of blame or praise) can be justifiably directed at the person. This paper develops an account of the evolution of moral responsibility judgment that adopts Michael Tomasello’s two-step theory of the evolution of morality and borrows also from Christopher Boehm’s work. The main hypothesis defended is that moral responsibility judgment originally evolved as an adaptation that enabled groups of cooperative individuals to hold free (...) riders responsible more safely by acting in a coordinated way. (shrink)

Kant makes a striking reference to Spinoza in the 1788 Critique of Practical Reason. This chapter begins by investigating whether Kant directly concerned himself with Spinoza, focusing on Omri Boehm's recent affirmative argument. Kant thinks the objective principle yields radical metaphysical conclusions only in conjunction with further claims about specific conditioning relations. Kant's privileging of Spinozism among realist views seems generally detached from Spinoza's actual thought. The chapter deals with points of convergence or near‐convergence between Kant and Spinoza. It identifies (...) two philosophically interesting points on which Spinoza's and Kant's views come surprisingly close: their arguments for the limitations of our sensory knowledge and their arguments for the timelessness of the mind. Spinoza's official argument for the timelessness of the mind appeals to his doctrines of the body's eternal essence, the parallel between bodies and ideas, and the identity of the human mind with God's idea of the human body. (shrink)

Kant makes a striking reference to Spinoza in the 1788 Critique of Practical Reason. This chapter begins by investigating whether Kant directly concerned himself with Spinoza, focusing on Omri Boehm's recent affirmative argument. Kant thinks the objective principle yields radical metaphysical conclusions only in conjunction with further claims about specific conditioning relations. Kant's privileging of Spinozism among realist views seems generally detached from Spinoza's actual thought. The chapter deals with points of convergence or near‐convergence between Kant and Spinoza. It identifies (...) two philosophically interesting points on which Spinoza's and Kant's views come surprisingly close: their arguments for the limitations of our sensory knowledge and their arguments for the timelessness of the mind. Spinoza's official argument for the timelessness of the mind appeals to his doctrines of the body's eternal essence, the parallel between bodies and ideas, and the identity of the human mind with God's idea of the human body. (shrink)

Charlie Croker, a self-made real estate tycoon, ex-Georgia Tech football star, horseback rider, quail-hunter, snakecatcher, and good old boy from Baker county Georgia, is the protagonist in Tom Wolfe’s latest novel, the deliciously provocative A Man in Full (New York: Farrar Straus Giroux, 1998).  In this article I examine the evolving conception of manhood in Wolfe’s novel.  Two different models of manliness will be delineated and compared. The first model—represented by Charlie Croker—gradually weakens and is replaced by the (...) second model—represented by Conrad Hensley. My aim is to show how Stoicism serves to critique the first model and articulate the second.  Stoicism, I argue, provides the deliverance of both Hensley and his convert Croker, while at the same time transforming the conception of manliness explored in A Man in Full. (shrink)

The phenomenon of corruption is a cancer that affects our country and that it is necessary to eradicate; This dilutes the opportunities for economic and social development, privileging the single conjunction of particular interests, political actors in non-legal agreements for their own benefit, which lead to acts of corruption. Recent studies indicate that the level of corruption present in a political system is directly related to the type of institutional structure that defines it (Boehm and Lambsdorff, 2009), as well as (...) the ineffectiveness of the control organisms (Casar, 2015; Cárdenas, 2010, Rojas, 2010, Carbonell, 2009, Restrepo, 2004), which requires citizen action to combat corruption (Sandoval, 2010, Villanueva, 2006). This work, focuses our attention on the federal public administration, presenting as a proposal to empower the citizen action in the fight against corruption and in the National Anticorruption System; the figure of Whistleblowers or generator of citizen alert, based on two fundamental principles: i) recognizing the citizen's obligation to report acts of corruption and ii) the granting by the authority of witness protection. These two actions will result in two important results: i) Consolidate the citizen's complaint to inform society about acts of corruption and ii) and the exercise of freedom of information so that society is able to be informed about acts of corruption. These actions will allow promoting and consolidating a culture of reporting acts of corruption that may constitute a crime as a fundamental pillar in the National Anticorruption System in Mexico. (shrink)

From the very beginning, phenomenology met with sound inquiry. Not only the relationship between Husserl and Stumpf, whose investigations influenced numerous philosophers and twenty-century trends, but a whole musicological thread (Mersmann, Eimert, Güldenstein, Bekker) referred to phenomenology during the twenties and following decades (Besseler, Leibowitz, Schaeffer, Rognoni). From another side, explicit aesthetic reflections are traceable in the Göttingen Circle but also in W. Conrad, Schütz, Plessner, and Anders-Stern. Even Heidegger, Merleau-Ponty, up to Smith, Ihde, Dufrenne, Clifton, Ferrara, and Piana, (...) which more or less systematically dealt with sound. The aim of this work is to show the fundamental cores of a phenomenology of sound; then, the continuing need for research. Through themes like the constitution of the sound-object, the phenomenological distinction between sounds and noises, and the spatial features of sound, the phenomenological scenario of sound inquiry will be pointed out and analyzed. (shrink)

Mi der Herausgabe von Christian Friedrich Boehmes Kommentar ueber und gegen den ersten Grundsatz der Fichtischen Wissenschaftslehre erscheint der Neudruck einer 1802 verfaßten textanalytischen Untersuchung eines der zentralen Theoreme der Jenaer Philosophie Fichtes. Boehme beabsichtigt, eine Analyse des setzenden Ich der Grundlage zu geben, die die Unzureichendheit dieses Prinzips zur Begruendung von Wissen und damit auch der Philosophie selbst klar macht.

El fenómeno de la corrupción es un cáncer que afecta a nuestro país y que es necesario erradicar; éste diluye las oportunidades de desarrollo económico y social, privilegiando la sola conjunción de intereses particulares, de actores políticos en acuerdos no legales en beneficio propio, los cuales derivan en actos de corrupción. Estudios recientes señalan que el nivel de corrupción presente en un sistema político está directamente relacionado con el tipo de estructura institucional que lo defina (Boehm y Lambsdorff, 2009), así (...) como de la ineficacia de los organismos de control (Casar, 2015; Cárdenas, 2010; Rojas, 2010; Carbonell, 2009; Restrepo, 2004), por lo que se requiere de la acción ciudadana para combatir la corrupción (Sandoval, 2010; Villanueva, 2006). Este trabajo, centra nuestra atención en la administración pública federal, presentando como propuesta para empoderar la acción ciudadana en el combate de la corrupción y en el Sistema Nacional Anticorrupción; la figura de Whistleblowers o generador de alerta ciudadana, desde dos principios fundamentales: i) reconociendo la obligación del ciudadano de informar sobre actos de corrupción y ii) el otorgamiento por parte de la autoridad de la protección de testigos. Estas dos acciones derivarán en dos resultados importantes: i) Consolidar la denuncia ciudadana para informar a la sociedad sobre actos de corrupción y ii) y el ejercicio de la libertad de la información a fin de que la sociedad este en posibilidades de ser informada sobre actos de corrupción. Estas acciones permitirán promover y consolidar una cultura de la denuncia de actos de corrupción que pueden ser constitutivos de delito como pilar fundamental en el Sistema Nacional Anticorrupción en México. (shrink)

The idea about this special issue came from a paper published as an updated and upridged version of an older memorial lecture given by Brian D. Josephson and Michael Conrad at the Gujarat Vidyapith University in Ahmedabad, India on March 2, 1984. The title of this paper was “Uniting Eastern Philosophy and Western Science” (1992). We thought that this topic deserves to be revisited after 25 years to demonstrate to the scientific community which new insights and achievements were attained (...) in this fairly broad field during this period. (shrink)

Public attitudes concerning cognitive enhancements are significant for a number of reasons. They tell us about how socially acceptable these emerging technologies are considered to be, but they also provide a window into the ethical reasons that are likely to get traction in the ongoing debates about them. We thus see Conrad et al’s project of empirically investigating the effect of metaphors and context in shaping attitudes about cognitive enhancements as both interesting and important. We sketch what we suspect (...) is a central theme that runs through these public attitudes, but that Conrad el al’s paper elides. We were disappointed that they did not more directly explore the efficacy of frames and metaphors associated with the values of authenticity and self-expression. This seems like a missed opportunity. Based on the premise that individualistic values enjoy centrality in Western and especially North American culture (e.g. Taylor 1989), we hypothesize that metaphors and frames informed by those values will be especially effective in shaping public attitudes. That is, when various kinds of novel enhancement are described as allowing people to more fully express themselves, or as helping people overcome obstacles to being authentic and true to their inner sense of themselves, those enhancements will be considered justified, and their use more likely to be viewed as socially acceptable by the public. We support our contention by drawing on work by Elliott (2004, 2011, c.f. Kadlac 2018), and discuss how this study, and others modeled on it, might shed light on our hypothesis. (shrink)

Shashi Tharoor criticizes R.K. Narayan in the following way: “Narayan’s prose was like a bullock-cart: a vehicle that can move only in one gear, is unable to turn, accelerate or reverse, and remains yoked to traditional creatures who have long since been overtaken.” I think there is a quick defence, which is that it is very unlikely that one can write the different kinds of works he did without being able to significantly change pace; but there is an objection from (...) Joseph Conrad criticism. (shrink)

There is a puzzle over why some literary works which are less esteemed are subject to more commentary and some literary works which are more esteemed are subject to less. By examining Max Beerbohm’s pastiche of Joseph Conrad, I propose an answer regarding pastiches.

Peter Harrison explains the disappearance of symbolic meanings of animals from seventeenth-century works in natural history through what he calls the “literalist mentality of the reformers.” By contrast, the present article argues in favor of a different understanding of the connection between hermeneutics and Protestant natural history. Martin Luther, Philipp Melanchthon, Johannes Brenz, Johannes Oecolampadius, and Jean Calvin continued to assign moral meanings to natural particulars, and moral interpretations can still be found in the writings of Protestant naturalists such as (...) Conrad Gesner, Caspar Heldelinus, Jeremias Wilde, Thomas Penny, and Thomas Moffett. If there are differences between Protestant and Catholic interpretations of animals, then these differences derive from the reformer’s greater insistence on providing textual support for assigning symbolic meanings, their resulting greater reluctance in assigning prophetic meanings to animals, and their elimination of spiritual interpretations of animals that are in tension with central tenets of Protestant theology. These differences in hermeneutics and theology may explain some of the divergences between the symbolic interpretations of animals proposed by Protestant natural historians and their Catholic colleague, Ulisse Aldrovandi. (shrink)

A Critical Notice on Omri Boehm's "Radikaler Universalismus. Jenseits von Identität" (Propyläen/Ullstein 2022). This article is private. If you're not a subscriber to kritik dot substack dot com, you will need to subscribe in order to be able to read it.

The current debates in social sciences show that the paradox of observing—the embeddedness of observer in the process of observing—is at the heart of the controversy about their cognitive status and future. Although the problem of observing has been addressed in numerous theoretical perspectives—some of which (Habermas, Leydesdorff, Maturana, and Luhmann) are examined in this article—the prospects for resolving this paradox remain problematic. Locating a point that allows reflection on the process of autopoiesis in general, not just the operation of (...) a particular autopoietic system, may be one condition for resolving this paradox. Such point will offer reflection on all autopoietic systems, including the observer. The dynamic balance between equilibrium and disequilibrium is the mechanism which regulates the process of autopoiesis. Since the function of regulation is essentially a reflective function, this equilibrium between equilibrium and disequilibrium, which can be identified with the concept of homeorhesis introduced by Conrad Waddington, may offer a possibility to reflect on the process of observing. (shrink)

In 2006, David Carrier (Carrier, 2006, Museum Skepticism: A History of the Display of Art in Public Galleries. Durham: Duke University Press.) coined the term ‘museum skepticism’ to describe the idea that moving artworks into museum settings strips them of essential facets of their meaning; among art historians, this is better known as ‘decontextualization’, ‘denaturing’, or ‘museumization’. Although they do not usually name it directly, many contemporary debates in the philosophy of art are informed by an inclination towards museum skepticism, (...) from work on aesthetic cognitivism (Feagin, Susan, 1995, “Paintings and their places” Australasian Journal of Philosophy 73.2: 260-8.) and contextualism (Danto, Arthur C., 1988, “Artifact and Art”, in ART/ARTIFACT: African Art in Anthropological Collections. Exhibition Catalogue. New York: Center for African Art and Prestel Verlag, 18-32.) to cultural appropriation (Eaton, A. W. and Gaskell, Ivan, 2009, “Do subaltern artifacts belong in art museums?,” The Ethics of Cultural Appropriation, ed. James O. Young and Conrad Brunk, Oxford and Malden, Mass.: Wiley-Blackwell, 235-67), street art (Baldini, Andrea, 2016, “Street Art: A Reply to Riggle” Journal of Aesthetics and Art Criticism 74.2: 187-91), and the value of authenticity (Korsmeyer, Carolyn, 2016, “Real Old Things” British Journal of Aesthetics, 56.3: 219-31). The very first museum skeptic, however, was Antoine Chrysostôme Quatremère de Quincy (1755-1849). (shrink)