Nelson Goodman’s theory of symbol systems expounded in his Languages of Art has been frequently criticized on many counts (cf. list of secondary literature in the entry “Goodman’s Aesthetics” of Stanford Encyclopedia of Philosophy and Sect. 3 below). Yet it exerts a strong influence and is treated as one of the major twentieth-century theories on the subject. While many of Goodman’s controversial theses are criticized, the technical notions he used to formulate them seem to have been treated as neutral (...) tools. One such technical notion is that of the density of symbol systems. This serves to distinguish linguistic symbols from pictorial representations (after Goodman entirely rejected resemblance in that role) and is a crucial part of Goodman’s explanation of what constitutes aesthetic experience (and so indirectly what is art). Thus its significance for Goodman’s theory is fundamental. The aim of this paper is a detailed, logical analysis of this notion. It turns out that Goodman’s definition is highly problematic and cannot be applied to symbol systems in the way Goodman envisaged. To conclude, Goodman’s theory is problematic not just because of its controversial theses but also because of logical problems with the technical notions used at its very core. Hence the controversial claims are not simply contestable, but inaccurately expressed. (shrink)

Nelson Goodman (1906–1998) is one of the leading American philosophers of the twentieth century. His well-known book Languages of Art is considered a major contribution to analytical aesthetics. While his views on particular issues have often been criticized, on the whole, he is considered to be a leading figure in twentieth-century aesthetics. Contrary to such a stance, I intend to argue that Goodman’s overall contribution to aesthetics is not as outstanding and valuable as is often maintained. Rather, I will (...) try to show that his aesthetic views are grounded on a distorted representation of the earlier aesthetic tradition, without which they lose the novelty and originality ascribed to them. Once that representation is corrected, some of Goodman’s proposals turn out to be derivative and redundant. Additionally, where they do actually diverge from the earlier tradition and might stake a claim to originality, they turn out to be simply erroneous and misconceived, and sometimes even logically flawed. To conclude, Goodman’s lofty reputation as an aesthetician certainly requires major revision. (shrink)

The influential apoha theory of concept formation of the seventh-century Buddhist Dharmakīrti stands as a philosophically powerful articulation of how language could work in the absence of real universals. In brief, Dharmakīrti argues that concepts are constructed through a goaloriented process that delimits the content of an experience by ignoring whatever does not conform to one's conditioned expectations. There are no real similarities that ground this process. Rather, a concept is merely what's left over once one has glossed over enough (...) of the differences between elements of one's awareness that one can judge the remainder to have the same effects as what one... (shrink)

The Shadow of God in the Philosopher’s Garden. The Parc de La Villette in Paris in the context of the philosophy of chôra I Bernard Tschumi’s project of the Parc de La Villette could have won the competition and was implemented thanks to the political atmosphere that accompanied the victory of the left-wing candidate in the French presidential elections in 1981. François Mitterand’s revision of the political programme and the replacement of radical reforms with the construction of prestigious architectural objects (...) and urban assumptions in the French capital gave Tschumi a unique opportunity to realise ideas that polemicised with traditional forms of social life, questioned the basic principles of architecture and included architectural work in the philosophical disputes over the issues of metaphysics. Tschumi’s theoretical assumptions put forward during the design of the Parc de La Villette highlighted the questions of conflict between the main components of the project and suggested that the intensification of differences was analogous to Jacques Derrida’s creation of the concept of différance. It was this philosopher who in a special commentary to Derrida’s project also introduced the concept of maintenant, which aimed at demonstrating that the architect’s polemical inclinations remain in a hidden balance with his inclinations to affirmation of architectural principles. During the discussion between Derrida and Peter Eisenman, who was to take part in the design of the Parisian park, the concept of the chôra was also put forward, which in the course of the debate led to an additional confusion of architectural and philosophical problems. II In the period from the Antiquity to the Renaissance, the dialogue Timaeus was the most frequently commented work of Plato. At present, the most frequently discussed is the issue of the chôra included in it, which aroused fascination among philosophers, researchers of rhetoric, religion, feminism, but also architecture. The work on the chôra also influenced the development of the interpretation of the Parc de La Villette, among which the topics related to the beginning and the change were highlighted. In early uses of the word chôra in Greek, as in Homer’s 18th Book of Iliad, it meant both dancing and a place to dance. On this occasion, it can be seen that it is not possible to determine which phenomenon took precedence in the creation of the name. It cannot be denied, however, that the word concerned a specific movement, as if circular and returning to an indefinable beginning. Despite gaining more and more general meanings, the word chôra has retained its connection with the dance of people on the threshing floor, the dance of bees (choros meliton) or the dance of stars (choros astron). In Timaeus, the chôra is a space filled with movement with an effect similar to shaking the sieve to husk the grain: it separates similar elements from the dissimilar ones. The juxtaposition of the Parc de La Villette and the chôra already at this stage leads to the suggestion that the park was treated by the architect as a place of dynamic changes leading to the establishment of new social solutions. In his statements, the architect confirmed that the park was to be a space of new politics and ethics. The book by Julia Kristeva La Révolution du langage poétique contributed to the spread of the belief that works of art can play a role as factors of political revolution. In this work, the author put forward the thesis that the chôra is a kind of space, the character of which has a destructive influence on attempts to conclude language games. The chôra gives beginning to words, but at the same time, by leaving a trace of this beginning it forces us to renew their meanings. The chôra understood in this way, turns out to be an irremovable beginning, to which one has to return all the time. Kristeva found manifestations of the chôra’s activity in avant-garde French poetry, to which she attributed the role of a mediator between criticism of metaphysics and aspirations for social change. The chôra, violating the language, introduces some voids into it, as if traces of the abyss, which direct the consciousness towards understanding the necessity of political changes. The Parc de La Villette was to pursue similar objectives in the city space. In his essays, Tschumi considered the problems of creating spaces that would give rise to a radical democracy. The proposed rebellious spaces should have the characteristics of a void, in which contradictory forces would occur as forms of pure activity. The means of achieving this goal was to concentrate contradictions and make them visible. The Parc de La Villette was supposed to collect differences as indelible and at the same time by showing them it was supposed to raise awareness of the social world as a conglomerate of differences. Saturation of the space of the park with subversive values results from the character of this space suppressed in the consciousness, as well as from the social diversity which has not been taken into account so far. The main contradictions contained in space relate to the division that exists between its presentation as a mental problem and a sensual one. The park was the deliberate creation of a place that transcends such a division and creates a separate space for negotiation between architectural theories and its practical applications. The purpose of the park was to become a place of future events, which would not hide their conflicting character coming from diversity of both space and society. The method of composition usually aimed at achieving a harmonious whole has been replaced by Tschumi with a system of juxtaposition of non-coherent elements or those resulting from variations and transformations. Tschumi did not seek direct influence on politics in the Parc de La Villette, but made room for thinking about the possibilities of the future. He introduced problems rather than showed solutions to them. The task of the park was to put the principles of architecture into a kind of vibration that would inspire users to participate in the new community. III Tschumi believes that the quality of architecture depends on the theoretical factor it contains. Such a view led to the creation of architecture that would achieve visibility and comprehensibility only after its interpretation. On his way to creating such an architecture he took on a purely philosophical reflection on the basic building block of architecture, which is space. In 1975, he wrote an essay entitled Questions of Space, in which he included several dozen questions about the nature of space. The questions he formulated could be regarded as analogous to the situation in the philosophy of the time, in which the interest in questioning the most obvious forms of understanding the world and intellectual categories increased. The research on space is an area common to many fields of natural sciences, humanities and artistic creation, but it also deals with other problems, such as issues of experience. The concept of space-time continuum proposed by Hermann Minkowski drew attention to the identity of time and space with the events taking place. Probably regardless of the postulates of physicists commenting on Albert Einstein’s discoveries, also in philosophy it increased the importance of the concept of the event which became dominant in Martin Heidegger’s latest work Contributions of Philosophy: Of the event. Furthermore, Tschumi’s reflections on space entered into relation with the problem of experience, which aroused the interest of a group of French philosophers trying to assimilate Georges Bataille’s concept of “inner experience”. Both Tschumi and Derrida referred to Bataille because his views could be used not only to modify the concept of the subject, but also to change the understanding of what constitutes the area of architecture. The discussion on experience has led to the recognition that the subject is not sovereign, but actually a form of what is on their outside. Such insights make it possible to treat the area of the Parc de La Villette as existing mainly when it is organised by its users. The decisive features of the park are its assumptions, according to which it is a variety of active void that leads to agreeing new social relations with it. The park does not force to participate in already existing moral or political communities, but tries to move into an unknown future in which the scope of free functioning of individuals will be increased. Doubts about the principles of functioning of the individual self and its discovery as a whole composed of non-coherent parts, as well as its dependence on its own depth full of disordered forces, influenced the understanding of architecture as a set of contradictions whose source is a fundamental void anticipating the empty phenomenal space. The use of this phenomenal void in architecture, as well as the rejection of the whole and unity, had a specific political purpose and drew its inspiration from political analyses. In the Parc de La Villette, metaphysics and politics were brought closer together because the philosophy of void was used to create new conditions for community action. It can be argued that the source of this philosophy was the perception of errors in existing societies dependent on the shortcomings of traditional metaphysics. Spacing (espacement) was one of the key terms in Derrida’s philosophy, which was also combined with the concepts of différance and chôra. The study of the nature of space, especially its transition from the level of pure possibility to the level of sensual phenomenon, also contributes to understanding how well designed space can have an impact on its audience. This explanation is based on Tschumi’s assumption that the space of the Parc de La Villette contradicts the integrating approaches and instead exposes contradictions, but it does so in a way that combines incompatible properties into a single piece of architecture. The specificity of such integration is similar to the invention of a musical phrase, which is an ideological message: moral and political. Such a thesis may raise doubts, however, if both the clearly adopted assumptions and those deduced from the work allow for their logically ordered presentation then to a limited extent it may be assumed that the work has achieved a connection between a specific philosophy of space and its practical application. Derrida combined the problem of spatiality with the problem of transcendental imagination in the philosophy of Immanuel Kant, who in the first version of Critique of Pure Reason assumed that pure imagination precedes the appearance of time and space, even in their transcendental forms. The imagination in such a situation can be described as a factor activating time and space, which indicates what function is played by movement in this activity. This leads us to recognize that the ultra originary source of pure forms of sensual intuition is movement, which in early Greek philosophy was identified with void and its lack of resistance to phenomena occurring in it. Derrida’s philosophy in search of a certain super-transcendental source of time and space pointed to différance which, like void or the chôra, does not have material features or even any other form of being. Différance is the primary cause of the disruption of motionlessness and the introduction of activity into motionless time and space, thus its activity can be described as spacing (espacement). Derrida’s discoveries in this respect are not entirely original, because Georg Wilhelm Friedrich Hegel already pointed out when examining the present that it is primarily a differential relation (differente Beziehung), which, being seemingly neutral, influences the present with supernatural force and makes it unidentifiable with itself. Differente Beziehung must similarly influence the originary space, negating its initial character by multiplying its divisions and expanding its boundaries. Différance acts by revealing contradictions wherever there is apparent undifferentiation. Tschumi, composing the Parc de La Villette as a variety of void and a set of incompatible layers, followed the rules of différance or the chôra: he made void visible together with its saturation with contradictions. If space can be considered to be the result of the activity of difference, such activity has a certain regularity, which influences the behaviour of its observers. Differences or contradictions fall into a certain rhythm, which can be considered a manifestation of transcendent order. The problem is that what can be considered the source of such order, namely the logos or God, is partly disorder and error. According to descriptions contained in Timaeus, the world is a combination of forces that drive to order with forces of erroneous necessity that resounds in every order and forces it to return to disorder. Derrida denied the possibility of understanding différance as a theological value, even if it were a negative or apophatic theology, but no categorical denial could be perfect. The assumption that différance or the chôra are not endowed with any substance properties cannot deny their activity, and thus a certain force. Already since Democritus, philosophy has multiplied the names of such a force and the contradictory variety of its manifestations, never forgetting also the necessity for reason to withdraw from the possibility of giving its correct characteristics. Such a withdrawal may be interpreted as an expression of respect and, in certain situations, as a cult of the force that precedes reasonableness. The Parc de La Villette, which is an artistic divagation about the contradictions and forces behind them, can be considered as a place of their sublimation, and therefore as a variation of the temple of what differs from order and disorder. IV In the texts that presented the theoretical assumptions of the Parc de La Villette, Tschumi used a large number of terms that contradicted not only the traditional principles of composing architecture, but also negated the rules of social order and the foundations of Western metaphysics. Tschumi’s statements, which are a continuation of his leftist political fascinations from the May 1968 revolution, as well as his interest in the philosophy of French poststructuralism and his collaboration with Derrida, prove that terms such as “disruption”, “dissociation”, “disfunction”, “disjunction” and “dispersion” not only referred to architectural problems but also applied to political criticism and the deepest foundations of thinking itself. His collaboration with Derrida manifested itself primarily in the publication La Case Vide: La Villette 1985, in which the architect’s design drawings and texts explaining his concepts related to the Parc de La Villette were accompanied by an extensive essay by Derrida, which included theoretical problems taken up by Tschumi in a philosophical context. Architectural and philosophical issues were also combined during seven discussion meetings organised by Eisenman, invited by Tschumi to collaborate on the design of the Parc de La Villette. Eisenman, who, like Tschumi, invited Derrida to participate in the design of the park and also led to the publication of Chora L Works: Jacques Derrida and Peter Eisenman, in which his ideas were confronted with Derrida’s philosophical text. In this case, Derrida’s essay was not a direct commentary on the architect’s concepts, but rather a reflection on the question of the chôra presented by Plato in Timaeus. During the discussion and in his essay, Derrida pointed out that the chôra is a component of the created world, yet it does not belong to it, but precedes it. The originality of the chôra is so radical that she also precedes all the factors of creating the world, including ideas and the Demiurge. Thus athesis appeared in the metaphysics of the West that the chôra is a form of active abyss, in relation to which all beings are secondary, both those perfect (as ideas or God) and those created, such as the world, things, people or language. This leads to the conclusion that the chôra does not exist, because all existence is a derivative of the chôra. Nor could the chôra be described, since it is a form of developing a space that is preceded by a lack of space characteristic of the chôra. Derrida intended the chôra to be an instance with an exceptional degree of transcendentalism, an anti-metaphysical instance, but also an a-theological one. However, this attempt failed, both in the field of secular philosophy and in the field of theology. Derrida’s characteristics of the chôra to strengthen its transcendentalism and negation of metaphysics had to be expressed in a language that immediately produces new concepts and a new metaphysics that reproduces the categories of the beginning, the origin or the foundation known from earlier philosophical traditions. All forms of criticism of metaphysics are also inspired by negative, apophatic and mystical theology. The undermining of many concepts of permanent meaning and the introduction of new concepts of unstable meaning, characteristic of the philosophy of deconstruction, had many features of originality, but it was directed towards problems whose solutions repeat, with the use of new vocabulary, the findings known in culture since Democritus. Thus, if apophatic philosophy can be regarded as deconstruction avant la lettre, then deconstruction itself in its late versions began to take on the features of a new religion. The exchange of inspiration between theology and deconstruction was manifested in a series of scientific conferences and publications in which Derrida’s philosophical concepts were interpreted within the scope of religious thought. Theological threads began to be found in such concepts of deconstruction as différance or the chôra, while at the same time Derrida himself undertook in his philosophy to study problems such as the Other (L’Autre) or the Impossible (Impossible), which belonged to newer theological traditions. As a consequence of the new problems, the deconstruction became closer to the features of a new religion. Philosophy, at least from Kant’s time, has tried to create a system that would take over from religion the tasks of setting moral and political goals. Similarly, Derrida has directed his interest towards the problems of democracy and ethics, which would enable their renewal. Attempts to create a new religion (cleared of old metaphors), a new community or a new democracy bring problems and threats which may be no less troublesome than the previous systems. All promises of freedom carry with them threats, the greater the more they strive for perfection. The renewal of existential orders, sometimes carried out by means of violent changes, is a certain repetitive feature of human cultures. Deep changes, however, do not protect against the return of both old gods and old demons. Tschumi and Derrida were shaped in their youth by the atmosphere of leftist rebellion against the moral and political limitations of ossified communities and the imperfections of democracy. The ethical theme distinguishes many of their works, including the Parc de La Villette. The opposition to the metaphysical traditions of philosophy and architecture contained in this park was prompted by specific political situations and resulted from bringing political issues to the level of philosophical considerations. Achievements made at the level of pure concepts were then subject to elevation, to a kind of sacralization, which made them religious concepts. The deconstruction reached for the status of the new religion especially when it found its followers and began to generate moral obligations. In the new situation, terms such as the chôra, l’Autre or the Impossible were absolutized and in relation to them a cult and attitude of adoration emerged. The Parc de La Villtette then gained new post-secular meanings, which allow it to be assigned the function of a Temple of Otherness (L’Autre) and Impossible. V In the traditional sense, a work of art creates an illustration of the outside world, or of a certain text or doctrine. Sometimes it is considered that such an illustration is not literal, but is an interpretation of what is visible, or an interpretation of a certain literary or ideological message. It can also be assumed that a work of art creates its own visual world, a separate story or a separate philosophical statement. Parc de La Villette represents the last of these possibilities: it is a philosophical statement that develops the premises derived from poststructuralist philosophies and the philosophy of deconstruction. The uniqueness of its being status, however, is that it does so not only at the level of the theoretical assumptions, but also through its functioning as an active philosophical work. This means that a park is a happening philosophy. Its activity, however, does not refer only to the present tense, but is also an attempt to penetrate the future, all otherness and impossibility. This kind of activity assumes that the work, in a sense, does not yet fully exist, but is also still produced in the processes of its interpretation. The theoretical foundations of the park included texts by Tschumi, in which he questioned traditional ways of creating a work of architecture, postulating in return the use of a long series of negations, which were comparable to the crisis of metaphysics characteristic of contemporary philosophy. It is therefore no coincidence that the publication containing Tschumi’s theoretical text on Parc de La Villette was accompanied by an essay by Derrida developing some of the architect’s concepts. The next step in integrating philosophy into the process of park design was a series of discussions between Eisenman and Derrida, who completely moved the creation of the park into the world of thoughts, without accentuating the need for their realization in the material reality. The main topic of these discussions was the problem of the chôra, which was taken up by later commentators and used to interpret the park as a work in which the philosophy of the beginning is manifested relating to issues of politics, morality and religion. The park was therefore interpreted as a space of invention within the scope of creating new rules of functioning of the community and democracy. Thinking about the political future may, however, exceed the horizon of ordinary expectations. Although philosophical thought is always connected with contemporary problems and metaphysics sometimes intertwines with current politics, yet at the same time the customs of philosophy also include crossing horizons and thinking about absolute otherness and impossibility. Initially, the chôra, différance, absolute otherness (tout autre) and the Impossible were concepts of pure philosophy of atheistic character, but with the further development of the discussion, more and more theological motifs began to emerge. One of the reasons for this phenomenon was the fact that radical negations of all being, which were contemplated in contemporary philosophy (by Heidegger and Derrida, among others), had previously been manifested in negative and apophatic theologies (by Master Eckhart, among others).Also the category of the “Other”, taken from Emmanuel Levinas, was clearly connected with the thought about God. A further reason for connecting the chôra with the theological thought was the interest in the philosophy of deconstruction expressed by some theologians. John Caputo in particular managed to persuade Derrida to participate in discussions on the current status of religion. In the late period of Derrida’s writing, further statements on religious topics appeared. All these reasons led to posing a question about the identity of the chôra and God. Although there were no satisfactory conclusions on this issue, the discussion was also important to create an interpretation of the park as a place of worship. The chôra, representing, according to Plato, the preoriginal emptiness is the place of every beginning, but it turns out that it is not neutral to the being created in it. The chôra deposits itself in every being as an irremovable beginning that interferes with its stability. The chôra, therefore, forces us into a palintropical movement, but it also turns out to be a pure compulsion, an erring necessity and a fundamental force from which, in the human perception, motifs useful to the individual and to the community are extracted. All definitions of this force, including its anthropomorphisation, are formulated in such a way that they allow for building private and collective morality upon them. Such definitions are changed depending on variable political situations. It is difficult to determine whether in the processes of changes in the formulation of “God’s names” any essential value is retained, which is not subject to change. The current definitions of the chôra (God?), which can be found, for example, in the philosophy of Caputo, stress that she is a combination of various and contradictory forces. This characteristic inherits much of Plato’s concept, reminds us of Master Eckhart’s views on Gottheit and, at the same time, is not unfamiliar to Tschumi, whose essays were an apologia of contradictions. The current concept of chôra, transferred into the sphere of politics, is the praise of social diversity and the protection of the difference from the forces of order. In the Parc de La Villette, the future community and democracy were elevated as a system of safe existence of individuals in all their singularity. The park is a temple of a future community in which individual beings have nothing in common. (shrink)

In this article, I explore the relationship between dance and the work of Nelson Goodman, which is found primarily in his early book, Languages of Art. Drawing upon the book’s first main thread, I examine Goodman’s example of a dance gesture as a symbol that exemplifies itself. I argue that self-exemplifying dance gestures are unique in that they are often independent and internally motivated, or “meta-self-exemplifying.” Drawing upon the book’s second main thread, I retrace Goodman’s analysis of dance’s relationship (...) to both notation in general and also Labanotation in particular. My argument is that dance gives the false impression of being notational, or is “meta-notational.”. (shrink)

Kant’s account of the sublime makes frequent appeals to infinity, appeals which have been extensively criticised by commentators such as Budd and Crowther. This paper examines the costs and benefits of reconstructing the account in finitist terms. On the one hand, drawing on a detailed comparison of the first and third Critiques, I argue that the underlying logic of Kant’s position is essentially finitist. I defend the approach against longstanding objections, as well as addressing recent infinitist work by Moore and (...) Smith. On the other hand, however, I argue that finitism faces distinctive problems of its own: whilst the resultant theory is a coherent and interesting one, it is unclear in what sense it remains an analysis of the sublime. I illustrate the worry by juxtaposing the finitist reading with analytical cubism. -/- . (shrink)

Arthur Danto’s recent book, Andy Warhol, leads the reader through the story of the iconic American’s artistic life highlighted by a philosophical commentary, a commentary that merges Danto’s aesthetic theory with the artist himself. Inspired by Warhol’s Brillo Box installation, art that in Danto’s eyes was indiscernible from the everyday boxes it represented, Danto developed a theory that is able to differentiate art from non-art by employing the body of conceptual art theory manifest in what he termed the ‘artworld’. The (...) strength of Danto’s theory is found in its ability to explain the art of the post-modern era. His body of work weaves philosophy, art history and art criticism together, merging his aesthetic philosophy with his extensive knowledge of the world of art. Danto’s essentialist theory of embodied meaning provides him with a critical tool that succeeds in explaining the currents of contemporary art, a task that many great thinkers of art history were unable to do. If Warhol inspired Danto to create a philosophy of art, it is appropriate that Danto write a tribute to Warhol that traces how Warhol brought philosophy into art. Danto’s account of ‘Warhol as philosopher’ positions him as a pivotal figure in the history of twentieth-century art, effecting a sea change in how art was made and viewed. Warhol achieved this by conceiving of works that embodied the answers to a series of philosophical puzzles surrounding the nature of art. Warhol, as Danto describes him, manifests himself in his art because he had transformed himself, in a way, into an icon of the times. This pragmatist notion that art should undermine the dichotomies that exist between art and life would, by some accounts, position Warhol to be the philosopher that Danto claims him to be, for he dissolved the philosophical questions posted by late modern aesthetic thinkers by creating art that imploded the accepted notions of art at the time. One of Danto’s greatest contributions to aesthetics is his theory’s ability to distinguish art from non-art, recognizing that it is the artist’s intention that levels the sublimity of art into the commonplace, thereby transfiguring the everyday. However, acknowledging this achievement, I argue that Warhol’s philosophical contribution actually manifests itself in a manner different from that proposed by Danto. Danto maintains that the internal drive of art leads to the unfolding of art theoretical concepts that ineluctably shift the terrain of world of art. I would agree with Danto that Warhol, almost as Hegel viewed Napoleon as Geist on a horse, pushed forward the boundaries of art through the actualization of art’s internal drive. But I would disagree that the conceptual nature of art is one that unfolds merely as a relation of concepts that artists trace through a connection to the meaning of history they forge using their unmediated grasp of style. Rather, I would argue that the artist’s style is not bound so narrowly to the meanings they express. Through their aesthetic articulations, artists initiate a process of social interaction. This process employs the philosophical logic which Danto attributes to Warhol indirectly, and through it, it is able to transfigure the vocabulary of art—the concepts of the artworld—by superseding the language of modernism. Warhol’s philosophical contribution is seen in his mastery of both the medium of art and the underlying logic of the medium’s expression and reception. (shrink)

Pseudo-profound language is a stylistic means in many different contexts, like advertising, politics, economics, or even science. Contemporary visual art is notoriously known for its variant: artspeak. We develop a syntactical analysis and show how artspeak is constructed. We point out that it is “evocative” bullshit in that it aims at contextualizing art with traditional art myths (i.e., artists are, among other adjectives, autonomous, critical, or free). Furthermore, we argue that artspeak should be regarded as a particular type of bullshit (...) as it features a unique relation to truth. (shrink)

Wittgenstein and Heidegger’s objections against the possibility of an aesthetic science were influential on different sides of the analytic/continental divide. Heidegger’s anti-scientism is tied up with a critique of the reduction of the work of art to an object of aesthetic experience. This leads him to an aletheic view of artworks which precedes and exceeds any possible aesthetic reduction. Wittgenstein too rejects the relevance of causal explanations, psychological or physiological, to aesthetic questions. His appeal to ordinary language provides the backdrop (...) for his critique of the philosophical tradition’s focus on a narrow range of evaluative aesthetic terms, thus excluding most of the language we ordinarily employ in the relevant cases. The main aim of this paper is to compare Heidegger with Wittgenstein, showing that: (a) there are significant parallels to be drawn between Wittgenstein and Heidegger’s anti-scientism about aesthetics, and (b) their anti-scientism leads them towards partly divergent criticisms of what I will call ‘aestheticism’. The divergence is mainly due to a disagreement concerning appeals to ordinary language. Thus situating the two philosophers’ positions facilitates a possible critical dialogue between analytic and continental approaches in aesthetics. (shrink)

This essay aims to provide conceptual tools for the understanding of Wittgenstein’s theory of color as a grammar problem instead of a phenomenological or purely scientific one. From an introduction of his understanding of meaning in his early and late life, his notion of grammar will be analyzed to understand his rebuttal of scientific and phenomenological discourse as a proper means for dealing with the problem of color through his critique of Goethe. Then Wittgenstein’s take on color will become clear (...) as his sympathy for Runge, the painter that Goethe criticizes, is analyzed to understand color as a language-game regarding kinds of colors as numbers and geometrical figures, in that grammar rather than experience is used to acknowledge them. (shrink)

The editorial introduces issue 21.1 of Technoetic Arts via a critical reflection on the artificial intelligence hype (AI hype) that emerged in 2022. Tracing the history of the critique of Large Language Models, the editorial underscores that there are substantial ethical challenges related to bias in the training data, copyright issues, as well as ecological challenges which the technology industry has consistently downplayed over the years. -/- The editorial highlights the distinction between the current AI technology’s reliance on extensive pre-existing (...) human-generated data for pattern recognition and the performative process inherent in art practice. Patterns of creative output can be replicated without a thorough understanding of underlying concepts. In contrast, the performative process of art practice, as explored through the conceptual frameworks of creativity by Noam Chomsky, Charles Sanders Peirce, and Roger T. Ames and with reference to an earlier publication of the editorial’s author, creates concepts and continually ‘strives to extend itself towards the unknown.’ -/- Following this introductory section, the editorial provides an overview of the ten articles featured in this issue of Technoetic Arts. The first four texts engage with emerging technologies from various perspectives in art and design. The subsequent six articles, part of a special section titled 'Perspectives from Chandigarh,' reflect a quest for meaningful existence within colonial, patriarchal, and biopolitical structures that frame everyday practices of exclusion and oppression. (shrink)

The mechanistic concept of the body, as inherited from René Descartes, has generated considerable trouble in philosophy—including, at least in part, the mind-body problem itself. Still, the corps mécanique remains perhaps the most prevalent though least examined assumption in recent philosophy of mind. I discuss two notable exceptions. Gilbert Ryle and Maurice Merleau-Ponty rejected this assumption for surprisingly similar reasons. Writing at about the same time, though in different languages and in very different circles, they each attempted to articulate (...) a non-mechanistic concept of the body by stressing the importance of skill: skillful behavior constituting cognition in Ryle’s case, and the skill body constituting perception in Merleau-Ponty’s case. In this article, I turn to their cautions and insights. By drawing out the relation between these two seemingly unrelated theorists, I hope to show that together Ryle and Merleau-Ponty have much to offer philosophy today. (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)

Fodor and Pylyshyn's critique of connectionism has posed a challenge to connectionists: Adequately explain such nomological regularities as systematicity and productivity without postulating a "language of thought" (LOT). Some connectionists like Smolensky took the challenge very seriously, and attempted to meet it by developing models that were supposed to be non-classical. At the core of these attempts lies the claim that connectionist models can provide a representational system with a combinatorial syntax and processes sensitive to syntactic structure. They are not (...) implementation models because, it is claimed, the way they obtain syntax and structure sensitivity is not "concatenative," hence "radically different" from the way classicists handle them. In this paper, I offer an analysis of what it is to physically satisfy/realize a formal system. In this context, I examine the minimal truth-conditions of LOT Hypothesis. From my analysis it will follow that concatenative realization of formal systems is irrelevant to LOTH since the very notion of LOT is indifferent to such an implementation level issue as concatenation. I will conclude that to the extent to which they can explain the law-like cognitive regularities, a certain class of connectionist models proposed as radical alternatives to the classical LOT paradigm will in fact turn out to be LOT models, even though new and potentially very exciting ones. (shrink)

This article investigates whether the politics of nationalism fosters human development and global peace. Nationalism is a political ideology that primarily gives birth to nation-states based on particular shared identities, such as religion, race, culture, or language. Empirical evidence shows that nationalism causes conflicts, which leads to violence, terrorism or war. On the one hand, nationalism gives birth to nation-states; on the other hand, it creates hostility in the world. However, Lahouari Addi argues that giving birth to nations and their (...) nation-building are two different social phenomena. Addi contends that the public sphere and civil peace are the essential conditions for nation- building. Addi’s argument for nation-building is promising. In line with this argument, this paper asserts that the politics of nationalism should make human development and peace in their respective nation-states. To explain malign and benign aspects, the paper differentiates between two kinds of nationalism: negative and productive. Negative nationalism, based on the politics of exclusion, discriminates, humiliates, exploits, and coerces the people of other nations, which causes conflicts and, eventually violence. This strand of nationalism is inconsistent with human development and global peace. Instead, productive nationalism, based on the politics of inclusion, fosters a sense of reverence for humanity which supports self-respect, dignity, freedom, equality, and fraternity in the world. Productive nationalism helps develop human potential, which leads to positive peace through creative accomplishments, such as performing arts, literature, and sports. Thus, the research implies that the politics of productive nationalism creates positive moral values to promote cooperation among people within and across the nations, which fosters human development and peace in the world. In the domain of qualitative research, this paper adopts the methodology of empirically informed philosophical analysis to evaluate the documentary resources. (shrink)

The main aim of this essay is to show that, for Stevens, the concept of reality is very fluctuating. The essay begins with addressing the relationship between poetry and philosophy. I argue, contra Critchley, that Stevens’ poetic work can elucidate, or at least help us to understand better, the ideas of philosophers that are usually considered obscure. The main “obscure” philosophical work introduced in and discussed throughout the essay is Schelling’s System of Transcendental Idealism. Both a (shellingian) philosopher and a (...) (stevensian) poet search for reality. In order to understand Stevens’ poetry better, I distingush several concepts of reality: initial reality (the external world of the common sense), imagined reality (a fiction, a product of one’s mind), final reality (the object of a philosopher’s and a poet’s search) and total reality (the sum of all realities, Being). These determinations are fixed by reason (in the present essay), whereas in Stevens’ poetic works, they are made fluid by the imagination. This fluidity leads the concept of reality from its initial stage through the imagined stage to its final stage. Throughout this process, imagined reality must be distinguished from both a mere fancy and its products. Final reality is, however, nothing transcendent. It is rather a general transpersonal order of reality created by poetry/the imagination. The main peculiarity of final reality is that it is a dynamic order. It is provisional at each moment. Stevens (and Schelling too) characterizes this order as that of a work of art which is a finite object, but has an infinite meaning. Stevens calls this order “the central poem” or the “endlessly elaborating poem”. If ultimate reality is a poem created by the imagination, one may ask who is the imagining subject. I argue that this agent is best to be thought as total reality, that is, as Being. Stevens, however, maintains that if there were such an agency, it would be an inhuman agency, “an inhuman meditation”. The essay concludes, in a Derridian manner, with the claim that this agency cannot have any name; it is the “unnamed creator of an unknown sphere, / Unknown as yet, unknowable, / Uncertain certainty” (OP: 127). It is best thought as an X, as an unknown variable. Being has no name. (shrink)

Davidson’s 1965 paper, “Theories of Meaning and Learnable Languages”, has invariably been interpreted, by others and by myself, as arguing that natural languages must have a compositional semantics, or at least a systematic semantics, that can be finitely specified. However, in his reply to me in the Żegleń volume, Davidson denies that compositionality is in any need of an argument. How does this add up? In this paper I consider Davidson’s first three meaning theoretic papers from this perspective. (...) I conclude that Davidson was right in his reply to me that he never took compositionality, or systematic semantics, to be in need of justification. What Davidson had been concerned with, clearly in the 1965 paper and in “Truth and Meaning” from 1967, and to some extent in his Carnap critique from 1963, is that we need a general theory of natural language meaning, that such a theory should not be in conflict with the learnability of a language, and that such a theory bring out should how knowledge of a finite number of features of a language suffices for the understanding of all the sentences of that language. (shrink)

This issue of Technoetic Arts: A Journal of Speculative Research (TA) encompasses eight articles by artists and scholars from around the globe who engage with methodologies of art practice within research that reflects on technological and ecological change, contributing to the discourse on the inclusion of subjective experience in research. The articles by authors Dulmini Perera, Kate Doyle, Nora S. Vaage, Merete Lie, Nikita Peresin Meden, Kristina Pranjić, Peter Purg, Nicolaas H. Jacobs, Marth Munro, Chris Broodryk, Semi Ryu, Rahul Mahata, (...) Doreswamy, Sana Altaf and Aqib Javid Parry form a collection that crosses disciplines and genres to engage in fundamental critique of existing modes of enquiry and conclusion. The texts situate art and design methodologies in particular cultural contexts and in relation to frameworks defined by research methodologies of the sciences and humanities to gain agency for critique and to counter a sense of inevitability that has come to mark the most recent crises. (shrink)

Beginning with the second decade of the last century, after a fierce critique of W. Dilthey and the Historical School’s epistemological approach, philosophical hermeneutics has assumed the position of “official” philosophy of history of our times. However, in our previous work we have shown that philosophical hermeneutics is not actually able to give a better answer to “What is history?” than that already offered by the Historical School. Now we would like to show that its answer to the other fundamental (...) question of the philosophy of history - “How is history to be known?” - is even more problematic, making historical science impossible. For if the being of history really is tradition as philosophical hermeneutics argues, and if the essence of tradition is language then, on the one hand, the very stability of historical meaning presupposed by any epistemological process will always be displaced by the play of what Derrida calls “différance,” the ceaseless differentiation of the signifiers and signifieds. And, on the other hand, even if historical meaning were stable enough so as to be known, it could not be grasped because, we will try to argue, the process of understanding as philosophical hermeneutics describes it is always permeated by misunderstanding. (shrink)

In the chapter of Difference and Repetition entitled ‘Ideas and the synthesis of difference,’ Deleuze mobilizes mathematics to develop a ‘calculus of problems’ that is based on the mathematical philosophy of Albert Lautman. Deleuze explicates this process by referring to the operation of certain conceptual couples in the field of contemporary mathematics: most notably the continuous and the discontinuous, the infinite and the finite, and the global and the local. The two mathematical theories that Deleuze draws upon for this (...) purpose are the differential calculus and the theory of dynamical systems, and Galois’ theory of polynomial equations. For the purposes of this paper I will only treat the first of these, which is based on the idea that the singularities of vector fields determine the local trajectories of solution curves, or their ‘topological behaviour’. These singularities can be described in terms of the given mathematical problematic, that is for example, how to solve two divergent series in the same field, and in terms of the solutions, as the trajectories of the solution curves to the problem. What actually counts as a solution to a problem is determined by the specific characteristics of the problem itself, typically by the singularities of this problem and the way in which they are distributed in a system. Deleuze understands the differential calculus essentially as a ‘calculus of problems’, and the theory of dynamical systems as the qualitative and topological theory of problems, which, when connected together, are determinative of the complex logic of different/ciation. (DR 209). Deleuze develops the concept of a problematic idea from the differential calculus, and following Lautman considers the concept of genesis in mathematics to ‘play the role of model ... with respect to all other domains of incarnation’. While Lautman explicated the philosophical logic of the actualization of ideas within the framework of mathematics, Deleuze (along with Guattari) follows Lautman’s suggestion and explicates the operation of this logic within the framework of a multiplicity of domains, including for example philosophy, science and art in What is Philosophy?, and the variety of domains which characterise the plateaus in A Thousand Plateaus. While for Lautman, a mathematical problem is resolved by the development of a new mathematical theory, for Deleuze, it is the construction of a concept that offers a solution to a philosophical problem; even if this newly constructed concept is characteristic of, or modelled on the new mathematical theory. (shrink)

The purpose of this paper is to present and describe a new method for studying pre-speech language. The suggested approach allows correlate epistemology of linguistics to the ideological tradition of other scientific disciplines. Method is based on three linguistic categories – nouns, verbs, and interjections in their motor and expressive qualities – and their relation to the three basic forms of art – graphics (visual art), movement (dance), and sound (music). The study considers this correlation as caused by the nature (...) of the human receptor system. This method explains the nature of art and the phenomenon of aesthetics and allows for the chronological arrangement of important cultural processes; it identifies the fundamental unanimity of the semiotic nature of language and art. (shrink)

Art has a major role in political critique and in the contemporary world of art, ethics, politics, and aesthetics intersect. Using the work of Alfredo Jaar as an example of these intersections, I argue through my reading of Judith Butler, that his art can provide us with better, more egalitarian versions of populations to be perceived as grievable. Once we apprehend grievability, we can affectively apprehend that lives in the context of war and violence are precarious. Here lies the power (...) of art to challenge the dominant norms and frames. Here also lies the central role of aesthetics as a political critique. From this argument I claim that, instead of accounting for aesthetics being separate from ethics and politics, it is important we understand these fields as intersecting with each other. I analyze the work of Susan Sontag on images of suffering and violence, Butler’s turn to aesthetics in her own work, and Jaar’s own conflict over the use of beauty to convey suffering. I defend that apprehension is a term distinct from recognition but central to understand the intersection between ethics, politics, and aesthetics. -/- Key Words: Aesthetics, Affect, Butler, Ethics, Jaar, Politics, Sontag. (shrink)

This doctoral thesis examines the phenomenon of Filipinization, specifically understood as the ideological construction of a “Filipino identity” or ‘Filipino subject-consciousness” within the highly determinate context provided by the Filipino ilustrado nationalists such as José Rizal, Marcelo H. del Pilar and their fellow propagandists inasmuch as it leads to the nineteenth (19th) century construction of the modern Philippine nation. Utilizing Jacques Derrida’s deconstructive thinking, this study undertakes a genealogical critique engaged on the concrete historical examination of what is meant by (...) the term “Filipino” across a select historical timeline (1864-1898) and the various notions of Filipino identity implied by the different contexts within which the term “Filipino” has been employed. More specifically, it undertakes a selective philosophical excavation of three seminal texts in the history of Filipinization, viz.: 1) the Manifiesto of Padre Jose Burgos; 2) the writings of the Filipino ilustrados in La Solidaridad; and 3) Jose Rizal’s Annotations on Dr. Antonio de Morga’s Sucesos de las Islas Filipinas. -/- The philosophical claim of this work is the idea that Filipinization, taken as the differential construction of Filipino identity, is the effective translation of the colonial epistemic violence of Eurocentric racism and its consequent “horror of absolutism” into the homo-hegemony of Filipino nationalisms. By fetishizing the notion of a carefully constructed and essential “Filipino-identity,” Filipinization and the current nationalist discourses that utilize them, unwittingly, stands complicit with the same colonial violence and hegemony that they wish to combat. This happens precisely when the very structures of colonial oppression, on the ideological and practical levels, are transmogrified into nationalist ideals that assume legal and political power unto themselves in a self-referential and self-legitimating fashion. -/- Three processes will demonstrate the above thesis: first, by examining historical texts and setting itself against established nationalist historiographies, a genealogical analysis of the term “Filipino” reveals it as a pliable signifier whose semantics have evolved through time. From its originary referent in the Spanish criollo (creole), it has come to refer to people who would have been otherwise entirely alien to this class, viz., the mestizos (both Spanish and Chinese), the principalia (native elite), and eventually, the lowland Catholicized natives themselves. The historical hermeneutic of this identity-discourse in Padre José Burgos’ Manifiesto yields the fact that what gives the term “Filipino” its semantic consistency as a class concept is its essential constitution as a Hispanic and Catholic identity. -/- Second, from this semantic identification of the term “Filipino” as a Hispano-Catholic identity, we proceed to clarify the meaning of Filipinization in terms of the nationalist propaganda carried out by the Filipino ilustrados in the fortnightly periodical La Solidaridad. Here, the specific ilustrado construction of Filipino identity as a Spanish citizen (ciudadano Español) is revealed precisely as a political and legal construct that served as the basis for their own politics of social inclusion/exclusion. Filipinization can only be applied to those who have been hispanized and Christianized and never to those tribes who have resisted and remained outside Spanish colonial authority. Filipinization is thus revealed as a process of Hispanization and Christianization whereby the recipients of Spanish colonial hegemony are transformed into the religiously docile bodies of the Spanish Empire. -/- From this highly determinate context, the study proceeds to examine Rizal’s ontological grounding of collective Filipino-ness in the mythological construction of the pre-hispanic past as the source of a unique Filipino ancestrality. In his work on de Morga’s Sucesos, what is revealed is a mythologization that grounds a native, essential Filipino identity within a past unscathed by the Spanish colonial experience. Such mythologization, however, can only be possible through an anachronistic nationalist interpretation of historical data. Here, Filipinization is revealed as an exclusive prerogative, a nationalist program by which Rizal and the ilustrado class can combat the evils and excesses of the Spanish colonial enterprise. Ironically, though, this same struggle for emancipation also became an instrument by which the ilustrado class can retain their unjustified position of power over those who belonged to the colonial underside, thus, securing the possibility of perpetuating their own ilustrado bourgeois class interests. -/- Such discursive complicity is the essence of the myth of Filipinization: it presents nationalist identity discourse as an anti-colonial enterprise while being underlined by an economy of motives designed to cater primarily to the exclusive interests of the elite and ilustrado class. Thus, instead of securing the genuine, inclusive emancipation of all colonial subjects and a more humane existence for the poor and suffering majority, ilustrado nationalism has, ironically, merely reinforced those operative structures of colonial discrimination and oppression when the ilustrados: 1) grounded their racial theory upon the very same discourse of Eurocentric superiority that they are precisely supposed to question and 2) claimed a patrimony over Filipinas as their exclusive sovereign inheritance. These two factors illustrate how the manifest transfer of power from the Spanish Empire to the Philippine sovereign nation (and later as a nation-state) illustrate how Filipinization merely has transmogrified the face of Spanish colonialism into its new, subtle, and worse form in Filipino nationalism. -/- In this vein, the existence of the 19th century modern Philippine nation merely masked and deferred the crisis that was supposed to transfer power from the Spanish Empire to the multitude of the poor and suffering native indio majority. This crisis became all the more difficult to address be-cause of the duplicitous character of the discourse of Filipinization itself. It has not only effectively transferred power into the hands of the nationalist elite but also captured authentic emancipatory discourse within the identity-trap against which it can only hope to get out. This study concludes with the claim about the impossibility of ever escaping and overcoming the epistemic and practical violence necessarily contained within the historical discourse of colonialism. Or simply, we have no language or discourse that would enable us to overcome the complicity of Filipinization with the very (epistemic) violence against which it has set itself. (shrink)

In this essay I consider the end-of-art thesis in its metaphysical and empirical versions. I show that both use the correspondence theory of truth as the basis for their conception of the history of art. As a counterpart to these theories I have chosen Patočka’s conception of the history of art. His theory is based also on the relationship between art and truth, but he conceives truth in the phenomenological sense of manifestation. In the rest of the essay I seek (...) to show the consequences Patočka’s conception has for the history of art. In the rst part, I set out to show Patocka’s critique of Hegel’s aesthetics as a system based on the correspondence theory of truth. In particular, I endeavour to explain his critique of some intrinsic problems of Hegel’s aesthetics, the general failure of Hegel’s system to achieve its goal, and, lastly, Hegel’s giving up on the meaning of the art in the present. I also seek to show that Danto’s version runs into the same problems and conclusions as Hegel’s. In the second part I discuss Patočka’s analysis of modern art and the aesthetic attitude, where he nds a hidden a nity between art and aletheia, which Hegel overlooked. e last part of the essay focuses on the consequences that the conception of the truth of art as aletheia have for the history of art. I conclude that art in such a conception represents an independent eld of the manifestation of being in history beside philosophy. Moreover, modern and contemporary art do not mean the end of art; rather, they have their place in art history based on aletheia, since they are more focused on the manifestation itself than on what is manifested. Unlike Hegel and Danto, therefore, Patočka retains the historical meaning of modern and contemporary art. His conception of the history of art, summed up under the idea of aletheia, has greater explanatory potential than Hegel’s and Danto’s conceptions, and it retains the historical meaning of modern and contemporary art. (shrink)

Many Christian thinkers have embraced the notion “art for art’s sake.” Chesterton did not. To the contrary, he saw such an idea as deeply problematic for a Christian aesthetic. In the following article, I will explore some philosophical aspects of the “art for art’s sake” movement and then explain why Chesterton parted company with it.

In this paper, I show that, in a number of publications in the early 1950s, Margaret Macdonald argues that art does not admit of definition, that art is—in the sense associated with Wittgenstein—a family resemblance concept, and that definitions of art are best understood as confused or poorly expressed contributions to art criticism. This package of views is most typically associated with a famous paper by Morris Weitz from 1956. I demonstrate that Macdonald advanced that package prior to Weitz, indeed, (...) prior to any other philosopher of art of the period. Despite this, Macdonald’s contribution is nowhere to be found in the subsequent literature on the definition of art. In closing, I raise the prospect that Macdonald was in fact the primary influence on the development of Weitz’s critique of the definitional project. (shrink)

Davies presents the reader with a sterling review of the literature--the recent history of the interest in defining "art" through the writings of Anglo-American philosophers that follow Morris Weitz' well-known 1956 essay, "The Role of Theory in Aesthetics"--and a stimulating discussion of the role of conventions in the making and appreciating of contemporary art. His emphasis on the social nature of art leads one to wonder how other recent inquiries into the multilayered contextually of the artistic enterprise might fare under (...) his perusal, for example, feminist critiques of traditional definitions of "art," challenges to the elitist makeup of the Artworld, . . . and opposition to his very choice of paradigms: in addition to Duchamp, the "hard cases" include works by John Cage, Andy Warhol, Olivier Messiaen, Jorge Luis Borges, and Gerald Hoffnung. Definitions of Art is essential reading for anyone interested in the history of aesthetics and as it informs the current dialectic on art. (shrink)

This paper is a critique of Stephen Davies' institutional definition of art. I argue that Davies' definition suffers from a range of problems.

Nelson Goodman (1906-2007) approached the arts and other kinds of knowledge as forms of symbolism. His principal aim in philosophy was to advance understanding and remove confusions by verbal analysis and logical constructions. Goodman's philosophical theories encompass nominalism, constructivism and a version of radical relativism. In his Languages of Art, Goodman sets forth distinctions among the various art according to differences in the forms of symbols employed. He contributed as well to arts education and to philosophy of the museum. (...) His performance work, "Hockey Seen: A Nightmare in Three Periods and Sudden Death embodies his aesthetic theories. (shrink)

Abstract A Note to Cogito Les Jones Blackburn College Previous submissions include -Intention, interpretation and literary theory, a first lookWittgenstein and St Augustine A DiscussionAreas of Interest – History of Western Philosophy, Miscellaneous Philosophy, European A Note on Cogito Descartes' brilliance in driving out doubt, and proving the existence of himself as a thinking entity, is well documented. Sartre's critique (or maybe extension) is both apposite and grounded and takes these enquiries on to another level. Let's take a look. 'I (...) think' somehow, for all its power, lacks something. What? Consider what one does when thinking (difficult, but we can try). Implicit in the word 'think', in fact the very essence of the word 'think', is that activity is going on, and if such activity is going on then it must be going on about something, an object, an emotion, a problem,or maybe some dreamlike state, but common to all these is that something is going on. Is that really so? Well, if that wasn't so we would be able to think in a pure state, wouldn't we? But what does a pure state of 'thinking' mean? It can't mean that there isnothing there, because if there were nothing there then no thinking would be taking place. Can it mean that we are thinking of nothing? Well no, because if we are thinking of nothing then we are thinking of something, we are contemplating the notion, or the nature, of nothing. In fact, one can argue that if we talk of something, inthis case nothing or nothingness, then in our head we have some notion of what that is, i.e. something exists in the mind for it to come out of our mouths. Thinking is a recognition of something outside the individual, for the very act of direction, which isan indispensable part of thinking, recognises, must recognise, that there are things to address outside the individual. Something else to bear in mind. According to Sartre human beings are condemned to freedom. Why condemned? Human beings did not choose to be born, but the act ofbeing born also imparts the freedom of which Sartre speaks. Freedom is something which we parrot off as being a sine qua non for the human condition. I believe that's true, but freedom in this sense isn't without its consequences for the individual humanbeing, for individual human beings handle freedom differently. To some it enables them to fly, to others it imparts immense pressures, anguish, heartbreak, unhappiness can all be associated with such freedom. Each individual is responsible for his destiny, for his direction. If someone says that God impelled him, that individual chose his or her God, and chose to obey his or her God. This believer has to sift through the multitude of things that his or her God desire of him or her. All this is fine, so long as we acknowledge what is going on here. Belief in God is, by definition, a belief. Belief, following Wittgenstein, is a language game with its rules and its boundaries. The essential feature of religion as language game are its boundaries, which can be summed up in the word belief. OK, belief has its practises which are its constituent parts, but belief is the boundary between religion and other language games, as the proof constituents are different. Our world is determined by the language used to describe everything that goes on within it. The boundaries of our world are set by the language we use. This might be better put as language gives access to ever expending boundaries. Ever expanding boundaries are only possible by ever expanding thought, and ever expanding thought is only possible by ever expanding directions to our thought brought about through language. It is a fact taken that to be conscious is to think. How could this be otherwise? Consciousness without thought just does not make sense. Imagine a state of consciousness without directional thought. What would it be like? It would be something never experienced, completely out of our understanding. Why? Because understanding itself is a directional thought process. If we say we are going outside our understanding then that is a world of void, and a world of void does not exist. Can such a world be contemplated in our thinking? Well, yes, but then it requires thinking, and thinking requires direction, and such direction requires language. Why does direction require language? Because there is no other way for human beings to articulate a directional thought. Could one point at an image without language? Well, one could have an image in mind, but the essence of saying something about it, of descriptive power, brings us back to the essence, to the power of language to direct. So what of this language of which we speak? Wittgenstein's private language argument points us towards the notion that language itself constantly develops and redevelops through human interaction. Descarte's cogito implies that thinking rules out doubt of one's own existence. But such thinking, to be valid, to make sense, to direct, must develop in a language that has developed, has been verified, by a plurality, by a plurality whose essence is social. Correct use of language symbols, i.e. words, requires that we verify and reverify the accuracy of such symbols. How do we do that? We do that in constant usage, in constant interaction, with other human beings. An individual using a private language could not be understood by others, his symbol system has not been verified by others, his meanings may not be your meanings. It follows from what we have said above that language is constructed, and is continually constructed, in a social context. Given our previous thoughts regarding verification this could not be otherwise. Language has a normative form. All language users are required, by their very use of the language, to verify the use of terms, grammar etc etc. As Wittgenstein cites (appropriately) games as a model, let us take a look. If I play e.g. Ludo, I am governed by the rules. It is not just that I may play dishonestly, for if I were to play at all that very dishonesty, to count as Ludo, would have to be rule governed. The rules of Ludo are Ludo, they are the essence and the constitution of it. Wittgenstein, particularly in his later writings, interweaves many concepts, and connects them in different and sometimes rather elusive ways. Wittgenstein sees concepts like emotions, sentiments and experiences in these interweaving maps. Of course these can be regarded as psychological concepts ** Language can be considered in another but related way, as embodying the elements of a cultural heritage. Language was seen as embodying the notion of higher culture in the arts, architecture etc. Over recent decades this has tended to shift to consider less tangible benefits, such things as oral traditions, cultural values and cultural identity. So language enables us to explore, through the achievements of past generations, cultural mores that may have laid unchallenged for many years. Many of these values and mores may be seen as independent of the language by which they are transmitted, but still this monumental accomplishment of mankind i.e. language, enables man to explore, to modify, to codify, to extend the boundaries of human experience. There are therefore massive implications for our Note on Cogito of Wittgenstein's work. Following Wittgenstein emotions and other psychological concepts can be termed depth grammar, and are distinguished by the fact that the third person of the present is recognised by observation, the first person is not. Taking Wittgenstein's well known pain example the sentence 'He is in pain' is a third person statement of an observational nature. The sentence 'I am in pain' is not derived from observation but from experience, it is an expression of that experience, it's essence is the experience. The asymmetry consists in the fact that predicting psychological attributes of others is warranted by what they do and say. By contrast, the use of such statements in the first person present tense does not rest on one's observation of one's own behaviour. (Hacker 2010:287) p 9 According to Wittgenstein 'I am in pain' is more like a cry of pain, an expression of pain, than a report of some pain. Of course this appertains for other similar statements. 'I feel good' etc. (shrink)

The article re-visits the different scholarly approaches to Hegel's end-of-art scenario, and then proposes a new reading whereby ending and finitude are presented as essential features of beautiful art. The first and most determinant of art's endings is the death of the Christly art object, not representations of Christ, but the actual death of (the son of) God himself as the last classical artwork. The death of God represents the last word in Greco-Roman art, the accomplishment of the beautiful individuality (...) and its failure to present the Absolute in a singular, naturally infected, lively, human (made) form. The ending of art brings about a new form of the sacred: the representational language of revelatory religion. The ongoing production of modern artistic forms is a feature of actuality ("Wirklichkeit") and as such is condemned to an infinite approximation of what has been. Such actuality nonetheless "ends" in the ironic discourse of contemporary artistic expression, which Hegel qualifies as a "Vereitelung". The final realization of the beautiful art form, as a human-informed singularity embodying absolute content, may well be the Encyclopedia of Philosophical Sciences, whose performative iteration takes place in the form of "worship" practiced in the modern, state university. (shrink)

These three volumes, entitled Essays On Values, bring together fortyone recent articles by researchers at the Nova Institute of Philosophy (IFILNOVA). They are a small sample of everything that, in the last four years, the Institute’s researchers have published, in English, in indexed journals and collections of essays with peer review. As a whole, they reflect very well the research work that is done at IFILNOVA. Section I. of Volume 1 gathers six articles that deal directly with the question “what (...) are values?”, the question that guides all the work of the institute’s different laboratories and research groups. The first article, by Susana Cadilha and Vítor Guerreiro, results from work developed in the Laboratory of Ethics and Political Philosophy (EPLab); the second, by João Constâncio, from the Lisbon Nietzsche Group; the third, by Alexandra Dias Fortes, from the Lisbon Wittgenstein Group; the third and fifth, by Nuno Fonseca, and Maria Filomena Molder, from the Aesthetics and Philosophy of Art Group of the Laboratory of Culture and Value (CultureLab); the last, by Erich H. Rast, from the Philosophy of Language and Argumentation Theory Group and the Lisbon Mind, Cognition & Knowledge Group of the Laboratory of Argumentation, Cognition, and Language (ArgLab). Section II. brings together three articles by members of the Lisbon Nietzsche Group. Since 2010, the Lisbon Nietzsche Group has completed several funded projects, and has established itself as a leading international research group on Nietzsche’s thought. The three articles demonstrate the crucial importance of the question of values in Nietzsche’s work, always thought from the perspective of the possibility of a “transvaluation of all values”. Maria João Mayer Branco’s article focuses on the value of introspection, and how Nietzsche anticipates Wittgenstein’s “expressivist” view of the “the Peculiar Grammar of the Word ‘I’” and the impossibility of private languages. Marta Faustino’s article considers the theme of affirmation and the value of life through the interpretation of Nietzsche’s reflection on truthfulness, intellectual honesty and courage in the light of Michel Foucault’s work on parrhesia. Pietro Gori’s article studies how Nietzsche creates a new anthropological ideal based on his enquiry into the values of the “good European”. The area of Wittgenstein studies has had a strong influence on the institute since the time when it was a philosophy of language institute. The Wittgensteinian distinction between facts and values was decisive in defining the question of values as the central issue of IFILNOVA’s research project, replacing the focus on philosophy of language. More recently, the focus of research at the Lisbon Wittgenstein Group has been on epistemic values, in particular in their connection with the question of religious belief. In Section III., Nuno Venturinha’s article examines, in the light of an epistemological standpoint, the way Wittgenstein thinks about the possibility of translation. Robert Vinten’s article argues that Wittgenstein’s thought contains elements for a critique of the concept of justice and of the liberal political visions of both Richard Rorty and Chantal Mouffe, despite the fact that both have drawn inspiration from Wittgenstein. Benedetta Zavatta’s article questions the value of mythology by thinking of it as a disease of language – not only in Wittgenstein, but also in a whole philosophical tradition that preceded him. The existence of a research group in ancient philosophy is a recent but very promising development in the life of IFILNOVA. Section IV. includes two articles by members of the group. Paulo Alexandre Lima’s article considers the critique of misology and the value of discourse in Plato’s Phaedo. Hélder Telo’s article examines the pedagogical and protreptic value of imperfection in Plato’s work. (shrink)

These three volumes, entitled Essays On Values, bring together fortyone recent articles by researchers at the Nova Institute of Philosophy (IFILNOVA). They are a small sample of everything that, in the last four years, the Institute’s researchers have published, in English, in indexed journals and collections of essays with peer review. As a whole, they reflect very well the research work that is done at IFILNOVA. Section I. of Volume 1 gathers six articles that deal directly with the question “what (...) are values?”, the question that guides all the work of the institute’s different laboratories and research groups. The first article, by Susana Cadilha and Vítor Guerreiro, results from work developed in the Laboratory of Ethics and Political Philosophy (EPLab); the second, by João Constâncio, from the Lisbon Nietzsche Group; the third, by Alexandra Dias Fortes, from the Lisbon Wittgenstein Group; the third and fifth, by Nuno Fonseca, and Maria Filomena Molder, from the Aesthetics and Philosophy of Art Group of the Laboratory of Culture and Value (CultureLab); the last, by Erich H. Rast, from the Philosophy of Language and Argumentation Theory Group and the Lisbon Mind, Cognition & Knowledge Group of the Laboratory of Argumentation, Cognition, and Language (ArgLab). Section II. brings together three articles by members of the Lisbon Nietzsche Group. Since 2010, the Lisbon Nietzsche Group has completed several funded projects, and has established itself as a leading international research group on Nietzsche’s thought. The three articles demonstrate the crucial importance of the question of values in Nietzsche’s work, always thought from the perspective of the possibility of a “transvaluation of all values”. Maria João Mayer Branco’s article focuses on the value of introspection, and how Nietzsche anticipates Wittgenstein’s “expressivist” view of the “the Peculiar Grammar of the Word ‘I’” and the impossibility of private languages. Marta Faustino’s article considers the theme of affirmation and the value of life through the interpretation of Nietzsche’s reflection on truthfulness, intellectual honesty and courage in the light of Michel Foucault’s work on parrhesia. Pietro Gori’s article studies how Nietzsche creates a new anthropological ideal based on his enquiry into the values of the “good European”. The area of Wittgenstein studies has had a strong influence on the institute since the time when it was a philosophy of language institute. The Wittgensteinian distinction between facts and values was decisive in defining the question of values as the central issue of IFILNOVA’s research project, replacing the focus on philosophy of language. More recently, the focus of research at the Lisbon Wittgenstein Group has been on epistemic values, in particular in their connection with the question of religious belief. In Section III., Nuno Venturinha’s article examines, in the light of an epistemological standpoint, the way Wittgenstein thinks about the possibility of translation. Robert Vinten’s article argues that Wittgenstein’s thought contains elements for a critique of the concept of justice and of the liberal political visions of both Richard Rorty and Chantal Mouffe, despite the fact that both have drawn inspiration from Wittgenstein. Benedetta Zavatta’s article questions the value of mythology by thinking of it as a disease of language – not only in Wittgenstein, but also in a whole philosophical tradition that preceded him. The existence of a research group in ancient philosophy is a recent but very promising development in the life of IFILNOVA. Section IV. includes two articles by members of the group. Paulo Alexandre Lima’s article considers the critique of misology and the value of discourse in Plato’s Phaedo. Hélder Telo’s article examines the pedagogical and protreptic value of imperfection in Plato’s work. (shrink)

Gottlob Frege’s conception of works of art has received scant notice in the literature. This is a pity since, as this paper undertakes to reveal, his innovative philosophy of language motivated a theoretically and historically consequential, yet unaccountably marginalized Wittgenstinian line of inquiry in the domain of aesthetics. The element of Frege’s approach that most clearly inspired this development is the idea that only complete sentences articulate thoughts and that what sentences in works of drama and literary art express are (...) ‘mock thoughts’ (Schiengedanken). The early Wittgenstein closely followed Frege’s lead on this theme. One sees this, for example, in the Tractatus, where Wittgenstein announces that only sentential propositions model (‘picture’) states of affairs whereas works of art are objects we perceive sub specie aeternitatis (1961, 83). By the 1930s, however, Wittgenstein began to revise his view beyond his initial Frege-inspired standpoint. He came to insist that works of art can convey thoughts as well, but that thoughts do not model (picture) the world of facts and hence do not convey information about measurable objects and events. Rather, his contention was that aesthetically configured thoughts that artworks communicate impart information about our perspective on reality and reconfigure our view of life. To be more explicit, successful (gelungene) or ‘good’ works of art (ibid.), in Wittgenstein’s view, can supply aesthetically instructive ‘gestures’ that open to living experience promising new ways of being. It is in this respect, he held, that artists ‘have something to teach’ (1980, 36). (shrink)

Collingwood’s aim in The Principles of Art is “to answer the question: What is art?” (p. 1) The answer Collingwood offers to that question, that art is the expression of emotion, has become notorious for its implausibility. I consider one objection against this theory, namely that it is unclear what is rendered art by this definition: for it sometimes appears to define art too broadly, containing all utterances and gestures; but at other times to define art too narrowly, excluding much (...) of what we intuitively consider art. -/- I argue that this objection is mistaken, because it is founded upon a misunderstanding of the sort of project in which Collingwood is engaged. I propose a new reading, via his philosophical methodology, under which ‘art’ is differentially rather than binarily realisable. According to this new reading, art is something found in every human experience or activity, but to a greater or lesser extent. I close by suggesting one reason why Collingwood’s project under this reading is more philosophically interesting than it is under the standard reading, namely that it can give a better account of borderline cases of art. (shrink)

Reading or hearing about Theodor Adorno's ideas always results in quibbles. He strikes many as a naïve philosopher because of his reversal of concept and object; some see him as an anarchist because of his relentless critique of rationality; while to others he simply does not make sense, and especially a critique of society based on negative dialectics simply does not make sense to many! These points, however, are precisely some of the key elements of his thought; without a deeper (...) apprehension of these main themes, it would be impossible to arrive at a level-headed appraisal of his philosophy. (shrink)

Contemporary post-aesthetic art implies an expanded concept of the work of art that also includes political functions. Beuys’s concept of social sculpture and Marcuse’s idea of society as a work of art can be complemented by Abreu’s project of a musical orchestra as a social ideal and the Neue Slowenische Kunst transnational state formed from the core of art. These concepts are close to the views of Hakim Bey, with D’Annunzio also touching upon them with his State of Fiume, for (...) which he wrote the constitution and defined music as its central governing principle. Although the art state is a utopian project, art can serve a variety of emancipatory functions even in the dystopian present to intervene in and change the political. In this article, we also discuss the case of art activism in Slovenia, where culture has become a central part of civil society oriented towards social change. Art activism contributes to an expanded concept of the political, which includes new subjects and new forms of antagonisms. Likewise, such repurposing of art emphasises its role in research. (shrink)

In this paper, we support a continuistic reading of Joseph Margolis' philosophy, defending the claim that in the 1970s, Margolis tackled the issues suggested by the analytic philosophy of art from an original theoretical perspective and through conceptual tools exceeding the analytical framework. Later that perspective turned out to be a radically pragmatist one, in which explicitly tolerant realistic claims and non-reductive naturalism converged with radical historicism and contextualism. We will endorse this thesis by focusing on two important concepts appearing (...) in Margolis' aesthetics essays from the late 1950s to the 1970s: the type-token pair and the notion of cultural emergence. On the one hand, we will emphasise Margolis' indebtedness to Peirce's first formulation of the type-token distinction, involving a strong interdependence between the two elements of the pair, as well as an anti-essentialistic, historicised, and contextualised notion of type. On the other hand, we will delve into Margolis' exploration of the concept of emergence and cultural emergence, involving a genuinely pluralistic view of ontology, as well as a non-reductive, continuistic form of naturalism. Finally, we will connect the criticism of the so-called closure of the physical world with Margolis' anti-autonomistic stance in defining artworks. (shrink)

A content theory of art would identify an artwork with the meaningful or representational content of some concrete artistic vehicle, such as the intentional, expressive, stylistic, and subject matter-related content embodied in, or resulting from, acts of intentional artistic expression by artists. Perhaps surprisingly, the resultant view that an artwork is nothing but content seems to have been without theoretical defenders until very recently, leaving a significant theoretical gap in the literature. I present some basic arguments in defence of such (...) a view, including the following. Content views of linguistic communication are ubiquitous, so why should they not be applicable in artistic cases as well? Also, propositional accounts of language involve two kinds of content (the proposition expressed by a sentence, plus the worldly state of affairs it represents), both of which kinds can be used in explaining artworks. In addition, the differing modal properties of artworks and concrete artefacts can be used to show that artworks could not be, or include, such physical artefacts. (shrink)

In this paper I present an interpretation of Deleuze's concept of the virtual. I argue that this concept is best understood in relation to the problematic of individuation or differentiation, which Deleuze inherits from Duns Scotus. After analysing Scotus' critique of Aristotelian or hylomorphic approaches to the problem of individuation, I turn to Deleuze's account of differentiation and his interpretation of the calculus in chapter 4 of Difference and Repetition. The paper seeks thereby to explicate Deleuze's dialectics or (...) theory of Ideas, his approach to the principle of sufficient reason, and the concept of the virtual itself. (shrink)

In Wittgenstein on Rules and Private Language, Saul Kripke presents a controversial skeptical argument, which he attributes to Wittgenstein’s interlocutor in the Philosophical Investigations [PI]. The argument purports to show that there are no facts that correspond to what we mean by our words. Kripke maintains, moreover, that the conclusion of Wittgenstein’s so-called private language argument is a corollary of results Wittgenstein establishes in §§137-202 of PI concerning the topic of following-a-rule, and not the conclusion of an independently developed argument (...) in §§243ff of PI, as most commentators take it to be. In this work, I assess Kripke’s skeptical argument both in its own right, and as an interpretation of the rule-following sections of PI. In its own right, I try to show that it is critically flawed. However, as an interpretation of the rule-following sections of PI, I try to show that it is essentially correct. I do this by showing that Kripke’s interpretation squares with and supports the meta-philosophical framework developed by Wittgenstein in §§107-136 of PI, which immediately precedes his remarks on following-a-rule. (Oct 16, 2008. Committee: Paul Horwich, Galen Strawson, Stephen Neale, Michael Levin) -/- . (shrink)

This paper tries to determine the philosophical nature of language, its functions, structure and content. It also explains the concept of natural language, ordinary and ideal language i.e. how there is a need of artificial perfect logical language without errors and unclearness in that language. This paper further shows the logical form of language with its syntactical, semantical, innate and acquired criteria for the evaluation of the languages. It deals with the analysis of language to clear what is unclear, (...) to know what is unknown, to make definite what is vague. In this paper I used the method; logical method for interpretation and argumentation, analytical method for simplification, and critical method to investigate the real domain of language. This paper does not deal with ordinary functions of the language but it deals with the conceptual and modular functions of the language. The fundamental aim of this written up is to determine the analytical approach of Wittgenstein to sketch the ‘language as a tool to discuss the state of affairs or facts of the worlds that is also what philosophy does. This paper describes the contributions of rationalism and empiricism in the field of knowing the truths of language. (shrink)

Theory of Computation -- Computation by Abstracts Devices.

This article starts from the assumption that there is a connection between art and language and responsibility. What is it based on? It follows on from the research of the Hamburg Circle in the 1920s by Ernst Cassirer and Aby M. Warburg, and was strengthened in the 2000s by Hartmut Böhme. Their joint starting point is the emotional life of human beings. Thus, they assume that already the perception is shaped by it and can be increased in rituals. Comparably hardly (...) noticed by us, it continues to have an effect in art and language and thus influences the recipient. From this derives the demand that both the one who speaks and the one who is creatively active bears responsibility for his or her doing. With the knowledge of the effect of art and language, however, the recipient is also required to take responsibility for his actions influenced by it. The article aims to show this connection, which is deeply rooted in the nature of human beings. -/- The article was originally published in German. It has now been translated by the author with the kind permission of the Evangelical Church in Germany. Additions were made only in the notes and in the bibliography. The concept for the text goes back to a conference of the Evangelical Academy of the Martin Luther City of Wittenberg (Saxony). On this basis, the author was invited to contribute to the publication of the Evangelical Church in Germany (EKD) Mitteilungen—Zur Erneuerung evangelischer Predigtkultur (Kirche im Aufbruch 5), edited by Kathrin Oxen and Dietrich Sagert. Leipzig: Evangelische Verlagsanstalt, 2013. The selection of the text for this issue of Art Style Magazine was based on one of the fundamental ideals of Metropolis, which sees itself as democratic and based on the responsibility of each member in dealing with art and language. (shrink)

In the present book, the starting line is defined by a morphogenetic perspective on human communication and culture. The focus is on visual communication, music, religion (myth), and language, i.e., on the “symbolic forms” at the heart of human cultures (Ernst Cassirer). The term “morphogenesis” has more precisely the meaning given by René Thom (1923-2002) in his book “Morphogenesis and Structural Stability” (1972) and the notions of “self-organization” and cooperation of subsystems in the “Synergetics” of Hermann Haken (1927- ). The (...) naturalization of communication and cultural phenomena is the favored strategy, but the major results of the involved disciplines (art history, music theory, religious science, and linguistics) are respected. Visual art from the Paleolithic to modernity stands for visual communication. The present book focuses on studies of classical painting and sculpture (e.g., Leonardo da Vinci, William Turner, and Henry Moore) and modern art (e.g., Jackson Pollock and Joseph Beuys). Musical morphogenesis embraces classical music (from J. S. Bach to Arnold Schönberg) and political songwriting (Bob Dylan, Leonhard Cohen). The myths of pre-literary societies show the effects of self-organization in the re-assembly (bricolage) of traditions. Classical polytheistic and monotheistic religions demonstrate the unfolding of basic germs (religious attractors) and their reduction in periods of crisis, the self-organization of complex religious networks, and rationalized macro-structures (in theologies). Significant tendencies are analyzed in the case of Buddhism and Christianism. Eventually, a holistic view of symbolic communication and human culture emerges based on state-of-the-art in evolutionary biology, cognitive science, linguistics, and semiotics (philosophy of symbolic forms). (shrink)

This paper claims that Kant’s conception of culture provides a new means of understanding how the two parts of the Critique of Judgment fit together. Kant claims that culture is both the ‘ultimate purpose’ of nature and to be defined in terms of ‘art in general’ (of which the fine arts are a subtype). In the Critique of Teleological Judgment, culture, as the last empirically cognizable telos of nature, serves as the mediating link between nature and freedom, while in the (...) Critique of Aesthetic Judgment, the connection between art and morality passes through culture. In either case, Kant offers distinct, yet interdependent, arguments for how culture demonstrates the amenability of nature to its supersensible ground: the central question Kant claims in the Introduction that the work seeks to answer. Thus, not only does this account advance a concept essential to both parts of the work; it also demonstrates how the two parts can be conceived as complementary, with each supplementing the other to solve Kant’s central question. As such, understanding the Critique of Judgment in terms of culture enables us to see how the two parts of the work do not merely share points of similarity or common themes, but presuppose one another in order to understand how nature is amenable to freedom. (shrink)

Christian B. Miller has noted a “realism challenge” for virtue ethicists to provide an account of how the character gap between virtuous agents and non-virtuous agents can be bridged. This is precisely one of Han Feizi’s key criticisms against Confucian virtue ethics, as Eric L. Hutton argues, which also cuts across the Aristotelian one: appealing to virtuous agents as ethical models provides the wrong kind of guidance for the development of virtues. Hutton, however, without going into detail, notes that the (...) notion of rituals in the Confucian tradition may be able to sidestep Han Feizi’s criticism. In this essay, I wish to explore not only how the notion of rituals, alongside its corollaries in Xunzi’s Confucian program for ethical cultivation, indeed addresses Han Feizi’s criticism, but also observe that Aristotle’s tragic poetry plays functionally equivalent roles in his own understanding of ethical upbringing. I will begin by considering Han Feizi’s critique of ethical cultivation in virtue ethics as such and how it poses a specific problem for the acquisition of the ‘constitutive reasoning’ shared by Aristotle and Xunzi. I will then briefly note that this problem trades on the synthetic structure of human nature found in both Aristotle and Xunzi (the rational/irrational parts of the soul and the heartmind/five faculties), which grounds the way they understand ethical action and agency. Finally, I will suggest how both Aristotle and Xunzi understand the role of the arts in their extensive programme of ethical cultivation, allowing them to respond to Han Feizi’s attack as too narrow a construal of their respective ethical projects. It is hoped that, through this, we may gain a better sense of how more recent virtue ethicists may similarly draw on aesthetic resources for ethical development. (shrink)

Not-I/Thou: The Other Subject of Art and Architecture is a series of essays delineating the gray areas and black zones in present-day cultural production. Part One is an implicit critique of neo-liberal capitalism and its assault on the humanities through the pseudo-scientific and pseudo-empirical biases of academic and professional disciplines, while Part Two returns to apparent lost causes in the historical development of modernity and post-modernity, particularly the recourse to artistic production as both a form of mnemonics and periodic (and (...) renascent) avant-garde agitation. In-between these twin systems of taking the measure of things, Art and Architecture, as forms of speculative intellectual capital, emerge from the shadow-lands of half-conscious and half-unconscious forces to become gestures toward a type of knowledge that has no utilitarian or generic agency. Defying the tendencies of such discourses to fall prey to instrumental orders that effectively neuter the inherent radical agenda of both, Art and Architecture are represented in this series of essays as noetic apparatuses, operating at the edge of authorized systems of knowledge, quietly and secretly validating and valorizing the shadowy and recondite, collective and personal operations of intellect in service to no particular end. (shrink)