Creativity pervades human life. It is the mark of individuality, the vehicle of self-expression, and the engine of progress in every human endeavor. It also raises a wealth of neglected and yet evocative philosophical questions: What is the role of consciousness in the creative process? How does the audience for a work for art influence its creation? How can creativity emerge through childhood pretending? Do great works of literature give us insight into human nature? Can a computer program really be (...) creative? How do we define creativity in the first place? Is it a virtue? What is the difference between creativity in science and art? Can creativity be taught? The new essays that comprise The Philosophy of Creativity take up these and other key questions and, in doing so, illustrate the value of interdisciplinary exchange. Written by leading philosophers and psychologists involved in studying creativity, the essays integrate philosophical insights with empirical research. CONTENTS I. Introduction Introducing The Philosophy of Creativity Elliot Samuel Paul and Scott Barry Kaufman II. The Concept of Creativity 1. An Experiential Account of Creativity Bence Nanay III. Aesthetics & Philosophy of Art 2. Creativity and Insight Gregory Currie 3. The Creative Audience: Some Ways in which Readers, Viewers and/or Listeners Use their Imaginations to Engage Fictional Artworks Noël Carroll 4. The Products of Musical Creativity Christopher Peacocke IV. Ethics & Value Theory 5. Performing Oneself Owen Flanagan 6. Creativity as a Virtue of Character Matthew Kieran V. Philosophy of Mind & Cognitive Science 7. Creativity and Not So Dumb Luck Simon Blackburn 8. The Role of Imagination in Creativity Dustin Stokes 9. Creativity, Consciousness, and Free Will: Evidence from Psychology Experiments Roy F. Baumeister, Brandon J. Schmeichel, and C. Nathan DeWall 10. The Origins of Creativity Elizabeth Picciuto and Peter Carruthers 11. Creativity and Artificial Intelligence: a Contradiction in Terms? Margaret Boden VI. Philosophy of Science 12. Hierarchies of Creative Domains: Disciplinary Constraints on Blind-Variation and Selective-Retention Dean Keith Simonton VII. Philosophy of Education (& Education of Philosophy) 13. Educating for Creativity Berys Gaut 14. Philosophical Heuristics Alan Hájek. (shrink)

Die gegenwärtig unter dem Titel ›Realismus‹ geführten Debatten in der Philosophie befinden sich nach allgemeiner Ansicht in einem Zustand größter Verwirrung, so daß es nützlich erscheint, ein wenig Ordnung in die theoretischen Optionen zu bringen bevor man für die eine oder andere Auffassung Partei ergreift. In der vorliegenden Arbeit wird dafür argumentiert, daß sich ein systematisch zusammenhängendes Zentrum dieser Debatten mit Hilfe des Begriffes der Referenz ordnen läßt. Nach der Analyse einiger klassischer Positionen soll ein Rahmen erstellt werden, innerhalb dessen (...) die Positionen eingeordnet und die zentralen Probleme fruchtbar diskutiert werden können. Zu diesem Zwecke ist es erforderlich, für die Einordnung der Positionen theoretische Kriterien zu benennen, die sich an den Problemen orientieren von denen hier argumentiert wird, das sie zentral seien. Sehr knapp ausgedrückt wird hier die Auffassung vertreten, Realismus sei als metaphysische These aufzufassen, welche eine von menschlichen epistemischen und semantischen Möglichkeiten unabhängige Existenz behauptet; in den gegenwärtigen Debatten typischerweise die Existenz einer Art von Dingen, nicht die eines individuellen Gegenstandes. Diese metaphysische These wird jedoch in der gegenwärtigen Debatte mit semantischen Argumenten untermauert, bzw. angegriffen und jene semantischen Argumente wiederum verwenden epistemische Erwägungen – die Frage betreffend, was man wissen kann und was nicht. Der Beginn der gegenwärtigen Realismusdebatten mit der soeben skizzierten zentralen Stellung semantischer Argumente ist, der hier vertretenen Auffassung zufolge, die Kritik am traditionellen Fregeschen Referenzbegriff durch Kripke und den frühen Putnam um 1970 (Kap. 2). Aus dieser neu zu bewertenden Kritik und der von den Autoren daraus entwickelten externalistischen realistischen Semantik für Artausdrücke läßt sich das erste Kriterium für eine Position in einer Realismusdebatte ableiten und klären (Kap. 3): Hält man die fragliche Art für eine natürliche Art und meint also, sie habe ihren ›Zusammenhalt‹ von Natur aus? Wenn ja, dann ist die fragliche Position eine realistische (das Kriterium ist dank des engen Zusammenhangs von Realismus und Externalismus sowohl hinreichend als auch notwendig). Hält man die Art nicht für eine natürliche Art, ist man Antirealist. Damit geht jeweils not- wendig eine bestimmte Semantik für den auf die Art referierenden Ausdruck einher. Es zeigt sich zugleich, daß es zwei Varianten des Realismus zu unterscheiden gilt, die hier als klassischer bzw. als moderater Realismus bezeichnet werden. Im folgenden (Kap. 4.1) wird argumentiert, daß der Begriff der Wahrheit nicht eigentlich der zentrale Punkt in den in Frage stehenden Realismusdebatten sein sollte, wie vielfach behauptet wurde, sondern seine Brisanz vielmehr aus zugrundeliegenden semantischen Fragen gewinnt die also in der weiteren Aufdeckung der Kriterien die zentrale Rolle spielen müssen. In der Analyse der Kritik an der in Kap. 3 entwickelten Position des ›klassischen Realismus‹ läßt sich ein zweites unterscheidendes Kriterium für Positionen in Realismusdebatten entwickeln: begriffliche Relativität. Nach der Ablehnung von Putnams Auffassungen zu diesem Thema, werden zwei Varianten vorgeschlagen, starke und schwache begriffliche Relativität (Kap. 4.2). Die Anwendung dieses Merkmals zwingt, so wird argumentiert, in einigen Fällen zu einer Kombination einer realistischen Auffassung von Arten als natürliche mit begrifflicher Relativität. Diese mittlere Position zwischen klassischem Realismus und Antirealismus wird als »moderater Realismus« bezeichnet. Der im ersten Kriterium verwendete Begriff der natürlichen Art, und damit die Optionen in den Debatten, wird schließlich mittels einer Dis- kussion des Phänomens der Vagheit noch weiter verdeutlicht (Kap. 4.3). Ab- schließend werden die drei Optionen zusammenfassend dargestellt und ein Versuch unternommen, ihre Fruchtbarkeit für diverse Realismusdebatten anzudeuten. (shrink)

Les recherches menées dans le champ de la psychologie morale par Larry P. Nucci et Elliot Turiel conduisent à identifier le domaine moral avec le domaine des jugements prescriptifs concernant la manière dont nous devons nous comporter à l’égard des autres personnes. Ces travaux empiriques pourraient apporter du crédit aux propositions normatives du philosophe Ruwen Ogien qui défend une conception minimaliste de l’éthique. L’éthique minimale exclut en particulier le rapport à soi du domaine moral. À mon avis cependant, ces (...) travaux de psychologie morale ne permettent pas du tout d’affirmer que nous sommes, empiriquement parlant, des minimalistes moraux. Les résultats des recherches de Nucci et Turiel montrent que les personnes considèrent intuitivement que le domaine personnel – le domaine des actions qui affectent prioritairement l’agent lui-même – doit échapper au contrôle ou à l’interférence des autres personnes. Mais affirmer que c’est l’agent lui-même qui possède l’autorité légitime de décider dans le domaine personnel ne signifie pas que tout ce qu’il y fait soit moralement indifférent. (shrink)

In "Godel es Way" diskutieren drei namhafte Wissenschaftler Themen wie Unentschlossenheit, Unvollständigkeit, Zufälligkeit, Berechenbarkeit und Parakonsistenz. Ich gehe diese Fragen aus Wittgensteiner Sicht an, dass es zwei grundlegende Fragen gibt, die völlig unterschiedliche Lösungen haben. Es gibt die wissenschaftlichen oder empirischen Fragen, die Fakten über die Welt sind, die beobachtungs- und philosophische Fragen untersuchen müssen, wie Sprache verständlich verwendet werden kann (die bestimmte Fragen in Mathematik und Logik beinhalten), die entschieden werden müssen, indem man sich anschaut,wie wir Wörter in bestimmten (...) Kontexten tatsächlich verwenden. Wenn wir klar werden, welches Sprachspiel wir spielen, werden diese Themen als gewöhnliche wissenschaftliche und mathematische Fragen angesehen, wie alle anderen auch. Wittgensteins Einsichten wurden selten übertroffen und sind heute so treffend wie vor 80 Jahren, als er die Blauen und Braunen Bücher diktierte. Trotz seiner Versäumnisse – wirklich eine Reihe von Notizen statt eines fertigen Buches – ist dies eine einzigartige Quelle für die Arbeit dieser drei berühmten Gelehrten, die seit über einem halben Jahrhundert an den blutenden Rändern von Physik, Mathematik und Philosophie arbeiten. Da Costa und Doria werden von Wolpert zitiert (siehe unten oder meine Artikel über Wolpert und meine Rezension von Yanofskys 'The Outer Limits of Reason'), da sie auf universelle Berechnung schrieben,, und unter seinen vielen Errungenschaften ist Da Costa ein Pionier in Parakonsistenz. Wer aus der modernen zweisystems-Sichteinen umfassenden, aktuellen Rahmen für menschliches Verhalten wünscht, kann mein Buch "The Logical Structure of Philosophy, Psychology, Mindand Language in Ludwig Wittgenstein and John Searle' 2nd ed (2019) konsultieren. Diejenigen,die sich für mehr meiner Schriften interessieren, können 'Talking Monkeys--Philosophie, Psychologie, Wissenschaft, Religion und Politik auf einem verdammten Planeten --Artikel und Rezensionen 2006-2019 3rd ed (2019) und Suicidal Utopian Delusions in the 21st Century 4th ed (2019) und andere sehen. (shrink)

Dieser Forschungsbericht gibt einen Überblick über die aktuelle Debatte über motivierende Gründe in der Handlungs- und Erkenntnistheorie. Folgende drei Fragen werden schwerpunktmäßig behandelt: a) Was für eine Art von Entität sind motivierende Gründe? b) Welche Beziehung besteht zwischen einer Handlung oder Einstellung und ihren motivierenden Gründen? c) Welche kognitiven Bedingungen gelten für die Zuschreibung motivierender Gründe?

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)

Das Anliegen der vorliegenden Studie ist der Entwurf eines wirklichkeitstreuen Modells der Kommunikation. Ebenfalls hat uns interessiert, die konstitutiven Regeln der Kommunikation zu bestimmen und einige Wirksamkeitsnormen und moralische Normen, die mit wünschenswerten sozialen Kommunikationsformen assoziierbar sein könnten, zu identifizieren. Die Kommunikation ist ein facettenreiches und zugleich interpretationsoffenes Phänomen, welches zahlreiche unterschiedliche theoretische Modelle erlaubt. Sie kann von den Psychologen als selbstständigen Verhaltenstyp, von den Soziologen als entscheidenden Sozialisierungsfaktor, von den Anthropologen als kulturhervorbringendes und -verbreitendes Mittel, von den Semiologen als (...) Prozess der (Um-)Konfiguration der verschiedenen Bedeutungen von Bedeutungsträgern usw. gedeutet werden. Das vorliegende Interpretationsmodell der Kommunikation ist allgemein, zum Teil auch hermeneutisch, indem es a) den Kommunikationsprozess als solchen und nicht etwa als eine gesonderte Instanz desselben berücksichtigt, b) eine einzige, nämlich die interaktive Perspektive auf die Kommunikation hervorhebt und c) zweckgemäß die Kommunikation in einen normativen, intelligiblen Rahmen überträgt, wobei sich eine empirische Beschreibung der Kommunikationsfakten zwecks Feststellung allgemeingültiger Gesetze von selbst erübrigt. Diesem theoretischen Modell entsprechend ist die Kommunikation eine Interaktion oder eine wechselseitige semiotische Interaktion, innerhalb derer die involvierten Personen mithilfe von Zeichen komplementäre Verhalten manifestieren, die bestimmten (sozialen) Regeln unterworfen sind. Demzufolge ist die Kommunikation kein individuelles Spiel, sondern ein Team-Spiel. Ihre Protagonisten spielen alle genauso wichtige Rollen, und von ihrer Teilnahme hängt beides, Gelingen und Misslingen der Kommunikation, gleichermaßen ab. Nachdem wir den Begriff der Kommunikation im allgemeinen erklärt hatten, galt unser Interesse der Definition und der Klassifizierung der exklusiven Ausführungsmittel des oben beschriebenen Prozesses, das heißt, der Zeichen. Die semiotische Literatur behandelt die Zeichen sowohl als (stoffliche, mentale oder gemischte) Objekte als auch als Funktionen. Für unsere Demarche haben wir es vorgezogen, die Zeichen als in Wirklichkeit existierende Reize zu beschreiben, die auf Grund von sozialen Konventionen stets auf „etwas Anderes” als auf sich selbst hinweisen. Dieses gemeinte „Andere“, die Bedeutung des Zeichens, ist nichts anderes als die Gesamtheit seiner Anwendungen. Die Natur des Verhältnisses von Zeichen und (willkürlicher, notwendiger, durch Analogie oder Ähnlichkeit begründeter) Bedeutung hat uns dann erlaubt, vier Zeichenkategorien auszumachen und zu beschreiben: Wörter, Indizien, Bilder und Sinnbilder. Was die Erläuterung der konstitutiven Faktoren der Kommunikation anbetrifft, haben wir im Einklang mit den Forschungen angesehener Semiotiker mit sechs grundlegenden Parametern gerechnet: Sender, Empfänger, Mitteilung, Code, Kommunikationssituation und Kommunikationskanal. Doch war das wirklich die einzige treffliche Option? Hätte der Kommunikationsprozess nicht ausgehend von anderen – wenigeren oder mehreren – Faktoren analysiert werden können? Gewiss kann die Kommunikation auch mittels weiterer Variablen verstanden werden – und die Fachliteratur ist nicht müde geworden, die Vorzüge anderer Beschreibungsmuster zu zeigen –; von den sechs semiotischen, von Roman Jakobson eingeführten Parametern kann man indes nicht wegsehen. Sie erlauben allemal eine ziemlich genaue Bestimmung der durch die Protragonisten der Kommunikation durchgeführten Handlungen. In Übereinstimmung mit der allgemeinen Methode der Handlungstheorie haben wir jeden konstitutiven Faktor der Kommunikation mit je einem Handlungspaar korreliert, zum einen beim Sender, zum anderen beim Empfänger. Die Berücksichtigung der Sprache und implizite der Kommunikation im Kontext der Handlungstheorie ist keine bahnbrechende Unternehmung, da sie unter anderem schon John Austin, John Searle und Jürgen Habermas als Ausgangspunkt ihrer Analyse der Sprechakte gedient hat. Auch die Korrelation der Kommunikationsparameter mit einer Handlung ist kein Novum, indem sie auf analoge Weise bereits durch die Versuche einiger Semiotiker wie Roman Jakobson und Karl Bühler, die Funktionen der Sprache bzw. des linguistischen Zeichens zu systematisieren, unternommen wurde. Unser origineller Beitrag besteht aus der Korrelation jedes Faktors der Kommunikation mit einer Interaktion, das heißt mit einem Paar von komplementären Handlungen, so dass jeder Handlung des Senders eine Handlung des Empfängers entspricht. In diesem Sinne haben wir Sender, Empfänger, Mitteilung, Code, Kommunikationssituation und Kommunikationskanal in spezifischen Interaktionstypen (Sichentlarven – Nachvollziehen, Einflussnahme – Antwort, Sendung – Empfang, syntaktische Informierung – syntaktisches Verständnis, Bezeichnung – „Mitbezeich-nung“ bzw. Anknüpfung einer soziale Beziehung – Beibehaltung einer soziale Beziehung) inszeniert. Nachdem wir den Kommunikationsprozess als Totalität von sechs Interaktionstypen beschrieben hatten, haben wir auf drei mögliche Ordnungen der Kommunikationsformen verwiesen, wobei die Einteilungskriterien jeweils die verschiedenen gebrauchten Zeichentypen, die Art der Beziehung zwischen Sender und Empfänger bzw. der sich spontan manifestierende soziale Abstand zwischen den Kommunizierenden waren. Indem unsere Demarche darauf abzielte, die Eigentümlichkeiten verbaler vs. nonverbaler, formaler vs. informaler, der individuell, gruppenweise oder öffentlich stattfindenden Kommunikation auszumachen, haben wir die Akzente auf die Pragmatik der Kommunikation gesetzt und somit einige Hinweise auf den Erwerb spezifischer Kommunikationsfähigkeiten geben können. Das von uns vorgeschlagene theoretische Modell hat also nicht nur ein besseres Verständnis der Kommunikation beabsichtigt, sondern auch die Feststellung eines vollständigen Regelwerks der Kommunikation. Diese Regeln wurden als Formen des zu erwartenden sozialen Verhaltens behandelt – sowohl im normativen als auch im antizipativen Sinne – und wurden im Gefolge von John Searle in zwei Hauptklassen eingeteilt: konstitutive und normative Regeln. Die konstitutiven Regeln bestimmen die von ihnen logisch-abhängigen Verhaltensweisen und legen die Bedingungen der Kommunikationsakte fest, während die normativen Regeln die vorgegebenen, unabhängigen Verhaltensweisen berücksichtigen und die wünschenswerten Bedingungen für ihre Vollziehung festlegen. Um die konstitutiven Regeln ausmachen zu können, sind wir davon ausgegangen, dass der Prozess der menschlichen Kommunikation kein naturhafter, sondern ein institutioneller ist. Mit anderen Worten ist die Kommunikation das Ergebnis einer sozialen Vereinbarung und eben kein unabhängiges Phänomen, das nur von außen zu beschreiben wäre. Je nachdem, wie die notwendigen Regeln, welche die soziale Vereinbarung definieren, respektiert oder verletzt werden, haben wir fünf mögliche Situationen identifiziert: die vollkommene Kommunikation, die teilweise geglückte Kommunikation, die Nonkommunikation, die relative und die absolute Antikommunikation, wobei man hinzufügen muss, dass die erste und die letzte Situation Grenzerfahrungen ohne jegliche Referenz darstellen. Die konstitutiven Regeln der Kommunikation wurden mit allen sechs spezifischen Interaktionstypen korreliert (Sichentlarven – Nachvollziehen, Einflussnahme – Antwort, Sendung – Empfang, syntaktische Informierung – syntaktisches Verständnis, Bezeich-nung – „Mitbezeichnung“ bzw. Anknüpfung einer soziale Beziehung – Beibehaltung einer soziale Beziehung), so dass sie wenigstens aus einem bestimmten Gesichtspunkt ein konsistentes und vollständiges System bilden können. Im Unterschied zum System der konstitutiven Regeln sind hier die Kommunikationsnormen nicht erschöpfend behandelt worden. So wurden aus der Vielfalt der Vorschriften, die zu erwünschten Ergebnissen in der Kommunikation führen könnten, nur einige im Rahmen der vorliegenden Studie angegangen. Diese betreffen die Wirksamkeit und die moralischen Aspekte der Kommunikation und wurden ihrerseits mit den oben angeführten sechs Interaktionstypen korreliert. Dabei waren nicht so sehr die unausweichlichen Lücken im Inventarisieren der Normen, welche die Genauigkeit und die Ökonomie der Kommunikation gewähren, am problematischsten, sondern vielmehr der Grad an moralischer Relevanz, den die Kommunikationsakte beanspruchen können. Wir sind fest davon überzeugt, dass die Handlungen der Kommunizierenden eher davon abhängen, inwiefern sie moralische Verpflichtungen eingehen, und eben nicht davon, was für einen Gewinn sie dadurch erzielen, da keine der berücksichtigten Handlungen sich der Moral gänzlich entziehen können. Ob „neutrale Metaregeln“ für den Fall, dass einige moralische Eingrenzungen mit den Wirksamkeitsnormen kollidieren, vonnöten sind, sei dahin gestellt. Ein theoretisches Modell kann nur dann als nützlich bezeichnet werden, wenn es neue Forschungsansätze bringt und neue Forschungswege ermöglicht. Unter diesem Blickwinkel hat die vorliegende Studie zwei mögliche Fortsetzungen: die Ergänzung der Gesamtheit der normativen Regeln der Kommunikation (im allgemeinen), bzw. das Unterteilen des allgemeinen Modells der Kommunikation in stereotypen Mustern wie der politischen oder didaktischen Kommunikation usw. Schließlich hängen Gelingen und Anwendbarkeit der vorliegenden Studie in pragmatischer Sicht eben davon ab, inwiefern sie dem Leser / Benutzer als Wekzeug zur Verbesserung seiner Kommunikationsleistungen dienen kann. (shrink)

Die Zeiten, in denen Kausalität das Charakteristikum von Wissenschaftlichkeit war, scheinen sich ihrem Ende zu nähern. Seit dem Beginn unseres Jahrhunderts ist eine seit langem schwelende Krise des herkömmlichen Kausalitätsverständnisses in den Naturwissenschaften unübersehbar zum Ausdruck gekommen. Dessen ungeachtet halten jedoch viele Wissenschaftstheoretiker an Kausalitätsvorstellungen als vermeintlich unverzichtbarem Analyseinstrument fest. In Kritik dieser Tendenz zur Verkennung eines grundlegenden Bedeutungsverlustes wird der historische Verdrängungsprozess von Kausalitätsvorstellungen unter den Stichworten der Entfinalisierung und Entsubstantialisierung nachgezeichnet. Aus der Perspektive geschichtlicher Rekonstruktion handelt es sich (...) bei den gegenwärtigen Vorstellungen um den letzten Rest einer unvergleichlich reichhaltigeren ursprünglichen kausalen Begrifflichkeit. Am Beispiel der heute wohl weitverbreitetsten, auf C. G. Hempel zurückgehenden Vorstellung werden die wichtigsten Merkmale der kausalen Relation diskutiert. Im Ergebnis zeigt sich, dass für das naturwissenschaftliche Kausalitätsverständnis, soweit es sich auf einen Begriff bringen lässt, in der Tat ein reduzierter Sinngehalt der Kategorie der Verursachung in kausalen Erklärungen, eine begrenzte Anwendbarkeit sowie ein reduzierter Geltunganspruch typisch sind. Die Grenzen naturwisseschaftlicher Kausalitätsvorstellungen betreffen deren' strenge begriffliche Fassung, nicht jedoch ihre Brauchbarkeit als heuristische Forschungsmaxime in Situationen, in denen unerwartete Phänomene auftreten oder Phänomene ausbleiben, mit denen man zuvor fest gerechnet hat. Für diese Situationen ist die Überlegung, was der Fall gewesen wäre, wenn eine Ursache nicht eingetreten wäre, in besonderer Weise bezeichnend. Welche Relevanz dieser Kausalitätsvorstellung zukünftig zukommen wird, hängt wesentlich vom Charakter der weiteren Wissenschaftsentwicklung ab. (shrink)

Die Frage ist nicht, ob der Realismus (in Sachen Existenz und Beschaffenheit der Außenwelt) zutrifft, sondern was er besagt – und ob er überhaupt etwas besagt. Moritz Schlick sah guten kognitiven Sinn im Realismus und hielt ihn sogar für verifiziert, ganz im Einklang mit seinem Sinnkriterium. Machte Schlick es sich vielleicht zu einfach? Ja; doch muss man nicht viel an seiner Haltung zum Realismus ändern. Statt die Unabhängigkeit der Welt von einer Entität namens Bewusstsein zu verlangen (wie in der Tradition (...) und bei C.I. Lewis) oder die Unabhängigkeit von unserem Leben (wie bei Schlick), schlage ich vor, auf die Welt-Unabhängigkeit von alltäglichen mentalen Vorgängen zu zielen, in all ihrer Vielfalt. Daher untersuche ich der Reihe nach, wie eine Welt ohne Wahrnehmungen, Gefühle bzw. Gedanken aussähe – und zwar unter den Bedingungen einer leicht aufgelockerten Fassung des Sinnkriteriums. In der Tat lässt sich sagen, welche prinzipiell überprüfbaren Umstände (laut Realismus) in einer durch und durch bewusstlosen Welt vorliegen müssten; es geht also um eine Art Nirwana (natürlich ohne ausdrücklichen Bezug zur fernöstlichen Weisheit). (shrink)

Teil I »Psychologische Ästhetik für transdisziplinäres Design« -/- Kapitel I »Empirische Ästhetik – Der Konflikt zwischen leichter Verarbeitbarkeit, sparsamer Codierung und neuronaler Aktivierung im Beobachtersystem. Eine Untersuchung über das Wesen der ästhetischen Erfahrung. -/- Jede Designpraxis verlangt täglich eine Vielzahl von Entscheidungen, welche die Wahl von „Etwas vor dem Hintergrund anderer Möglichkeiten“ darstellen. Diese lassen sich als Probleme einer Präferenz-Ästhetik interpretieren, wobei innerhalb eines Repertoires von Alternativen die attraktivste gewählt wird. Eine empirische Ästhetik ist somit ein notwendiger Bestandteil von Designtheorie. (...) Die Überlegung, wer in welcher Situation warum was bevorzugt, führt zur Forschungsfrage: »Was ist der elementare Mechanismus für eine ästhetische Erfahrung?« In der Literatur zur empirischen Ästhetik finden sich vier wesentliche Theorie-Gruppen: (1.) Es wird eine Präferenz für einfach zu verarbeitende Stimuli behauptet und z.B. mit der Processing Fluency begründet. (2.) Andere Ansätze erklären eine maximale Stimulation des Beobachters durch komplexe Objekte zum Ideal, was auch die ästhetische Erfahrung maximieren soll. (3.) Eine dritte Gruppe vermeidet die Probleme der ersten beiden, indem eine mittlere Komplexität als Präferenz behauptet wird. (4.) Und schließlich gibt es Ansätze, die auf eine integrierende Theorie letztlich verzichten und einzelne Phänomene bzw. Effekte katalogisieren. Eine Liste ungelöster Probleme formuliert die Minimal-Anforderungen an eine integrierende Theorie. Hiermit wird geprüft, ob bzw. inwieweit die Integrative Ästhetik von Schwarzfischer (2008 und 2014) jene Probleme lösen kann. Dieser Ansatz schlägt spezifische Re-Codierungs-Prozesse als basalen Mechanismus jeder ästhetischen Erfahrung vor. Hierzu wird ein Prozess-Modell entwickelt, welches die Integrative Ästhetik überprüfbar macht. Bei der Modellbildung werden manche Konzepte der Integrativen Ästhetik erweitert und andere präzisiert. Auch die Anwendungsmöglichkeiten werden durch das Modell vielfältiger, da es nicht nur als Erklärungsmodell, sondern zudem als Gestaltungsmodell einsetzbar ist. Insgesamt zeigt die Überprüfung der Integrativen Ästhetik und des Modells, dass die Gütekriterien in einem vielversprechenden Maß erfüllt werden. Die grundsätzliche Quantifizierbarkeit wird aufgezeigt sowie die Relevanz und die Anwendbarkeit für das Design nachgewiesen. Die Forschungsfrage kann somit als hinreichend beantwortet gelten: »Der elementare Mechanismus für eine ästhetische Erfahrung scheint ein Re-Codierungs-Prozess zu sein (der auf der Nutzung von In­varianzen basiert), welcher extensionale Daten zu intensionalen Gestalten transformiert, wobei eine Ressourcen-Entlastung stattfindet und der Gültigkeitsbereich der Codierung erweitert wird (was nach Jean Piaget als Dezentrierung bezeichnet wird) – was jeweils durch eine ‚Beobachtung zweiter Ordnung‘ festgestellt wird.« -/- Teil II »Transdisziplinäre Ästhetik im Dialog« -/- Kapitel II.A »Profane und heroische Beobachtungs-Experimente: Kunst-Ästhetik als methodisches Artefakt.« -/- Es reicht nicht, eine Liste mit vorgeblich ‚schönen Dingen‘ zu erstellen, um ‚das Schöne‘ zu verstehen. Piaget & Garcia (1989) unterscheiden drei Stufen in jedem Erkenntnis-Prozess: 1. isolierte Fakten, die unabhängig von einander analysiert werden; 2. konkrete Transformationen, durch welche diese Fakten mit einander verbunden sind; 3. eine Struktur, die alle denkbaren Fälle konstruierbar macht. Sie nannten diese drei Stufen ‚intra‘, ‚inter‘ und ‚trans‘. Dies kann auf das ‚höhere Erkenntnisvermögen‘ angewandt werden wie auf das ‚niedere‘. Wissenschaftlichkeit setzt nach Popper die Falsifizierbarkeit einer Theorie voraus – und damit Prognosefähigkeit. Prognosen müssen über den Bereich der bereits bekannten Fälle hinausgehen, und finden sich folglich primär in der Piaget-Phase ‚trans‘. Diese ist davon gekennzeichnet, dass es über die Gegenstände hinausgeht (‚trans-objekt‘). Zu häufig werden Artefakte nur beschrieben (‚intra-objekt‘) oder einzelne, zufällig bekannte Transformationen von Material in Artefakte bzw. von Artefakt in Verständnis aufgezählt (‚inter-objekt‘). Erst eine ‚Integrative Ästhetik‘ jenseits von zufälligen Semantiken, jenseits von sozialen Exklusions-Rhetoriken der Künstler und der ‚Leisure-Class-Eliten‘ (nach Veblen) und jenseits der Hierarchisierung von Wahrnehmungs-Modi kann den Anspruch einlösen (‚trans-objekt‘). Daraus folgen u.a. separierbare Semantiken spezifischem Maßstabs, die sich überhaupt erst dann z.B. als ‚konventionelle Kunst-Auffassung‘ beobachten lassen. Zentrierungen auf solche Semantiken können demnach „als Kunst missverstanden werden“ – obwohl sie keineswegs das allgemeine Prinzip repräsentieren, sondern stets nur Spezial­fall bleiben. -/- Kapitel II.B »Das Gehirn als Hypothesenmaschine – Ästhetische Prozesse als Selbst-Test im Beobachter-System.« -/- Die historische Trennung zwischen Techne, Poiesis und Aisthesis scheint nach der „konstruktivistischen Wende“ obsolet geworden zu sein. Jede Beobachtung kann als Handlung betrachtet werden und setzt adaptive Aspekte schon voraus. Jedoch fehlte bislang eine tragfähige konstruktivistische Ästhetik, deren Gültigkeitsbereich hinreichend groß ist: So ist die Beschränkung auf Kunst ebenso unnötig wie jene auf Kommunikation in sozialen Systemen (also auf „Kunst-Diskurse“) oder auf eine Produktions-, Werk- bzw. Rezeptions-Ästhetik. Die definitorische Auflösung des Kunst-Begriffes (z.B. bei Gernot Böhme) löst diese Schwierigkeiten nicht. Im Wesentlichen bleibt die resultierende phänomenologische Ästhetik eine Rezeptions-Ästhetik. Ähnlich begrenzt bleibt der Anwendungsbereich der Informations-Ästhetik mit kybernetischen Wurzeln. Auch die Einbettung in eine evolutionäre Ästhetik oder Neuroästhetik scheint problematisch. Daher muss eine „Integrative Ästhetik“ sehr unterschiedliche Sichtweisen in sich vereinigen. Inzwischen klassisch zu nennende kybernetische, systemtheoretische oder informations-ästhetische Ansätze verwenden meist die Logik einer Bottom-Up-Verarbeitung (Input-Processing-Output), wie sie auch die kognitive Psychologie der zweiten Hälfte des 20. Jahrhunderts dominierte. Dass laut Schlicht et al. (2013: S.475) selbst im visuellen Kortex nur ca. 5% der neuronalen Verknüpfungen bottom-up verschaltet sind (und der „Rest” von 95% top-down oder lateral arbeitet), stellt auch die empirische Ästhetik vor Probleme. Dieser Beitrag stellt jene Integrative Ästhetik vor, welche diese Antworten auf diese Fragen zu geben vermag – und den genannten Beschränkungen nicht unterliegt. Der elementare Prozess einer ästhetischen Erfahrung besteht hier in einer Re-Codierung von extensionalen Daten zu intensionalen Codierungen. Durch die sparsamere Codierung stellt dies eine erhebliche neuronale Entlastung dar und erhöht zudem beträchtlich den Gültigkeitsbereich des Codierten. Vom Beobachter-System wird dies subjektiv als Dezentrierung (nach Piaget) positiv erlebt. Zentral ist, dass es nun mit einem einheitlichen methodischen Rahmen möglich ist, entweder bottom-up die Wahrnehmung zu analysieren oder top-down die subjektive Motivation (z.B. die erlebte Autonomie oder die erlebte Entlastung) des Akteurs zu thematisieren. Die Richtung der Prozesse wird umkehrbar. Zudem wird die konstruktivistische Wahrnehmungs-Handlung zu einer Art von Selbst-Test des Wahrnehmungs-Systems: „Funktioniere ich sensorisch und kognitiv überhaupt? Funktioniere ich korrekt, also konsistent? Und, funktioniere ich effizient?“ -/- Kapitel II.C »Beobachtende Systeme – Dezentrierende Gestalt-Integration als Basis einer Ästhetik des Alltags.« -/- An der ästhetischen Erfahrung irritiert traditionell, dass der Effekt bekannt ist, nicht aber die Ursachen und der funktionale Mechanismus. Dies leistete Mystifikationen Vorschub, was zu diversen metaphysischen Kunst-Ästhetiken führte: Der Künstler als Schamane oder Magier. Dieser Beitrag möchte dagegen einen systemsemiotischen Ansatz für eine empirische Ästhetik vorstellen. Die aktive Rolle des Beobachters im Wirkungszusammenhang soll den Blinden Fleck erhellen, aufgrund dessen sich das Phantom eines passiven Rezipienten und „quasi-aktiver“ ästhetischer Objekte so hartnäckig halten konnte. Ausgehend von gestalttheoretischen Überlegungen wird Gestalt als implizite, algorithmische Codierung begriffen. Neuere empirische Ergebnisse der „Neuro-Ökonomie“ postulieren einen Effekt der „kortikalen Entlastung“ (bei der Forschung nach der Wirkung von Marken). Der hier vertretene Ansatz verknüpft nun beide Aspekte und glaubt, daraus eine konsistente Theorie für die empirische Ästhetik des Alltags entwickeln zu können. Es muss jedoch ein weiterer Aspekt hinzu genommen werden, den Piaget „Dezentrierung“ nennt. Ästhetische Erfahrung wird dann definierbar als das Erlebnis eines Umcodierungs-Prozesses – oder genauer: als das Erlebnis einer dezentrierenden Gestalt-Integration durch das beobachtende System. Sowohl beobachtende Systeme als auch Gestalt-Integrationen sind in unserem Ansatz als multiple zu denken. Eine semiotische Differenzierung ist nun entscheidend: Die herkömmliche Informations-Ästhetik thematisierte nur die syntaktischen Aspekte des Stimulus, ohne den Beobachter in seiner aktiven Rolle zu begreifen. Gestalt-Integrationen samt deren dezentrierender Wirkung sind jedoch auch in semantischer und pragmatischer Hinsicht zu finden. Diese werden im Beitrag dargelegt. Denn erst so kann die Vielschichtigkeit ästhetischer Erfahrungen erklärt werden, wo z.B. syntaktische und pragmatische Aspekte konkurrieren können. Auch vordergründig destruktive Akte und Artefakte sind dann als Gestalt-Integrationen anderer Dimensionen oder differierender Bezugssysteme begreifbar. (Dies streift etwa auch Fragen der Ressourcen-Allokation.) Zudem muss die Kontingenz von Beobachtungs-Maßstäben, Wahrnehmungs-Modi, Struktur-Determinanten (des beobachtenden Systems) und kultur-semiotischen Prägungen mit in Betracht gezogen werden. Erst hierdurch wird der Möglichkeitsraum potenzieller Gestalt-Integrationen (der eigentlich aus einem präsentationalen und einem repräsentationalen Raum besteht) prinzipiell beschreibbar. Wenn auch die Probleme bzw. Grenzen der praktischen Durchführbarkeit entsprechender Analysen nicht unterschlagen werden sollen: Die Möglichkeiten entsprechen gut den Erfordernissen zur ästhetischen Analyse des menschlichen Alltages – schließen die Lebenswelten von nicht-anthropozentrischen Seinsformen aber wohl methodisch aus. Dieser Beitrag möchte ich primär eine empirische Ästhetik zur Diskussion stellen, die mir als Rahmen für die weitere Forschung sehr leistungsfähig erscheint. Und doch ist nichts weniger als ein theoriebildender Ansatz das Vorhaben. Eine der Konsequenzen aus diesem Ansatz ist die These, dass es sich bei Kants Diktum vom „interesselosen Wohlgefallen“ zwar für das Individuum um ein Apriori handelt, bei der Gattung Mensch jedoch evolutionär um ein Aposteriori. (shrink)

Descartes holds that when you perceive something with perfect clarity, you are compelled to assent and cannot doubt. (This is a psychological claim.) Many commentators read him as endorsing Psychologism, according to which this compulsion is a matter of brute psychological force. I show that, in Descartes’s view, perfect clarity provides a reason for assent—indeed a perfect reason, which precludes any reason for doubt. (This is a normative claim.) Furthermore, advancing a view I call Rational Force, he holds that the (...) normative claim explains the psychological one: since your will is naturally responsive to reasons, you are compelled to assent because you have a perfect reason to assent. This coheres with his view that will is essentially active, self-determined, and free. The force that clarity exerts on the will is not the brute push of an efficient cause, but the rational pull of a final cause. (shrink)

We claim that a moral obligation to take climate leadership by means of unilateral mitigation depends on the existence of a plausible follow-the-leader mechanism whereby unilateral mitigation by some increases the probability of sufficient mitigation by others to avert catastrophic climate impacts. By understanding these mechanisms, we can better articulate the obligation for climate leadership across various sectors, from government to individual actors, in the fight against climate change. [Open access].

This three-part paper presents Gordon Pask’s conversation theory (CT) and interaction of actors theory (IA) and outlines ways to apply these cybernetic approaches to designing technologies and scenarios for both formal and informal learning. The first part of the paper covers concepts central to CT and IA, explaining the relationship between conceptual and mechanical operators, and machines mediating informal and formal learning. The second part of the paper applies visual representations of CT and IA to understanding the use of Pask’s (...) course assembly systems (CASTE and THOUGHTSTICKER), created between the late 1960s and the 1980s, and the ThoughtShuffler search interface, created in the 2010s. The third part proposes two pathways for design based on CT and IA: firstly, the potential for designers and observers to reformulate the qualities of tools and learning scenarios to augment human thinking and collective action; and secondly, the possibility to create tools with malleable interfaces that allow users to become intermediaries rather than consumers of knowledge. (shrink)

The New Evil Demon Problem is supposed to show that straightforward versions of reliabilism are false: reliability is not necessary for justification after all. I argue that it does no such thing. The reliabilist can count a number of beliefs as justified even in demon worlds, others as unjustified but having positive epistemic status nonetheless. The remaining beliefs---primarily perceptual beliefs---are not, on further reflection, intuitively justified after all. The reliabilist is right to count these beliefs as unjustified in demon worlds, (...) and it is a challenge for the internalist to be able to do so as well. (shrink)

Descartes’s cogito – I am thinking, therefore I am – is an intuitive deduction. Contrary to Transparency, certainty of I am thinking does not come easily; it’s achieved by making introspection perfectly clear through radical doubt. Scientia – rational immunity to doubt – comes with the habit of intuiting with perfect clarity that skepticism is false. (This is the second of two companion entries; the prequel is called, "Descartes's Clarity First Epistemology.").

What sort of logic do we get if we adopt a supervaluational semantics for vagueness? As it turns out, the answer depends crucially on how the standard notion of validity as truth preservation is recasted. There are several ways of doing that within a supervaluational framework, the main alternative being between “global” construals (e.g., an argument is valid iff it preserves truth-under-all-precisifications) and “local” construals (an argument is valid iff, under all precisifications, it preserves truth). The former alternative is by (...) far more popular, but I argue in favor of the latter, for (i) it does not suffer from a number of serious objections, and (ii) it makes it possible to restore global validity as a defined notion. (shrink)

Part one of this two-part paper looked at the modern semantic developments underlying Gilson’s innovative and highly influential semantic theory in Being and Some Philosophers (BSP)—the existential neutrality of the copula, the distinction between predication and some positing or “thetic” function of judgment, and the distinction between predication and assertion. The present part of this paper offers a rereading of Gilson’s work in light of this modern backdrop. It argues that Gilson’s BSP, rather than being a purely historical exegesis of (...) the logical writings of a thirteenth-century friar, is a work of original philosophizing inspired by Aquinas, but principally engaged with modern debates. In particular, it advances a Brentano- inspired reading of Aquinas in place of Maritain’s Pfänder-inspired reading of him. Rereading Gilson in his historical setting clarifies the meaning and implication of many phrases and theses that have become commonplaces in philosophical discourse, in part because of Gilson’s work. (shrink)

Gilson’s Being and Some Philosophers (BSP) has been widely influential well beyond Thomistic circles, but its modern historical sources and logical consequences call for further investigation. The first part of this two-part article explores three modern semantic assumptions or principles without which BSP’s innovative theory of existential judgment cannot be fully appreciated—the existential neutrality of the copula ubiquitous among modern logicians; Kant’s introduction of a positing or “thetic” function of judgment, the understanding of which evolved in nineteenth-century logic; and the (...) distinction between predication and assertion, generally accepted by late nineteenth century logicians. Part two of this paper offers a rereading of Gilson’s BSP as an implicit critique of and alternative to Maritain’s synthesis of Aquinas with these modern developments. (shrink)

Descartes is widely portrayed as the arch proponent of “the epistemological transparency of thought” (or simply, “Transparency”). The most promising version of this view—Transparency-through-Introspection—says that introspecting (i.e., inwardly attending to) a thought guarantees certain knowledge of that thought. But Descartes rejects this view and provides numerous counterexamples to it. I argue that, instead, Descartes’s theory of self-knowledge is just an application of his general theory of knowledge. According to his general theory, certain knowledge is acquired only through clear and distinct (...) intellection. Thus, in his view, certain knowledge of one’s thoughts is acquired only through clear and distinct intellection of one’s thoughts. Introspection is a form of intellection and it can be clear and distinct. Ordinarily, however, introspection isn’t clear and distinct but is instead confused with dubitable perceptions of bodies. To make introspection clear and distinct, we need to “sharply separate” it from all perceptions of bodies by doubting all perceptions of bodies. Without such radical doubt, introspection remains confused and we lack certain knowledge not just of the specific features of our thoughts, but even of the minimal claim that a thought exists. Far from being the high priest of Transparency, Descartes is radically opposed to it. (shrink)

We can see mereology as a theory of parthood and topology as a theory of wholeness. How can these be combined to obtain a unified theory of parts and wholes? This paper examines various non-equivalent ways of pursuing this task, with specific reference to its relevance to spatio-temporal reasoning. In particular, three main strategies are compared: (i) mereology and topology as two independent (though mutually related) chapters; (ii) mereology as a general theory subsuming topology; (iii) topology as a general theory (...) subsuming mereology. Some more speculative strategies and directions for further research are also considered. (shrink)

In this paper I argue that composer John Cage’s so-called ‘silent piece’, 4’33”, is music. I first defend it against the charge that it does not involve the organization of sound, which has been taken to be a necessary feature of music. I then argue that 4’33” satisfies the only other condition that must be met for it to be music: it bears the right socio-historical connections to its predecessors within its tradition (Western art music). I argue further that one (...) cannot understand the organized sound condition and the socio-historical condition separately and that understanding their interaction has theoretical benefits—not least of which is providing a groundwork for a more culturally inclusive philosophy of music. Finally, I consider a number of outstanding questions concerning the content of the organized sound condition for Western art music in the wake of 4’33”. (shrink)

I argue that Universalism (the thesis that mereological composition is unrestricted) entails Extensionalism (the thesis that sameness of composition is sufficient for identity) as long as the parthood relation is transitive and satisfies the Weak Supplementation principle (to the effect that whenever a thing has a proper part, it has another part disjoint from the first).

In In V Metaphysics, lec. 9, Aquinas distinguishes between “being by accident” (ens per accidens) and “being by itself” (ens per se) and includes the nine accidental categories under the latter. But isn’t substance a being per se while accidents are, by definition, accidental beings? Several authors—including Ralph McInerny, Paul Symington, and Greg Doolan—have offered explanations of this strange classification. Drawing on an overlooked parallel text in the Posterior Analytics commentary and on Aquinas’s critique of Avicenna’s understanding of accidental denominatives, (...) this paper presents an alternative explanation of the lecture. In the process, it clarifies how Aquinas views the relation of the ten categories to predication and suggests important implications for how we should understand the analogy of being and the phrase “substantial being” (esse substantiale). -/- [Winner of the Leo Elder's Junior Scholar Essay Contest (2024)]. (shrink)

Intentions are commonly conceived of as discrete mental states that are the direct cause of actions. In the last several decades, neuroscientists have taken up the project of finding the neural implementation of intentions, and a number of areas have been posited as implementing these states. We argue, however, that the processes underlying action initiation and control are considerably more dynamic and context sensitive than the concept of intention can allow for. Therefore, adopting the notion of ‘intention’ in neuroscientific explanations (...) can easily lead to misinterpretation of the data, and can negatively influence investigation into the neural correlates of intentional action.We suggest reinterpreting the mechanisms underlying intentional action, and we will discuss the elements that such a reinterpretation needs to account for. (shrink)

Three kinds of things may be creative: persons, processes, and products. The standard definition of creativity, used nearly by consensus in psychological research, focuses specifically on products and says that a product is creative if and only if it is new and valuable. We argue that at least one further condition is necessary for a product to be creative: it must have been produced by the right kind of process. We argue furthermore that this point has an interesting epistemological implication: (...) when you judge a product to be creative--attributing creativity--you are not just judging it to be new and valuable. Even if you did not witness how it was produced, you are also making a judgement about how it was produced. (shrink)

Creativity pervades human life. It is the mark of individuality, the vehicle of self-expression, and the engine of progress in every human endeavor. It also raises a wealth of neglected and yet evocative philosophical questions. The Philosophy of Creativity takes up these questions and, in doing so, illustrates the value of interdisciplinary exchange.

One logic or many? I say—many. Or rather, I say there is one logic for each way of specifying the class of all possible circumstances, or models, i.e., all ways of interpreting a given language. But because there is no unique way of doing this, I say there is no unique logic except in a relative sense. Indeed, given any two competing logical theories T1 and T2 (in the same language) one could always consider their common core, T, and settle (...) on that theory. So, given any language L, one could settle on the minimal logic T0 corresponding to the common core shared by all competitors. That would be a way of resisting relativism, as long as one is willing to redraw the bounds of logic accordingly. However, such a minimal theory T0 may be empty if the syntax of L contains no special ingredients the interpretation of which is independent of the specification of the relevant L-models. And generally—I argue—this is indeed the case. (shrink)

This paper explicates Descartes’ theory of intuition (intuitus). Departing from certain commentators, I argue that intuition, for Descartes, is a form of clear and distinct intellectual perception. Because it is clear and distinct, it is indubitable, infallible, and provides a grade of certain knowledge he calls ‘cognitio’. I pay special attention to why he treats intuition as a form of perception, and what he means when he says it is ‘clear and distinct’. Finally, I situate his view in relation to (...) those of his Scholastic predecessors on one hand and current theories on the other. His view anticipates the contemporary ‘perceptual model of intuition’, though it is much bolder with its promise of certainty. (shrink)

Clear and distinct perception is the centrepiece of Descartes’s philosophy — it is the source of all certainty — but what does he mean by ‘clear’ and ‘distinct’? According to the prevailing approach, what it means for a perception to be clear is that its content has a certain objective property, like truth. I argue instead that clarity is at least partly a subjective, phenomenal quality whereby a content is presented as true to the perceiving subject. Clarity comes in degrees. (...) Any weak degree of clarity, available to the senses, can be merely subjective, since what it presents as true may not actually be true. But complete clarity, available to intellectual perception, has an objective dimension, since what it presents as true is always some truth, some bit of reality. Further, I argue that the other perceptual qualities that Descartes identifies — obscurity, confusion, and distinctness — are all defined in terms of clarity. Of particular note is the fact that distinctness is not a positive feature to be added to clarity: a distinct perception is just a completely clear perception. (shrink)

_ Source: _Volume 25, Issue 1, pp 5 - 35 In this essay, I place Buber’s thought in dialogue with Eckhart. Each understood that the theopoetic propensity to imagine the transcendent in images is no more than a projection of our will to impute form to the formless. The presence of God is made present through imaging the real, but imaging the real implies that the nonrepresentable presence can only be made present through the absence of representation. The goal of (...) the journey is to venture beyond the Godhead in light of which all personalistic depictions of the divine person are rendered idolatrous. Perhaps this is the most important implication of Eckhart’s impact on Buber, an insight that may still have theopolitical implications in a world where too often personifications of the God beyond personification are worshipped at the expense of losing contact with an absolute person that cannot be personified absolutely. (shrink)

Boethius identifies God both with esse ipsum and esse suum. This paper explains Boethius's general semantic use of "esse" and the application of this use to God. It questions the helpfulness of attributing to Boethius "existence" words and argues for a more robust role in Boethius’s thought for Hilary of Poitiers’s and Augustine’s exegeses of Exodus 3:14-15 than has been acknowledged in recent scholarship.

In 1903, in _The Principles of Mathematics_ (_PoM_), Russell endorsed an account of classes whereupon a class fundamentally is to be considered many things, and not one, and used this thesis to explicate his first version of a theory of types, adding that it formed the logical justification for the grammatical distinction between singular and plural. The view, however, was short-lived; rejected before _PoM_ even appeared in print. However, aside from mentions of a few misgivings, there is little evidence about (...) why he abandoned this view. In this paper, I speculate as to what those reasons were, and evaluate them in light of recent work and interest in plural logic. (shrink)

Skeptics of the moral case against industrial farming often assert that harm to animals in industrial systems is limited to isolated instances of abuse that do not reflect standard practice and thus do not merit criticism of the industry at large. I argue that even if skeptics are correct that abuse is the exception rather than the rule, they must still answer for two additional varieties of serious harm to animals that are pervasive in industrial systems: procedural harm and institutional (...) oppression. That procedural and institutional harms create conditions under which abuse is virtually inevitable only increases the skeptic's burden. (shrink)

Many biologists and philosophers have worried that importing models of reasoning from the physical sciences obscures our understanding of reasoning in the life sciences. In this paper we discuss one example that partially validates this concern: part-whole reductive explanations. Biology and physics tend to incorporate different models of temporality in part-whole reductive explanations. This results from differential emphases on compositional and causal facets of reductive explanations, which have not been distinguished reliably in prior philosophical analyses. Keeping these two facets distinct (...) facilitates the identifi cation of two further aspects of reductive explanation: intrinsicality and fundamentality. Our account provides resources for discriminating between different types of reductive explanation and suggests a new approach to comprehending similarities and differences in the explanatory reasoning found in biology and physics. (shrink)

This essay focuses on theories of creativity from six historical figures, while noting comparisons to several others. In Ancient Greece: (i) Plato advances the thesis that the poet is a passive vessel inspired by a muse. (ii) Aristotle replies with the antithesis that the poet creates through skilled activity. (iii) Longinus provides the synthesis. Plato is right that poets are passively inspired with original ideas – though the source is natural genius instead of some muse. But Aristotle is also right (...) that the poet must actively employ skill. In early modern Europe: (iv) Margaret Cavendish argues that through creativity women can enjoy some freedom and happiness despite oppression. (v) Alexander Gerard and Immanuel Kant both inherit the Longinian synthesis. Gerard says we form original ideas through remote associations. (vi) Kant notices that although the genius must be passive in the origination of ideas, she must also be active in the very same process, because she merits acclaim for her originality. Kant designs his theory of genius to resolve this Paradox of Creative Agency. (shrink)

Descartes has a Clarity First epistemology: (i) Clarity is a primitive (indefinable) phenomenal quality: the appearance of truth. (ii) Clarity is prior to other qualities: obscurity, confusion, distinctness – are defined in terms of clarity; epistemic goods – reason to assent, rational inclination to assent, reliability, and knowledge – are explained by clarity. (This is the first of two companion entries; the sequel is called, "Descartes's Method for Achieving Knowledge.").

Metaethical expressivism faces the perennial objection that its commitment to non‐cognitivism about moral judgment renders the view revisionary of our ordinary moral thought. The standard response to this objection is to say that since the expressivist's theoretical commitments about the nature of moral judgment are independent of normative ethics, the view cannot be revisionary of normative ethics. This essay seeks to evaluate the standard response by exploring several senses of independence that expressivism might enjoy from normative ethics. I develop a (...) taxonomy on which, at least by the expressivist's own lights, normative ethics is not dependent on non‐cognitivism about moral judgment in a way that might render that claim itself normative ethical. The argument will require us to formulate a theory of moral subject matter according to the expressivist, a matter of independent interest. Although this discussion will essentially vindicate the standard response to the perennial objection, it will also highlight a major limitation thereof. This is that even for the expressivist, the taxonomic independence of non‐cognitivism about moral judgment from normative ethics does not guarantee its moral independence from normative ethics; that is, showing that non‐cognitivism about moral judgment is not a moral claim is not itself to show that it is not a morally relevant claim. I conclude by arguing that the question of moral dependence, usually discussed under the heading of objectivity, is ultimately first‐order moral rather than taxonomic, and so can only be resolved on first‐order moral grounds. (shrink)

I trace changes to Frege's understanding of numbers, arguing in particular that the view of arithmetic based in geometry developed at the end of his life (1924–1925) was not as radical a deviation from his views during the logicist period as some have suggested. Indeed, by looking at his earlier views regarding the connection between numbers and second-level concepts, his understanding of extensions of concepts, and the changes to his views, firstly, in between Grundlagen and Grundgesetze, and, later, after learning (...) of Russell's paradox, this position is a natural position for him to have retreated to, when properly understood. (shrink)

Is the flavor of mint reducible to the minty smell, the taste, and the menthol-like coolness on the roof of one’s mouth, or does it include something over and above these—something not properly associated with any one of the contributing senses? More generally, are there features of perceptual experiences—so-called novel features—that are not associated with any of our senses taken singly? This question has received a lot of attention of late. Yet surprisingly little attention has been paid to the question (...) of what it means to say that a feature is associated with a sensory modality in the first place. Indeed, there is only one fully developed proposal in the literature, due to Casey O’Callaghan. I argue that this proposal is too permissive to inform the debate over novel features. I go on to argue that all attempts to formulate a better proposal along these lines fail. The corollary of my arguments is that the question of the existence of novel features is poorly formed. Furthermore, the problem generalizes, with the result that we should not rely on our pre-theoretical notions of the senses as the basis of theorizing about the features of perceptual experiences. (shrink)

The work argues that engaging Africa's cultural and epistemic resources as social imaginaries, and not as metaphysical or ontological “essences,” could help practitioners of African philosophy overcome the cluster of shortcomings and undesirable features associated with “ethnophilosophy.” A number of points are outlined to buttress this claim. First, the framework of social imaginaries does not operate with the false assumption that Africa's cultural forms and epistemic resources are static and immutable. Second, this framework does not lend itself to sweeping generalizations (...) about Africa or large swathes of it. Third, the framework of social imaginaries remedies ethnophilosophy's problem of collectivism. Fourth, unlike ethnophilosophy, it does not romanticize and canonize a supposedly “idyllic” African past, which militates against a realistic and forward‐looking philosophizing. Finally, with the framework of social imaginaries, Africa's indigenous cultural and epistemic resources become amenable to being engaged with critical philosophical rigor. This not only enhances their potential for cross‐cultural philosophical conversation but also enhances their usefulness for addressing current sociopolitical issues affecting Africa. The discussion in this paper somewhat touches upon the question of method in African philosophy, using the ethnophilosophy problem to navigate the vast gamut of issues involved. (shrink)

Thomistic commentators agree that Thomas Aquinas at least nominally allows for 'to be' (esse) to signify not only an act contrasted with essence in creatures, but also the essence itself of those creatures. Nevertheless, it is almost unheard of for any author to interpret Thomas's use of the word 'esse' as referring to essence. Against this tendency, this paper argues that Thomas's In V Metaphysics argument that every predication signifies esse provides an important instance of Thomas using esse to signify (...) essence. This reading of In V Metaphysics, which this paper defends against an alternative interpretation, entails significant reinterpretations of Thomas's technical terms 'esse substantiale' and 'esse in rerum natura' as well as Thomas's use of 'is,' both as a copula and as a principal predicate. (shrink)

Pierre-Henri Castel provides a short but richly argued precis of his recently published two-volume 1,000-page masterwork on the history of obsessive-compulsive disorder. Having not read the as-yet-untranslated books, I write this commentary from Plato’s cave, trying to infer the reality of Castel’s analysis from expository shadows. I am unlikely to be more successful than Plato’s poor troglodytes, so I apologize ahead of time for any misunderstandings. Moreover, I cannot assess Castel’s detailed evidential case for his substantive theses.1 I thus focus (...) on some key philosophical issues that impinge on an area of my concern, the concept of mental disorder. Castel is a rare breed of French.. (shrink)

Mereotopology is today regarded as a major tool for ontological analysis, and for many good reasons. There are, however, a number of open questions that call for an answer. Some are philosophical, others have direct applicative import, but all are crucial for a proper assessment of the strengths and limits of mereotopology. This paper is an attempt to put sum order in this area.

We present a criterion for the use of thought experiments as a guide to possibilia that bear on important arguments in philosophy of religion. We propose that the more successful thought experiments are closer to the world in terms of phenomenological realism and the values they are intended to track. This proposal is filled out by comparing thought experiments of life after death by Peter van Inwagen and Dean Zimmerman with an idealist thought experiment. In terms of realism and values (...) we contrast an exemplary thought experiment by Iris Murdoch with one we find problematic by William Irwin. (shrink)

Contractarians view justice as being defined by a contract made by rational individuals. No one supposes that this contract is actual, and the fact that it is merely hypothetical raises a number of questions both about the assumptions under which it would be actual and about the force of hypothetical agreement that is contingent on these assumptions.Particular contractarian theories must specify the circumstances of the agreement and the endowments, beliefs, desires, and degree and type of rationality of the agents. How (...) these issues are settled determines the force of the hypothetical agreement. The fact that ignorant people who desired only universal suffering would, under duress, agree to a certain principle gives us no reason to believe the principle is a correct moral principle or to think it rational to accept or act on it: some counterfactual assumptions undermine entirely the moral force of hypothetical agreement. On the other hand, to take people just as they are, with their current beliefs, desires, endowments, and all, is to endorse their ignorance and mistakes as well as any previous injustice that affects their bargaining power. (shrink)

It is universally acknowledged that, for St. Thomas, there is a distinction between human persons or supposits and their natures or essences. But it is usually thought that there is no parallel distinction between the angelic person or supposit and its nature. Yet, as this paper argues, Aquinas consistently puts forward just such a distinction. This paper surveys Aquinas’s arguments for the unique identity of God with his essence and the corresponding distinctions between created persons and their essences, showing in (...) the process how the distinction found in angels differs from that found in material substances. It is important to recognize the distinction between supposit and nature in angels not only for its own sake as it touches on his understanding of created persons—human or angelic—but also insofar as it sheds light on Aquinas’s understanding of divine simplicity and of other act-potency compositions in creatures. (shrink)