Are women (simply) adult human females? Dictionaries suggest that they are. However, philosophers who have explicitly considered the question invariably answer no. This paper argues that they are wrong. The orthodox view is that the category *woman* is a social category, like the categories *widow* and *police officer*, although exactly what this social category consists in is a matter of considerable disagreement. In any event, orthodoxy has it that *woman* is definitely not a biological category, like the categories *amphibian* or (...) *adult human female*. -/- In the first part, a number of arguments are given for the view that women are adult human females; the second part turns to rebutting the main objections. Finally, a couple of morals are briefly noted: one for activist sloganeering, and one for ameliorative projects that seek to change the meaning of ‘woman’. (shrink)

We can cause windows to break and we can break windows; we can cause villages to flood and we can flood villages; and we can cause chocolate to melt and we can melt chocolate. Each time these can come apart: if, for example, A merely instructs B to break the window, then A causes the window to break without breaking it herself. Each instance of A breaking/flooding/melting/burning/killing/etc. something, is an instance of what I call making. I argue that making is (...) an independent, theoretically important notion—akin but irreducible to causing—and metaphysicians should pay attention to it. (shrink)

This paper examines the evolution of Edmund Husserl’s theory of perceptual occlusion. This task is accomplished in two stages. First, I elucidate Husserl’s conclusion, from his 1901 Logical Investigations, that the occluded parts of perceptual objects are intended by partial signitive acts. I focus on two doctrines of that account. I examine Husserl’s insight that signitive intentions are composed of Gehalt and I discuss his conclusion that signitive intentions sit on the continuum of fullness. Second, the paper discloses how Husserl (...) transforms his 1901 philosophy in his 1913 revisions to the Sixth Logical Investigation, affirming that the occluded parts of perceptual objects are intended by empty contiguity acts. I demonstrate how he overturns the two core doctrines of his theory from the Investigations in these revisions, claiming that empty intentions are not composed of Gehalt and asserting that those acts break with the continuum of fullness. Husserl implements these changes to solve problems that arise from his recognition of two new kinds of intentions; darker and completely dark acts. Finally, in the conclusion, I cash out this analysis, by indicating that, in 1913, Husserl transforms his theory of fulfillment on the basis of his new insights about empty acts. (shrink)

Remembering a cat sleeping (specifically, recollecting the way the cat looked), perceiving (specifically, seeing) a cat sleeping, and imagining (specifically, visualizing) a cat sleeping are of course importantly different. Nonetheless, from the first-person perspective they are palpably alike. The paper addresses two questions: Q1. What are these similarities (and differences)? Q2. How does one tell that one is recalling (and so not perceiving or imagining)?

A Letter to the Editor about the origin of "gender identity" and deficiencies in its current definition.

Comment on Brogaard's Seeing and Saying (OUP 2018).

Much of the debate about Aristotle’s criticisms of Plato has focused on the separability of the Forms. Here the dispute has to do with the ontological status of the Forms, in particular Plato’s claim for their ontological priority in relation to perceptible objects. Aristotle, however, also disputes the explanatory and causal roles that Plato claims for the Forms. This second criticism is independent of the first; even if the problem of the ontological status of the Forms were resolved to Aristotle’s (...) satisfaction, this second criticism would still stand. The problem here is not that there is no room for Aristotle’s four causes in Plato’s ontology; on the contrary, antecedents for all four can be found in Plato’s works. The problem, instead, is that Plato’s Forms fail to meet the general requirements that Aristotle sets out for the material, efficient, formal, and final causes of perceptible objects. Hence, even if the Forms were immanent in perceptible objects, they would still explain nothing about them. (shrink)

When one visually hallucinates, the object of one’s hallucination is not before one’s eyes. On the standard view, that is because the object of hallucination does not exist, and so is not anywhere. Many different defenses of the standard view are on offer; each have problems. This paper defends the view that there is always an object of hallucination—a physical object, sometimes with spatiotemporally scattered parts.

Review of “Gaiety is the Most Outstanding Feature of the Soviet Union: New Art from Russia,” Saatchi Gallery, London, England, and “Calder After the War,” Pace Gallery, London, England, April 2013. A version of this essay appeared in the Appendices of Gavin Keeney, Not-I/Thou: The Other Subject of Art and Architecture (CSP, 2014), pp. 157-60.

Different authors offer subtly different characterizations of naïve realism. We disentangle the main ones and argue that illusions provide the best proving ground for naïve realism and its main rival, representationalism. According to naïve realism, illusions never involve per- ceptual error. We assess two leading attempts to explain apparent perceptual error away, from William Fish and Bill Brewer, and conclude that they fail. Another lead- ing attempt is assessed in a companion paper, which also sketches an alternative representational account.

This paper accomplishes two goals. First, I elucidate Edmund Husserl’s theory of inauthentic judgments from his 1890 “On the Logic of Signs.” It will be shown how inauthentic judgments are distinct from other signitive experiences, in such a manner that when Husserl seeks to account for them, he is forced to revise the general structure of his philosophy of meaning and in doing so, is also able to realize novel insights concerning the nature of signification. Second, these conclusions are revealed (...) to be the foundation of Husserl’s pure logical grammar, found in the 1901 “Fourth Logical Investigation.” In his analysis of inauthentic judgments, Husserl already recognized, albeit in a problematic way and for entirely different reasons, many of the central tenets of the 1901 work concerning categoremata and syncategoremata, matter and form, and the isomorphism between them. (shrink)

According to orthodoxy, perceptual beliefs are caused by perceptual experiences. The paper argues that this view makes it impossible to explain how experiences can be epistemically significant. A rival account, on which experiences in the “good case” are ways of knowing, is set out and defended.

This paper elaborates and defends a familiar ‘transparent’ account of knowledge of one's own beliefs, inspired by some remarks of Gareth Evans, and makes a case that the account can be extended to mental states in general, in particular to knowledge of one's intentions.

One very popular framework in contemporary epistemology is Bayesian. The central epistemic state is subjective confidence, or credence. Traditional epistemic states like belief and knowledge tend to be sidelined, or even dispensed with entirely. Credences are often introduced as familiar mental states, merely in need of a special label for the purposes of epistemology. But whether they are implicitly recognized by the folk or posits of a sophisticated scientific psychology, they do not appear to fit well with perception, as is (...) often noted. -/- This paper investigates the tension between probabilistic cognition and non-probabilistic perception. The tension is real, and the solution—to adapt a phrase from Quine and Goodman—is to renounce credences altogether. (shrink)

This paper examines the evolution of Husserl’s philosophy of nonintuitive intentions. The analysis has two stages. First, I expose a mistake in Husserl’s account of non-intuitive acts from his 1901 Logical Investigations. I demonstrate that Husserl employs the term “signitive” too broadly, as he concludes that all non-intuitive acts are signitive. He states that not only meaning acts, but also the contiguity intentions of perception are signitive acts. Second, I show how Husserl, in his 1913/14 Revisions to the Sixth Logical (...) Investigation, amends his 1901 theory of non-intuitive acts, which he now calls “empty” intentions. He there accurately distinguishes empty meaning acts from the empty intentions of perception. In the conclusion, I reveal how Husserl’s alterations to his theory of non-intuitive intentions can inform our understanding of a larger shift in his philosophy. (shrink)

How do I know that I see a cat? A curiously under-asked question. The paper tries to answer it.

This paper accomplishes two goals. First, I present a distinct interpretation of the inception of the phenomenology of feelings. I show that Husserl’s first substantial discussion of intentional and non-intentional feelings is not from his 1901 Logical Investigations, but rather his 1893 manuscript, “Notes towards a Theory of Attention and Interest”. Husserl there describes intentional feelings as active and non-intentional feelings as passive. Second, I show that Husserl presents a somewhat unique account of feelings in “Notes”, which is partly different (...) from his later theories of feelings found in Lectures on Ethics and Value Theory and Studies Concerning the Structures of Consciousness. In contrast to those mature writings, in “Notes”, Husserl describes intentional feelings while avoiding cognitivism and he analyses non-intentional feelings without employing the content-apprehension schema. On this basis, I argue that “Notes” is an important untapped resource for constructing original phenomenologies of feelings. (shrink)

A summary of issues related to symbolic capital, authorial presences, and intellectual property rights, and the necessity of finding a way out of 500-600 years of capitalist exploitation of the knowledge commons.

The young Edmund Husserl stressed that the success of his philosophy hinged upon his ability to determine the subject and the predicate of impersonal propositions and their expressions, such as ‘It is raining’. This essay accordingly investigates the tenability of Husserl’s early thought, by executing the first study of his analysis of impersonal propositions from the late 1890s. This examination reshapes our understanding of the inception of phenomenology in two ways. First, Husserl pinpoints the subject by outlining why impersonal expressions (...) are employed during communication. This contravenes interpretations of the early Husserl as uninterested in intersubjectivity. Second, by studying how Husserl determines the predicate by investigating existential propositions, I show that Husserl, in the late 1890s, came to his final view on the concept of being. (shrink)

Landscape Agency New York was founded by Gavin Keeney, c.1997, and encompassed a wide array of activities and effects – e.g., research, writing, design, consulting, and teaching. /S/OMA (Syntactical Operations Metaphorical Affects) was the mobile, and sometimes global design and teaching module within LANY, focusing primarily on entirely hypothetical and/or irreal projects, many becoming the foundation for lectures and courses delivered at institutions in the US, Canada, Australia, and Europe, from 2003 to 2007. Lastly, the LANY Archive-Grotto was established (...) following publication of On the Nature of Things: Contemporary American Landscape Architecture (Birkhauser, 2001), primarily as a means of escaping the then-formulaic production of texts common to Landscape Architecture and Architecture. (shrink)

This essay examines how Husserl stretches the bounds of his philosophy of meaning, according to which all propositions are categorical, to account for existential propositions, which seem to lack predicates. I examine Husserl’s counterintuitive conclusion that an existential proposition does possess a predicate and I explore his endeavor to pinpoint what that predicate is. This goal is accomplished in three stages. First, I examine Husserl’s standard theory of predication and categorial intuition from his 1901 Logical Investigations. Second, I show how (...) Husserl imposes those 1901 insights to uncover the predicate of the existential proposition in unpublished manuscripts and lectures. He determines that the existential proposition predicates of the subject, that it corresponds to an actual object. This analysis reveals that Husserl’s descriptions of existential propositions from the late 1890s employed both static and genetic methodologies. In those texts, he carefully untangles and clarifies the co-enmeshed passive and active moments of consciousness and shows that the passive givenness of certain circumstances is the condition of possibility for our active verifying of propositions. Finally, I execute a critical assessment of Husserl’s thought to reveal that, while his insights about existential propositions are largely correct, they are augmented by re-construing them within the context of his mature philosophy. Only by renouncing his metaphysical neutrality and by accounting for intersubjectivity, can Husserl properly clarify existential propositions. (shrink)

This paper accomplishes two tasks. First, I examine in detail Edmund Husserl’s earliest philosophy of surrogates, as it is found in his 1890 “On the Logic of Signs ”. I analyze his psychological and logical investigations of surrogates, where the former is concerned with explaining how these signs function and the latter with how they do so reliably. His differentiation of surrogates on the basis of their genetic origins and degrees of necessity is discussed. Second, the historical importance of this (...) text is disclosed by showing how Semiotic serves as both the inspiration for, and the foil to, Husserl’s 1901 First Logical Investigation. Husserl not only adopts the idea that linguistic signs can function via association, but also maintains that such signs can motivate me to execute one of two experiences. The key difference between the texts is that Husserl abandons his theory of surrogates in 1901, instead holding that I can experience absent objects by means of empty intentions. The reasons why Husserl found it necessary to transform this tenet of his philosophy are discussed at length. (shrink)

A discussion of what operates from "within" formal agency as irreal surplus to artworks and how otherwise discursive systems become abstracted by the artwork. Text by Gavin Keeney. Images by Parsa Khalili.

An essay on non-discursive forms of knowledge that inhabit art photography. A version of this essay appeared in Gavin Keeney, "Else-where": Essays in Art, Architecture, and Cultural Production 2002-2011 (CSP, 2011), pp. 209-26.

How do you know what you want? The question is neglected by epistemologists. This paper attempts an answer.

This paper accomplishes three goals. First, the essay demonstrates that Edmund Husserl’s theory of meaning consciousness from his 1901 Logical Investigations is internally inconsistent and falls apart upon closer inspection. I show that Husserl, in 1901, describes non-intuitive meaning consciousness as a direct parallel or as a ‘mirror’ of intuitive consciousness. He claims that non-intuitive meaning acts, like intuitions, have substance and represent their objects. I reveal that, by defining meaning acts in this way, Husserl cannot account for our experiences (...) of countersensical, absurd, or impossible meanings. Second, I examine how Husserl came to recognize this 1901 mistake in his 1913/14 Revisions to the Sixth Logical Investigation. I discuss how he accordingly reformulates his understanding of non-intuitive meaning acts from the ground up in those Revisions, where this also allows for him to properly account for the experience of impossible meanings. Instead of describing them as mirrors of intuitions, Husserl takes non-intuitive meaning acts to be modifications of intuitions, where they have no substance and do not represent their objects. Finally, in the conclusion to this essay, I demonstrate how this fundamental change to his understanding of meaning consciousness forced Husserl to revise other central tenets of his philosophy, such that the trajectory of his thought can only be properly understood in light of these revisions to his theory of non-intuitive meaning consciousness. (shrink)

This paper accomplishes two goals. First, the essay elucidates Husserl’s descriptions of meaning consciousness from the 1901 Logical Investigations. I examine Husserl’s observations about the three ways we can experience meaning and I discuss his conclusions about the structure of meaning intentions. Second, the paper explores how Husserl reworked that 1901 theory in his 1913/14 Revisions to the Sixth Investigation. I explore how Husserl transformed his descriptions of the three intentions involved in meaningful experience. By doing so, Husserl not only (...) recognized intersubjective communication as the condition of possibility of linguistic meaning acts, but also transformed his account of the structure of both signitive and intuitive acts. In the conclusion, I cash out this analysis, by showing how, on the basis of these new insights, Husserl reconstructs his theory of fulfillment. (shrink)

I propose a new formalist account of legal (/proximate) causation – one that holds legal causation to be a matter of amoral, descriptive fact. The account starts with a metaphysical relation, akin to but distinct from common-sense causation, and it argues that legal causation aligns exactly with that relation; it is unified and principled.

This paper critically examines color relationalism and color relativism, two theories of color that are allegedly supported by variation in normal human color vision. We mostly discuss color relationalism, defended at length in Jonathan Cohen's The Red and the Real, and argue that the theory has insuperable problems.

Dispositional theories of colour have been attacked by McGinn and others on the ground that ‘Colours do not look like dispositions’. Langsam has argued that on the contrary they do, in ‘Why Colours Do Look Like Dispositions’, The Philosophical Quarterly, 50 , pp. 68–75. I make three claims. First, neither side has made its case. Secondly, it is true, at least on one interpretation, that colours do not look like dispositions. Thirdly, this does not show that dispositionalism about colours is (...) false. (shrink)

This two-part, semi-gothic literary essay seeks a provisional definition of “benevolent capital” and a working description of types of artistic and scholarly work that have no value for Capital as such. The paradox observed is that such works may actually appeal to a certain aspect of Capital, insofar as present-day capitalism has within it forms of pre-modern political economy that may actually save Capital from its mad rush toward self-immolation.

Review of “The Mad Square: Modernity in German Art 1910-37”, National Gallery of Victoria, Melbourne, Australia, November 25, 2011-March 4, 2012. A version of this essay appeared in the Appendices of Gavin Keeney, Not-I/Thou: The Other Subject of Art and Architecture (CSP, 2014), pp. 153-57.

This paper demonstrates that Edmund Husserl’s frequently overlooked 1890 manuscript, “On the Logic of Signs,” when closely investigated, reveals itself to be the hermeneutical touchstone for his seminal 1891 Philosophy of Arithmetic. As the former comprises Husserl’s earliest attempt to account for all of the different kinds of signitive experience, his conclusions there can be directly applied to the latter, which is focused on one particular type of sign; namely, number signs. Husserl’s 1890 descriptions of motivating and replacing signs will (...) be respectively employed to clarify his 1891 understanding of the authentic and inauthentic presentations of numbers via number signs. Moreover, his schematic classification of replacement-signs in Semiotic will illuminate the reasons why he believed the number system to be necessary for the operation of replacing number signs. (shrink)

This essay addresses arguments regarding the “place” or “non-place” in which ideas originate and whether they are wholly transcendental, wholly contingent, or a combination of transcendental and contingent. Far from a resuscitation or recitation of Medieval scholastic disputations, the essay seeks to situate these untimely concerns in the context of spent discursive and ideological systems that support capitalist exploitation of the knowledge commons, exploitation only made possible because of a decisive and historically determined reduction of knowledge to fully contingent status (...) as spectral commodity. (shrink)

This study firstly addresses three threads in Chris Marker’s work – theology, Marxism, and Surrealism – through a mapping of the work of both Giorgio Agamben and Jacques Derrida onto the varied production of his film and photographic work. Notably, it is late Agamben and late Derrida that is utilized, as both began to exit so-called post-structuralism proper with the theological turn in the late 1980s and early 1990s. It addresses these threads through the means to ends employed and as (...) ends proper (as production of semi-autonomous works that also, paradoxically, index a much larger field of inquiry and theoretical praxis). It is perhaps French “schizophrenia” regarding theological versus political agency that best accounts for the sardonic deployment of irony and humor in Marker’s work in the face of Big History. Such means to ends (plus a subtle anti-intellectualism vis-à-vis fashionable academic trends) tend to underscore the severity and ultimate sincerity of Marker’s overall cultural-political project. -/- Dossier Chris Marker is also a study of a late-modern chiasmus, impersonal-personal agency, as it comes to expression in the works of Marker, as the dynamic interplay of political and subjective agency. As chiasmus, the complementary halves of this often-apocalyptic dynamis (a semi-catastrophic, temporal or historical force-field) also – arguably – secretly agree to meet, through the work of art, in the futural (problematized in contemporary French post-phenomenological and post-post-structuralist theory as “the event).” Consistent with the classical figure of concordia discors, Marker resolves these irreducible warring aspects of life experience in an atemporal and ahistorical moment that inhabits the work of art from its inception. This redemptive aspect in art is also the ultimate gesture of the artwork as autonomous subject and “mask” (or “screen”) for forces that reside beyond the frame of the image or work, as its proverbial Other, or within the frame, as other to that Other. -/- Despite the complications of the as-yet unresolved post-modern condition (its nihilist-relativist bias), and its similar, mostly circular concerns with the image and/or media, Marker’s work is clearly not post-modern. In fact, when tested against immemorial cultural epiphenomena, that work withstands all attempts at categorization and/or art-historical analysis proper. It remains unassimilable to the post-modern cause ... What emerges, upon closer examination, and through rigorous re-contextualization, is the prescient force of Marker’s works toward that futural state buried in art that is also “theological,” versus atheological, and heedlessly anterior to cultural politics per se. -/- In the case of Marker, this age-old or immemorial “thing-in-itself” (the artwork as image of world-chiasmus) finds its foremost or penultimate formation in his very-still photography – the singular images that are also the building blocks for his renowned ciné-essays. Not without irony, this same austere, reductive force of the still image (as form of proscription) also inhabits the more complex, synthetic works (or montages) that he has formulated and presented “dramatically,” here and there, through the often-sketchy apparatuses of his new-media experiments, as of the late 1980s. Ultimately, this world-image as chiasmus was always present within his earliest literary projects, from the 1940s forward – most especially in books and essays, with or without actual images. -/- Marker’s “return” to photography (to exhibiting still photography in galleries), in the late 2000s, is in many ways a return to the singular object of the artist-critic’s desire; the image in/for itself, while that image – endlessly troubled or interrogated for decades – continues to speak “in tongues” anyway, often against, or oblivious to, the voice of the author/artist/narrator. -/- Marker is a High Romantic Christian Marxist. The “Christic” aspect is rightly well-hidden, but emerges when the eschatological versus historical center of his work is exposed (the existential-metaphysical fuse such as also inhabits the works of Caravaggio), and when his early years are examined in light of his later and/or final years. Marker’s semi-personal/semi-impersonal apocalyptic vision is writ large in diverse works that cross decades, figuring a redemptive, world-shattering formation of art as pleroma. (shrink)

This two-part, semi-gothic literary essay seeks a provisional definition of “benevolent capital” and a working description of types of artistic and scholarly work that have no value for Capital as such. The paradox observed is that such works may actually appeal to a certain aspect of Capital, insofar as present-day capitalism has within it forms of pre-modern political economy that may actually save Capital from its mad rush toward self-immolation.

Co-authored research paper written with José Vela Castillo on the subject of Pablo Román's wall of 1,000 images, Vienna, 2013. -/- “Vienna” or “The Wall” is an ongoing project by architect/artist Pablo Román that, upon its completion, will consist of the round number of 1,000 images taped onto an off-white wall. One of the many walls he has designed/produced in the past months (architectural or otherwise), its elementary condition is at the same time enhanced and diminished by its very presence (...) as wall-cum-images, or as images-out-of-a-wall, eroding its foundational condition to a flickering-tele-techno-pixelated spectral apparatus. Its radically modern and outdated presence reconfigures contemporary reflections on what architecture and what the modern is, indirectly referencing “Fundamentals,” the 2014 Venice Architecture Biennale curated by Rem Koolhaas. (shrink)

At least in one well-motivated sense of ‘concept’, all perception involves concepts, even perception as practiced by lizards and bees. That is because—the paper argues—all perception involves belief.

This paper offers a more comprehensive and accurate picture of Edmund Husserl’s semiotics. I not only clarify, as many have already done, Husserl’s theory of signs from the 1901 Logical Investigations, but also examine how he transforms that element of his philosophy in the 1913/14 Revisions to the Sixth Logical Investigation. Specifically, the paper examines the evolution of two central tenets of Husserl’s semiotics. I first look at how he modifies his classification of signs. I disclose why he revised his (...) 1901 distinction between indicators and expressions, instead claiming in 1913/14 that the divisions should be drawn between indicators, signals, and categorial signs. Second, I elucidate why Husserl overturned his conclusion from the Investigations, that signs execute their signitive operations in three steps, because he recognizes that categorial signs and their meant object are experienced all at once. By exploring the transformation of these two tenets of Husserl’s semiotics, we will see that he conceived of the First Investigation only as a starting or jumping off point for future analyses of signitive experience, rather than as his final account. This analysis will further reveal novel insights about Husserl’s understanding of intersubjectivity, passivity, and temporality. (shrink)

Continuing correspondence on 'gender identity'.

Traditionally, the field of medicine has been devoted to safeguarding and enhancing human health. According to conventional wisdom, "Medicine is the science and practice of caring for a patient..."[1]. However, ground-breaking research now suggests a novel perspective: medicine can serve as a gateway to unravel the intricacies of a chaotic society and, unexpectedly, emerge as an avenue to address the most fundamental and intriguing issue of all – a Theory of Everything.

Essay on the modern artistic ego as sponsored by the exhibition, "Gustav Courbet," February 27-May 18, 2008, Metropolitan Museum of Art, New York, New York, USA. A version of this essay appeared in Gavin Keeney, "Else-where": Essays on Art, Architecture, and Cultural Production 2002-2011 (CSP, 2011), pp. 191-98.

In recent years, pronouns have become a white-hot interface between language and social and political issues. “My pronouns are he/they” signals allegiance to one side in the culture wars, as does “My pronouns are whatever.” But there is surprisingly little philosophical work at this interface; this paper aims to chart the main questions and argue for some answers, with the hope of stimulating more research.

This essay reshapes our understanding of the origin and trajectory of the phenomenology of feelings. In contrast to accepted interpretations, I show that Husserl’s 1896 manuscript “Approval, Value, and Evidence”—and not his 1901 Logical Investigations—is the foundation of his subsequent phenomenology of feelings as it is found in Lectures on Ethics and Value Theory, Ideas I, and other manuscripts. This is for two reasons. First, in the 1896 manuscript—published in Studies Concerning the Structures of Consciousness—Husserl introduces the core problem, which (...) continues to motivate his philosophy of feelings. He sees that feelings are not just affective, but also surprisingly rational. Second, Husserl addresses this enigmatic duality, by pioneering the method of analogizing, which he would employ for the next twenty years. In sum, I show that the 1896 manuscript introduces the problems and methods, in the absence of which Husserl’s later phenomenology of feelings appears inconceivable. (shrink)

This comment mainly examines Yli-Vakkuri and Hawthorne’s preferred framework for examining whether narrow content is viable, arguing that their framework is not well-suited to the task; once a more traditional framework is adopted, Y&H’s case against internalism is strengthened.

This article accomplishes two goals. First, the paper clarifies Edmund Husserl’s investigation of the historical inception of the number system from his early works, Philosophy of Arithmetic and, “On the Logic of Signs (Semiotic)”. The article explores Husserl’s analysis of five historical developmental stages, which culminated in our ancestor’s ability to employ and enumerate with number signs. Second, the article reveals how Husserl’s conclusions about the history of the number system from his early works opens up a fusion point with (...) his investigations from his mature texts, The Crisis of the European Sciences and “The Origin of Geometry”. On the one hand, the essay shows that Husserl’s methodology was similar, as he sought in both his early and late writings to uncover the essence of the history of the formal sciences and was not executing mere intellectual history. On the other hand, the article discloses that Husserl’s insights from both time periods are strikingly analogous. Already in his early texts, Husserl saw that the sciences emerged from pre-theoretical experiences of the world and that the sciences are the result of a historical process, which involves the psychic activities of past individuals and the maintaining of discoveries over time by intersubjective communities. I conclude by showing how, in light of the analysis of this paper, we can rethink the evolution of Husserl’s philosophy. (shrink)

This paper accomplishes two tasks. First, I unpack Husserl’s analysis of interest from his 1893 manuscript, “Notes Towards a Theory of Attention and Interest” to demonstrate that it comprises his first rigorous genetic analysis of attention. Specifically, I explore Husserl’s observations about how attentive interest is passively guided by affections, moods, habits, and cognitive tensions. In doing so, I reveal that the early Husserl described attention as always pulled forward to new discoveries via the rhythmic recurrence of tension and pleasure. (...) Second, I demonstrate that “Notes” is the germ of Husserl’s mature genetic phenomenology of attention. The 1893 analysis provides Husserl with all of the philosophical reasons and tools for the construction of his genetic account of attention in his late works. I then discuss how the disclosure of this novel subterranean link can prompt a rethinking of the development of phenomenology. (shrink)

The paper argues -- against the standard view in metaphysics -- that the existence of ordinary objects like tomatoes is (near-enough) established by the fact that such things are apparently encountered in perception.