It has been a common assumption that words are substances that instantiate or have properties. In this paper, I question the assumption that our ontology of words requires posting substances by outlining a bundle theory of words, wherein words are bundles of various sorts of properties (such as semantic, phonetic, orthographic, and grammatical properties). I argue that this view can better account for certain phenomena than substance theories, is ontologically more parsimonious, and coheres with claims in linguistics.

Empirical work has lately confirmed what many philosophers have taken to be true: people are ‘biased toward the future’. All else being equal, we usually prefer to have positive experiences in the future, and negative experiences in the past. According to one hypothesis, the temporal metaphysics hypothesis, future-bias is explained either by our beliefs about temporal metaphysics—the temporal belief hypothesis—or alternatively by our temporal phenomenology—the temporal phenomenology hypothesis. We empirically investigate a particular version of the temporal belief hypothesis according to (...) which future-bias is explained by the belief that time robustly passes. Our results do not match the apparent predictions of this hypothesis, and so provide evidence against it. But we also find that people give more future-biased responses when asked to simulate a belief in robust passage. We take this to suggest that the phenomenology that attends simulation of that belief may be partially responsible for future-bias, and we examine the implications of these results for debates about the rationality of future-bias. (shrink)

This paper argues for a particular view about in what metaphysical equivalence consists: namely, that any two metaphysical theories are metaphysically equivalent if and only if those theories are strongly hyperintensionally equivalent. It is consistent with this characterisation that said theories are weakly hyperintensionally distinct, thus affording us the resources to model the content of propositional attitudes directed towards metaphysically equivalent theories in such a way that non-ideal agents can bear different propositional attitudes towards metaphysically equivalent theories.

Abstract Theories are metaphysically equivalent just if there is no fact of the matter that could render one theory true and the other false. In this paper I argue that if we are judiciously to resolve disputes about whether theories are equivalent or not, we need to develop testable criteria that will give us epistemic access to the obtaining of the relation of metaphysical equivalence holding between those theories. I develop such ?diagnostic? criteria. I argue that correctly inter-translatable theories are (...) metaphysically equivalent, and what we need are ways of determining whether a putative translation is correct or not. To that end I develop a number of tools we can employ to discern whether a translation is a correct one. (shrink)

One feature of language is that we are able to make mistakes in our use of language. Amongst other sorts of mistakes, we can misspeak, misspell, missign, or misunderstand. Given this, it seems that our metaphysics of words should be flexible enough to accommodate such mistakes. It has been argued that a nominalist account of words cannot accommodate the phenomenon of misspelling. I sketch a nominalist trope-bundle view of words that can.

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 natural name theory, recently discussed by Johnson (2018), is proposed as an explanation of pure quotation where the quoted term(s) refers to a linguistic object such as in the sentence ‘In the above, ‘bank’ is ambiguous’. After outlining the theory, I raise a problem for the natural name theory. I argue that positing a resemblance relation between the name and the linguistic object it names does not allow us to rule out cases where the natural name fails to resemble (...) the linguistic object it names. I argue that to avoid this problem, we can combine the natural name theory with a type-realist metaphysics of language, and hold that the name is natural because the name is an instance of the kind that it names. I conclude by reflecting on the importance of the metaphysics of language for questions in the philosophy of language. (shrink)

Temporal dynamists argue that we should believe that there exists temporal passage because there being passage is the best explanation for the presence of our temporal phenomenology. Some non-dynamists have countered that the presence of passage makes no difference to our temporal phenomenology, and consequently that temporal phenomenology cannot be evidence that there is passage. This paper attempts to bolster this non-dynamist response by offering new arguments for the claim that the presence of passage makes no difference to our phenomenology.

I develop the foundation for cosmopolitan care, an underexplored variety of moral cosmopolitanism. I begin by offering a characterization of contemporary cosmopolitanism from the justice tradition. Rather than discussing the political, economic or cultural aspects of cosmopolitanism, I instead address its moral dimensions. I then employ a feminist philosophical perspective to provide a critical evaluation of the moral foundations of cosmopolitan justice, with an eye toward demonstrating the need for an alternative account of moral cosmopolitanism as cosmopolitan care. After providing (...) an explanation of how care ethics in connection with Kantian ethics generates a duty to care, I consider one main feature of cosmopolitan care, namely the theory of obligation it endorses. In developing this account, I place special emphasis on the practical ramifications of the theory by using it to analyze gender violence in conflict zones. (shrink)

What distinguishes causation from grounding? One suggestion is that causation, but not grounding, occurs over time. Recently, however, counterexamples to this simple temporal criterion have been offered. In this paper, we situate the temporal criterion within a broader framework that focuses on two aspects: locational overlapping in space and time and the presence of intermediaries in space and time. We consider, and reject, the idea that the difference between grounding and causation is that grounding can occur without intermediaries. We go (...) on to use the fact that grounding and causation both involve intermediaries to develop a better temporal criterion for distinguishing causation from grounding. The criterion is this: when a cause and effect are spatially disjoint, there is always a chain of causal intermediaries between the cause and the effect that are extended in time. By contrast, when the grounds and the grounded are spatially disjoint, there is always a chain of grounding intermediaries, but the chain need not be extended in time, it can be purely spatial. The difference between grounding and causation, then, is that causation requires time for chaining in a way that grounding does not. (shrink)

I argue that Schaffer’s recent defence of Spinozan Monism—the thesis that the cosmos is the only substance, or the only fundamental and integrated thing— fails to establish that the universe is uniquely fundamental. In addition, Schaffer’s own defence of his thesis offers the pluralist about fundamentality a model for responding to Schaffer’s criticism of pluralism.

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 paper is the product of an interdisciplinary, interreligious dialogue aiming to outline some of the possibilities and rational limits of supernatural religious belief, in the light of a critique of David Hume’s familiar sceptical arguments -- including a rejection of his famous Maxim on miracles -- combined with a range of striking recent empirical research. The Humean nexus leads us to the formulation of a new ”Common-Core/Diversity Dilemma’, which suggests that the contradictions between different religious belief systems, in conjunction (...) with new understandings of the cognitive forces that shape their common features, persuasively challenge the rationality of most kinds of supernatural belief. In support of this conclusion, we survey empirical research concerning intercessory prayer, religious experience, near-death experience, and various cognitive biases. But we then go on to consider evidence that supernaturalism -- even when rationally unwarranted -- has significant beneficial individual and social effects, despite others that are far less desirable. This prompts the formulation of a ”Normal/Objective Dilemma’, identifying important trade-offs to be found in the choice between our humanly evolved ”normal’ outlook on the world, and one that is more rational and ”objective’. Can we retain the pragmatic benefits of supernatural belief while avoiding irrationality and intergroup conflict? It may well seem that rationality is incompatible with any wilful sacrifice of objectivity. But in a situation of uncertainty, an attractive compromise may be available by moving from the competing factions and mutual contradictions of ”first-order’ supernaturalism to a more abstract and tolerant ”second-order’ view, which itself can be given some distinctive intellectual support through the increasingly popular Fine Tuning Argument. We end by proposing a ”Maxim of the Moon’ to express the undogmatic spirit of this second-order religiosity, providing a cautionary metaphor to counter the pervasive bias endemic to the human condition, and offering a more cooperation- and humility-enhancing understanding of religious diversity in a tense and precarious globalised age. (shrink)

Current debate in the metaphysics of time ordinarily assumes that we should be realists about time. Recently, however, a number of physicists and philosophers of physics have proposed that time will play no role in a completed theory of quantum gravity. This paper defends fictionalism about temporal thought, on the supposition that our world is timeless. We argue that, in the face of timeless physical theories, realism about temporal thought is unsustainable: some kind of anti-realism must be adopted. We go (...) on to provide an argument against eliminativism about temporal thought. While it doesn't follow from this argument that fictionalism about temporal thought is true, we suggest that this nonetheless shows that fictionalism should be regarded as the preferred view. (shrink)

The idea that there could be spatially extended mereological simples has recently been defended by a number of metaphysicians (Markosian 1998, 2004; Simons 2004; Parsons (2000) also takes the idea seriously). Peter Simons (2004) goes further, arguing not only that spatially extended mereological simples (henceforth just extended simples) are possible, but that it is more plausible that our world is composed of such simples, than that it is composed of either point-sized simples, or of atomless gunk. The difficulty for these (...) views lies in explaining why it is that the various sub-volumes of space occupied by such simples, are not occupied by proper parts of those simples. Intuitively at least, many of us find compelling the idea that spatially extended objects have proper parts at every sub-volume of the region they occupy. It seems that the defender of extended simples must reject a seemingly plausible claim, what Simons calls the geometric correspondence principle (GCP): that any (spatially) extended object has parts that correspond to the parts of the region that it occupies (Simons 2004: 371). We disagree. We think that GCP is a plausible principle. We also think it is plausible that our world is composed of extended simples. We reconcile these two notions by two means. On the one hand we pay closer attention to the physics of our world. On the other hand, we consider what happens when our concept of something—in this case space—contains elements not all of which are realized in anything, but instead key components are realized in different features of the world. (shrink)

A number of recent theories of quantum gravity lack a one-dimensional structure of ordered temporal instants. Instead, according to many of these views, our world is either best represented as a single three-dimensional object, or as a configuration space composed of such three-dimensional objects, none of which bear temporal relations to one another. Such theories will be empirically self-refuting unless they can accommodate the existence of conscious beings capable of representation. For if representation itself is impossible in a timeless world, (...) then no being in such a world could entertain the thought that a timeless theory is true, let alone believe such a theory or rationally believe it. This paper investigates the options for understanding representation in a three-dimensional, timeless, world. Ultimately it concludes that the only viable option is one according to which representation is taken to be deeply non-naturalistic. Ironically then we are left with two seemingly very unattractive options. Either a very naturalistic motivation—taking seriously a live view in fundamental physics—leads us to a very non-naturalistic view of the mental, or else views in the philosophy of mind partly dictate what is an acceptable theory in physics. (shrink)

The Fundamental Interrelationships Model, abbreviated as the Interrelationships Model (IRM) is a conceptual framework presented in the form of a diagram. This model aims to cohesively represent and unify a set of fundamental interrelationships found in nature which can be interpreted as the fundamental laws of physics. -/- These fundamental interrelationships encompass a wide range of relationships, including serial-parallel relationships, transition of state, critical point, continuation-discontinuation, convergence-divergence, contraction-expansion, singularity-plurality, commonality-difference, similarity, symmetry-asymmetry, dynamics-stability, order-disorder, limitation-without limitation, hierarchical structure, and cohesiveness. -/- (...) Building upon these fundamental interrelationships, the model is further developed to represent key laws of physics, such as Newton’s three laws of motion, four laws of thermodynamics, Noether’s theorem, Einstein’s space-time relationship, Heisenberg’s uncertainty principle, chaos theory, wave function collapse, and other phenomena in physics including atomic electron transition. -/- Crucially, the Interrelationships Model asserts that these well-established laws of physics are specific expressions of the fundamental interrelationships it represents. Notably, unlike the current theories for a Theory of Everything (ToE) that predominantly focus on lifeless phenomena, the Interrelationships Model can directly represent living entities. Subsequent research suggests that this model has the potential to unify the Big Bang theory with evolutionary theory, marking a significant stride toward addressing the longstanding challenge of a comprehensive Theory of Everything. -/- The presentation of this hypothesis serves as an invitation for further discussion and critique, proposing an alternative perspective to address the overarching issue of a Theory of Everything. (shrink)

Diaristic, mixed notes on: John Ruskin's The Poetry of Architecture (1837) and Modern Painters (1885); Caravaggio, Victorian Aesthetes, G.K. Chesterton, and Tacita Dean; Jay Fellows' Ruskin’s Maze: Mastery and Madness in His Art (1981); Slavoj Žižek at Jack Tilton Gallery, New York, New York, USA, April 23, 2009, “Architectural Parallax: Spandrels and Other Phenomena of Class Struggle”; “Titian, Tintoretto, Veronese: Rivals in Renaissance Venice”, Museum of Fine Arts, Boston, Massachusetts, USA, March 15-August 16, 2009; Janet Harbord, Chris Marker: La Jetée (...) (2009); The Politics of the Envelope, Princeton Envelope Group (PEG), ARC504, Princeton School of Architecture, Princeton, New Jersey, USA, Friday, May 8, 2009; Rhode Island School of Design, Degree Project Reviews, Division of Architecture & Design, Providence, Rhode Island, USA, May 16, 2009; etc. (shrink)

Brief essay on Giorgio Agamben's concept of "bare life" from Homo Sacer: Sovereign Power and Bare Life (1998), with reference to The Time that Remains: A Commentary on the Letter to the Romans (2005).

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.

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.

Final Circular for the multimedia exhibition, "'Shadow-lands': The Suffering Image" (April 18-May 18, 2012), in association with the PhD project, "Visual Agency in Art & Architecture," Deakin University, 2011-2014.

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.

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.

The A-theory and the B-theory advance competing claims about how time is grounded. The A-theory says that A-facts are more fundamental in grounding time than are B-facts, and the B-theory says the reverse. We argue that whichever theory is true of the actual world is also true of all possible worlds containing time. We do this by arguing that time is uniquely groundable: however time is actually grounded, it is necessarily grounded in that way. It follows that if either the (...) A-theory or the B-theory is actually false, then it is necessarily false. (shrink)

Chris Marker’s portrait of Alexandre Medvedkine in the 1993 film Le tombeau d’Alexandre/The Last Bolshevik is highly instructive of his own relationship to Soviet cinema. Most especially, this difficult or troubled rapport with the antecedents to cinéma vérité in the West (and its protean formal properties, in terms of structure and often satirical-critical commentary) comes forth in the figures he assembles to comment upon Medvedkine’s life work. When Medvedkine’s Scast’e (Le Bonheur/Happiness) (1934) leaked to the West (c.1967), sent like an (...) “SOS” in multiple bottles to various film archives (one by one from deep within the Soviet film world), Marker and SLON received a copy by way of Jacques Ledoux (curator of the Cinémathèque Royale de Belgique, in Belgium). The film opened the floodgates of a retrospective survey of Soviet filmmaking repressed and forgotten other than by remote and distant figures (partisans) who somehow survived the Stalinist purges of the 1930s. (shrink)

In this paper, we explore locative grounding harmony, according to which the location of the grounds mirrors the location of the grounded. We proceed in three stages. First, we clarify the notion of locative harmony and describe different locative harmony principles. Second, we offer two arguments for the claim that grounding between physically located entities obeys principles of locative harmony. Third, we consider and respond to a range of cases that seem to show that grounding relations between physically located entities (...) do not obey such principles. We conclude that grounding between such entities obeys locative harmony. (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.

A draft White Paper associated with Fulbright Specialist Program lectures at the University of Ljubljana, Ljubljana, Slovenia, in March-April 2015, concerning neo-liberal capitalist exploitation of academic research and publications.

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)

Let us distinguish two kinds of contingentism: entity contingentism and metaphysical contingentism. Here, I use ‘entity’ very broadly to include anything over which we can quantify—objects (abstract and concrete), properties, and relations. Then entity contingentism about some entity, E, is the view that E exists contingently: that is, that E exists in some possible worlds and not in others. By contrast, entity necessitarianism about E is the view that E exists of necessity: that is, that E exists in all possible (...) worlds. We can distinguish two views: global entity contingentism and global entity necessitarianism. Global entity contingentism is the view that for any possible E, E exists contingently. Global entity necessitarianism is the view that for any possible E, E exists necessarily. While entity contingentism and entity necessitarianism are views about the modal status of entities, metaphysical contingentism and necessitarianism are views about the modal status of metaphysical principles. Metaphysical contingentism about some metaphysical principle, P, is the view that P is contingent: it is true in some worlds, and false in others. Metaphysical necessitarianism about P is the view that P is necessary: either P is true in every world, or false in every world. We can then distinguish two views: global metaphysical contingentism and global metaphysical necessitarianism. Global metaphysical contingentism is the view that for any internally coherent metaphysical principle P, P is contingent: P is true in some worlds and false in others. Global metaphysical necessitarianism is the view that for any internally coherent metaphysical principle, P, P is necessary: it is either true in every world, or false in every world. This chapter principally focuses on metaphysical rather than entity contingentism, though §2 briefly discusses the latter. As we will see, (§2), both global entity contingentism and global entity necessitarianism are controversial views, and most philosophers fall somewhere between these two extremes, holding that some, but not all, entities exist necessarily—a view we can call entity moderatism. By contrast, global metaphysical necessitarianism has, until recently, largely been the default view. It is only recently that some philosophers have argued that we should be metaphysical contingentists about at least some metaphysical principles—a view we can call metaphysical moderatism. §3 considers why global metaphysical necessitarianism has hitherto been so persuasive, then evaluates (§3.1) some arguments for the view before considering more recent arguments in favour of the contingency of (at least some) metaphysical principles (§3.2). (shrink)

At 287c of the Statesman the Eleatic Visitor — or, more deeply, Plato — faces a daunting task. Because statesmanship has been shown to collaborate with “countless” other arts that share with it the work of “caring” for the city, to understand statesmanship requires distinguishing these arts into an intelligible set of kinds and recognizing how these might go together. Accordingly, the Visitor abandons the mode of division he has practiced without exception up until this moment, bifurcation or “halving,” and (...) offers, instead, a sorting of the arts into fifteen kinds of work. How was Plato able to get his bearings towards the heterogeneous multiplicity of the arts in order to do this sorting? In this paper I suggest that he may have found a paradigm in the double octave matrix of notes from which, according to contemporary musical theory, the seven musical “modes” are drawn. To show the plausibility of this suggestion, I first reconstruct the double octave matrix, which was later to be called the Greater Perfect System, and then show a striking series of points of substantive and structural analogy that hold between this matrix and the Visitor’s division of the arts into fifteen kinds. (shrink)

Photo-essay/travelogue from 2004 regarding the gentrification of San Francisco.

The 11 experimental, pseudo-avantgarde visual poems (wordless, other than title and date) are an indirect homage to the late-great filmmaker and photographer, Chris Marker (1921-2012), foremost to his penchant for utilizing disintegrating imagery in his film-essays and multimedia installations. All images were captured using a Research in Motion, BlackBerry 8520 cellphone, and subsequently 100-percent de-saturated, and 100-percent contrast-adjusted, using Microsoft Office Picture Manager. The images, as a result, resemble the primitive production values given to the pinhole camera, and the “dogmatic” (...) (uniform) adjustments (as above), applied to the original BB images, reference the early strictures applied to filmmaking by Lars von Trier. The above-mentioned, black-and-white adjustments notwithstanding, all images are used “as captured,” without cropping. The series begins and ends in Botwnnog, Northwest Wales, in May and August of 2013, respectively, with interregnums and brief idylls in Rijeka, Croatia, Trieste and Ancona, Italy, and Igoumenitsa, Ioannina, and Athens, Greece. Tracking the peregrinations of the author of the poems across Europe, and intimately associated with the then-nascent research and exhibition project, “Not-I/Thou: The Other Subject of Art & Architecture,”* the poems are also a compressed form of scholarship, albeit operating in the shadow-lands of knowledge per se, and evoking the non-discursive side of literary-artistic production, a penumbral zone within cultural production that nonetheless references the discursive arts (essay and/or full-blown treatise), but favors the paradox and/or tautology – privileging, then, the much-desired destruction of dialectics. (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.

The Triviality Argument against presentism maintains that we should reject presentism because there is no way to define the view that is not either trivially true or obviously false. We suggest that this style of argument over-emphasises purely linguistic means of representing a philosophical thesis. We argue that there is no reason to suppose that all philosophical theses must be linguistically representable, and thus that the failure to linguistically represent presentism is no big deal. It certainly shouldn’t lead us to (...) reject the view. We offer a more general moral for philosophy, and that is to look beyond purely linguistic methods of representing philosophical views and embrace a wider range of representational media. (shrink)

Not-I/Thou: The Other Subject of Art & Architecture is to be a highly focused exhibition/folio of works by perhaps 12 artists (preferably little-known or obscure), with precise commentaries denoting the discord between the autonomous object (the artwork or architectural object per se) and the larger field of reference (worlds); inference (associative magic), and insurrection (against power and privilege) – or, the Immemorial. Engaging the age-old “theological apparatuses” of the artwork, the folio is intended to upend the current fascination with personality, (...) celebrity, and fashion to reach the timeless horizon of the subject of Art and Architecture as the subject other than the subject of Art and Architecture proper. Word as image, and image as word, is the central paradox given to this discord – an elective, yet universal condition that also makes certain art and architectural works heedlessly existential-metaphysical (and, therefore, “theological”). This paper, as part of the essay “White Paper: Gray Areas and Black Zones,” is a preliminary investigation of the conceptual architecture for the overall, ongoing exhibition/book project. (shrink)

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)

Photo-essay on six cities: New York, Melbourne, Hong Kong, London, Paris, and Ljubljana.

In this chapter we argue that our concept of time is a functional concept. We argue that our concept of time is such that time is whatever it is that plays the time role, and we spell out what we take the time role to consist in. We evaluate this proposal against a number of other analyses of our concept of time, and argue that it better explains various features of our dispositions as speakers and our practices as agents.

Many philosophers have thought that our folk, or pre-reflective, view of persistence is one on which objects endure. This assumption not only plays a role in disputes about the nature of persistence itself, but is also put to use in several other areas of metaphysics, including debates about the nature of change and temporal passage. In this paper, we empirically test three broad claims. First, that most people (i.e. most non-philosophers) believe that, and it seems to them as though, objects (...) persist by enduring rather than perduring. Second, that most people have a view of change on which enduring but not perduring objects count as changing. Third, that one reason why the folk represent time as dynamical is because it seems to them, and they believe that, they endure through time. We found no evidence to support these claims. While there are certainly plenty of ‘folk’ endurantists in the population we tested, there are also plenty of ‘folk’ perdurantists. We did not find robust evidence that a majority of people believed that, or it seemed to them as though, objects endure rather than perdure. We conclude that many arguments in favour of endurantism that appeal to folk beliefs about, or experiences of, persisting objects and change rest on views about those beliefs and experiences that are empirically unsupported. There is no evidence to suggest that endurantism is the folk friendly view of persistence, and so we should stop treating it as such without argument. (shrink)

Written over the course of two months in early 2008, Art as "Night" is a series of essays in part inspired by a January 2007 visit to the Velázquez exhibition at the National Gallery of Art, London, with subsequent forays into related themes and art-historical judgments for and against theories of meta-painting. Art as "Night" proposes a type of a-historical dark knowledge crossing painting since Velázquez, but reaching back to the Renaissance, especially Titian and Caravaggio. As a form of formalism, (...) this "night" is also closely allied with forms of intellection that come to reside in art as pure visual agency or material knowledge while invoking moral agency, a function of art more or less bracketed in modern art for ethical and/or political agency. Not a theory of meta-painting, Art as "Night" restores coordinates arguably lost in painting since the separation of natural and moral philosophy in the Baroque era. It is with Velázquez that we see a turning point, an emphasis on the specific resources of painting as a form of speculative intellect, while it is with contemporary works by Gerhard Richter and Anselm Kiefer that we see the return of the same after the collapse of modernism, and after subsequent postmodern maneuvers to make art discursive yet without the austerities of the formal means present in Art as Art. Art as "Night" argues for a nondiscursive form of intellection fully embodied in the work of art – and, foremost, painting. A synoptic and intentionally elusive and allusive survey of painting, through the collapse of the art market in late 2007, Art as "Night" suggests by way of this critique of an elective "night" crossing painting that the art world is an endlessly deferred version of pleroma , a fully synthetic world given to an exploration and appropriation of the given through classical mimesis and epistemology and its complete incorporation and transfiguration in a theory of knowledge and art as pure speculative agency. In effect, Art as "Night" is an incarnational theory of art as absolute knowledge. (shrink)

Essays from the political website CounterPunch. - Requiem: Dies Non, Not Dies Irae (September 18, 2001) - Mouth Wide Shut (April 8, 2002) - So Long Frank O. Gehry? (April 28, 2002) - Bête Noire (May 22, 2002) - “All politics is local?”: The Unbearable Lightness of NGOs (May 24, 2002) - Bush and Mies van der Rohe: Architecture and Ideology (June 1, 2002) - The Adventures of Mademoiselle M.: Or Getting Screwed in Paris (June 8-9, 2002) - Loose Lips: (...) Liberty, Democracy and Bush (July 6, 2002) - Go Tell Karl Rove!: The Anti-Republican Party (July 13, 2002) - Be Still My Beating Heart (July 15, 2002) - Grave New Urbanism: The World Trade Center Burlesque (July 20, 2002) - Roamin’ in the Gloamin’: Van Morrison: In September (July 25, 2002) - Sublime Žižek: Guarding Lenin’s Tomb (July 27, 2002) - Vox Populi: Everyone’s a Critic (August 3, 2002) - Auteur-Driven Vehicles: The New New Laocoon (August 19, 2002) - Beaux Rêves, Citoyens!!! (September 5, 2002) - Immortality: The Quest for Fire (August 31, 2002) Parting Shots: A Refracted History (Summary) Of The Twentieth Century (November 2, 2002) - New Books Christmas 2002: Livres Deluxe (December 23, 2002) - The Drunken Flower (July 26, 2003) - The Infernal Machine: “Architectures” in Service to Nothing (August 23, 2003). (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)

Essays and documents in support of the works of Gaialight - DOCUMENTS: The Passion of Jeanne d’Art (2007) - Letter to Gaia (2007) - “Art as Such”: This is Not Pop ... (2008) - Writing Toward Darkness (2009) - Scarlett Words: Light America (2009) - The Darklight Elaboration (2010) - The Darklight Elaboration: Zeitgeist or Episteme? (2010) - Cam Girls (2011) - Brooklyn Buzz (2011) - Brooklyn Buzz: The Semi-divine Metropolis (2011) - Reconnaissance: Light War, Mass Surveillance, Video Games (2011) (...) - First Cause (2011) - Met Ladies (2011) - When Cam Girls Met Ladies (2011) / OUTTAKES (2007): 15 Questions About Editioned Art Photography (2007) - A Few Awkward Questions for Francesca Woodman (2007) - October Revolution (2007) . (shrink)

Sublime Žižek: Guarding Lenin’s Tomb (July 2002) - Žižek & Badiou: The Neo-Marxist Magicians (November 2003) - The Ruins of Thought: Five Scenarios Toward a Short Film (November 2005) - Slavoj Žižek at Jack Tilton Gallery, New York, New York, April 2009 (April 2009) - Questions for Žižek (April 2009).

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

“Else-where” is a synoptic survey of the representational values given to art, architecture, and cultural production from 2002 through 2011. Written primarily as a critique of what is suppressed in architecture and what is disclosed in art, the essays are informed by the passage out of post-structuralism and its disciplinary analogues toward the real Real . While architecture nominally addresses an environmental ethos, it also famously negotiates its own representational values by way of its putative autonomy ; its main repression (...) in this regard is “landscape,” figure of the Other and figure of the Real. Engaging forms of spectrality, and not necessarily speculative intelligence per se, architecture is also “conscious” of its own complicity in capitalist orders, a complicity that in part underwrites its avant-garde forms of agitation since the onset of modern architecture. As a result, and over the course of the twentieth century, architectural vanguards have successively been depleted such that they return only as reified half-measures in the late-modern production of difference. As such, the essay “Actually Existing Ground” examines the failed promise of Landscape Urbanism. Since the 1960s, as with the allied arts, architecture has evacuated many of the utopian gestures given to modernism and embraced a form of ultra-contingency in a direct alliance with the post-modern and post-Marxist concession to markets and to cultural production as principal means of establishing formal hegemony. This recourse or surrender to the economic-determinist ethos of post-modernity, regardless of attempts to problematize it and/or critique it through types of what Manfredo Tafuri has called “operative criticism” , has, arguably, all but failed, and with the suggestive return circa 2011 of new forms of resistance an exit from the accommodating spirit of the times is indicative of the expectation of strenuous, yet highly formal and non-discursive operations within artistic and architectural production. The essays collected in “Else-where” cross various disciplines, inclusive of landscape architecture, architecture, and visual art, to develop a nuanced critique of an emergent formal regard in the arts that is also an invocation of the highest coordinates given to the arts – formal ontology as speculative intelligence itself – or the return of the universal as utopian thought “here-and-now.”. (shrink)