ABSTRACT One simple but relatively neglected solution to the notorious coincidence puzzle of the statue and the piece of clay claims that the property of being a statue is a phase sortal property that the piece of clay instantiates temporarily. I defend this view against some standard objections, by reinforcing it with a novel counterpart-theoretic account of identity under a sortal. This proposal does not require colocation, four-dimensionalism, eliminativism, deflationism, or unorthodox theses about classical identity.

The phasalist solution to the puzzle of the statue and the piece of clay claims that being a statue is a phase sortal property of the piece of clay, just like being a child is a phase sortal property of a human being. Some philosophers reject this solution because it cannot account for cases where the statue seems to gain and lose parts that the piece of clay does not. I rebut this objection by arguing, contrary to the prevailing view, (...) that the piece of clay is not mereologically constant and might even be highly mereologically flexible. (shrink)

Byerly has proposed a novel solution to the gap problem for cosmological arguments. I contend that his strategy can be used to strengthen a wide range of other theistic arguments as well, and also to stitch them together into a cumulative case for theism. I illustrate these points by applying Byerly’s idea about cosmological arguments to teleological arguments.

One of the standard puzzles in ordinary-object metaphysics concerns what happens when an object and one of its undetached parts apparently begin to coincide. I distinguish two versions of this puzzle: the problem of extraordinary undetached parts and the problem of ordinary undetached parts. Then I present a novel phasalist solution to the problem of ordinary undetached parts. My solution is designed to supplement the recently-defended view that ordinary undetached parts exist but extraordinary ones do not.

Many philosophers believe that the criteria of identity over time for ordinary objects entail that such objects are permanent members of certain sortal kinds. The sortal kinds in question have come to be known as substance sortal kinds. But in this article, I defend a criterion of identity that is suited to phasalism, the view that alleged substance sortals are in fact phase sortals. The criterion I defend is a sortal‐weighted version of a change‐minimizing criterion first discussed by Eli Hirsch. (...) I present this criterion and then argue that it withstands attempts to show that it is inferior to non‐phasalist rivals. (shrink)

I introduce a new approach to fission puzzles called the Diversified Approach that proceeds by distinguishing different kinds of fission and assimilating each kind to a different ordinary phenomenon, such as breaking apart, replication, or part loss. To illustrate this approach, I apply it to the case of amoebic fission. The upshot is a novel account of amoebic fission according to which the dividing amoeba ceases to exist because it breaks apart. After developing this solution and highlighting some of its (...) advantages, I discuss briefly how the Diversified Approach can be extended to other varieties of fission. (shrink)

We argue that the evil-god challenge is not an additional challenge for theists above and beyond the (much older) gap problem. One version of the evil-god challenge is merely a specific instance of the gap problem, and another is dependent on that specific instance of the gap problem. Therefore, the various solutions to the gap problem that theists have developed double as responses to the evil-god challenge, placing the evil-god challenge in a more vulnerable position than has been supposed.

One paradigmatic argument from evil against theism claims that, (1) if God exists, then there is no gratuitous evil. But (2) there is gratuitous evil, so (3) God does not exist. I consider three deontological strategies for resisting this argument. Each strategy restructures existing theodicies which deny (2) so that they instead deny (1). The first two strategies are problematic on their own, but their primary weaknesses vanish when they are combined to form the third strategy, resulting in a promising (...) new approach to the problem of evil. (shrink)

One objection to the thesis that multilocation is possible claims that, when combined with a preference for parsimonious theories, it leads to the absurd result that we ought to believe the material universe is composed of just one simple particle. I argue that this objection fails.

It is widely held that the classic reassembly model of resurrection faces intractable problems. What happens to someone if God assembles two individuals at the resurrection which are equally good candidates for being the original person? If two or more people, such as a cannibal and the cannibal’s victim, were composed of the same particles at their respective deaths, can they both be resurrected? If they can, who gets the shared particles? And would an attempt to reassemble a long-gone individual (...) result in a genuine resurrection, or merely an intrinsic duplicate of the original person? In this paper, I argue that the first of these problems has, in effect, been solved by defenders of a rival view; I propose a novel solution to the second problem; and I show that the third can be solved by upgrading the naïve reassembly model to a novel variety of reassembly model. (shrink)

I present Ned Markosian's episodic account of identity under a sortal, and then use it to sketch a new model of the Trinity. I show that the model can be used to solve at least three important Trinitarian puzzles: the traditional ‘logical problem of the Trinity’, a less-discussed problem that has been dubbed the ‘problem of triunity’, and a problem about the divine processions that has been enjoying increased attention in the recent literature.

Stringent non-consequentialist constraints on permitting horrendous evils pose a formidable challenge to the project of theodicy by limiting the ways in which it is permissible for God to do or allow evil for the sake of bringing about a greater good. I formulate a general and potent argument against all greater-good theodicies from the existence of robust side constraints on permitting evil. Then I contend that the argument fails. I begin by distinguishing between side constraints on doing evil and side (...) constraints on allowing evil, and then I draw on the work of David Lewis and Fiona Woollard to argue that, because of the unique ways that God is related to the world, it is plausible that God can both create and sustain our universe, despite all of its evils, without violating any of these constraints. (shrink)

John Martin Fischer has argued that Molinism does not constitute a response to the argument that divine foreknowledge is incompatible with human freedom. I argue that T. Ryan Byerly’s recent work on the mechanics of foreknowledge sheds light on this issue. It shows that Fischer’s claim is ambiguous, and that it may turn out to be false on at least one reading, but only if the Molinist can explain how God knows true counterfactuals of freedom.

The phasalist solution to the classic puzzle of the statue and the piece of clay only works for some coincidence puzzles and not others. To address this limitation of phasalism, I develop a novel approach to coincidence puzzles that permits different kinds of coincidence puzzles to be solved in different ways, provided that each solution satisfies certain constraints inspired by the phasalist solution to the statue puzzle. I apply my approach to four different kinds of coincidence puzzles, and I argue (...) that it is no less plausible than rival approaches in the literature. (shrink)

Recently, some authors have argued that experiences of poignant evils provide non-inferential support for crucial premisses in arguments from evil. Careful scrutiny of these experiences suggests that the impermissibility of permitting a horrendous evil might be characterized by a deontological insensitivity to consequences. This has significant implications for the project of theodicy.

An argument for the abolition of Intellectual Property Rights (IPR) and a step into the wild blue yonder – i.e., beyond Open Access (OA) and Creative Commons (CC) protocols. The “Introduction,” prior to “Paralogisms for Artist-scholars” utilizes an almost Pater-esque aesthetic deployment of time-senses and verb tenses that also resembles the doubled subjective states of Derridean exposition, but actually opens on to theologically inflected re-considerations of the generative nature of gramma.

Some philosophers defend the possibility of synchronic multilocation, and have even used it to defend other substantive metaphysical theses. But just how strong is the case for the possibility of synchronic multilocation? The answer to this question depends in part on whether synchronic multilocation is wedded to other controversial metaphysical notions. In this paper, I consider whether the possibility of synchronic multilocation depends on the possibility of time travel, and I conclude that the answer hinges on the nature of time (...) and persistence. (shrink)

In this article I develop a new problem for the doctrine of the Trinity that I call the Problem of Triunity. Rather than proceeding from the fact that God is one and the persons are many, as the traditional problem of the Trinity does, the problem of triunity proceeds from the fact that, in one sense or another, God is many, and yet each divine person on his own is just one.

The notion of repression as active forgetfulness already found in Nietzsche and systematised by Freud and his successors is employed in a distinctive manner by Merleau-Ponty in Phenomenology of Perception. By showing how we appropriate our environment towards outcomes and respond to other people, he contends, we can unearth hidden modes of operative intentionality. Two such modes are the motor intentional projection of action and the anonymous intercorporeality that includes touching and being touched. Each of these is an aspect of (...) a past that was never a present. Merleau-Ponty does have something to say about pasts that were once present and that linger on in human life. Yet he shows little interest in the unconsciousness of psychoanalysis for its own sake. Psychoanalytic accounts of repression are assimilated into his theory of the body itself, serving merely as means for illustrating the latter. I suggest that this move follows on a conception of an integrated existent whose past acquisitions are remarkably enabling and untroubling. (shrink)

One problem for Molinism that critics of the view have pressed, and which Molinists have so far done little to address, is that even if there are true counterfactuals of freedom, it is puzzling how God could possibly know them. I defuse this worry by sketching a plausible model of the mechanics of middle knowledge which draws on William Alston’s direct acquaintance account of divine knowledge.

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.

I develop a model of providence on which God brings about good states of affairs by means of evil states of affairs, but without intending the latter. The model's key ingredient is a backward-looking counterpart of the distinction between intended and merely foreseen consequences of an action: namely, a distinction between intended and merely foreseen means to an end. The model enables greater-good theodicies to avoid worries about whether a perfect being could intend evil.

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.

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 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.

Some philosophers need no introduction. Julius Kovesi is a philosopher who, regrettably, does need introducing. Kovesi’s career was as a moral philosopher and intellectual historian. This book is intended to reintroduce him, more than twenty years after his death and more than forty years after the publication of his only book, Moral Notions. This Introduction will sketch some of the key features of his life and philosophical thought.

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)

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)

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.

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)

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.

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)

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.

In this essay I argue that Berkeley is proto-phenomenologist. The term phenomenology will chiefly be understood in terms of the approach of Edmund Husserl. Berkeley is attentive to the correct use of significations in philosophical exposition, the subjective character of experience, the motility of the perceiver and the transcendence of things. Like the phenomenologists he rejects materialism, naturalism and scepticism. He seeks to preserve the evidences of ordinary perception, setting out an account of scientific theory that can cohere with them. (...) In the first part of this essay I go through some of the more clear-cut ways in which Berkeley anticipates Husserl and some of the latter’s successors. In the second part I lay out their criticisms of Berkeley, also indicating what they hold in common. In the third and final part I consider some of the ways in which Berkeley can meet these criticisms, either readily or through certain qualifications, and I bring out his most significant contributions as a proto-phenomenologist. My aim is to show there are more than traces of the phenomenological attitude in Berkeley. In his efforts to save the appearances, he goes back to that world in which we live and breathe, if not quite have our being. (shrink)

William L. Rowe’s argument against divine freedom has drawn considerable attention from theist philosophers. One reply to Rowe’s argument that has emerged in the recent literature appeals to modified accounts of libertarian freedom which have the result that God may be free even if he necessarily actualizes the best possible world. Though in many ways attractive, this approach appears to lead to the damning consequence of modal collapse i.e., that the actual world is the only possible world. But appearances can (...) be deceiving, and in this paper I argue that the threat of modal collapse dissolves when we consider Alvin Plantinga’s critique of the purportedly Leibnizian notion that God can actualize any possible world, and incorporate the implications of this critique into the divine freedom debate. Developing a suggestion by Edward R. Wierenga, I argue first that the modal collapse objection fails within a Molinist context, and then I extend the discussion beyond that context to show that the objection also fails on the assumption that Molinism is false. (shrink)

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.

Although much has been written about divine knowledge, and some on divine beliefs, virtually nothing has been written about divine credences. In this essay we comparatively assess four views on divine credences: (1) God has only beliefs, not credences; (2) God has both beliefs and credences; (3) God has only credences, not beliefs; and (4) God has neither credences nor beliefs, only knowledge. We weigh the costs and benefits of these four views and draw connections to current discussions in philosophical (...) theology. (shrink)

The Fundamental Interrelationships Model – An Alternative Approach to the Theory of Everything, Part 4 Subtitle: The Nature of Beauty and Fundamental Interrelationships -/- Abstract: This article is Chapter 21, titled The Nature of Beauty and the Fundamental Interrelationships, from the book Behind Civilization. It posits that the nature of beauty is rooted in one of the fundamental interrelationships: order. Beauty is perceived as a response in the human brain to this fundamental interrelationship. This article provides evidence that the order (...) theory uniquely explains all forms of beauty and reaffirms the IRM's ability to offer a comprehensive framework for the 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)

Many of the following literary-critical texts (not all quite conventional “long-form” essays) originally appeared on the Landscape Agency New York website, LANY Archive-Grotto, on the web portal Geocities, between the years 1997 and 2008 – i.e., over a period of roughly ten years. Versions of some were published in various journals, academic or otherwise. In re-presenting them here, the intention is to trace a proverbial “red thread” that crosses the entirety of the work, arguably what might be denoted the works-based (...) agency of works, and, arguably, the telltale trace of what is otherwise known as the “life-work,” yet for works versus for authors. -/- The entire, retrospective apparatus of The Editioning of Gardens is also, decidedly, an homage to New York, New York, either where or from where much of the research was undertaken and “lived.” Manhattan, indeed, haunts these pages, directly and indirectly – that is to say, the unparalleled access to libraries, bookstores, universities, galleries, cafés, pubs, restaurants, cinemas, parks, and the streets is quite simply the source for the often-intense, yet suitably critical exegetical works. -/- This book is meant to both recapitulate themes crossing the “life-work” of the works collected, but to also illustrate the transitional gestalt of the 1990s and 2000s, something we collectively have not yet quite exited, and something that still haunts and gives pause to architects and landscape architects today. In naming this collection “The Editioning of Gardens,” the intention is to draw attention to the fact that it is landscape that underwrites almost all architectural interventions, whether acknowledged or denied, and that it is “landscape” – in the widest sense of the word – that we inherently and collectively inhabit. -/- NOTA BENE: -/- While many of the essays and texts presented here have been previously published as “working papers” or “reviews” on the LANY Archive-Grotto website, or in journals and P2P dossiers (i.e., in open-access collections posted to research repositories, here denoted Things Czech and Dossier LANY), their presentation in book form makes them more readily accessible and effectively new works as totality. Most have also been re-edited and re-formatted for inclusion in The Editioning of Gardens. -/- All texts are also dated so as to situate them in the timeframe in which they appeared (or were written), as snapshots or surveys of passing times. While re-edited and re-formatted for presentation here, they have not been re-written as such due to their implied “historic” and “time-based” nature. As collection, however, they function as an (un)timely reminder of critical exegesis as rite of passage – underscoring the significance of the title of the collection. This latter trait is what, ironically, makes the collection contemporary and post-contemporary – timely and untimely at once. (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).

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.

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.

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)

Press Release for Works for Works, Book 1: Useless Beauty (Punctum Books, 2022).

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

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