The foundation of every society is the result of an arbitrary act: one of its parts takes control over the rest and (re)makes the world in its own image. Any sort of tribal, theocratic, feudal, political dimension in the history of our civilisation has indeed shaped reality according to its peculiar needs and aims, by means of a system of thought that could justify its permanence in time. The creation of artificial needs requires a distorted perception of inherent threshold values; (...) otherwise, Debord says, we wouldn't be the well-oiled cogs we're expected to be in the machinery of the system. The list of our natural needs is indeed quite short: only a few biological functions and a couple of psychophysical drives to be satisfied when necessary, such as sex and sociality. As a matter of fact, it doesn't take much for a human being to survive. Modern society can't afford to accept the concept of 'strictly necessary' though, not after its very existence became anachronistic and even threatening to a world ruled by the market-a world that needs buyers and consumers in order to survive. What Debord clearly points out is indeed the fake sense of freedom in our choices, the great lie presiding over our lives as consumers-a surrogate freedom that was bestowed upon us as yet another commodity. Even our dirtiest excesses are fed their daily fix of filth by the market; as long as our kinks imply some sort of purchase, we'll always find an industry willing to satisfy them. a use of the commodity arises that is sufficient unto itself; what this means for the consumer is an outpouring of religious zeal in honor of the commodity's sovereign freedom. waves of enthusiasm for particular products, fueled and boosted by the communications media, are propagated with lightning speed. a film sparks a fashion craze, or a magazine launches a chain of clubs that in turn spins off a line of products. the sheer fad item perfectly expresses the fact that, as the mass of commodities becomes more and more absurd, absurdity becomes a commodity in its own right... The spectacle is the moment when the commodity has attained the total occupation of social life. Not only is the relation to the commodity visible but it is all one sees: the world one sees is its world. Modern economic production extends its dictatorship extensively and intensively. In the least industrialized places, its reign is already attested by a few star commodities and by the imperialist domination imposed by regions which are ahead in the development of productivity. In the advanced regions, social space is invaded by a continuous superimposition of geological layers of commodities. At this point in the \"second industrial revolution,\" alienated consumption becomes for the masses a duty supplementary to alienated production. (shrink)

En 1967, el francés Guy Debord escribía un resonante texto, La sociedad del espectáculo, en el que nos ofrece una penetrante y aguda reflexión sobre la sociedad de consumo —cuya experiencia directa vive en la Francia de la posguerra—, donde florece la economía de la abundancia, la industria del ocio, la generalización de los medios de comunicación audiovisual y la propagación del llamado american way of life. Anclado fuertemente en las ideas de Marx sobre la alienación y el fetichismo (...) mercantil, Debord analiza la sociedad en que vive como un perenne espectáculo, entendido este, en lo fundamental, como falseamiento de la naturaleza esencial de un sistema. En muchos sentidos, La sociedad del espectáculo parece más haber sido escrita por estos días que hace más de 50 años. Desde la denuncia de la conversión de la política en un show business, pasando por la espectacularización vacía del arte y de la cultura en general, la prensa del escándalo y el sensacionalismo como gancho para subir el rating, hasta los reality shows que, desprovistos ya de todo pudor, asumen descarnadamente su función de hacer espectáculo por espectáculo, sin importar qué se meta adentro, todo ello, parece haber sido retratado ya en el libro de Debord como una consecuencia inevitable de esta nueva etapa de la enajenación humana, abarcadora de toda la espiritualidad y en la que terminan por perderse las fronteras entre show y vida. (shrink)

Revisiting May 1968, this paper highlights the critical nature of Guy Debord's Marxism. Fifty years after the French events, the question then arises: “To what extent does the Situationist definition of anticapitalist subjectivity still preserve its historical-critical relevance?” The answer is not simple. After all, it amounts to the evaluation of the critical Marxism of Debord, in order to distinguish, in its regard, what is living and what is dead.

As far as the relationship between The Society of the Spectacle (1967) and Commentaries on the Society of the Spectacle (1988) is concerned, one either acknowledges Guy Debord's self interpretation, according to which these books complement each other, or one is forced to concede, on the contrary, the existence of an "epistemological cut", undermining, therefore, the revolutionary unity of Debord’s work. According to the first hypothesis, Machiavelli and Marx will eventually be linked up in a Situationist project to (...) overthrow spectacular society. However, the second hypothesis involves dismissing political economy analysis, whose field is apparently occupied by police logic. Because Debord’s interpretation seems to us to be more plausible, even though its defence is not an easy task, we will endorse his point of view. (shrink)

El trabajo evalúa el alcance de la caracterización realizada en 1967 por Guy Debord de la vida social contemporánea como sociedad del espectáculo. Se muestra la vigencia de aquel análisis en las condiciones de un capitalismo globalizado que redimensiona cada vez más, a través del espectáculo mediático, una relación enajenada con la realidad. Un factor de incuestionable importancia en el dominio que el capital hoy ejerce sobre la vida humana radica en la visión fetichizada y manipulada de la realidad (...) que aquel logra por diversas vías fomentar, dejando ocultas las claves mismas que permitirían explicar este proceso. Las imágenes que por doquier se distribuyen a través de los medios masivos de comunicación, más que acercarnos al conocimiento de nuestro mundo, la mayor parte de las veces tienen la misión de alejarnos de él, recreando espectacularmente una realidad que, por esa misma razón y por mucho que en verdad nos afecte, parece alejarse cada vez más de nuestro alcance hasta ya no ser nuestra. (shrink)

Se trata de una descripción de las ideas fundamentales de La sociedad del espectáculo de Guy Debord y su vigencia actual, en la medida en que la realidad que es queda cada vez más oculta tras su versión espectacularizada y se va perdiendo peligrosamente la capacidad de distinguir entre realidad y espectáculo.

Satisfying the demand of questioning the contemporary condition implies, first of all, a criticism of present times. From this point of view, it becomes clear that art and revolution whilst practices of creative disruption are undoubtedly in crisis. Hence, it is imperative to re-read Guy Debord, who not only refused the aestheticization of politics, but also the politicization of aesthetics. For the hermeneutics of contemporary, his work is, of course, essential. Proving it is, in short, the purpose of this (...) paper. (shrink)

In this paper, I will focus on the nature of the Situationist concept of everyday life, in order to highlight not only its objective content but also its ambiguity. Moreover, I will demonstrate that there is, from the perspective of a poetics of everyday life, and in spite of the diversity of development stages of the Situationist International, an undeniable unity of its revolutionary program.

In this paper, I will focus on the nature of the modernity from the perspective of a «logical» square. On the basis of its vectorial orientation, I will show the value of Guy Debord’s work, according to which, undeniably, there is a need to articulate two core issues of our time: «How does a multitude turn into a class?» (Benjamin’s question) and «How does the individual become a subject?» (Althusser’s question). It is precisely the nexus between these questions that (...) allows us to draw the line between the modernity and the postmodernity. (shrink)

Kate Crawford presents AI as “both reflecting and producing social relations and understandings of the world”; or again, as “a form of exercising power, and a way of seeing… as a manifestation of highly organized capital backed by vast systems of extraction and logistics, with supply chains that wrap around the entire planet”. I interpret these material insights through a Marxist understanding of ideology, with reference to Marx/Engels, Guy Debord and Louis Althusser. In the German Ideology, Marx and Engels (...) present ideology as the alienated and alienating discourse of exchange, dissimulating the material forces of production and its science. Guy Debord presents the spectacle as the further representation of capital. The spectacle is a total Weltanschauung, pure appearance, where “whatever appears is good and where what is good, appears.” Above all, the spectacle is ideology, representing “the impoverishment, enslavement and negation of real life”. Louis Althusser presents ideology as essential for the reproduction of labor-power and capital. His notion of “interpellation” explains the subjective uptake of ideology, how we respond, “yes!” to its call. The algorithms of AI are enactments of surplus value generating capital as data. The AI data-world is the spectacle, “the autonomous movement of non-life” (Debord) where the proletariat/consumer is the producer of their own ideological subjection. Is resistance possible? What form might it take? And if AI is understood as ideology, i.e. as a language that obscures the true conditions of real life, then what are those true conditions? What is “real life”? (shrink)

This paper aims to examine the nature of the situationist concept of spectacle, especially by separating it into its philosophical elements, in order to check the effectiveness, from a systematic point of view, of situationism’s radical critique. In doing so, the main focus of our attention will be Debord’s major theoretical work: Society of the Spectacle. In fact, the concept of spectacle, repeatedly evoked in other writings, has its most far-reaching version in that small but great book, whose first (...) edition was published in 1967. (shrink)

El trabajo evalúa el alcance de la caracterización realizada en 1967 por Guy Debord de la vida social contemporánea como sociedad del espectáculo. Se muestra la vigencia de aquel análisis en las condiciones de un capitalismo globalizado que redimensiona cada vez más, a través del espectáculo mediático, una relación enajenada con la realidad.

El trabajo evalúa el alcance de la caracterización realizada en 1967 por Guy Debord de la vida social contemporánea como sociedad del espectáculo. Se muestra la vigencia de aquel análisis en las condiciones de un capitalismo globalizado que redimensiona cada vez más, a través del espectáculo mediático, una relación enajenada con la realidad. Un factor de incuestionable importancia en el dominio que el capital hoy ejerce sobre la vida humana radica en la visión fetichizada y manipulada de la realidad (...) que aquel logra por diversas vías fomentar, dejando ocultas las claves mismas que permitirían explicar este proceso. Las imágenes que por doquier se distribuyen a través de los medios masivos de comunicación, más que acercarnos al conocimiento de nuestro mundo, la mayor parte de las veces tienen la misión de alejarnos de él, recreando espectacularmente una realidad que, por esa misma razón y por mucho que en verdad nos afecte, parece alejarse cada vez más de nuestro alcance hasta ya no ser nuestra. (shrink)

On September 11, 2001, many of us experienced life as what it is not: we lived an extreme instance of the spectacle, of the sublime outside the realm of ethics. Starting with a few compelling questions that the media representations of the attack on the New York World Trade Center inevitably raise, this paper explores a series of similarities, continuums, and extrapolations of the aesthetic in different types of discourse from Friedrich Schiller to Guy Debord. My assessment of the (...) individual‘s dissolution in the ritual (former dissident and present Czech President Václav Havel‘s phrase) rejects the bleak Marxist theories of manipulation, without overlooking, at the same time, the potential dangers of unfreedom that the process of surrendering to the spectacle implies. Living life as show time may ultimately, and oxymoronically, prove to be the only option toward an infinitude of choices. (shrink)

This dissertation aims to show the philosophical content of the ‘society of spectacle’ concept, which was elaborated by a French thinker from the second part of the 20th century, Guy Debord. The study achieves this aim by means of the history of philosophy, analyzing this concept in the context of previous and contemporary philosophical ideas. Analysis, the structural method, the hermeneutic method of interpretation, and the comparative method are prime research methods. The philosophical part of Guy Debord’s legacy (...) is underexplored, so the dissertation helps to make significant progress in its exploration, because it sheds light on the key concepts of this theoretician. -/- The topic is divided into three themes discussed in the corresponding chapters. In the first chapter the research discusses the literature on the ‘society of spectacle’ and the proper methodology for exploring the philosophical content of this concept. In the next chapter the research covers the ontological basis of this concept in the framework of the history of philosophy, and in the third chapter the study focuses on the historical and philosophical research of the portion of the content of the concept which expresses Debord’s social and political philosophy. -/- The dissertation argues that the ‘society of spectacle’ concept is rooted in Guy Debord’s ideas about discrete space and the specific ontological status of ‘image’ as a substitute for reality. Thoughts in the area of ontology distinguish Guy Debord’s concept from similar ideas of other authors; for instance, from Roland Barthes’ theories. On the contrary, the ontological basis of the ‘society of spectacle’ places this concept in close quarters with Jean Baudrillard and Jacques Derrida’s ideas about space and reality. The dissertation particularly argues for the conceptual proximity of G. Debord’s notion of ‘image’ with Jean Baudrillard’s notion of ‘simulacrum’, and also of G. Debord’s notion of ‘creating of images’ with Jacques Derrida’s notion of ‘deconstruction.’ The study then argues that G. Debord’s ‘society of spectacle’ concept is a more radical interpretation of the irrationality of social behavior than similar concepts of thinkers such as Karl Marx, Herbert Marcuse, and Paul-Michel Foucault. Moreover, the analysis shows that G. Debord’s ‘society of spectacle’ concept is a result of a long development of philosophical ideas which compare world, society or cognitive processes with spectacle throughout all main periods of the history of Western philosophy, primarily its modern period. -/- In contemporary research literature on G. Debord’s theoretical legacy, the dissertation primarily contributes the new idea that Debord’s thoughts have an ontological basis that opens new vistas for further researching their content and explaining their influence on contemporary culture. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

The Situationist International (1957-1972) was a small group of communist revolutionaries, originally organised out of the West European artistic avant-garde of the 1950s. The focus of my thesis is to explain how the Situationist International (SI) became a group able to exert a considerable influence on the ultra-left criticism that emerged during and in the wake of the May movement in France in 1968. My wager is that the pivotal period of the group is to be found between 1960 and (...) 1963, a period marked by the split of 1962. Often this is described as the transition of the group from being more concerned with art to being more concerned with politics, but as I will argue this definitional shorthand elides the significance of the Situationist critique of art, philosophy and politics. The two axes of my thesis are as follows. First, that the significant minority in the group which carried out the break of 1962, identified a homology between the earlier Situationist critique of art — embodied in the Situationist ‘hypothesis of the construction of situations’ — and Marx’s critique and supersession of the radical milieu of philosophy from which he emerged in the mid- 1840s. This homology was summarised in the expression of the Situationist project as the ‘supersession of art’ (dépassement de l’art). Secondly, this homology was practically embodied in the resolution of the debates over the role of art in the elaboration of the Situationist hypothesis, which had been ongoing since 1957. However, it was the SI’s encounter with the ultra-left group Socialisme ou Barbarie that would prove decisive. Via Guy Debord’s membership, the group was exposed to both the idea of a more general revolutionary criticism, but also ultimately what was identified as the insufficiently criticised ‘political militancy’ of this group. Indeed, in the ‘political alienation’ found in Socialisme ou Barbarie, a further homology was established between the alienation of the political and artistic avant-gardes. This identity would prove crucial to the further elaboration of the concept of ‘spectacle’. By way of an examination of the peculiar and enigmatic ‘Hamburg Theses’ of 1961, and the relationship between these ‘Theses’ and the Situationist criticism of art and politics worked out over the first five years of the group, I will argue that the break in 1962 should be conceived as one against politics as much as art (rather than just the latter, as it is more often represented). Additionally, I will outline how the SI, through the paradoxical reassertion of their artistic origins, attempted to synthesise their criticism of art with the recovery of the work of Marx beyond its mutilation as Marxism. Indeed, it was the synthesis of these critiques that enabled the considerable development of the concept of ‘spectacle’, opening the way to the unique influence the SI exerted in the re-emergence of a revolutionary movement at the end of the 1960s. (shrink)

Walter Benjamin’s oft-quoted 1936 essay “The Work of Art in the Age of Its Technological Reproducibility” advances the claim that, for the first time in history, the “function” of the work of art is political, as evidenced by cinema. For Benjamin, film is the “first art form whose artistic character is entirely determined by its reproducibility” and Giorgio Agamben, a contemporary Benjaminian philosopher, further elucidates this “function,” positing that cinema essentially ranks with ethics and politics, not solely with aesthetics, and, (...) consequently, is proximate to philosophy itself. Whereas Deleuze’s Cinema books posed cinema as enacting time in a pure state, Agamben, in his “Notes on Gesture,” breaches from Deleuze’s spatial and cartographic theory of cinema, drawing on Guy Debord’s “détournement via montage,” Simone Weil’s “decreation” and, perhaps most implicitly, from Benjamin. Agamben’s political theory of cinema, motivated by cinema’s “stoppage and repetition of time,” is directly informed by Benjamin’s: “optical unconscious,” appropriation of Brecht’s “social Gestus,” and the relationship between technological reproducibility and aura. Agamben’s “gesture” fastens cinema’s aesthetics not only to ethics and politics, but to the “ontological consistency of human experience,” or to a way of being. (shrink)

This article makes two main claims: that Debord’s concept of the ‘integrated spectacle’ is related to end of History narratives; and that the related concept of ‘disinformation’ is manifested in new forms of media-driven warfare. These claims are substantiated through a comparative analysis between Debord’s texts and contemporary politics, primarily as described by Adam Curtis and by the RETORT collective. The resulting understanding of our contemporary politics is a situation where subjects who appear to be free, are in (...) fact only free to choose between competing brands of neo-liberalism that manipulate and baffle in order to obfuscate their true agendas. This situation is termed a ‘spectacular malaise’. The article then critiques post-Marxist claims to a re-birth of History and therefore a potential end to the spectacular malaise. It argues that the Arab Spring and Occupy movement did not signal an end to the end of History, as they were unable to articulate an alternative vision. This situation is compared to the last days of the Soviet Union, when change also seemed unimaginable. It identifies Mark Fisher’s call for activists to demonstrate alternative possibilities and reveal contingency in apparently natural orders to counter the spectacular malaise. Three art collectives are considered as potential candidates to take up this challenge: Women on Waves, Voina, and SUPERFLEX. The article concludes that while making actual social and political change is useful for demonstrating alternative possibilities, it is art’s symbolic value that reveals contingency and strikes at the heart of the spectacular malaise. (shrink)

This book chapter applies ‘The Decline and Fall of the Spectacle-Commodity Economy’ – the Situationist account of the Watts Rebellion (Los Angeles, 1965) – to the August riots (England, 2011) and the global Occupy movement that followed. It draws two conclusions: that both May ‘68 and Occupy were formed by the political violence that preceded them; and that, although the Situationist essay makes problematic claims about race, its assessment of the Spectacle-Commodity Economy remains valuable. In fact, if combined with intersectional (...) theory, it can provide a useful counterbalance to identity politics that can prevent what Alain Badiou calls an ‘immediate riot’ from becoming a ‘historical riot’ by fragmenting mass social movements and undermining unity. (shrink)

This chapter applies ‘The Decline and Fall of the Spectacle-Commodity Economy’ – the Situationist account of the Watts Rebellion (Los Angeles, 1965) – to the August riots (England, 2011) and the global Occupy movement. It draws two conclusions: that both May ’68 and Occupy were formed by the political violence that preceded them; and that, although the Situationist essay makes problematic claims about race, its assessment of the Spectacle-Commodity Economy remains valuable: in fact, if combined with intersectional theory, it can (...) provide a useful counterbalance to identity politics that can prevent what Alain Badiou calls an ‘immediate riot’ from becoming a ‘historical riot’ by fragmenting mass social movements and undermining unity. (shrink)

Desde la certidumbre del sentido necesariamente inacabado, nómada y abierto de sus propuestas, el presente volumen de la Colección La Fuente da cuentas del esfuerzo de un grupo de investigadores del Instituto de Filosofía de La Habana (IF) y de la Universidad Autónoma de Puebla (BUAP) por esbozar, más que respuestas, aquellas interrogantes sociales, culturales y artísticas que, desde constelaciones cambiantes de conceptos y reflexiones estéticas, puedan ser emplazadas en sus respectivas realidades. El presente libro es el tercero de la (...) serie Redes, dedicada a plasmar los principales resultados del trabajo de colaboración del Cuerpo Académico de Estética y Arte de la BUAP con otros grupos de investigación. La coordinación de esta entrega contó con la sapiencia y laboriosidad académica de la doctora Alicia Pino Rodríguez (1954-2017), investigadora del IF, integrante del Consejo de la Colección, coordinadora de su segundo volumen y parte esencial de este, dedicado a su memoria. (shrink)

So-called theories of well-being (prudential value, welfare) are under-represented in discussions of well-being. I do four things in this article to redress this. First, I develop a new taxonomy of theories of well-being, one that divides theories in a more subtle and illuminating way. Second, I use this taxonomy to undermine some misconceptions that have made people reluctant to hold objective-list theories. Third, I provide a new objective-list theory and show that it captures a powerful motivation for the main competitor (...) theory of well-being (the desire-fulfilment theory). Fourth, I try to defuse the worry that objective-list theories are problematically arbitrary and show how the theory can and should be developed. (shrink)

Recent research has relied on trolley-type sacrificial moral dilemmas to study utilitarian versus nonutili- tarian modes of moral decision-making. This research has generated important insights into people’s attitudes toward instrumental harm—that is, the sacrifice of an individual to save a greater number. But this approach also has serious limitations. Most notably, it ignores the positive, altruistic core of utilitarianism, which is characterized by impartial concern for the well-being of everyone, whether near or far. Here, we develop, refine, and validate a (...) new scale—the Oxford Utilitarianism Scale—to dissociate individual differences in the ‘negative’ (permissive attitude toward instrumental harm) and ‘positive’ (impartial concern for the greater good) dimensions of utilitarian thinking as manifested in the general population. We show that these are two independent dimensions of proto-utilitarian tendencies in the lay population, each exhibiting a distinct psychological profile. Empathic concern, identification with the whole of humanity, and concern for future generations were positively associated with impartial beneficence but negatively associated with instrumental harm; and although instrumental harm was associated with subclinical psychopathy, impartial beneficence was associated with higher religiosity. Importantly, although these two dimensions were independent in the lay population, they were closely associated in a sample of moral philosophers. Acknowledging this dissociation between the instrumental harm and impartial beneficence components of utilitarian thinking in ordinary people can clarify existing debates about the nature of moral psychology and its relation to moral philosophy as well as generate fruitful avenues for further research. (shrink)

The possibility that nothing really matters can cause much anxiety, but what would it mean for that to be true? Since it couldn’t be bad that nothing matters, fearing nihilism makes little sense. However, the consequences of belief in nihilism will be far more dramatic than often thought. Many metaethicists assume that even if nothing matters, we should, and would, go on more or less as before. But if nihilism is true in an unqualified way, it can’t be the case (...) that we should go on as before. And given some plausible assumptions about our psychology, it’s also unlikely that we would go on as before: belief in nihilism will lead to loss of evaluative belief, and that will lead to loss or deflation of our corresponding subjective concerns. Now if nothing matters, then this consequence also wouldn’t matter. But this consequence will be extremely harmful if we believe in nihilism but things do matter, an asymmetry that gives us, in Pascalian fashion, pragmatic reasons not to believe in nihilism, and reasons not to try to find out whether it is really true. (shrink)

This article traces a growing interest among epistemologists in the intellectuals of epistemic virtues. These are cognitive dispositions exercised in the formation of beliefs. Attempts to give intellectual virtues a central normative and/or explanatory role in epistemology occur together with renewed interest in the ethics/epistemology analogy, and in the role of intellectual virtue in Aristotle's epistemology. The central distinction drawn here is between two opposed forms of virtue epistemology, virtue reliabilism and virtue responsibilism. The article develops the shared and distinctive (...) claims made by contemporary proponents of each form, in their respective treatments of knowledge and justification. (shrink)

Résumé : Le thème de la Métaphysique de l’acte d’être a connu un succès jamais démenti au cours du siècle dernier, avec des auteurs comme Gilson, Maritain ou Fabro, pour ne citer que les plus célèbres. Pourtant, des questions de fond n’ont jamais reçu de réponse satisfaisante, et ont laissé le sentiment d’une doctrine inachevée et inachevable. Trois observations contribuent à cette insatisfaction : la quasi-absence d’une telle problématique chez Thomas d’Aquin, les désaccords entre certains points de la théorie ainsi (...) qu’entre les auteurs, et les incompatibilités avec certains thèmes centraux de la philosophie de Thomas d’Aquin. - Abstract: The theme of the Metaphysics of the act of being has known a never denied success over the last century, with authors like Gilson, Maritain or Fabro, to name only the most famous. Nevertheless, some important questions have never been fittingly answered, and have left the feeling of an unachieved and unachievable doctrine. Three observations contribute to this disappointment : a quasi-absence of such a problematic in Thomas Aquinas, contradictions between certain points of the theory as well as between the authors, and incompatibilities with certain central themes of the philosophy of Thomas Aquinas. (shrink)

Neuroscience and psychology have recently turned their attention to the study of the subpersonal underpinnings of moral judgment. In this article we critically examine an influential strand of research originating in Greene's neuroimaging studies of ‘utilitarian’ and ‘non-utilitarian’ moral judgement. We argue that given that the explananda of this research are specific personal-level states—moral judgments with certain propositional contents—its methodology has to be sensitive to criteria for ascribing states with such contents to subjects. We argue that current research has often (...) failed to meet this constraint by failing to correctly ‘fix’ key aspects of moral judgment, criticism we support by detailed examples from the scientific literature. (shrink)

Some lives are more meaningful than others. Some lives are more important than others. What is the relationship between meaning in life and importance? Because both can be described as relating to significance, the two are often conflated. But these are rather different concepts and the meaningful and the important can easily come apart. They do, however, interact in important ways. When importance also meets the conditions for meaningfulness, it amplifies it, and importance on a large scale is a key, (...) and perhaps the only, source of superlative meaningfulness. When contrasted with the quest for meaning, the desire for importance can seem shallow and egocentric. But the desire to make an important contribution reflects a legitimate existential concern. And, in their best form, both the desire for importance, and that for meaningfulness, similarly combine outward-looking and self-regarding aspects. (shrink)

Some people are deeply dissatisfied by the universe that modern science reveals to us. They long for the world described by traditional religion. They do not believe in God, but they wish He had existed. I argue that this is a mistake. The naturalist world we inhabit is admittedly rather bleak. It is very far from being the best of all possible worlds. But an alternative governed by God is also unwelcome, and the things that might make God’s existence attractive—cosmic (...) justice or the afterlife—could also be had without God. The most desirable of all possible worlds are therefore godless. (shrink)

THE STRUCTURE OF THIS PAPER IS AS FOLLOWS. I begin §1 by dealing with preliminary issues such as the different relations expressed by the “good for” locution. I then (§2) outline the Locative Analysis of good for and explain its main elements before moving on to (§3) outlining and discussing the positive features of the view. In the subsequent sections I show how the Locative Analysis can respond to objections from, or inspired by, Sumner (§4-5), Regan (§6), and Schroeder and (...) Feldman (§7). I then (§8) reply to an imagined objector who claims that the Locative Analysis generates implausible results with respect to punishment, virtue and agent-centered duties. (shrink)

This chapter is divided into three parts. First I outline what makes something an objective list theory of well-being. I then go on to look at the motivations for holding such a view before turning to objections to these theories of well-being.

The past is deeply important to many of us. But our concern about history can seem puzzling and needs justification. After all, the past cannot be changed: we can help the living needy, but the tears we shed for the long dead victims of past tragedies help no one. Attempts to justify our concern about history typically take one of two opposing forms. It is assumed either that such concern must be justified in instrumental or otherwise self-centered and present-centered terms (...) or that our interest in history must be utterly disinterested and pursued for its own sake. But neither approach can fully explain, or justify, our concern about the past. I propose a third approach, on which the past matters because it contains much that is of value—all those past people and the things they did or had endured—and this value calls for our fitting response. In short: the significance of the past is past significance. (shrink)

Many believe that because we are so small, we must be utterly insignificant on the cosmic scale. But whether this is so depends on what it takes to be important. On one view, what matters for importance is the difference to value that something makes. On this view, what determines our cosmic importance is not our size, but what else of value is out there. But a rival view also seems plausible: that importance requires sufficient causal impact on the relevant (...) scale; since we have no such impact on the grand scale, that would entail our cosmic insignificance. I argue that despite appearances, causal impact is neither necessary nor sufficient for importance. All that matters is impact on value. Since parts can have non-causal impact on the value of the wholes that contain them, this means that we might have great impact on the grandest scale without ever leaving our little planet. (shrink)

Robert Nozick famously raised the possibility that there is a sense in which both deontology and utilitarianism are true: deontology applies to humans while utilitarianism applies to animals. In recent years, there has been increasing interest in such a hybrid views of ethics. Discussions of this Nozickian Hybrid View, and similar approaches to animal ethics, often assume that such an approach reflects the commonsense view, and best captures common moral intuitions. However, recent psychological work challenges this empirical assumption. We review (...) evidence suggesting that the folk is deontological all the way down—it is just that the moral side constraints that protect animals from harm are much weaker than those that protect humans. In fact, it appears that people even attribute some deontological protections, albeit extremely weak ones, to inanimate objects. We call this view Multi-level Weighted Deontology. While such empirical findings cannot show that the Nozickian Hybrid View is false, or that it is unjustified, they do remove its core intuitive support. That support belongs to Multi-level Weighted Deontology, a view that is also in line with the view that Nozick himself seemed to favour. To complicate things, however, we also review evidence that our intuitions about the moral status of humans are, at least in significant part, shaped by factors relating to mere species membership that seem morally irrelevant. We end by considering the potential debunking upshot of such findings about the sources of common moral intuitions about the moral status of animals. (shrink)

The evolutionary process involved the suffering of quadrillions of sentient beings over millions of years. I argue that when we take this into account, then it is likely that when the first humans appeared, the world was already at an enormous axiological deficit, and that even on favorable assumptions about humanity, it is doubtful that we have overturned this deficit or ever will. Even if there’s no such deficit or we can overturn it, it remains the case that everything of (...) value associated with humanity was made possible by our evolutionary history and all that animal suffering. It can seem indecent to regard all that past suffering as having been worth it simply because it was a causal precondition for our existence. But when we consider the realistic alternatives to the way evolution in fact unfolded, there is nevertheless a conditional case for regarding past sentient suffering as a kind of necessary evil. (shrink)

It is widely held that it is only contingent that the sensation of pain is disliked, and that when pain is not disliked, it is not intrinsically bad. This conjunction of claims has often been taken to support a subjectivist view of pain’s badness on which pain is bad simply because it is the object of a negative attitude and not because of what it feels like. In this paper, I argue that accepting this conjunction of claims does not commit (...) us to this subjectivist view. They are compatible with an objectivist view of pain’s badness, and with thinking that this badness is due to its phenomenal quality. Indeed, I argue that once the full range of options is in view, the most plausible account of pain is incompatible with subjectivism about value. (shrink)

To speak of being religious lucky certainly sounds odd. But then, so does “My faith holds value in God’s plan, while yours does not.” This book argues that these two concerns — with the concept of religious luck and with asymmetric or sharply differential ascriptions of religious value — are inextricably connected. It argues that religious luck attributions can profitably be studied from a number of directions, not just theological, but also social scientific and philosophical. There is a strong tendency (...) among adherents of different faith traditions to invoke asymmetric explanations of the religious value or salvific status of the home religion vis-à-vis all others. Attributions of good/bad religious luck and exclusivist dismissal of the significance of religious disagreement are the central phenomena that the book studies. Part I lays out a taxonomy of kinds of religious luck, a taxonomy that draws upon but extends work on moral and epistemic luck. It asks: What is going on when persons, theologies, or purported revelations ascribe various kinds of religiously-relevant traits to insiders and outsiders of a faith tradition in sharply asymmetric fashion? “I am saved but you are lost”; “My religion is holy but yours is idolatrous”; “My faith tradition is true, and valued by God, but yours is false and valueless.” Part II further develops the theory introduced in Part I, pushing forward both the descriptive/explanatory and normative sides of what the author terms his inductive risk account. Firstly, the concept of inductive risk is shown to contribute to the needed field of comparative fundamentalism by suggesting new psychological markers of fundamentalist orientation. The second side of what is termed an inductive risk account is concerned with the epistemology of religious belief, but more especially with an account of the limits of reasonable religious disagreement. Problems of inductively risky modes of belief-formation problematize claims to religion-specific knowledge. But the inductive risk account does not aim to set religion apart, or to challenge the reasonableness of religious belief tout court. Rather the burden of the argument is to challenge the reasonableness of attitudes of religious exclusivism, and to demotivate the “polemical apologetics” that exclusivists practice and hope to normalize. Lexington Books Pages: 290 978-1-4985-5017-8 • Hardback • December 2018 • $95.00 • (£65.00) 978-1-4985-5018-5 • eBook • December 2018 • $90.00 • (£60.00) ISBN 978-1-4985-5018-5 (pbk: alk. paper) (coming 2020) [Download the 30% personal use Discount Order Form I uploaded for hardcover or e-book, and please ask your library to purchase a copy for their collection.]. (shrink)

Abstract Do the central aims of epistemology, like those of moral philosophy, require that we designate some important place for those concepts located between the thin-normative and the non-normative? Put another way, does epistemology need "thick" evaluative concepts and with what do they contrast? There are inveterate traditions in analytic epistemology which, having legitimized a certain way of viewing the nature and scope of epistemology's subject matter, give this question a negative verdict; further, they have carried with them a tacit (...) commitment to what we argue to be an epistemic analogue of the reductionistic centralist thesis which Bernard Williams, in our view, successfully repudiates in ethics. In this essay, we challenge the epistemic analogue of the traditional but mistaken thesis. In offering an alternative to it which provides a comfortable home for the epistemic normativity which attends thick evaluative concepts, we align ourselves with what has been recently called the Value Turn in epistemology. From this perspective, we defend that, contrary to tradition, as influenced by centralist assumptions, epistemology does need thick evaluative concepts. Further, the sort of theories that will be able to give thick evaluative concepts an irreducible role in both belief and agent evaluation are adequately social epistemologies. What loosely refer to as second-wave of virtue epistemology is the widespread interest to provide a comfortable home for the role of thick normativity, as it is connected both with epistemic evaluation, and guidance. We recognize that, in breaking from centralism, there is a worry that a resulting anti-centralist theory will be reductionistic in the other direction, making the thick primary. We contend however that second-wave virtue epistemologies take different sources of social and epistemic value into account; they seek the 'right thickness' to ride with conception of epistemology and a field which due in part to virtue theory's resurgence, is today normative, diverse and expansive than was the traditional set of problems from which it emerged. (shrink)

The non-identity problem is usually considered in the forward-looking direction but a version of it also applies to the past, due to the fact that even minor historical changes would have affected the whole subsequent sequence of births, dramatically changing who comes to exist next. This simple point is routinely overlooked by familiar attitudes and evaluative judgments about the past, even those of sophisticated historians. I shall argue, however, that it means that when we feel sadness about some historical tragedy, (...) or think of one possible course of history as better than another, these judgments and attitudes can be understood in terms of two opposing perspectives on the past: an impersonal standpoint concerned only with how much value each course of history contains, and a person-centred standpoint concerned with harms and benefits to the people who had actually existed. In this paper, I will set out these radically different visions of what matters in history and point out some of their surprising implications. (shrink)

Of the many difficult questions that populate the rather treacherous terrain of the philosophy of music, the one that perplexes and interests me the most often crops up in various guises in the myriad books of‘ Quotations for music lovers’ and such like. The following version may be said to capture its fundamental idea. Given that music doesn’t seem in any obvious sense to be about anything precisely, why do we seem to think that it conveys so much so strongly?

In this article, I examine two of the standard objections to forms of value hedonism. The first is the common claim, most famously made by Bradley and Moore, that Mill's qualitative hedonism is inconsistent. The second is the apparent problem for quantitative hedonism in dealing with malicious pleasures. I argue that qualitative hedonism is consistent, even if it is implausible on other grounds. I then go on to show how our intuitions about malicious pleasure might be misleading.

“Objectivity” is an important theoretical concept with diverse applications in our collective practices of inquiry. It is also a concept attended in recent decades by vigorous debate, debate that includes but is not restricted to scientists and philosophers. The special authority of science as a source of knowledge of the natural and social world has been a matter of much controversy. In part because the authority of science is supposed to result from the objectivity of its methods and results, objectivity (...) has been described as an “essentially contested,” and even an “embattled” concept. The concept of objectivity has important but contested applications outside of scientific practices as well. Philosophers, psychologists, and theologians debate whether there is an objective basis for ethical claims and demands. Legal scholars debate what it would mean for laws to be objectively derivable from basic assumptions about justice and equality. One aim of this book is to guide readers through the often volatile debates over the nature and value of objectivity. Another aim is to contribute to that debate through articulating the domain-variance of norms of objectivity, and their different functions for inquirers. A better understanding of the underdetermination problem, and of the many ways that "epistemic" and "social" values rub shoulders in the course of inquiry, aids the development of my pragmatic pluralist account of objectivity. (shrink)

The scientific worldview is often claimed to reveal a universe chillingly indifferent to human suffering. But it’s unclear what it means to describe the universe as indifferent, or what a non- indifferent universe would be like. I suggest that the relevant contrast isn’t simply that between God and His absence, nor is the complaint about indifference focused on the lack of a kind of cosmic concern. At its heart is the idea of a mismatch between world and value. Although the (...) causal forces governing our world are ‘blind’, they nevertheless do partly align with value. Still, our world is so arranged that senseless suffering is depressingly common, and the rosy non- indifferent counterfactual won’t contain such evil. I argue, however, that it is a mistake to long for such an alternative: it must either involve an upside- down moral order, or would be a world from which we, and those who senselessly suffer, will be absent. (shrink)

Philosophers have long theorized about which things make people’s lives go well, and why, and the extent to which morality and self-interest can be reconciled. Yet little time has been spent on meta-prudential questions, questions about prudential discourse. This is surprising given that prudence is, prima facie, a normative form of discourse and, as such, cries out for further investigation. Chapter 4 takes up two major meta-prudential questions. It first examines whether there is a set of prudential reasons, generated by (...) evaluative prudential properties, and defends the view that evaluative well-being facts generate agent-relative reasons for the relevant agent. It also investigates whether prudential discourse is normative. It is proposed that prudential discourse is normative by arguing that prudential judgements are normative judgements. The case for this is presented by analogy with moral discourse by showing that the features of moral judgements that metaethicists appeal to when articulating, explaining, and justifying the claim that moral judgements are normative are also possessed by prudential judgements. Various objections to the analogy are also considered. (shrink)

A great deal of research has focused on the question of whether or not concepts are embodied as a rule. Supporters of embodiment have pointed to studies that implicate affective and sensorimotor systems in cognitive tasks, while critics of embodiment have offered nonembodied explanations of these results and pointed to studies that implicate amodal systems. Abstract concepts have tended to be viewed as an important test case in this polemical debate. This essay argues that we need to move beyond a (...) pretheoretical notion of abstraction. Against the background of current research and theory, abstract concepts do not pose a single, unified problem for embodied cognition but, instead, three distinct problems: the problem of generalization, the problem of flexibility, and the problem of disembodiment. Identifying these problems provides a conceptual framework for critically evaluating, and perhaps improving upon, recent theoretical proposals. (shrink)

A growing number of philosophers are concerned with the epistemic status of culturally nurtured beliefs, beliefs found especially in domains of morals, politics, philosophy, and religion. Plausibly, worries about the deep impact of cultural contingencies on beliefs in these domains of controversial views is a question about well-foundedness: Does it defeat well-foundedness if the agent is rationally convinced that she would take her own reasons for belief as insufficiently well-founded, or would take her own belief as biased, had she been (...) nurtured in a different psychographic community? This chapter will examine the proper scope and force of this epistemic location problem. It sketches an account of well and ill-founded nurtured belief based upon the many markers of doxastic strategies exhibiting low to high degrees of inductive risk: the moral and epistemic risk of ‘getting it wrong’ in an inductive context of inquiry. (shrink)