This paper asks when a natural disease kind is truly 'reactive' and when it is merely associated with a corresponding social kind. I begin with a permissive account of real kinds and their structure, distinguishing natural kinds, indifferent kinds and reactive kinds as varieties of real kind characterised by super-explanatory properties. I then situate disease kinds within this framework, arguing that many disease kinds prima facie are both natural and reactive. I proceed to distinguish ‘simple dependence’, ‘secondary dependence’ and ‘essential (...) dependence’ between a natural kind and its classification, and argue that a natural kind is only really reactive, in an important sense, under conditions of essential dependence. On this basis, I offer a principled hypothesis for why psychiatric kinds tend to be more metaphysically unstable than paradigm somatic disease kinds. (shrink)

El presente trabajo se propone rastrear la influencia de la tradición platónica Acerca de los primeros principios, en sus diversas formulaciones, sobre la filosofía de Orígenes de Alejandría. La lectura origeniana de los autores platónicos y su afinidad con ellos se confirman en las fuentes históricas. El alejandrino adopta y asimila numerosos aspectos de la doctrina y la terminología de los seguidores de Platón. Sin embargo, también toma distancia de ellos en algunos puntos neurálgicos de su concepción de lo divino (...) y de la creación del mundo. Se analizan especialmente los papeles que cumplen en la teoría origeniana las categorías académicas de lo absoluto y lo relativo, la noción mesoplatónica y filoniana del agente demiúrgico y una original adaptación del esquema causal derivativo neopitagórico. -/- The present paper intends to trace the influence of the Platonic tradition On first principles;, considering its different versions, on the philosophy of Origen of Alexandria. Origen's knowledge of the Platonists and his affinity with them are confirmed by the historical sources. The Alexandrian adopts and assimilates many aspects of the doctrine and terminology of Plato's followers. However, he also departs from them regarding some of the essential elements in his conception of the divine and of the world's creation. Particularly, the paper focuses on the roles played in Origen's theory by the Academic categories of absolute and relative, the Middle-platonic and Philonian notion of the demiurgic agent and an original reframing of the Neopythagorean derivative system of causes. (shrink)

El presente trabajo se concentra en el debate acerca de los alcances de la providencia que tuvo lugar entre las escuelas estoica, platónica y peripatética entre las siglos I y III de nuestra era. En ese contexto, analiza el problema del status ontológico de los singulares en Orígenes de Alejandría y Nemesio de Émesa. Influidos primariamente por la síntesis filoniana entre las distintas teorías griegas de providencia y la de las Escrituras, estos autores fundan la consistencia de los singulares en (...) la tesis de una acción directa del principio divino sobre cada uno de ellos. Frente a una cierta tendencia universalista y necesitarista del pensamiento clásico, los Padres griegos intentaron rescatar el valor metafísico del individuo en cuanto tal. -/- The present paper focuses on the debate over the scope of Providence that took place among the Stoic, Platonic and Peripatetic schools between the first and the third centuries AD. In that context, it deals with the problem of the ontological status of the singulars in the thought of Origen of Alexandria and Nemesius of Emesa. Influenced primarily by the Philonian synthesis of the different Greek theories of Providence with that of the Scriptures, Origen and Nemesius ground the consistency of individual beings on the thesis of a direct divine action intended for each of them. Faced with the universalistic and necessitarian tendencies of classical thought, the Greek Fathers tried to rescue the metaphysical value of individuals as such. (shrink)

Gregory of Nyssa’s treatise 'De opificio hominis' was one of the only Greek anthropological texts translated into latin during the early Middle Ages, by Dionysius Exiguus between the late 5th and early 6th centuries and by John Scotus Eriugena in the 9th century. Nicholas of Cusa certainly became acquainted with this work indirectly through the extensive citations in Eriugena’s 'Periphyseon' and through their partial reproduction in the 'Clavis physicae' of Honorius Augustodunensis. Our paper will analyse these and other possible ways (...) of reception –both direct and indirect– of Gregory's text by Cusanus, as well as the influence of certain philosophical themes of Nyssen’s anthropology in his thought, such as the conception of the 'imago Dei', of its ‘living’ character and its simplicity, the incomprehensibility of human intellect or mind (noûs) and theories regarding human free will and man as microcosm. (shrink)

Humanists and philosophers in the Quattrocento find inspiration for their treatises on human dignity not only in Classical Antiquity, but also in the works of the Church Fathers. The present paper examines the influence of the latter on the theories of freedom at the dawn of Modernity, especially regarding the Patristic conception of human self as person or hypostasis, whose free decision is considered inviolable, creative and irreducible to its own nature or essence.

Recently, a number of people have argued that certain entities embodied by groups of agents themselves qualify as agents, with their own beliefs, desires, and intentions; even, some claim, as moral agents. However, others have independently argued that fully-fledged moral agency involves a capacity for reactive attitudes such as guilt and indignation, and these capacities might seem beyond the ken of “collective” or “ corporate ” agents. Individuals embodying such agents can of course be ashamed, proud, or indignant about what (...) the agent has done. But just as an entity needs to have its own beliefs, desires, and intentions to qualify as a bona fide agent, the required capacity for reactive attitudes is a capacity to have one’s own reactive attitudes. If fully-fledged moral agency requires reactive attitudes, the corporate agent must itself be capable of guilt and indignation. In this paper, we argue that at least certain corporate agents are. Or, more precisely, we argue that if there are bona fide corporate agents, these agents can have the capacities that are both associated with guilt and indignation and plausibly required for moral agency; in particular certain epistemic and motivational capacities. (shrink)

This paper is about teaching probability to students of philosophy who don’t aim to do primarily formal work in their research. These students are unlikely to seek out classes about probability or formal epistemology for various reasons, for example because they don’t realize that this knowledge would be useful for them or because they are intimidated by the material. However, most areas of philosophy now contain debates that incorporate probability, and basic knowledge of it is essential even for philosophers whose (...) work isn’t primarily formal. In this paper, I explain how to teach probability to students who are not already enthusiastic about formal philosophy, taking into account the common phenomena of math anxiety and the lack of reading skills for formal texts. I address course design, lesson design, and assignment design. Most of my recommendations also apply to teaching formal methods other than probability theory. (shrink)

In his book “Galileo’s Error”, Philip Goff lays out what he calls “foundations for a new science of consciousness”, which are decidedly anti-physicalist (panpsychist), motivated by a critique of Galileo’s distinction into knowable objective and unknowable subjective properties and Arthur Eddington’s argument for the limitation of purely structural (physical) knowledge. Here we outline an alternative theory, premised on the Interface Theory of Perception, that too subscribes to a “post-Galilean” research programme. However, interface theorists disagree along several lines. 1. They note (...) that Galileo’s distinction should be replaced by a truly non-dual account, referring to a difference of degree only. 2. They highly appreciate the role of mathematics, in particular when it comes to actually engage scientifically with consciousness. Some notable features of the interface theory are its skepticism towards our epistemic capacities and its rejection of the existence of a public, mind-independent reality. In addition, some interface theorists further employ a thin concept of “conscious agency” to ground their theory. The interface theory leaves open many of the problems of consciousness science (e.g. what is a “self”?) as questions for further (scientific, mathematical) research. (shrink)

This essay is an attempt to explain Kantian transcendental idealism to contemporary metaphysicians and make clear its relevance to contemporary debates in what is now called ‘meta-metaphysics.’ It is not primarily an exegetical essay, but an attempt to translate some Kantian ideas into a contemporary idiom.

We must rethink the status of Hume’s science of emotions. Contemporary philosophers typically dismiss Hume’s account on the grounds that he mistakenly identifies emotions with feelings. But the traditional objections to Hume’s feeling theory are not as strong as commonly thought. Hume makes several important contributions, moreover, to our understanding of the operations of the emotions. His claims about the causal antecedents of the indirect passions receive support from studies in appraisal theory, for example, and his suggestions concerning the social (...) dimensions of self-conscious emotions can help guide future research in this field. His dual-component hypothesis concerning the processing of emotions, furthermore, suggests a compromise solution to a recalcitrant debate in cognitive science. Finally, Hume’s proposals concerning the motivational influences of pride, and the conventional nature of emotional display rules, are vindicated by recent work in social psychology. (shrink)

Review of "In the Vale of Tears: On Marxism and Theology, Volume V," Roland Boer.

Many women wrote philosophy in nineteenth-century Britain, and they wrote across the full range of philosophical topics. Yet these important women thinkers have been left out of the philosophical canon and many of them are barely known today. The aim of this book is to put them back on the map. It introduces twelve women philosophers - Mary Shepherd, Harriet Martineau, Ada Lovelace, George Eliot, Frances Power Cobbe, Helena Blavatsky, Julia Wedgwood, Victoria Welby, Arabella Buckley, Annie Besant, Vernon Lee, (...) and Constance Naden. Alison Stone looks at their views on naturalism, philosophy of mind, evolution, morality and religion, and progress in history. She shows how these women interacted and developed their philosophical views in conversation with one another, not only with their male contemporaries. The rich print and periodical culture of the period enabled these women to publish philosophy in forms accessible to a general readership, despite the restrictions women faced, such as having limited or no access to university education. Stone explains how these women became excluded from the history of philosophy because there was a cultural shift at the end of the nineteenth century towards specialised forms of philosophical writing, which depended on academic credentials that were still largely unavailable to women. (shrink)

The concept of white ignorance refers to phenomena of not-knowing that are produced by and reinforce systems of white supremacist domination and exploitation. I distinguish two varieties of white ignorance, belief-based white ignorance and practice-based white ignorance. Belief-based white ignorance consists in an information deficit about systems of racist oppression. Practice-based white ignorance consists in unresponsiveness to the political agency of persons and groups subject to racist oppression. Drawing on the antebellum political thought of Black abolitionists Frederick Douglass and (...) class='Hi'>Harriet Jacobs, I contend that an anti-racist politics that conceives of its epistemic task in terms of combating practice-based white ignorance offers a more promising frame for liberatory struggle. A focus on practice-based white ignorance calls for a distinctive form of humility that involves recognition of the limits of one’s own political agency in relation to others, which is integral to democratic relations between free, equal, yet mutually dependent persons. (shrink)

The tears of Odysseus -- History : music gives voice to the ineffable -- Tears, chills, and broken bones -- The music itself -- Explaining strong emotional responses to music I -- Explaining strong emotional responses to music II -- The sublime, revisited -- Conclusion : values.

One way to think about the philosophical significance of hatred is to consider doctrines that are characterised by feelings of hatred. A good candidate is misanthropy, which is often conceived as an attitude of hatred directed at humankind at large. I start by sketching a working account of misanthropy as a critical verdict or judgment on the contemporary condition of humankind as it has become. The criticism is directed at the array of vices and failings that are ubiquitous and entrenched (...) within the wider structures of human life, rather than those of individual persons. In one of its forms, misanthropy manifests itself in feelings of hatred for those entrenched failings and the patterns of awful behaviour which they motivate and sustain - for instance, the figure that Kant called the "enemy of mankind", or the radical eco-misanthropes who populated much American radical environmentalism of the 1980s, with their calls to 'tear down' the 'whole human world'. I then argue that such hateful 'enemies of mankind' represent only one among a set of modes of misanthropy. These have more peaceable affective and practical profiles that offer us forms of misanthropy without hatred. If so, we can think philosophically about hate in relation to misanthropy and about the potential scope of hatred. Thinking about the entrenched vices and failings constitutive of our life as it has become offers a way of intelligibly hating something as large as 'humanity'. But there are other responses to those vices and failings than hatred. I end by speculating that although hateful misanthropy tends to dominate discussions of misanthropy, historically it is the least common. That, itself, might tell us something about the sustainability of hatred. (shrink)

According to the standard story, there are two defensible theories of property rights: historical and institutional theories. The former says that you own something when you’ve received it via an unbroken chain of just transfers from its original appropriation. The latter says that you own something when you’ve been assigned it by just institutions. This standard story says that the historical theory throws up a barrier to redistributive economic policies while the institutional theory does not. In this paper, I argue (...) that the standard story is wrong in almost every detail. For a start, neither of these theories are defensible. Both generate absurd consequences when combined with our non-ideal circumstances. In actuality, no unbroken chains of just transfers stretch from original appropriation to what we now possess. And our actual institutions are very seriously unjust. So both theories imply that we actually own almost nothing. I revise these theories so that they avoid this absurd consequence. Yet, when we do this, their distributive implications flip. The institutional theory throws up serious barriers to redistribution while the historical theory tears them down. In our non-ideal circumstances, the distributive implications of these theories are the opposite of what is standardly presumed. (shrink)

There is much disagreement about how extensive a role theoretical mind-reading, behavior-reading, and simulation each have and need to have in our knowing and understanding other minds, and how each method is implemented in the brain, but less discussion of the epistemological question what it is about the products of these methods that makes them count as knowledge or understanding. This question has become especially salient recently as some have the intuition that mirror neurons can bring understanding of another's action (...) despite involving no higher-order processing, whereas most epistemologists writing about understanding think that it requires reflective access to one's grounds, which is closer to the intuitions of other commenters on mirror neurons. I offer a definition of what it is that makes something understanding that is compelling independently of the context of cognition of other minds, and use it to show two things: 1) that theoretical mind-reading and simulation bring understanding in virtue of the same epistemic feature, and 2) why the kind of motor representation without propositional attitudes that is done by mirror neurons is sufficient for action understanding. I further suggest that more attention should be paid to the potential disadvantages of a simulative method of knowing. Though it can be more efficient in some cases, it can also bring vulnerability, wear and tear on one's personal equipment, and unintended mimicry. (shrink)

Kantian disinterest is the view that aesthetic judgement is constituted (at least in part) by a form of perceptual contemplation that is divorced from concerns of practical action. That view, which continues to be defended to this day, is challenged here on the basis that it is unduly spectator-focussed, ignoring important facets of art-making and its motivations. Beauty moves us, not necessarily to tears or rapt contemplation, but to practical action; crucially, it may do so as part and parcel of (...) its appreciation. This claim is defended via reflection on (i) the art of photography, (ii) the concepts of ‘attentional salience’ and ‘experienced mandates’, and (iii) a virtue-based account of aesthetic value. (shrink)

Artefacts do not always do what they are supposed to, due to a variety of reasons, including manufacturing problems, poor maintenance, and normal wear-and-tear. Since software is an artefact, it should be subject to malfunctioning in the same sense in which other artefacts can malfunction. Yet, whether software is on a par with other artefacts when it comes to malfunctioning crucially depends on the abstraction used in the analysis. We distinguish between “negative” and “positive” notions of malfunction. A negative malfunction, (...) or dysfunction, occurs when an artefact token either does not or cannot do what it is supposed to. A positive malfunction, or misfunction, occurs when an artefact token may do what is supposed to but, at least occasionally, it also yields some unintended and undesirable effects. We argue that software, understood as type, may misfunction in some limited sense, but cannot dysfunction. Accordingly, one should distinguish software from other technical artefacts, in view of their design that makes dysfunction impossible for the former, while possible for the latter. (shrink)

At the beginning of the COVID-19 pandemic, high hopes were placed on digital contact tracing. Digital contact tracing apps can now be downloaded in many countries, but as further waves of COVID-19 tear through much of the northern hemisphere, these apps are playing a less important role in interrupting chains of infection than anticipated. We argue that one of the reasons for this is that most countries have opted for decentralised apps, which cannot provide a means of rapidly informing users (...) of likely infections while avoiding too many false positive reports. Centralised apps, in contrast, have the potential to do this. But policy making was influenced by public debates about the right app configuration, which have tended to focus heavily on privacy, and are driven by the assumption that decentralised apps are “privacy preserving by design”. We show that both types of apps are in fact vulnerable to privacy breaches, and, drawing on principles from safety engineering and risk analysis, compare the risks of centralised and decentralised systems along two dimensions, namely the probability of possible breaches and their severity. We conclude that a centralised app may in fact minimise overall ethical risk, and contend that we must reassess our approach to digital contact tracing, and should, more generally, be cautious about a myopic focus on privacy when conducting ethical assessments of data technologies. (shrink)

Why are there so few women included in the history of philosophy? What are the consequences Why are there so few women included in the history of philosophy? What are the consequences from the fact that men have designed the vast majority of contemporary political and ethical theories? How can discrimination as well as equal treatment based on gender be philosophically justified? Are women the second sex of philosophy? And what is feminist philosophy? -/- In Philosophy’s Second Sex, Tove Pettersen (...) introduces feminist philosophy for students and others who are interested in gender, feminism and philosophy. She shows what it is, and how it can be used both in analyzing various texts and of a gendered reality. -/- Pettersen discusses Plato, Aristotle, Hume and Kant's theories of gender. A separate chapter is devoted to women's place in the philosophy of history, in which Catharine Trotter Cockburn, Sophia and Harriet Taylor are presented. Simone de Beauvoir's ethics and her views on gender differences are discussed, and both care ethics and feminist ethics are presented. Other key themes are the connection between gender, justice (local and global) and political philosophy, and the relationship between feminist philosophy, postmodernism and relativism. -/- The book is structured as a collection of essays, which can be read independently of each other. Seen together, they nevertheless reveal a development from women’s position in ancient philosophy to the challenges feminist philosophy faces in our contemporary, globalized world. (shrink)

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)

On the first page of 1984, Winston Smith is confronted with several posters featuring the face of Big Brother and the famous sentence, “BIG BROTHER IS WATCHING YOU.” This may not seem like a promising way to seduce someone, but the seduction of Winston Smith by Big Brother in 1984 is a most unusual love story. I call it a seduction because Winston’s mind and heart are slowly won over in the aptly-named Ministry of Love. Moreover, in the final scene (...) of the novel, Winston gazes, with tears in his eyes, up at Big Brother on the telescreen. The last sentence of the book states, simply, “He loved Big Brother.” How does Big Brother seduce Winston Smith? He certainly does not employ stereotypical methods. Big Brother is not particularly sexy, and his incessant angry shouting does not seem calculated to foster adoration. On top of that, Winston never meets Big Brother in person. His only access is through media: posters, stories, and the telescreen. We all know that it’s hard to maintain a long-distance relationship. Long-distance seduction is even more challenging. So how does Big Brother manage it? To answer this question, I use the theory of seduction first articulated by the philosopher John Forrester (1990, p. 42), who argues that “the first step in a seductive maneuver could be summed up as, ‘I know what you’re thinking.’”. (shrink)

The practice of official apology has a fairly poor reputation. Dismissed as ‘crocodile tears’ or cheap grace, such apologies are often seen by the public as an easy alternative to more punitive or expensive ways of taking real responsibility. I focus on what I call the role-playing criticism: the argument that someone who offers an apology in public cannot be appropriately apologetic precisely because they are only playing a role. I offer a qualified defence of official apologies against this objection, (...) considering them through the lens of fiduciary duties. This focus draws our attention to formal or impersonal relationships that are nevertheless normatively rich, capable of sustaining trust, concern, and care. At the same time, I highlight several pitfalls for fiduciary apologisers, including the tension between apology as a mode of truth telling and the duty of confidentiality. I consider whether the fiduciary apologiser, in reflecting on her fiduciary obligations, has ‘one thought too many’ for genuine apology, and argue that the issue of mixed motives is not limited to fiduciary contexts, cautioning against excessive idealism in our conception of apology. I conclude with some reflections on possible conflicts between fiduciary obligations and the conscientious desire to apologise. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume Studies Volume 30, Number 2, November 2004, pp. 213-236 Pleased and Afflicted: Hume on the Paradox of Tragic Pleasure E. M. DADLEZ How fast can you run? As fast as a leopard. How fast are you going to run? A whistle sounds the order that sends Archie Hamilton and his comrades over the top of the trench to certain death. Racing to circumvent that order and arriving seconds (...) too late, Archie's friend Frank screams in rage and despair. Archie is cut down before he has run twenty yards. Peter Weir's film Gallipoli is a chronicle of the disastrous Dardanelles campaign of the first World War, but it is also a film about racing. Archie is trained by his uncle Jack to run "as fast as a leopard." The film begins as it ends, with Archie sprinting in response to a whistle. Frank is first shown racing after a train, along with friends who are on their way to enlist. Archie and Frank meet while competing in a race, they race in Cairo once they have enlisted, and they finally race death. From the beginning, Archie has been faster; even at the end he is the first to die. And from the beginning he has swept Frank along in his wake, encouraging him, pushing him, inspiring him, and helping him to positions for which he is inadequately qualified. In the end, Archie's compassion and kindness prompt a decision which has grim consequences both for himself and for hundreds of others. Knowing that his friend fears death in the trenches, Archie recommends Frank as a substitute for himself, a designated message runner. But Frank is not fast enough, and falls short by mere seconds which Archie would not have lost. This is what leads to the failure of the one real effort to countermand the fatal charge. E. M. Dadlez is Professor of Humanities and Philosophy, University of Central Oklahoma, Edmond, OK 73034, USA. e-mail: [email protected] 214 E. M. Dadlez I am an emotional wreck by the time the movie is over, though I should admit that most of my tears are the result of sheer rage. Both my dogs exited the room in some haste once I began to shout at the television and the unpardonably dimwitted British officers who sat sipping tea at a comfortable distance as they gave the order for soldiers to commit suicide. But it isn't just the scope of the real human disaster, or the enormity of the blunder, or the pointlessness of the entire enterprise, or even my renewed conviction that stupidity is, in fact, evil, that is so unsettling. The film unnerves with respect to personal as well as global concerns, focusing attention on the chance of vanity's leading one to undertake responsibilities beyond one's competence, the possibility of advancement or security being achievable only at the expense of another, and the realization of how easy it might be to let those things happen. Gallipoli is a sad, disturbing film, and the spectator is grieved and disturbed in the course of watching it. Yet, having said that, I must own to having a copy in my possession, and to having watched it more than once. I recommend it to friends, offering to lend them my videotape. In fact, I press it on them. I say that it is a terrific, rewarding work which they should take the time to see. How is it that I can describe my experience of the film in such glowing terms and at the same time acknowledge the extreme distress I felt in the course of watching it? How can I reconcile the discordant aspects of my experience? David Hume explores some possible answers in his essay "Of Tragedy."1 He begins by calling attention to the paradox of tragic pleasure: It seems an unaccountable pleasure, which the spectators of a well written tragedy receive from sorrow, terror... and other passions, which are in themselves disagreeable and uneasy. The more they are touched and affected, the more are they delighted with the spectacle.... The whole art of the poet is employed in rousing and supporting the compassion and... (shrink)

Death which is inevitably for every mortal is a sadness for those who are left behind is the cause of sırrrow. While some people reflect this sadness out-word as a tear some of them rebel against this through and cry out. -/- Some of them are traditionally reguired or lamenting as showy. For this reason it is inevitable to reveal the Position of the head of the head In İslam and the fact that it is not permissible to narrate it. (...) As a result of person who dies after A person who dies and sheds tears and silent or vocal crying like the lgnorant. -/- It’s not possible to say that, Permissible to cry after And that person sheds tears and tears. Because this situation is the essence of creation and work of mercy. The prophet Muhammad and Omar (d. 23/644), Fatima (d. 11/632), Ibn Mes’ud (d. 32/652-53), Ibn Omar (d. 73/692) Arecrying because of the death of their loved ones. However it’s understood that It’s not permissible to say the merits and beauty of the person who died from the narrations and to call the shocks of shouting and shouting. And it seen that, If a dead person is crying like that and affect and contribution of the dead person in it, He will see the punishment. This article aims to present to rumors that the prophet and some of companions had cried to their death relatives cried and cried forbidden behaviors and interpret and comment on the narrations about the punishment of the dead by the cry of alive and reveal the permissible and non-pemissible behaviors and forms of crying. (shrink)

Under the Superstition Mountains in central Arizona toil those who would rob humankind o f its humanity. These gray, soulless monsters methodically tear away at our meaning, our subjectivity, our essence as transcendent beings. With each advance, they steal our freedom and dignity. Who are these denizens of darkness, these usurpers of all that is good and holy? None other than humanity’s arch-foe: The Cognitive Scientists -- AI researchers, fallen philosophers, psychologists, and other benighted lovers of computers. Unless they are (...) stopped, humanity -- you and I -- will soon be nothing but numbers and algorithms locked away on magnetic tape. (shrink)

‘...if you learn to think like Peter Cave – with freshness, humour, objectivity and penetration – you will have been amply rewarded.’ :::: Prof. Felipe Fernandez-Armesto, University of Notre Dame __________________ Chapter Titles:>>> ___ 1 Lao Tzu: The Way to Tao >>> 2 Sappho: Lover >>> 3 Zeno of Elea: Tortoise Backer, Parmenidean Helper >>> 4 Gadfly: aka ‘Socrates’ >>> 5 Plato: Charioteer, Magnificent Footnote Inspirer – ‘Nobody Does It Better’ >>> 6 Aristotle: Earth-Bound, Walking >>> 7 Epicurus: Gardener, Curing (...) the Soul, Ably Assisted by Lucretius >>> 8 Avicenna: Flying Man, Unifier >>> 9 Descartes: With Princess, With Queen >>> 10 Spinoza: God-Intoxicated Atheist >>> 11 Leibniz: Monad Man >>> 12 Bishop Berkeley, ‘That Paradoxical Irishman’: Immaterialist, Tar-Water Advocate >>> 13 David Hume: The Great Infidel or Le Bon David >>> 14 Kant: Duty Calls, Categorically >>> 15 Schopenhauer: Pessimism With Flute >>> 16 John Stuart Mill: Utility Man, With Harriet, Soul-Mate >>> 17 Søren Kierkegaard: Who? >>> 18 Karl Marx: Hegelian, Freedom-Fighter >>> 19 Lewis Carroll: Curiouser and Curiouser >>> 20 Nietzsche: God-Slaying Jester, Trans-Valuer >>>> 21 Bertrand Russell: Radical, Aristocrat >>> 22 G. E. Moore: Common-Sense Defender, Bloomsbury’s Sage >>> 23 Heidegger: Hyphenater >>> 24 Jean-Paul Sartre: Existentialist, Novelist, French >>> 25 Simone Weil: Refuser and Would-Be Rescuer >>> 26 Simone de Beauvoir: Situated, Protester, Feminist >>> 27 Ludwig Wittgenstein: Therapist >>> 28 Hannah Arendt: Controversialist, Journalist? >>> 29 Iris Murdoch: Attender >>> 30 Samuel Beckett: Not I >>>. (shrink)

Convocada por diferentes estudiosos de los Padres de la Iglesia y del cristianismo antiguo en Latinoamérica, a saber, los profesores Ana Cristina Villa Betancourt, Andrés Mauricio Quevedo Rodríguez y Estiven Valencia Marín, de Colombia; Alejandro Nicola y Francisco Basttita-Harriet, de Argentina; Bruno Gripp, de Brasil; Pamela Chávez Aguilar, de Chile; y Jesús Ma. Aguiñaga Fernández, de México.

Feminist theorists try to approach their philosophical perspectives from various systems. They approach it from the perspectives of liberalism, Marxism, radicalism, existentialism, postmodernism, etc. Whatever may be the system they use, their aim seems to be to divulge the oppressions undergone by the women. They use a method or adopt philosophical thinking so that they can spell out their cries in a philosophical manner. Using the philosophical systems does not mean that the philosopher who forwarded the system was aiming at (...) the liberation of women. I would like to present in this essay the utilitarian and Marxian perspectives on Feminism. For the utilitarian perspective, I base myself on Harriet Taylor Mill and the Marxian perspective is from the writings of Karl Marx. I also attempt to connect the philosophy of Harriet Taylor with the Iranian movie, The Day I Became a Woman, and the philosophy of Karl Marx with the illustrious play of Bertolt Brecht, The Caucasian Chalk Circle. (shrink)

English Abstract In Art as Experience, John Dewey decried the estrangement of art from lived human experience, both by artificial conceptual walls and the physical walls that secluded art within museums. Instead he argued that making and enjoying art are crucial organic functions that sustain communities and integrate individuals within their environments. In the 1920’s Diego Rivera became one of the luminaries of the Mexican muralist movement by creating frescoes that were rooted in Mexican life, both in their subject matter (...) and public location. Rivera and the other artists working within the government cultural program guided by José Vasconcelos created murals that boldly expressed the new values of democracy, peaceful revolution, racial equality and cultural pride. This essay explores the deep resonance between Rivera’s most prominent murals from this period and Dewey’s argument that art is a refined and integral feature of human experience. In particular, this essay will examine the great extent to which these men independently came to the common understanding that for people to thrive and grow they need to create and experience art that grows out of and remains rooted in their culture. Without claiming that either thinker influenced the other, this essay argues that their works mutually inform and enrich each other. Both men sought to free art from the museum, but where Dewey urged us tear down the walls that separated art from lived experience, Rivera transformed walls themselves into murals that unified and educated the people of Mexico and restored their culture. (shrink)

This chapter contains sections titled: Going Beyond Nature in Order to Explain it Technē, epistēmē and alēthēs doxa Mathematics, pure and applied Observation and Experimental Verification Bibliography.

In this response, I suggest that Black southern women in the U.S. have always been central to the “reconstruction” that Taylor identifies as a central theme of Black aesthetics. Building on his allusions to Alice Walker and Jean Toomer, I explore Walker’s tearful response (in In Search of Our Mothers’ Gardens: Womanist Prose (1983) to Toomer’s Cane (2011). Walker identifies their mothers’ and grandmothers’ informal arts of storytelling and gardening as the hidden roots of both her and Toomer’s work. I (...) suggest that Walker’s tears function to water her mother’s (and othermothers’) gardens, thereby sustaining southern Black women’s foundational work in reconstruction. Through telling their stories and planting gardens, along with crafting meals, designing clothes, and designing and decorating homes, southern Black women have always been necessary to Black aesthetics—filling worlds with aesthetically-rich and energetic artworks that Black formal artists such as Walker channel and transfigure into their formal artistic productions. (shrink)

When people are united in their suffering for a common cause, that which binds them together is always stronger than their differences. The bond is even sturdier when religious motives define their common convictions. For this reason, during martyrdom, those who are persecuted create peculiar reli - gious identity through their common belief in God. This identity generates a socializing bond which makes them resolute in their united witness to the su - bject of their faith. This was the case (...) with the nineteenth-century Ugandan martyrs who died during the reign of the morally debased King Kabaka Mwan - ga. The novelty of this work consists in accentuating the ecumenicity of the Ugandan martyrdom that came into prominence, inter alia , through the Roman Catholic processes of canonization. It is so because there is no research work that has highlighted the fact that Anglicans and Lutherans were equally put to death in their defence of the Christian beliefs and morality alongside the Ro - man Catholics. For this reason, this work underlines how an inclusive narrative of the East-African Christian witness to the truth of the gospel brings out the ecumenicity of the Ugandan martyrologic events. Theoretical frameworks of deterrence and group memory were used in the understanding martyrdom and common witnessing in Uganda. In their united witnessing to the Christian faith, the Ugandan martyrs overcame the shackles of denominational divide that co - uld have weakened their common resolve to stand for Christ. Therefore, Chri - stians in contemporary African continent are called to re-receive the spirit of united witnessing to Christ as exhibited by the Ugandan martyrs since this will go a long way to: healing the wounds caused by denominational rivalry, con - trolling the tendency of tearing one another apart because of ethnic interests, sustaining common witness to truth and justice, encouraging all those suffering for their belief in Christ (no matter their denominational rootedness) to stand firm, and strengthening the spiritual bond that connects together all believers in Christ. (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 Transamazon (Br-230) Highway in the state of Pará has had its image frozen for decades: themuddy road, the cars stopped or tractors tearing down a forest, empty of people, opening the amazonianspace to a project of an authoritarian modernization. Reproduced by and reproductive of the teachingsof geography – including for children and teenagers who live on the edge of the road, in settlements andcommunities on the sideroads (vicinais) – in textbooks and discourses that frame regional scale (astotalizing and explanatory) (...) instead of scales emplaced in situ. The result of such dinamics is not restricted to a gap between what one experiences as a phenomenon and what one learns as a concept,it goes towards the reproducibility of an “unexistance of the creative potential” of the people living onthe sideroads, places of the construction of a geography, as well as mapping, that, from there, push usto rethink the unwavering foundations of such frosen images , of the generalistic maps and theirstandardizing projections, scales and simbology. To do so, we have, along with students and teachersof 2 schools on the sideroads of the municipality of Pacajá (PA), in the period of the beggining of 2016to 2019, done several geocartographic exercises: mind maps developped with students about the past,present and the future of the vicinal (sideroad). That is, an attempt to provoque the body into the mapand the map into the body in a context of a limit situation of existance, given the precarious schoolconditions as well as the diferent challenges lived by students and teachers. Such corporal engagementas an attempt to think the sideroads as a location in construction and, from there, a situated opening tothe world, is what gives meaning to geocartography. It is possible to conclude that: a) facing thesedimentary representations paralysing and overview of the Transamazon in the state of Pará , thephenomenological exercise of reactivation of geocartogrphying provoques the emergence of asubjective significance that does not separate the emotional and symbolic perspectives on creatingmaps; b) the corporal engagement and the situated perspective of students and teachers, not only hasthe value of a totalyzing exemple, but that of an opening to what is new as they bring up a simbologythat reveals the need to build a dialogical bridge between what is lived on the sideroads and the worldthat classifies it as “unexisting”. (shrink)

The radical evil. Notes on the revolt of masses. In his Religion within the Limits of Reason Alone, Kant speaks about a radical evil present in the human being, a tendency to place before the desire with regard to the rational duty, which is impossible to tear up by the roots from the human nature. In The revolt of the masses, Ortega also speaks about an evil that is anyway present in the so called mass-man, in each one of us, (...) and that is not to eradicate. The aim of this paper is to read the book of Ortega y Gasset in dialogue with Kant. (shrink)

El presente trabajo nació como una reflexión posterior a la traducción del libro de Stanley Cavell Contesting Tears: The Hollywood Melodrama of the Unknown Woman. La reflexión era necesaria habida cuenta de las dudas suscitadas por la traducción del título del libro. Para ser más exacto, la reflexión giraba en torno a las lágrimas que forman parte de la primera parte del título, las lágrimas vertidas por las mujeres desconocidas que protagonizan los melodramas analizados en el libro. En mi opinión, (...) llegar a entender la razón y la naturaleza de esas lágrimas es clave para comprender lo que Cavell nos viene contando desde hace cinco décadas. Por ello, lo que sigue intenta reunir mis propios comentarios sobre la obra de Cavell en general, con la justificación de la traducción final del título: Más allá de las lágrimas. (shrink)

[ENG] On the basis of a reading of Heidegger's Der Ursprung des Kunstwerkes, the problematic of understanding the relational concepts of "earth" and "world" is developed. The proposal here is situated from an existential approach that links the earth with the concepts of sublimity and world, understood on the basis of an opening within imagination. To articulate these ideas, this paper fundamentally draws from arguments by Kant, Nancy and Arendt. The proposal here is that Heidegger seeks to explain how the (...) tear caused by the earth in the work of art would sublimate the imagination in an openness towards the world. -/- [ESP] A partir de una lectura del artículo Der Ursprung des Kunstwerkes escrito por Heidegger, se desarrolla la problemática de comprender los conceptos relaciónales de tierra y mundo. La propuesta aquí se sitúa desde una perspectiva existencial que liga la tierra con los conceptos de sublimidad y el mundo, comprendidos desde una apertura en la imaginación. Para articular estas ideas, el presente escrito se apoya fundamentalmente en argumentaciones de Kant, Nancy y Arendt. Lo aquí propuesto es que Heidegger buscaría dar cuenta del modo en que la desgarradura causada por la tierra en la obra de arte sublimaría la imaginación en una apertura hacia el mundo. (shrink)

Hannah Arendt argues that a revolution must not only tear down, but build up a new government. That new government needs authority and it gets its authority from its founding moment, when peers come together in mutual promise, agreeing to treat each other as equals and obeying laws which they legislate for themselves. The paper then looks at the recent attempts of the U.S. government and its allies to bring democracy to Iraq. The paper argues that given the dynamics necessary (...) at the founding moment, U.S. heavy-handedness in setting up Iraq's new government was counterproductive. Also, while the U.S., through subcontracting with Research Triangle Institute, hoped to give Iraq a pyramid-shaped local governance structure, its diversions from Arendt's model make its success unlikely. (shrink)

Eternity is a unique kind of existence that is supposed to belong to the most real being or beings. It is an existence that is not shaken by the common wear and tear of time. Over the two and half millennia history of Western philosophy we find various conceptions of eternity, yet one sharp distinction between two notions of eternity seems to run throughout this long history: eternity as timeless existence, as opposed to eternity as existence in all times. Both (...) kinds of existence stand in sharp contrast to the coming in and out of existence of ordinary beings, like hippos, humans, and toothbrushes: were these eternally-timeless, for example, a hippo could not eat, a human could not think or laugh, and a toothbrush would be of no use. Were a hippo an eternal-everlasting creature, it would not have to bother itself with nutrition in order to extend its existence. Everlasting human beings might appear similar to us, but their mental life and patterns of behavior would most likely be very different from ours.The distinction between eternity as timelessness and eternity as everlastingness goes back to ancient philosophy, to the works of Plato and Aristotle, and even to the fragments of Parmenides' philosophical poem. In the twentieth century, it seemed to go out of favor, though one could consider as eternalists those proponents of realism in philosophy of mathematics, and those of timeless propositions in philosophy of language. However, recent developments in contemporary physics and its philosophy have provided an impetus to revive notions of eternity due to the view that time and duration might have no place in the most fundamental ontology.The importance of eternity is not limited to strictly philosophical discussions. It is a notion that also has an important role in traditional Biblical interpretation. The Tetragrammaton, the Hebrew name of God considered to be most sacred, is derived from the Hebrew verb for being, and as a result has been traditionally interpreted as denoting eternal existence. Hence, Calvin translates the Tetragrammaton as 'l'Eternel', and Mendelssohn as 'das ewige Wesen' or 'der Ewige'. Eternity also plays a central role in contemporary South American fiction, especially in the works of J.L. Borges. The representation of eternity poses a major challenge to both literature and arts. The current volume aims at providing a history of the philosophy of eternity surrounded by a series of short essays, or reflections, on the role of eternity and its representation in literature, religion, language, liturgy, science, and music. Thus, our aim is to provide a history of philosophy as a discipline that is in constant commerce with various other domains of human inquisition and exploration. (shrink)

What is reality? How do we know? Answers to these fundamental questions of ontology and epistemology, based on Mahatma Gandhi's "experiments with truth", are: reality is nonviolent (in the sense of not-inconsistent), and nonviolence (in the sense of respecting-meaning) is the only means of knowing (Gandhi, 1940). Be that as it may, science is what we think of when we think of reality and knowing. How does Gandhi's nonviolence, discovered in his spiritual quest for Truth, relate to the scientific pursuit (...) of truth? Here we show that Gandhian nonviolent knowing of nonviolent reality is an abstraction of both individual knowing (looking, reasoning) and collective scientific knowing (measurements, calculations). Specifically, Gandhi's truth-through-nonviolence is a law-like summation of the methods of physics ("do not disturb" of measurements) and of mathematics ("do not tear" of calculations) that are used to know. Moreover, physics (with its lawful behaviour of bodies) and biology (in preserving the meaning of genetic code) do affirm that the defining attribute of reality is nonviolence. In light of these correspondences, the Mahatma's derivation of a universal method of knowing (nonviolence of preserving-structure) from a universal truth (nonviolence of consistent-becoming) constitutes a science-supported general theory of reality and knowing. (shrink)

During the last years of 1990s and the beginning of the millennia, North Bengal was shaken from its mundane reality right into a middle of a rebellion. With tears of history and warcries of the present, Kamtapur movement revealed itself. In this paper I have tried to locate the social, political, and ideological inclinations that are present within the movement. On one hand my paper intends to critique the presence of what can be called Kochbehar nationalism based on the memory (...) of a pre-independence princely state, on the other hand I am also critiquing the trends and aftermaths of Leftist politics that has been assimilated into the movement itself. While the presence of these two different and to an extent contradictory political thoughts are present within the movement; I have also taken up these new trends in the lights of anarchist tendencies which put more importance on quasi-separations from dominant power centres than class-determinism alone, of course followed by a goal for local empowerment. (shrink)

The historical period of the avant-garde art movements coincided with two phenomena which can be interpreted as the failure of the rationalism characteristic for the modern, capitalist system. One of these is Taylorism, which dehumanized and robotized the person involved in the work process, and the other is the First World War. Several movements of the avant-garde related critically to reason and conscience (expressionism, surrealism), but the most radical was Dada. The manifestos and Dadaist activities reveal that the Dada wants (...) to do away not only with the heritage of the past, but also with the linguistic and logical structures which form the texture of society. Bruitist poems, meaningless words and sentences, simultaneous poems, and the various uses of sound are all aimed at tearing apart language itself. The refusal of logic is most evident in the manifesto of Tristan Tzara, in which the series of mutually contradictory affirmations is concluded with an exceptionally clear statement: “I hate common sense.” Logic, argumentation, and dialectics are all dismissed in the name of freedom and life, which are characterized by Tzara in the following way: “the interweaving of contraries and all contradictions, freaks and irrelevancies: LIFE” (Tzara 1918). In my paper, I supplement the thesis of Peter Burger on the failure of the avant-garde (which is explained by him through its artistic success) by calling attention to the failure of its fight against reason, which is most evident in the search for meaning as an essential part of artistic reception. Thus, Dada is only interesting as long as the meaningless phenomenon is associated with some kind of meaning during the artistic reception. (shrink)

This chapter discusses (in German) John Stuart Mill's position on paternalism and how it relates to his book 'The Subjection of Women'. It is argued that Mill's claim (in On Liberty) that one should not be allowed to sell oneself into slavery is making reference to the Victorian marriage contract through which women essentially become slaves of their husbands. As argued in Subjection, women do not freely develop the desire to get married, the social circumstances do not leave them any (...) other options. Necessarily unaware of what married life is like, the decision to get married is like crossing an unsafe bridge without knowing it is unsafe. It is not paternalist, as Mill argues, to alert them to the condition of the bridge and put them in the position to decide for themselves whether they want to cross it (or turn back half way, e.g. by divorcing). (shrink)

We can say that it is necessary for every human being to walk towards the comprehension of the contingent and limited reality of the human person, starting with those whose work involves dealing with patients, as well as those who dedicate themselves to bioethical reflection, and even the patients themselves. In this way, at the time when these people face a situation of pain and suffering, they will be able to assume it with integrity and strength, always choosing to protect (...) the valuable gift of human life, and not simply looking for it. to make the pain disappear as it may, tearing it up at the root, often ending up with a human life, be it at the moment of conception, as an embryo, with disabilities, sick or aging. -/- Podemos decir que es necesario que todo ser humano camine hacia la comprensión de la realidad contingente y limitada de la persona humana, empezando por aquellos cuyo trabajo involucra el trato con pacientes, así como quienes se dedican a la reflexión bioética, e incluso los mismos pacientes. De esta manera, en el momento en que estas personas se enfrenten a una situación de dolor y sufrimiento, podrán asumirla con entere-za y fortaleza, optando siempre por proteger el valioso don de la vida humana, y no simplemente buscando hacer desaparecer el dolor a como dé lugar, arrancándolo de raíz, muchas veces terminando con una vida huma-na, sea en el momento de la concepción, como embrión, con discapacidades, enferma o envejecida. (shrink)

It started and ended in Chile! This might be the introductory sentence to an economic history of our times. After the 1973 military coup the “Chicago Boys”, a group of Chilean economists educated by Milton Friedman at University of Chicago, took control of Pinochet’s economic policy. A type of policy which later on entered government offices in the UK and the US together with Margaret Thatcher and Ronald Reagan. Today protesters on the streets of Santiago seeks to tear down the (...) core pillars of the paradigm installed by the Chicago boys. Looking at broader developments, the essential driver of change over the past four decades have however not been an economic one but rather a legal one. Or rather the essential change has been the economics discipline acting as an invasive species entering into the realm of law though the law and economics paradigm. (shrink)