Heidegger, Art, and Postmodernity offers a radical new interpretation of Heidegger's later philosophy, developing his argument that art can help lead humanity beyond the nihilistic ontotheology of the modern age. Providing pathbreaking readings of Heidegger's 'The Origin of the Work of Art' and his notoriously difficult Contributions to Philosophy, this book explains precisely what postmodernity meant for Heidegger, the greatest philosophical critic of modernity, and what it could still mean for us today. Exploring these issues, Iain D. Thomson examines (...) several postmodern works of art, including music, literature, painting and even comic books, from a post-Heideggerian perspective. Clearly written and accessible, this book will help readers gain a deeper understanding of Heidegger and his relation to postmodern theory, popular culture and art. (shrink)

We make some remarks on the mathematics and metaphysics of the hole argument, in response to a recent article in this journal by Weatherall ([2018]). Broadly speaking, we defend the mainstream philosophical literature from the claim that correct usage of the mathematics of general relativity `blocks' the argument.

In this essay we will take the American experimental composer John Cage’s understanding of sound as the starting point for an evaluation of that term in the field of sound studies. Drawing together two of the most influential figures in the field, Cage’s thought and work will serve as a lens through which to engage with recent debate concerning the uptake in sound studies of the philosophy of Gilles Deleuze. In so doing we will attempt to develop a path between (...) conflicting sides of sound studies, putting forward an understanding of sound that presents it not as an uninterrogated ontological essence, nor as only a term in a discursive web, but as a problem which must be repeatedly posed anew. We will consider points where this may yet be pushed towards a reified, essentialized understanding of the nature of sound, but move to offset this by emphasizing the production of a practical process of learning and experimentation. (shrink)

Here I will put forward a claim about rhythm – that rhythm is relation. To develop this I will explore the entanglement of and antagonism between two notions of the musical avant-garde and its theorization. The first of these is derived from the European classical tradition, the second concerns Afrodiasporic musical practices. This essay comes in two parts. The first will consider some music-theoretical and philosophical ideas about rhythm in the post-classical avant-garde. Here I will explore how these ideas have (...) been used to, on one hand, stage a critique of Afrodiasporic musics, and specifically jazz, and, on the other hand, diminish and obscure the relation between the post-classical and Afrodiasporic avant-gardes. In the second part I will develop another lineage of rhythm, orthogonal to that of the post-classical avant-garde. Drawing from philosophy and Afrocentric, Afromodernist and, finally, Afrofuturist theory, I will map a theoretical move from rhythm understood, in its post-classical guise, as an exclusive and strictly musical category, to rhythm understood as an inclusive and plural category. This likewise charts a passage from an aesthetically autonomous understanding of objects of art to social and collective forms of artistic practice. (shrink)

In what follows I offer some reflections on an ethics of listening, or perhaps more generally a philosophy of listening, that can be discerned in different forms in the experimental music that, since the 1950s, has challenged and radicalised how music is understood. I situate these reflections around three of my own concert experiences as an audience member.

Where does agency lie in musical performance? How is it expressed? Recent music scholarship has highlighted an increasingly prominent tendency to conceive of agency as not confined to any one individual or type of individual, instead being distributed across diverse individuals that can be found occupying performance situations. . This article uses two ‘percussion’ works from the 1970s by the composer John Cage, Child of Tree (1975) and its multi-performer elaboration Branches (1976), as a foil for engaging with these practical (...) and theoretical musical concerns, and for suggesting some heretofore underappreciated distinctions within the ongoing work on multi-agential performance. (shrink)

This paper reviews the hole argument as an argument against spacetime substantivalism. After a careful presentation of the argument itself, I critically review possible responses.

This paper considers the role of myth and phenomenology in Pierre Schaeffer’s research into music and sound, and argues that engagement with these themes allows us to rethink the legacy and contemporary value of Schaeffer’s thought in sound studies. In light of critique of Schaeffer’s project, in particular that developed by Brian Kane and Schaeffer’s own apparent self-disavowal, this paper returns to Schaeffer’s early remarks on the “myth of the seashell” in order to examine the conditions of this critique. While (...) Kane argues that Schaeffer’s recourse to myth, coupled with his adoption of Husserlian phenomenology, leads to a closure of his inquiry and a failure to accommodate the contingency of his position, this paper argues that Schaeffer’s myth of the seashell brings into focus an open-ended, motivating phenomenological problem concerning subjectivity and objectivity that runs through his thought. Drawing on the philosophical work of Gaston Bachelard and Gilles Deleuze, this paper considers the epistemological significance of this moment in Schaeffer’s thought, suggesting a “problematic” account of the myth of the seashell that puts Schaeffer into conversation with contemporary work in epistemology. (shrink)

What kind of technology is the piano? It was once a distinctly everyday technology. In the bourgeois home of the nineteenth century it became an emblematic figure of gendered social life, its role shifting between visually pleasing piece of furniture, source of light entertainment, and expression of cultured upbringing. It performed this role unobtrusively, acting as a transparent mediator of social relations. To the composer of concert music it was, and sometimes still is, says Samuel Wilson, like the philosopher’s table: (...) “an assumed background on which one writes.” Like other instruments standard to Western art music, the piano was designed to facilitate the production of a consistent and refined timbre. More than most other such instruments, the piano also facilitated a kind of sonic neutrality. With its wide pitch range and smoothing of the percussive attack of its predecessor instruments, the piano presented composers with a technological means of approaching composition from a seemingly objective vantage point. It exemplified, in Heideggerian terms, the instrumentality of the instrument, serving as a mediator between idea and expression that apparently adds no character of its own. -/- This notion of the invisibility, or transparency, of the mediations that musical technologies such as the piano enact is one of my areas of concern here. So too is its inverse: when these mediations become visible or opaque. Transparency has been a topic of significant recent theoretical attention. Stefanos Geroulanos, for example, has detailed how the supposed transparency of intersubjective, epistemological, and social relations was a major point of critique in postwar French thought, where the supposition of transparency was taken to suppress how the world was “complex, layered, structured, filled with heterogeneity” – and, as I will stress here, contingency. The thinkers Geroulanos considers, from Jean-Paul Sartre through to Jean-François Lyotard, can be said to be united in their refusal to invisibilise mediatedness. From a starting point of conceiving of the piano as a technological artifact, and in particular from John Cage’s ‘prepared piano,’ I will explore how a similar concern has appeared in musical contexts, albeit not without the risk of reversion back into a logic of transparency. (shrink)

This article evaluates the theoretical and practical grounds of recent debates around Christoph Cox’s realist project of a ‘sonic materialism’ by returning to Gilles Deleuze, a key theoretical resource for Cox. It argues that a close engagement with Deleuze’s work in fact challenges many of the precepts of Cox’s sonic materialism, and suggests a rethinking of materialism in the context of music. Turning to some aspects of Deleuze’s work neglected by Cox, the ‘realist’ ontological inquiry Cox affirms is challenged through (...) the ‘onto-ethology’ that Deleuze and Félix Guattari develop in their A Thousand Plateaus, with this diversely constructive theory of relations explicated through musical examples from John Cage and Pauline Oliveros. To conclude, this article suggests that Deleuze can indeed be understood as subscribing to a materialism, but a materialism that is practical rather than doctrinal. (shrink)

In this article I address some questions concerning the emerging conjunction of musical research on improvisation and work in the ‘posthumanities’, in particular the theoretical results of the ‘ontological turn’ in the humanities. Engaging with the work of the composer John Cage, and George E. Lewis’s framing of Cage’s performative indeterminacy as a ‘Eurological’ practice that excludes ‘Afrological’ jazz improvisation, I examine how critical discourse on Cage and his conception of sound is relevant to the improvisation-posthumanities conjunction. After discussing some (...) criticisms of ontological and materialist approaches to sound, I consider the Actor-Network Theory (ANT) of Bruno Latour, posed as offering an alternative to these approaches. Following an examination of some limitations to ANT based around the themes of critique and abstraction, I draw from the work of Gilles Deleuze and Georgina Born to suggest that work on improvisation and the posthumanities may be fruitful, but must be part of a pluralistic mode of inquiry that does not reject critique and abstraction, as some work in the posthumanities has done. (shrink)

In this chapter I look at some questions around the notion of experimentation in philosophy, science, and the arts, through the thought of Gaston Bachelard and Gilles Deleuze. My argument is articulated around three areas of enquiry – Bachelard’s work on the experimental sciences, Deleuze’s notion of philosophy as an experimental practice, and recent musicological debate around the practical and political stakes of the term ‘experimental music’. By drawing together these three senses of experimentation, I test the possibilities of understanding (...) experimentation as a transdisciplinary concept and/or method. I develop a notion of experimentation as open, fluid, and non-hierarchical, but also consider points where such an idea is short-circuited by the reassertion of disciplinary closure and more top-down forms of method. My frame for discussing this question is a commonly posited distinction between the experiment and the experimental. Here the experiment is something like a controlled and closed environment in which a privileged observer tests predefined hypotheses, while the experimental concerns attempts to relinquish such control and to produce contexts in which the unknown and the unexpected can arise. By turning to Bachelard’s studies of the practice of science, I will question the common conception of a disciplinary split between the experiments of science and experimental art, showing both how such a distinction cannot be so neat and how these terms are often not easily separable. Putting this notion into conjunction with recent critical discourse on experimentation in music, namely regarding the kinds of exclusions and closures that the term ‘experimental music’ has produced, and with Deleuze’s criticisms of scientific method as well as the apparent disciplinary closure of his transdisciplinary project that is present and his and Félix Guattari’s final work, What is Philosophy?, I argue that refining our understanding of experimentation as a pluralistic and fragile concept will help us engage with the difficulties raised in these fields. More generally I point towards a project of mapping out the diverse and divergent relations that a transdisciplinary understanding of experimentation may draw between philosophy, science, and art. (shrink)

This paper is concerned with the aesthetic and discursive gap between music and contemporary art, and the recent attempts to remedy this in the field of New Music through a notion of “New Conceptualism.” It examines why, despite musical sources being central to the emergence of conceptual artistic strategies in the 1950s and ’60s, the worlds of an increasingly transmedial “generic art” and music have remained largely distinct. While it takes New Music’s New Conceptualism as its focus, it argues that (...) the perspective on New Music it takes has wider implications in music and art. It begins by defining what exactly “New Music” refers to, and outlines some of the conditions for the recent rise of conceptualism in New Music. It then takes the work of the composer Johannes Kreidler as a key example of some artistic tendencies and theoretical presuppositions in New Conceptualism. Following this it draws on work in the field of sound studies in order to critically examine the theoretical attempt to connect New Music with contemporary art that is found in the notion of “Music in the Expanded Field.” To conclude it offers some reflections on how a more robust conversation between contemporary art and New Music can begin to be conceived. (shrink)

When beginning to think about the relation between experimental music and the thought of Gilles Deleuze, this quotation seems to be a natural starting point. In Deleuze and Guattari’s affirmation of this phrase from John Cage they suggest a resonance between music and philosophy: in both fields the experimental approach entails a dismantling of predetermining codes and hierarchies, and with this arises the opportunity for an open-endedness that accommodates singular events and encounters. This understanding of experimentation, however, is not as (...) transparent as it seems. In the context of the uptake and critique of Deleuzian ideas in the theorisation of music and sound, as well as recent re-evaluations of the milieu of “experimental music,” critics have argued that a range of normative demands, ideological assumptions, and metaphysical reductions undermine the purported freedoms of both Cagean and Deleuzian experimentalism. -/- Here I can only deal with a small aspect of the wide historical and theoretical problem this involves; but in short my aim is to begin to construct a means through which Deleuze and Guattari’s thought can be used to help us examine some strategies that composers and performers in post-Cagean musical experimentalism developed to navigate around the demands, assumptions, and reductions of Cage’s thought. (shrink)

I propose in this text a rhythmic theory of signs drawn from the thought of Gilles Deleuze and Félix Guattari. I name this theory a semiorhythmology. I suggest that the theory of rhythm developed in A Thousand Plateaus (1980) can be understood, in part, as the culmination of the diverse set of inquiries into signs that both Deleuze and Guattari undertook, individually and together, beginning in the 1960s. I first outline Deleuze’s theory of signs as a theory of encounter as (...) developed in Proust and Signs (1964) and Difference and Repetition (1968), following which I sketch Guattari’s engagements with signs and semiotics throughout the 1960s and 1970s, particularly through his notion of “a-signifying semiotics” and the concept of the “diagram” he adapts from the semiotics of Charles Sanders Peirce. I close by showing how these heterogeneous theories of the sign are drawn together in A Thousand Plateaus through the Spinozist reading of the ethology of Jakob von Uexküll and the theorisation of rhythm in the form of the refrain. (shrink)

In this paper, through a close reading of Spinoza's use of common notions I argue for the role of experiential and experimental knowledge in Spinoza's epistemology.

This article reconstructs Gilles Deleuze’s engagement with phenomenology, and with the phenomenological problematic of sensation, in his Francis Bacon: The Logic of Sensation. Considering Deleuze’s adoption, from the phenomenology of art, of notions of sensation and rhythm, it examines how Deleuze complexifies these phenomenological notions by aligning them with his profoundly non-phenomenological notion of the body without organs, as well as with the concepts of modulation and the diagram. In mapping Deleuze’s complexification of rhythm and his development of a logic (...) of rhythmic modulation, this article shows how Deleuze immanently refines an approach to working beyond phenomenology, through phenomenology. (shrink)

In this paper I examine the question whether Spinoza can account for the necessity of death. I argue that he cannot because within his ethical intellectualist system the subject cannot understand the cause of her death, since by understanding it renders it harmless. Then, I argue that Spinoza could not solve this difficulties because of deeper commitments of his system. At the end I draw a historical parallel to the problem from medieval philosophy.

In this paper I argue, based on a comparison of Spinoza's and Descartes‟s discussion of error, that beliefs are affirmations of the content of imagination that is not false in itself, only in relation to the object. This interpretation is an improvement both on the winning ideas reading and on the interpretation reading of beliefs. Contrary to the winning ideas reading it is able to explain belief revision concerning the same representation. Also, it does not need the assumption that I (...) misinterpret my otherwise correct ideas as the interpretation reading would have it. In the first section I will provide a brief overview of the notion of inherence and its role in Spinoza‟s discussion of the status of finite minds. Then by examining the relation between Spinoza‟s and Descartes‟ distinction of representations and attitudes, I show that affirmation can be identified with beliefs in Spinoza. Next, I will take a closer look at the identification of intellect and will and argue that Spinoza's identification of the two is based on the fact that Spinoza sees both as the active aspect of the mind. After that, I analyze Spinoza‟s comments on the different scopes of will and intellect, and argue that beliefs are affirmations of the imaginative content of the idea. Finally, through Spinoza‟s example of the utterance of mathematical error, I present my solution to the problem of inherence of false beliefs. (shrink)

Ontologies, as the term is used in informatics, are structured vocabularies comprised of human- and computer-interpretable terms and relations that represent entities and relationships. Within informatics fields, ontologies play an important role in knowledge and data standardization, representation, integra- tion, sharing and analysis. They have also become a foundation of artificial intelligence (AI) research. In what follows, we outline the Coronavirus Infectious Disease Ontology (CIDO), which covers multiple areas in the domain of coronavirus diseases, including etiology, transmission, epidemiology, pathogenesis, diagnosis, (...) prevention, and treatment. We emphasize CIDO development relevant to COVID-19. (shrink)

The immediate occasion for this special issue was Christia Mercer’s influential paper “The Contextualist Revolution in Early Modern Philosophy”. In her paper, Mercer clearly demarcates two methodologies of the history of early modern philosophy. She argues that there has been a silent contextualist revolution in the past decades, and the reconstructivist methodology has been abandoned. One can easily get the impression that ‘reconstructivist’ has become a pejorative label that everyone outright rejects. Mercer’s examples of reconstructivist historians of philosophy are deceased (...) (P. F. Strawson, Margaret J. Osler, Richard Watson, and Bernard Williams), anonymous (the fans of philosopher* mentioned by Lisa Downing), or authors whose more recent work followed a contextualist methodology (Jonathan Bennett). The reconstructivist camp seems to have turned into a shadowy group, largely extinct by now, not unlike the Death Eaters in the fictional universe of Harry Potter. There are some figures who previously belonged to this group, but they have since reformed their ways – or so it seems. Sometimes it is rumoured that certain people may still have secret allegiance to it, but no one dares to fly its banner openly. We decided to create this special issue because we believe that reconstructivist methodology does not deserve this shadowy existence. (shrink)

Rhythm is generally taken to refer to a temporal pattern of events. Yet in recent years, across diverse fields in the arts, humanities, and social sciences, it has come to serve as the conceptual marker for a wide range of new approaches to understanding relations and relationality, following most explicitly from the late work of Henri Lefebvre. This article explores the temporal aspect of such relational thinking, in particular asking how time is implicated in relations, and how it can be (...) meaningful in those relations. The sense of time is surveyed from the perspectives of both cognition and metaphysics as well as with reference to music scholarship and social theory, and key threads are drawn, from the writings of Gaston Bachelard and Charles Sanders Peirce in particular, in order to suggest that time can be a sign, and that the signifying properties of rhythm have critical social consequences. (shrink)

This article is concerned with the status and stakes of Gilles Deleuze’s “break” with structuralism. With a particular focus on a transitional text of Deleuze, the 1967/1972 article “How Do We Recognize Structuralism?,” it asks how Deleuze understood structuralism and why, after his encounter with Félix Guattari and Guattari’s own transitional text, 1969’s “Machine and Structure,” Deleuze felt the need to break with structuralism. It argues that reading these two texts together allows us to see that Deleuze already perceived tensions (...) within the structuralist project, and argues that Guattari’s non-structural account of the machine allowed Deleuze to clarify this perception, and see it as necessitating a departure from structuralism. To close, however, it turns to recent work by philosophers such as Étienne Balibar and Patrice Maniglier that re-examines the structuralist moment and identifies an ongoing legacy that the “poststructuralism” of Deleuze and Guattari may be part of. By considering Deleuze and Guattari’s break with structuralism in light of this work, this article considers how the polemical rejection of structuralism by Deleuze and Guattari may not fully account for the ongoing legacy of the structuralist program and the persistence of a structuralist problematic in their thought. (shrink)

I argue that notions of relative fundamentality need to be invoked if there is to be something substantive at stake in the debate between proponents of Harvey Brown's dynamical approach to relativity and defenders of a more traditional interpretation of spacetime. I will review some problems that stand in the way of the advocate of the dynamical approach making good on their claim that dynamical symmetries are more fundamental than spacetime symmetries.

In this paper I offer an argument against one important version of panentheism, that is, mereological panentheism. Although panentheism has proven difficult to define, I provide a working definition of the view, and proceed to argue that given this way of thinking about the doctrine, mereological accounts of panentheism have serious theological drawbacks. I then explore some of these theological drawbacks. In a concluding section I give some reasons for thinking that the classical theistic alternative to panentheism is preferable, all (...) things considered. (shrink)

In this paper, I investigate whether Spinoza theory of intellect can be considered as an Averroistic, Themistian or Alexandrian theory of intellect. I identify key doctrines of these theories that are argumentatively and theoretically independent from Aristotelian hylomorphism and thus can be accepted by someone rejecting hylomorphism. Next, I argue that the textual evidence is inconclusive: depending on the reading of Spinoza's philosophy accepted, Spinoza's theory of intellect can or cannot be considered as an Averroistic theory.

Spinoza’s account of memory has not received enough attention, even though it is relevant for his theory of consciousness. Recent literature has studied the “pancreas problem.” This paper argues that there is an analogous problem for memories: if memories are in the mind, why is the mind not conscious of them? I argue that Spinoza’s account of memory can be better reconstructed in the context of Descartes’s account to show that Spinoza responded to these views. Descartes accounted for the preservation (...) of memories by holding that they are brain states without corresponding mental states, and that the mind is able to interpret perception either as new experience or as memory. Spinoza has none of these conceptual resources because of his substance monism. Spinoza accounts for memories as the mind’s ability to generate ideas according to the order of images. This ability consists in the connection of ideas, which is not an actual property, but only a dispositional one and thus not conscious. It is, however, grounded in the actual property of parts of the body, of which ideas are conscious. (shrink)

I argue, through appeal to the distinction between analysis and decomposition described by Dummett, that Wittgenstein employs both of those notions in the Tractatus. I then bring this interpretation to bear upon the issue of propositional unity, where I formulate an objection to the views of both Leonard Linksy and José Zalabardo. I show that both Linsky and Zalabardo fail to acknowledge the distinction between analysis and decomposition present in the Tractatus, and that they consequently mischaracterise Wittgenstein’s position with respect (...) to propositional unity. (shrink)

Empirical philosophers of science aim to base their philosophical theories on observations of scientific practice. But since there is far too much science to observe it all, how can we form and test hypotheses about science that are sufficiently rigorous and broad in scope, while avoiding the pitfalls of bias and subjectivity in our methods? Part of the answer, we claim, lies in the computational tools of the digital humanities, which allow us to analyze large volumes of scientific literature. Here (...) we advocate for the use of these methods by addressing a number of large-scale, justificatory concerns—specifically, about the epistemic value of journal articles as evidence for what happens elsewhere in science, and about the ability of DH tools to extract this evidence. Far from ignoring the gap between scientific literature and the rest of scientific practice, effective use of DH tools requires critical reflection about these relationships. (shrink)

In recent years noise seems to have become an interdisciplinary concept par excellence, apt to capturing important dynamics at work whether in technological, scientific, social, or aesthetic domains. But when economists, biologists, psychologists, and musicians speak of noise, are they really all referring to the same thing? In An Epistemology of Noise Cecile Malaspina takes this dispersion of the notion of noise as a starting point, and moreover accepts that, when removed from its mathematical formulation in information theory and spread (...) into diverse disciplines, noise takes on a metaphorical ambiguity. Yet rather than aiming to eliminate this ambiguity, Malaspina sets out to account for it. The key problem in An Epistemology of Noise is not to identify the legitimate usage of the concept of noise, but rather to examine what happens when noise moves between disciplines, and what the ‘noisiness’ of this movement tells us about the conditions for interdisciplinary knowledge. Noise here is both an object (or many objects) of inquiry and a condition for that inquiry, and presents us with the problem of how knowledge can find its ground in these ‘shifting sands’ (9). (shrink)

This paper uses a schema for infinite regress arguments to provide a solution to the problem of the infinite regress of justification. The solution turns on the falsity of two claims: that a belief is justified only if some belief is a reason for it, and that the reason relation is transitive.

In the following article I intend to examine the problem of the unity of the proposition in Russell, Frege, and Wittgenstein. My chief aim will be to draw attention to the distinction between Russell’s conception of propositional constituents, on the one hand, with Frege and Wittgenstein’s on the other. My focus will be on Russell’s view of terms as independent, propositions being built up out of these building blocks, compared with Frege and Wittgenstein’s ‘top down’ approach. Furthermore, I will argue (...) that, contra certain other commentators, Frege’s metaphor of saturation and unsaturation does not serve as a solution to the problem of unity, and that the extension of this metaphorical language to Wittgenstein is, therefore, inappropriate. (shrink)

Binding specificity is a centrally important concept in molecular biology, yet it has received little philosophical attention. Here I aim to remedy this by analyzing binding specificity as a causal property. I focus on the concept’s role in drug design, where it is highly prized and hence directly studied. From a causal perspective, understanding why binding specificity is a valuable property of drugs contributes to an understanding of causal selection—of how and why scientists distinguish between causes, not just causes from (...) noncauses. In particular, the specificity of drugs is precisely what underwrites their value as experimental interventions on biological processes. (shrink)

In this paper, I argue for a novel reading of Spinoza’s position in his exchangewith Boyle about Boyle’s experiment with nitre. Boyle claimed to have shownthrough experiments that nitre ceased to be nitre after heating. Spinozadisagreed and proposed the alternative hypothesis that nitre has changed itsstate and not its nature. Spinoza’s position was construed in the literature asrational scepticism denying that experiments can yield knowledge ofessences because all sensory experience is underdetermined and open tomultiple interpretations. I argue for an alternative (...) reading of Spinoza’sposition which focuses on Bacon’s notion of crucial instance. According tothis reading, Spinoza did not deny the possibility of knowing byexperimentation whether nitre has changed its nature, he asked for a crucialinstance, i.e. an experiment that would refute the hypothesis that nitre haschanged merely its state. Spinoza’s argumentative strategy shows that,contrary to the mainstream reading, the representational content of sensoryideas can be determined even if it does not represent the essence of theobject: we can know with absolute, rather than merely moral, certaintywhether nitre ceased to be nitre without knowing what nitre is. (shrink)

This article argues that we can construct a complex interpretation of the nature of time by linking Aciman’s gnostic thread to aspects of twentieth century theory, from philosophy and psychoanalysis. In brief, it attempts to demonstrate the roles of dislocation, deferral, and Otherness in constituting human temporality. The essay begins by surmising the conceptual history of time, touching on key ideas put forward by Augustine and Bergson. The second section takes a psychoanalytic turn after exploring Homo Irrealis to describe the (...) significance of desire and fantasy. Thirdly, we develop a unique and temporal application of difference and deferral, building off of Deleuze and Derrida. The fourth section will consider how the psychoanalytic concept of the Other is inhered within time. We conclude that an Acimanic analysis of time is the means by which we can understand existence not as a series of moments, but a rich progression of dissimilitude and Otherness defined moreso by its lack of cohesion and directness of being than by a unified and self-identifying subject. (shrink)

Jacques Monod (1971) argued that certain molecular processes rely critically on the property of chemical arbitrariness, which he claimed allows those processes to “transcend the laws of chemistry”. It seems natural, as some philosophers have done, to interpret this in modal terms: a biological relationship is chemically arbitrary if it is possible, within the constraints of chemical “law”, for that relationship to have been otherwise than it is. But while modality is certainly important for understanding chemical arbitrariness, understanding its biological (...) role also requires an account of the concrete causal-functional features that distinguish arbitrary from non-arbitrary phenomena. In this paper I elaborate on this under-emphasised aspect by offering a general account of these features: arbitrary relations are instantiated by mechanisms that involve molecular adapters, which causally couple two properties or processes which would otherwise be uncorrelated. Additionally, adapters work by acting as intermediate rather than cooperating causes. (shrink)

In this paper I argue against Michael Morris’ claim, that the Tractatus view involves holding that the possibility of truth-functional combination is prior to the possibility for sentential constituents to combine with one another. I provide an alternative interpretation in which I deny the presence of any distinction in the Tractatus between these two possibilities. I then turn to Adrian Moore’s ‘disjunctivist’ account of sentencehood, itself inspired by the Tractatus view. I argue that Moore’s account need not involve a commitment (...) to the kind of priority Morris describes, and that it need not involve a commitment to transcendental idealism. (shrink)

1. Kulturkomparatistik / 2. Physis als Gewissheit / 3. Kultur und Wertungskriterium / 4. Genealogie als Methode der Entbindung aus Tradition / 5. Genealogie der Ahnenkultur am Beispiel der Inuit / 6. Zwei Errungenschaften Europas: Liberaler Universalismus und individualistische Vernunftkritik / 7. Theorie der Notgemeinschaft und die Psychologie des Ressentiments zur Lösung von Isaiah Berlins "Paradoxon kollektiver Selbstbestimmung" / 8. Konflikt-Transformationen nach Albert O. Hirschman / 9. Der Wille zur Anthropodiversität übersteigt die Toleranz.

Two extremely detailed accounts of temporal experience can be found in the work of C. D. Broad. These accounts have been subject to considerable criticism. I argue that, when we look more carefully at Broad’s work, we find that much of this criticism fails to find its target. I show that the objection that ultimately proves troubling for Broad stems from his commitment to two principles: i) the Thin-PSA, and ii) the ‘Overlap’ claim. I use this result to demonstrate that (...) we can learn two extremely important lessons from Broad’s work on temporal experience. -/- The first lesson is that there is a structural problem facing any account that commits to these two principles. This is significant given that a number of recent accounts of temporal experience are so committed. The second lesson is that the problem facing these accounts stems only from commitment to the Thin-PSA and ‘Overlap’, rather than to commitment to a particular conception of how experiences are to be individuated. This, I argue, gives us reason to reject Tye’s recent claim that the problems facing accounts of temporal experience can be dissolved simply by making stipulations about how experiences are to be individuated. (shrink)

The following four theses all have some intuitive appeal: (I) There are valid norms. (II) A norm is valid only if justified by a valid norm. (III) Justification, on the class of norms, has an irreflexive proper ancestral. (IV) There is no infinite sequence of valid norms each of which is justified by its successor. However, at least one must be false, for (I)--(III) together entail the denial of (IV). There is thus a conflict between intuition and logical possibility. This (...) paper, after distinguishing various conceptions of a norm, of validity and of justification, argues for the following position. (I) is true. (II) is false for legislative justification and true for epistemic justification. (III) is true for legislative and false for epistemic justification. (IV) is true for legislative justification; for epistemic justification (IV) is true or false depending on the conception taken of a norm. Our intuition in favour of (II) must therefore be abandoned where justification is conceived legislatively. Our intuition in favour of (III) must be abandoned, and our intuition in favour of (IV) qualified, where justification is conceived epistemically. (shrink)

Machine learning algorithms may radically improve our ability to diagnose and treat disease. For moral, legal, and scientific reasons, it is essential that doctors and patients be able to understand and explain the predictions of these models. Scalable, customisable, and ethical solutions can be achieved by working together with relevant stakeholders, including patients, data scientists, and policy makers.

Während in griechisch-römischer Antike Arbeit und Freiheit einander ausschlossen, gilt heute den Nicht-Wohlhabenden der Ausschluss aus der Erwerbsarbeit als Verlust von Selbstbestimmung. Funktion und Wert von Arbeit sind abhängig von der Machtstreuung vs. -konzentration der jeweiligen Gesellschaften. Nicht-kapitalistische Machtstrukturen erzwingen Arbeit durch materielle Not bzw. außerökonomisch zum Zwecke der Sozialdisziplinierung. Kapitalismus ist zum Siege gelangt, wo Arbeit knapp und daher teuer – für die Armen zum Modus der Teilhabe am Wohlstand – werden konnte. Zuerst erkannten Nietzsche und Lafargue, dass die (...) aus Not zur Tugend gelogene „Arbeitsmoral“ die Arbeitenden in ihrem Kampfe um die Preissteigerung für Arbeit nie mehr als hindern kann. -/- Seit Keynes ist die Funktionsweise des Kapitalismus bekannt: Vollbeschäftigung ist Bedingung der Möglichkeit, damit Arbeit im Konflikt mit dem Kapital zu Verhandlungsmacht gelangen kann. Die von Marxisten ersehnten Krisen des Kapitalismus sind durch staatliche Maßnahmen und wohlfahrtsstaatliche Umverteilung prinzipiell politisch regulierbar. Aber wer öffentlich der politökonomischen Aufklärung dient, befähigt auch deren Widersacher dazu, sich an ihr zu bilden, die Konter-Strategie entlang ihrer Erkenntnisse gegenläufig auszurichten. -/- Neoliberalismus lässt sich als politischer Anti-Liberalismus verstehen, offensiv gegen den Sozialstaat wie den gesamten Kulturbereich gerichtet, der mehr als nur boulevardeske Unterhaltung ist. Ob Schrumpfung des öffentlichen Dienstes, Privatisierung kollektiver Güter oder Steuersenkungen für Vermögende, letztlich geht es um die Steigerung ungleicher Verteilung finanzieller Verfügungsrechte. Dem korrespondiert die Zersetzung demokratischer Steuerung durch Entpolitisierung: Wenn es gelingt vermeintliche Sachzwänge politisch glaubwürdig zu inszenieren, erscheint gleichgültig, welche Regierung angeblich nichts mehr zu entscheiden hat, weil sie den Haushalt konsolidieren müsse etc. etc. Hohe Arbeitslosigkeit ist für den Erfolg neoliberaler Strategie entscheidend. Sie spaltet die abhängig Beschäftigten in realiter machtlose Arbeitslose (sie können nicht einmal streiken) und angesichts der Arbeitslosigkeit verängstigte Arbeitende (die sich aller Forderungen enthalten). Arbeit und Lohn bleiben Verteilungsprobleme. Die Zukunft bietet die Alternativen, hinter den bewussten kapitalistischen Fortschritt zurückzufallen oder auf dessen Grundlage das Otium der Edlen für alle zu erkämpfen. (shrink)

Lack of consent is valorized within popular culture to the point that sexual assault has become a spectator sport and creepshot entertainment on social media. Indeed, the valorization of nonconsensual sex has reached the extreme where sex with unconscious girls, especially accompanied by photographs as trophies, has become a goal of some boys and men.