Early in the Logic of Essence, the second main part of Hegelian Logic, Hegel identifies a logical structure, seeming (Schein), with “the phenomenon of scepticism.” The present paper has two aims: first, to flesh this identification out by describing the argument that leads up to it; and, second, to argue that it is mistaken. I will proceed as follows. Section 1 deciphers the opening statement of the Logic of Essence, “the truth of being is essence,” by specifying the meaning of (...) each of its composing terms. The discussion opens the way for deliberation on the meaning of the notion of seeming, since seeming proves to be what remains of being in the structure of essence. This is done in section 2. It is also shown therein that seeming takes two logical forms, dualistic seeming and monistic seeming. Section 3 argues that Hegel identifies scepticism only with dualistic seeming, and that the scepticism he has in mind is what one may call “subjective scepticism,” namely a scepticism grounded in the subject of cognition. The section concludes that Hegel, judged by his own standards, is mistaken in this identification. Finally, section 4 considers Robert Pippin’s objection to the above conclusion and offers a rejoinder. (shrink)

The article reflects on Heidegger’s “metaphysical” interpretation of Hegel’s Phenomenology of Spirit. This interpretation is driven by two theses Heidegger holds: (1) that the Phenomenology is a necessary part of Hegel’s “system of science” and (2) that the Phenomenology is metaphysics. These two theses contrast with Houlgate’s “epistemological” interpretation, which claims that the Phenomenology is not a necessary part of Hegel’s system of science and that it is not metaphysics. The article shows that while Heidegger has an argument that establishes, (...) contra Houlgate, that the Phenomenology is metaphysics, this very argument has consequences that undermine Heidegger’s thesis that the Phenomenology is a necessary part of Hegel’s system of science. (shrink)

There is a well-documented Pre-Reflective Hostility against Machine Art (PRHMA), exemplified by the sentiments of fear and anxiety. How can it be explained? The present paper attempts to find the answer to this question by surveying a considerable amount of research on machine art. It is found that explanations of PRHMA based on the (alleged) fact that machine art lacks an element that is (allegedly) found in human art (for example, autonomy) do not work. Such explanations cannot account for the (...) sentiments of fear and anxiety present in PRHMA, because the art receiver could simply turn to human art for finding the element she is looking for. By contrast, an explanation based on the idea that machine art is “symbolically” a threat to human survival can be successful, since the art receiver’s turning from machine art to human art does not eliminate the (alleged) “symbolic” threat machine art poses for human survival. If there is a pre-reflective belief or feeling that machine art is such a threat, then it is perfectly understandable why humans exhibit a pre-reflective hostility against machine art. (shrink)

In his Introduction to The Cambridge Companion to Hegel and Nineteenth-Century Philosophy (2008), entitled ‘The Puzzling Hegel Renaissance’, Frederick Beiser, the editor of the volume, claims that Anglophone Hegel research has been in the main deeply problematic and proceeds to offer a program of research for its rejuvenation. The paper argues that the reasons based on which he exercises his critique (antiquarianism and anachronism) fail on internal grounds and that, therefore, Hegelforschung should not be reduced to his proposed research program (...) (Konstellationsforschung). The argument is built around four Hegelian themes: (a) the nature of the Hegelian categories, (b) Hegel’s philosophy of nature, (c) the relation between antiquarianism and our culture, and (d) Hegel’s methodology. (shrink)

Diarmuid Costello has recently argued that, contra received opinion, Kant’s aesthetics can accommodate conceptual art, as well as all other art. Costello offers an interpretation of Kant’s art theory that demands from all art a minimal structure involving three basic “players” and three basic “actions” corresponding to those “players.” The article takes issue with the “action” assigned by Costello’s Kant to the artwork’s recipient, namely that her imagination generates a multitude of playful thoughts deriving from or in any other way (...) relating to the concept or idea that the artist has instilled in the artwork and that the artwork transmits to the recipient. It is argued that the “proper” recipient of conceptual art may very well have a multitude of thoughts that are all irrelevant to the concept or idea the artist has instilled in the artwork, even if the artwork has transmitted that concept or idea to the recipient. This shows that Kant’s art theory, as presented by Costello, cannot accommodate conceptual art. I conclude by suggesting that either one of two amendments to the theory’s account of the recipient’s experience could enable it to accommodate conceptual art. (shrink)

Recent research has defended the surprising thesis that in many cases the search for truth is better off if the information exchanged between the members of an epistemic community is limited. This is what one may call the limited information thesis. There is, however, the possibility of an even more radical position than this: the thesis that any communication between peers has zero epistemic value and that the search for truth is better off if the truth-inquirer does not take into (...) consideration the truth-claims of her peers. This can be called the solitude thesis. The paper defends the claim that Descartes is a supporter of the solitude thesis with respect to metaphysical inquiry. The defense is facilitated by means of interpreting textual evidence found in Descartes’ essays Discourse on the Method, The Search for Truth and the Meditations on First Philosophy. (shrink)

Speight has recently raised the question, which he himself leaves unanswered, how naturalism relates to spirit in Hegel’s philosophy of art. ‘Naturalism’ denotes an explanation that invokes aspects of nature that are (allegedly) irreducible or resistant to thought. I call nature ‘stubborn’ insofar as it evinces resistance to its being formed by thought and hence to its being united with it. This paper argues that §§556, 558 and 560 of Hegel’s Encyclopedia answer Speight’s question by specifying three elements of nature (...) that, first, are present in art and, second, are resistant to thought. These are materiality, natural form, and genius. They exhibit nature’s stubbornness in art. This stubbornness, I argue, is what justifies Hegel’s claim that art is absolute spirt only implicitly (§556), which leads to the claim that art needs to be superseded by religion and philosophy. In this way, Speight’s question receives a precise answer. (shrink)

A significant thread in Boris Hessen‟s iconic essay, The Social and Economic Roots of Newton’s Principia (1931), is his critique of Newton‟s involving God in his physics. Contra Newton, Hessen believes that nature does not need God in order to function properly. Hessen gives two, quite distinct, „internal‟ explanations of Newton‟s failure to see this. The first explanation is that Newton‟s failure is caused by his believing that motion is a mode instead of an attribute or essence of matter. The (...) second explanation is that Newton‟s failure is owed to his considering mechanical motion as the sole form of the motion of matter: Newton, in Hessen‟s view, did not realize that matter has many forms of motion which constantly transform into one another while conserving energy. In the present paper, I defend the thesis that none of these explanations can account for Newton‟s failure. Hessen‟s first explanation is problematic because even if Newton believed that motion is an attribute or essence of matter, he would still be obliged to involve God in physics. His second explanation fails too because he does not show exactly how the multiplicity and inter-transformation of forms of motion can account for nature‟s organizational structure. (shrink)

In his Science of Logic Hegel purports to give an account of a dialectical logic that generates the totality of being’s fundamental structures. This totality does not exhaust the richness of being, but it exhausts the basis of this richness. Any phenomenon, whether cognitive, scientific, social or political, is based upon some or all of those structures. The paper presents and examines the logic of a structure which pervades each and every phenomenon: the border(die Grenze). It is analyzed as an (...) advanced manifestation of “determinateness,” an even more primitive structure of being, which makes explicit its intrinsic connection with not-being. What is distinctive about Hegel’s analysis is that it establishes a logical character concerning the concept of “border” that precedes empirical observation and a connection with space. The aim of the paper is to reconstruct Hegel’s dialectic of the border in such a way as to make this logical character apparent and convincing to contemporary audience, who begin from the assumption that all discourse about border has an empirical basis and presupposes reference to space. It will be argued that, contrary to received opinion, the very phenomenon of “border” has certain universal and necessary features which explain its very possibility, are completely a priori and are established prior to any reference to space. A discussion about “borders” that excludes any a priori investigation into this phenomenon from its domain simply fails to illuminate its most important dimension: its logical core or, if you will, its universal and necessary attributes. (shrink)