Mixing methods is a well-known innovative meth- odologic proposal for research in the second half of the 20th century social sciences. Reading literature about it, I observed the aspect that justifies this paper: Authors of theoretical contributions on mixing methods recognized that this was known to be a practice already in use many centuries ago. Some of them even have re-examined the whole history of the scientific method to search precedents. They are however individual and theoretical precedents. I add (...) in this paper the practical projection of these and other methodological theories on people’s training from Greek classical times. My hypothesis is that liberal arts was the basic syllabus in Western -and westernized- educaion for more than a millennium in such a way that results of their training precisely involved to mixing methods. In return, to understand the liberal arts in the light of mixing methods shows new aspects of their historical interest. I study the theoretical basis of this syllabus from Cicero to Alcuin. More important for future research, I conclude that Alcuin’s thesis about the correspondence between the gifts of the Holy Spiritu and the seven liberal arts can be extended to the Aristotelian dianoethics habits and to Dilthey’s 20th-century sciences of mind. (shrink)

A study of the psychology of demoralization affecting university faculty in the liberal arts. This form of demoralization is not adequately understood in terms of the concept of career burnout. Instead, demoralization that affects university faculty in the liberal arts requires a broadened understanding of the historical and psychological situation in which these professors find themselves today.

This paper examines a largely unrecognized mental disorder that is essentially a disability of values. It is their daily contact with this pathology that leads many university liberal arts faculty to demoralization. The deeply rooted disparity between the world of the traditional liberal arts scholar and today’s college students is not simply a gulf across which communication is difficult, but rather involves a pathological impairment in the majority of students that stems from an exclusionary focus on (...) work, money, and the acquisition of things. It is argued that this state of mind constitutes a self-disabling mental illness, which for a society becomes pathological ideology, and for the individual takes the form of clinical narcissism. (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)

PDF includes the introduction. Abstract: In this wide-ranging and authoritative volume, leading scholars engage with the philosophy and writings of Wilhelm Dilthey, a key figure in nineteenth-century thought. Their chapters cover his innovative philosophical strategies and explore how they can be understood in relation to their historical situation, as well as presenting incisive interpretations of Dilthey's arguments, including their development, their content, and their influence on later thought. A key focus is on how Dilthey's work remains relevant to current debates (...) around art and literature, the biographical and autobiographical self, knowledge, language, science, culture, history, society, and psychology and the embodied mind. The volume will be important for researchers in hermeneutics, aesthetics, practical philosophy, and the history of German philosophy, providing a valuable introduction to Dilthey's work as well as detailed critical analysis of its ongoing significance. (shrink)

On the differing practices and assumptions in the academic specialisms of environmental studies and STS.

Since the time Nietzsche declared the death of God, while Auguste Comte postulated in the Law of Three Stages that humankind had gone pass the religious/mythical stage as well as the metaphysical/speculative stage and was now living in the positive/scientific stage, there has been the consistent institutionalization of atheism and secularism. The early part of the 20th century saw Freud’s publication of the Future of an Illusion in which he predicted that as science continues to advance, religion will become obsolete. (...) The logical positivist too lumped up metaphysical and religious propositions as meaningless and nonsensical. It is within this atmosphere that Alfred North Whitehead comes into philosophy. The main question that this paper seeks to answer is: Why does the concept of God occupy an eminent place in Whitehead’s system when all his contemporaries consider God a hypothesis they no longer needed as Laplace had earlier maintained? Of great interest here is the fact that before 1925 Whitehead’s writings had no concern for God. However, in his 1925 Science and the Modern World, the chapter on “Abstractions” required that there be such an explanatory factor, reason for which it is immediately followed by the chapter on “God”. The last part of his Process and Reality treats elaborately the nature of the relationship between God and the world. This paper explores the reasons why Whitehead places a lot of interest on God and the role that this God plays in his system. (shrink)

An extract from Williams' The Ground of Induction (1947): "The sober amateur who takes the time to follow recent philosophical discussion will hardly resist the impression that much of it, in its dread of superstition and dogmatic reaction, has been oriented purposely toward skepticism: that a conclusion is admired in proportion as it is skeptical; that a jejune argument for skepticism will be admitted where a scrupulous defense of knowledge is derided or ignored; that an affirmative theory is a mere (...) annoyance to be stamped down as quickly as possible to a normal level of denial and defeat. It is an age which most admires the man who, as somebody has said, 'has a difficulty for every solution'. Whether or not this judgment is fair, however, it is safe to say, with Whitehead, that 'the theory of induction is the despair of philosophy - and yet all our activities are based upon it'. [A.N. Whitehead, Science and the Modern World (New York, 1925, p. 35] So prodigious a theoretical contretemps cannot remain a tempest in the professors' teapot. The news that no foundation is discoverable for the procedures of empirical intelligence, and still more the proclaimed discovery that there is no foundation, and still more the complacency which recommends that we reconcile ourselves to the lack, condemn the problem as a 'pseudoproblem', and proceed by irrational faith or pragmatic postulate, will slowly shatter civilized life and thought, to a degree which will make the modernist's loss of confidence in Christian supernaturalism, so often cited as the ultimate in spiritual cataclysms, seem a minor vicissitude. The demand that rational man adjust himself to a somewhat bleaker universe than he once hoped for is only one large and picturesque instance of the sort of re-orientation which inductive intelligence, in its very nature,continually imposes, and well within the proved capacities of human reason and good-will.. (shrink)

Public reason liberalism is the political theory which holds that coercive laws and policies are justified when and only when they are grounded in reasons of the public. The standard interpretation of public reason liberalism, consensus accounts, claim that the reasons persons share or that persons can derive from shared values determine which policies can be justified. In this paper, I argue that consensus approaches cannot justify fair educational policies and preserving cultural goods. Consensus approaches can resolve some controversies about (...) teaching values in the educational system, such as curriculum choice. But they cannot determine which culture goods, e.g., architecture, artwork, or language ought to be preserved in the education system. Consensus approaches cannot fairly resolve competing claims about these kinds of disputes. -/- I propose that convergence accounts of public reason, which allow individuals to draw on their own comprehensive doctrines in limited ways, can remedy these weaknesses in the mainline public reason tradition. The convergence approach can justify a pluralist state that can advance valuable community goods. John Henry Newman’s advocacy of liberal arts education finds resonance in other cultures, notably among Confucians, illustrating that there can be a shared moral vision and inquiry into the good life across deep substantive disagreements about educational values and policies, once we expand our notion of justification to be more inclusive. (shrink)

There is widespread recognition at universities that a proper understanding of science is needed for all undergraduates. Good jobs are increasingly found in fields related to Science, Technology, Engineering, and Medicine, and science now enters almost all aspects of our daily lives. For these reasons, scientific literacy and an understanding of scientific methodology are a foundational part of any undergraduate education. Recipes for Science provides an accessible introduction to the main concepts and methods of scientific reasoning. With the help of (...) an array of contemporary and historical examples, definitions, visual aids, and exercises for active learning, the textbook helps to increase students’ scientific literacy. The first part of the book covers the definitive features of science: naturalism, experimentation, modeling, and the merits and shortcomings of both activities. The second part covers the main forms of inference in science: deductive, inductive, abductive, probabilistic, statistical, and causal. The book concludes with a discussion of explanation, theorizing and theory-change, and the relationship between science and society. The textbook is designed to be adaptable to a wide variety of different kinds of courses. In any of these different uses, the book helps students better navigate our scientific, 21st-century world, and it lays the foundation for more advanced undergraduate coursework in a wide variety of liberal arts and science courses. Selling Points Helps students develop scientific literacy—an essential aspect of _any_ undergraduate education in the 21 st century, including a broad understanding of scientific reasoning, methods, and concepts Written for all beginning college students: preparing science majors for more focused work in particular science; introducing the humanities’ investigations of science; and helping non-science majors become more sophisticated consumers of scientific information Provides an abundance of both contemporary and historical examples Covers reasoning strategies and norms applicable in all fields of physical, life, and social sciences, _as well as_ strategies and norms distinctive of specific sciences Includes visual aids to clarify and illustrate ideas Provides text boxes with related topics and helpful definitions of key terms, and includes a final Glossary with all key terms Includes Exercises for Active Learning at the end of each chapter, which will ensure full student engagement and mastery of the information include earlier in the chapter Provides annotated ‘For Further Reading’ sections at the end of each chapter, guiding students to the best primary and secondary sources available Offers a Companion Website, with: For Students: direct links to many of the primary sources discussed in the text, student self-check assessments, a bank of exam questions, and ideas for extended out-of-class projects For Instructors: a password-protected Teacher’s Manual, which provides student exam questions with answers, extensive lecture notes, classroom-ready Power Point presentations, and sample syllabi Extensive Curricular Development materials, helping any instructor who needs to create a Scientific Reasoning Course, ex nihilo. (shrink)

About death, grief, mourning, life after death and immortality. Why should we die like humans to survive as a species. -/- "No one wants to die. Even people who want to go to heaven don't want to die to get there. And yet death is the destination we all share. No one has ever escaped it. And that is as it should be, because Death is very likely the single best invention of Life. It is Life's change agent. It clears (...) out the old to make way for the new." (Steve Jobs) -/- CONTENTS: -/- Death - Philosophy of death - Religions - - Animism - - Atheism - - Buddhism - - Christianity - - Hinduism - - Islam - - Jainism - - Jehovah's Witnesses - - Judaism - - Latter-day Saints - - Spiritism - Symbolism - Personification of Death - - Notable personifications - - In mythologies - - - Hindu mythology - - - In Japan - - - Slavic paganism - - - Lithuanian paganism - - In the three monotheistic religions - - - Judaism - - - Christianity - - - In Mexico - - - Islam - Axiochos - - The characters of dialogue - - Dialogue - - Prologue - - Arguments - - Citations - Paradise - - Greco-Roman mythology - - Mesopotamian mythology and influences - - According to Judaism - - According to Christianity - - - According to Catholicism - - - According to Protestantism - - - According to the Church of Jesus Christ of Latter-day Saints - - According to Islam - - According to Hinduism - - According to modern spiritualities - - - According to the esoteric - Hell - - Mesopotamian origins - - According to Christianity - - - Names appearing in the biblical texts - - - Medieval artistic representations - - - Concepts according to Christian movements - - According to Judaism - - According to Islam - - According to Buddhism - - According to Hinduism - - According to modern esotericism - - - According to Aïvanhov - - - According to Allan Kardec - - Philosophy - - - Jewish Kabbalah - - - Sartre - - - Popular wisdom Funerals - The funeral ritual: a rite of passage - Prehistory - Ancient death customs - - The family bereavement - - Mummification - - Sarcophagi - - Funerals - - Ancient Greece - - Ancient Rome - - Celts, Germans and Scandinavians - Religious funeral rites - - Buddhism - - Judaism - Christianity - - Protestantism - - Islam - Funeral rites by continent - - In Africa - - In Europe - The contemporary era - Mourning (Grief) - - Steps - - - Death of a close - - Loss events without mourning value (white factors) - - Duration and manifestations - - Risks - - Colors - Graveyards (Cemeteries) - - First cemeteries - - Cemeteries today - Funerary art - Dolmens - - Types of dolmens - - Function - - Location - Passage graves - Cenotaphs - - Famous cenotaphs - Lanterns of the Dead Afterlife - History - Questions about death and immortality - Testimonials - - Spiritualistic experiences - - Popular literature on the afterlife - - "Memories" and reminiscences - - Early studies of the science of the 19th century and early 20th century - Types of scenarios - Some religious and philosophical concepts - - Afterlife in Buddhism - - Afterlife in Christianity - - According to Hinduism - - According to Islam - - According to Judaism - - According to Mormonism - - According to the ancient philosophies - - According to Spiritism - - According to Native American traditions - - According to Vedism - - According to Esotericism - In science - Near-death experiences - - Clinical death - - NDE frequency - - Effects of depth of NDE on survival - - Near-death experiences and shared-death experience - - - The first contemporary testimonials - - - Experience according to Moody - - - The concept of "shared death" - - - The NDE scales - - The study of Pim van Lommel - - Spiritual and patient point of view - - - Survivalists studies - - - The religious understanding of the phenomenon - - Scientific views - - - Physiological explanation - - - Psychological explanation - Reincarnation - - Religions - - - In Hinduism - - - In Jainism - - - In Buddhism - - - In Judaism - - - In Christianity - - - In Islam - - In contemporary times - - - Esotericism - - - Works of the psychiatrist Ian Stevenson - - - Radical increase in life expectancy and artificial reincarnation - - Criticism - - - Arthur Schopenhauer - - - Ramana Maharshi - - - Rene Guenon - - - Ananda Kentish Coomaraswamy - Metempsychosis - - Theories - - Ideas - Maschalismos Immortality - Immortality of the soul and religious traditions - - Buddhism - - Christianity - - Islam - - Mormonism - Contemporary perception of the immortality of the body - - Observation in the animal kingdom - - Perspectives for mankind - Immortality in science - - Alexis Carrel - - Jean Rostand - - Hayflick limit - - Étienne-Émile Baulieu and DHEA - - Aubrey de Grey - - Professor Skulachev - - Regenerative medicine - - Professor Christopher Jaeger - Eternal Return - - According to the Mesopotamians - - According to Heraclitus and the Stoics - Fountain of Youth - - History of myth and relatives myths - - - In Roman mythology, Germanic, Celtic and Irish - - - In the Middle-East - - - In Spain - - - In the Bible - - The fountain in art and literature - - Painting - - - Literature and cinema - - Persistent of the myth until today - Senescence - - Why do we age? - - Gene regulation - - Cellular senescence Undead - Ghoul - Lich - Mummy - Skeleton - Vampire - Zombie - Other legendary creatures - Creatures specific to a particular universe - Spiritism - - Point out - - Origins of spiritism - - - The traditions through the ages - - - Advent of Christianity in Europe - - - The survival of necromancy - - - The precursors - - - Relations of spiritualism to science - Mediumship - - History - - Skeptical point of view - - Favorable doctor's viewpoint - Ghosts - - Appearance - - Belief in ghosts - - Origin - - - Duality and return dead - - - Ancient roots - - Typology - - - Poltergeists - - - Revenants - - - Ghosts - - - Banshees - - - Apparitions of crisis - - - Phantasms of the living - - - Vision of his own double - - - Ghost armies - - - Ghosts of animals - - - Means of transport - - Science perspective - - - Hallucinations - - - Sleep paralysis - - - Induced ghosts - - - Aches and infrasounds - - - Magnetic fields - Vampires - - Characteristics - - - Vampire transformation - - - Identification - - - Faculties - - Protection against the vampires - - - Precautions at death and burial - - - Apotropaic objects and places - - Destruction of vampires - Zombie - - The concept - - Africa and voodoo - - - West Africa - - - South Africa - - - In Haiti (and the Caribbean) - - - Scientific research - - The "revenants" in the Western imaginary Death in art - Memento mori - - History - - - Antiquity - - - Christianity - - - Mexican syncretism - - Performing arts - - - In painting - - - In literature - - - In movies - - - In video games - - - In Japanese animation - - - In music - The iconography of Weighing of souls (Particular judgment) - - Origin - - Written sources - - Weighing in Romanesque art - - Weighing in Gothic art - - Weighing in the late Middle Ages: to a new iconography - - Weighing of souls or actions? - Poems - - Charlotte Brontë, “On the Death of Anne Brontë” - - Edgar Allan Poe, “Annabel Lee” - - Edna St. Vincent Millay, “And you as well must die” - - Emily Dickinson, “Because I could not stop for Death” - - Emily Dickinson, “If I Should Die” - - Lord Byron, “Epitaph to a Dog” - - Pablo Neruda, “Only Death” - - Stephen Crane, “God Lay Dead in Heaven” - - W. B. Yeats, “He Wishes His Beloved Were Dead” - - Rainer Maria Rilke, “Death” - Paintings - - The Three Dead Kings - - The Death of Nelson - - Beata Beatrix - Sculptures - - The Kiss of Death - - Background - - Imagery - - Angel of Grief - - Fallen Astronaut - Quotes References About the author - Nicolae Sfetcu - - By the same author - - Contact Publishing House - MultiMedia Publishing -/- DOI: 10.58679/TW44411. (shrink)

PDF with introduction and front and back materials. Abstract: A provocative examination of the consequences of Levinas’s and Adorno’s thought for contemporary ethics and political philosophy. This book unfolds a dialogue between Emmanuel Levinas and Theodor W. Adorno, using their thought to address contemporary environmental and social-political situations. Eric S. Nelson explores the “non-identity thinking” of Adorno and the “ethics of the Other” of Levinas with regard to three areas of concern: the ethical position of nature and “inhuman” material (...) others such as environments and animals; the bonds and tensions between ethics and religion and the formation of the self through the dynamic of violence and liberation expressed in religious discourses; and the problematic uses and limitations of liberal and republican discourses of equality, liberty, tolerance, and their presupposition of the private individual self and autonomous subject. Thinking with and beyond Levinas and Adorno, this work examines the possibility of an anarchic hospitality and solidarity between material others and sensuous embodied life. -/- “This is an extremely impressive, original, and thorough treatment of two key twentieth-century thinkers and their applicability to the most pressing social and political issues of our time.” — Jeffrey A. Bernstein, author of Leo Strauss on the Borders of Judaism, Philosophy, and History -/- “This book is an excellent and timely contribution to political and environmental philosophy, located around a nuanced historical and philosophical approach to Levinas and Adorno. It will be of great interest to anyone concerned with these figures or with the current moment.” — Martin Shuster, author of Autonomy after Auschwitz: Adorno, German Idealism, and Modernity. (shrink)

Metaphors abound in both the arts and in science. Due to the traditional division between these enterprises as one concerned with aesthetic values and the other with epistemic values there has unfortunately been very little work on the relation between metaphors in the arts and sciences. In this paper, we aim to remedy this omission by defending a continuity thesis regarding the function of metaphor across both domains, that is, metaphors fulfill any of the same functions in (...) science as they do in the arts. Importantly, this involves the claim that metaphors in arts as well as science have both epistemic and aesthetic functions. (shrink)

Good luck isn’t just chance—it can be learned and leveraged—and The Serendipity Mindset explains how you can use serendipity to make life better at work, at home—everywhere. Many of us believe that the great turning points and opportunities in our lives happen by chance, that they’re out of our control. Often we think that successful people—and successful companies and organizations—are simply luckier than the rest of us. Good fortune—serendipity—just seems to happen to them. Is that true? Or are some people (...) better at creating the conditions for coincidences to arise and taking advantage of them when they do? How can we connect the dots of seemingly random events to improve our lives? In The Serendipity Mindset, Christian Busch explains that serendipity isn’t about luck in the sense of simple randomness. It’s about seeing links that others don’t, combining these observations in unexpected and strategic ways, and learning how to detect the moments when apparently random or unconnected ideas merge to form new opportunities. Busch explores serendipity from a rational and scientific perspective and argues that there are identifiable approaches we can use to foster the conditions to let serendipity grow. Drawing from biology, chemistry, management, and information systems, and using examples of people from all walks of life, Busch illustrates how serendipity works and explains how we can train our own serendipity muscle and use it to turn the unexpected into opportunity. Once we understand serendipity, Busch says, we become curators of it, and luck becomes something that no longer just happens to us—it becomes a force that we can grasp, shape, and hone. Full of exciting ideas and strategies, The Serendipity Mindset offers a clear blueprint for how we can cultivate serendipity to increase innovation, influence, and opportunity in every aspect of our lives. (shrink)

1848 is a watershed in Dutch political and intellectual history. In the wake of liberalism positivism and empiricism dominated Dutch philosophy. In this paper it is argued that Spinoza’s philosophy played an important part in developing a liberal Weltanschauung. Dutch Spinozism started with the theological dissertation of Johannes van Vloten, who from the 1860s onwards became the great pamphleteer of Spinozism. However due to his break with Christianity he remained an exception in Dutch intellectual life. The Utrecht professor (...) of philosophy Cornelis Willem Opzoomer and his friend the classical scholar D. Burger jr., for example, propagated a liberal Christianity purged from its mythical elements. Adopting Schleiermacher’s example Opzoomer developed a morality inspired by Ethics V. In 1850 he turned to J. S. Mill and A. Comte. From that year onwards he justified the methodological unity of the natural and ‘moral’ sciences in Spinoza’s doctrine of the passions. According to Burger the Ethics contains an obsolete metaphysics, but due to its morality consistent with science the book deserves a large 19th-century readership. In 1858 he translated Spinoza’s main work into Dutch. (shrink)

A principle, according to which any scientific theory can be mathematized, is investigated. Social science, liberal arts, history, and philosophy are meant first of all. That kind of theory is presupposed to be a consistent text, which can be exhaustedly represented by a certain mathematical structure constructively. In thus used, the term “theory” includes all hypotheses as yet unconfirmed as already rejected. The investigation of the sketch of a possible proof of the principle demonstrates that it should be (...) accepted rather a metamathematical axiom about the relation of mathematics and reality. The main statement is formulated as follows: Any scientific theory admits isomorphism to some mathematical structure in a way constructive. Its investigation needs philosophical means. Husserl’s phenomenology is what is used, and then the conception of “bracketing reality” is modelled to generalize Peano arithmetic in its relation to set theory in the foundation of mathematics. The obtained model is equivalent to the generalization of Peano arithmetic by means of replacing the axiom of induction with that of transfinite induction. The sketch of the proof is organized in five steps: a generalization of epoché; involving transfinite induction in the transition between Peano arithmetic and set theory; discussing the finiteness of Peano arithmetic; applying transfinite induction to Peano arithmetic; discussing an arithmetical model of reality. Accepting or rejecting the principle, two kinds of mathematics appear differing from each other by its relation to reality. Accepting the principle, mathematics has to include reality within itself in a kind of Pythagoreanism. These two kinds are called in paper correspondingly Hilbert mathematics and Gödel mathematics. The sketch of the proof of the principle demonstrates that the generalization of Peano arithmetic as above can be interpreted as a model of Hilbert mathematics into Gödel mathematics therefore showing that the former is not less consistent than the latter, and the principle is an independent axiom. The present paper follows a pathway grounded on Husserl’s phenomenology and “bracketing reality” to achieve the generalized arithmetic necessary for the principle to be founded in alternative ontology, in which there is no reality external to mathematics: reality is included within mathematics. That latter mathematics is able to self-found itself and can be called Hilbert mathematics in honour of Hilbert’s program for self-founding mathematics on the base of arithmetic. The principle of universal mathematizability is consistent to Hilbert mathematics, but not to Gödel mathematics. Consequently, its validity or rejection would resolve the problem which mathematics refers to our being; and vice versa: the choice between them for different reasons would confirm or refuse the principle as to the being. An information interpretation of Hilbert mathematics is involved. It is a kind of ontology of information. The Schrödinger equation in quantum mechanics is involved to illustrate that ontology. Thus the problem which of the two mathematics is more relevant to our being is discussed again in a new way A few directions for future work can be: a rigorous formal proof of the principle as an independent axiom; the further development of information ontology consistent to both kinds of mathematics, but much more natural for Hilbert mathematics; the development of the information interpretation of quantum mechanics as a mathematical one for information ontology and thus Hilbert mathematics; the description of consciousness in terms of information ontology. (shrink)

Higher educational Institutions aim to produce quality graduates. They want their graduates to manifest better skills in their jobs. Thus, this research aimed to gather feedback from employers about the CTEAS alumni. This sequential explanatory research explored the satisfaction of 100 employers with the manifested skills of the College of Teacher Education, Arts, and Sciences (CTEAS) alumni. Through Google Forms, the employers rated the manifested skills of the CTEAS alumni. Based on the results, employers have a high level (...) of satisfaction in terms of the skills of the alumni. They were very satisfied with the manifested foundation, enterprise, technical and knowledge, adaptive, teamwork, employability, and managerial skills. Thus, to sustain in producing fully equipped graduates, the department needs to hone further the foundation and technical and knowledge skills of their graduates. (shrink)

The tragic death in Tolstoy's writings has helped both Max Weber and György Lukács in characterizing the modern pathos as a tragic contemplation of the emptiness of life. Through Tolstoy's readings, Weber and Lukács found an interesting source of denying arts and modern sciences autonomy, considering, from the aesthetics sphere, the meaningless of this new immanent reality. Both has assumed Tolstoy main theme from the same perspective, contrasting ancient and modern worldviews. Max Weber presented this theme in his (...) disenchantment of world theory and Lukács, in a very similar way, following the paradox of religious needing as a mainline. -/- O tema da morte trágica, presente nos escritos de Liev Tolstói, auxiliou tanto a Max Weber como a György Lukács a caracterizarem o pathos moderno de pressentimento da morte como uma contemplação do vazio. Weber e Lukács encontraram, através das leituras de Tolstói, uma interessante maneira de questionar a autonomia da arte e da ciência moderna, considerando pela esfera estética, como se mostra sem sentido a recente realidade imanente. Ambos assumiram o tema central das obras de Tolstói segundo uma mesma imagem, derivada do contraste entre o mundo antigo e o moderno. Max Weber adequou esse tema a sua teoria do desencantamento do mundo e Lukács, de modo muito semelhante, seguindo seu conceito do paradoxo da necessidade religiosa. (shrink)

A psychological and historical study of college students from the standpoint of the psychology and history of American higher education and of liberal arts values.

Women in the field of art and science have an unquestionable presence worldwide that exceeds their visibility in the general visual art scene. When cataloguing women’s range of practices and exploring their agency in art and science, a new model of inclusivity and access to the public sphere for all individuals working in art emerges. First, these are contributions reflecting on projects being carried out by women in the broadest interpretation of the term – individuals who identify themselves as women, (...) cisgender, non-cisgender, transgender, gender fluid and independent of their sex and gender. Second, these are contributions that reflect on research methodologies, collaboration strategies, knowledge sharing, as well as public vs. personal, embodiment and materiality. (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)

Using Australia to illustrate the case, in this paper it is argued that the transformation of universities into businesses and the undermining of the liberal arts is motivated by either contempt for or outright hostility to democracy. This is associated with a global managerial revolution that is enslaving nations and people to the global market and the corporations that dominate it. The struggle within universities is the site of a struggle to reverse the gains of the Radical Enlightenment, (...) the tradition of Enlightenment that, committed to upholding and developing the civic humanism of the Renaissance, strove for liberty, understood as democratic self-governance. The central place the liberal arts had in upholding this liberty is shown. Inspired by the Ancient Greek notion of paideia, the liberal arts, which originated in republican Rome, was the form of education required designed for free people, in opposition to the specialist education appropriate for slaves, to inspire them to maintain their liberty and enable them to govern themselves. While not always upholding this ideal, it is argued in this paper that the liberal arts always kept alive this quest for liberty, bequeathing this quest to the Renaissance philosophers and to the proponents of the Radical Enlightenment. With managerialism and the undermining of democracy, such education and the questioning, creative people it produced, are now seen as a threat to the new global corporatocracy who, to achieve cultural hegemony, have coöpted university managers and academics to impose their agenda to cripple the liberal arts. Their goal, never fully articulated as such but successfully prosecuted, is a dumbed-down population. (shrink)

In this paper, I am reflecting on Abraham Zaleznik’s paper “managers and leaders: are they different?” He was a prominent Harvard business school professor who attacked management style for depending only on rationality and achieving goals. He believed that managers and leaders are totally different persons. He described managers as inscrutable, detached and manipulative. Plus, while managers are interested in control and how things are done, leaders are more concerned with ideas and innovation. I try to probe into various (...) questions related to both management and leadership to approach a clearer opinion for these inquires: do managers and leaders really have completely different personalities? Or are they both competing for the same target of getting work done through people? Is management upgradable with more knowledge and hard work? Are leaders more empathetic than managers? What makes managers inscrutable and manipulative? Is this innate or acquired? In which way leaders are different? Seems a huge task but I will tackle this issue by conducting a comparative study among two prominent figures as Sheikh Zayed Al Nahyan and Nelson Mandela. I will trace some points of similarities and differentiations based on the timeless lessons from their life stories that will endure for years to come. Both were gifted visionary individuals who exercised full range of cognitive, emotional and behavioral abilities to bring about profound change in their countries. (shrink)

The engineering knowledge research program is part of the larger effort to articulate a philosophy of engineering and an engineering worldview. Engineering knowledge requires a more comprehensive conceptual framework than scientific knowledge. Engineering is not ‘merely’ applied science. Kuhn and Popper established the limits of scientific knowledge. In parallel, the embrace of complementarity and uncertainty in the new physics undermined the scientific concept of observer-independent knowledge. The paradigm shift from the scientific framework to the broader participant engineering framework entails a (...) problem shift. The detached scientific spectator seeks the ‘facts’ of ‘objective’ reality – out there. The participant, embodied in reality, seeks ‘methods’, about how to work in the world. The engineering knowledge research program is recursively enabling. Advances in engineering knowledge are involved in the unfolding of the nature of reality. Newly understood, quantum uncertainty entails that the participant is a natural inquirer. ‘Practical reason’ is concerned with ‘how we should live’– the defining question of morality. The engineering knowledge research program is selective seeking ‘important truths’, ‘important knowledge’, ‘important methods’ that manifest value, and serve the engineering agenda of ‘the construction of the good.’ The importance of engineering knowledge research program is clear in the new STEM curriculum where educators have been challenged to rethink the relation between science and engineering. A 2015 higher education initiative to integrate engineering colleges into liberal arts and sciences colleges has stalled due to the confusion and conflict between the engineering and scientific representations of knowledge. (shrink)

A philosophical genealogy of the development of liberal 'arts of government' through the work of John Locke and Michel Foucault.

Modern thought typically opposes the authority of tradition in the name of universal reason. Postmodernism begins with the insight that the sociohistorical context of tradition and its authority is inevitable, even in modernity. Modernity can no longer take itself for granted when it recognizes itself as a tradition that is opposed to traditions. The left-wing postmodernist response to this insight is to conclude that because tradition is inevitable, irrationality is inevitable. The right-wing postmodernist response is to see traditions as the (...) home of diverse forms of rationality. This requires an understanding of the Socratic, self-critical aspect of intellectual traditions, which include both modern sciences and the great world religions. (shrink)

Central to this chapter is a basic philosophical concept of the nature of modern science which exists amongst positivists, like Auguste Comte, who rejects as illegitimate all that cannot be directly observed in the investigation and study of any subject. Our daily experience of the nature of science continues to give us reasons to unlearn what can be considered as prejudices and errors in our conception of the nature of science. Consequently, the question "what is the nature of modern science?" (...) still perplexes us, and the answers we provide to this question often reveal how distorted our vision of history and thought has become over the years. This chapter shall, via the method of critical analysis in philosophy pass through Comte's three stages of arriving at the truth. This approach rejects as non-scientific all that cannot be directly observed in the investigation and study of any subject against Whitehead's approach in which he tries to make a “dispassionate consideration of the nature of things, antecedently to any special investigation into their details”. This is a standpoint Whitehead terms “metaphysical.” This explains why he developed a comprehensive metaphysical system for the understanding of science, society, and self as found in his major texts. In this light, science cannot be done without taking metaphysics into account. (shrink)

Is it not surprising that we look with so much pleasure and emotion at works of art that were made thousands of years ago? Works depicting people we do not know, people whose backgrounds are usually a mystery to us, who lived in a very different society and time and who, moreover, have been ‘frozen’ by the artist in a very deliberate pose. It was the Classical Greek philosopher Aristotle who observed in his Poetics that people could apparently be moved (...) even by the imitation of a person or an act. And although we are usually well aware that it is a simulacrum, not a real situation, it nevertheless sometimes seems as if we ourselves are standing there on the stage or in the painting, so intense and emotional is our response, even though we are just spectators. Aristotle concludes from this that we have intellectual capacities which allow us put ourselves in another’s place and consequently to react to simulated situations as though they are actually happening to us, here and now. In this process, he contends, observation, memory, imagination and emotions are crucial elements. In the past it was not customary to invoke human mental faculties to explain our response to works of art. The Ancient Greeks, after all, knew little about the human body or brain and usually referred to the extended world of the gods in their endeavours to comprehend the ‘inner world’ of human beings. In our time the situation is completely different—such an allusion to the brain no longer surprises us. Whether it is about the mystery of the consciousness, the question of free will or accounts of bizarre psychological aberrations or disorders, we have become accustomed to references to parts of the brain, to images of brain scans, to reports about neural networks and the like. However, because there are so many factors that play a part in our appreciation of works of art we need a complex explanation for it, and it is not enough to look only at certain properties of the brain that are determined by evolution. Those properties are shared by every human being, and so are rather useless in explaining people’s different reactions to the same work of art. Evidently the brains of individuals differ so much that they make it possible for people to respond differently to one and the same artwork. This, of course, raises questions concerning the painted emotions that can be seen in this exhibition. Virtually everyone, after all, is fascinated by such paintings and usually recognizes the emotions they represent. The reactions to these painted emotions are also often similar. This is probably why artworks like this are generally highly valued, then and now, here and elsewhere: from the enigmatically smiling Egyptian Queen Nefertiti and the startled Rembrandt to a seemingly despairing African mask. Aristotle observed that in the theatre players imitate actions that are associated with emotions in a number of ways and that these emotions are shared in a particular fashion by the playwright, the actors and the audience. The audience may even be carried away by these emotions to such an extent that they are in a sense purged of them and can subsequently leave the theatre relieved. Are such emotional reactions perhaps related to the fact that emotions are universal and that brains respond similarly to them? Is this why we can so readily identify painted emotions? May we therefore also assume that the properties of the brain determined by evolution help us to explain these emotions? In answering these questions we shall discuss a number of insights into emotions in psychology and brain science and explore some theories about the possible function of emotions and their expression. (shrink)

Open science (OS) is considered the new paradigm for science and knowledge dissemination. OS fosters cooperative work and new ways of distributing knowledge by promoting effective data sharing (as early and broadly as possible) and a dynamic exchange of research outcomes, not only publications. On the other hand, intellectual property (IP) legislation seeks to balance the moral and economic rights of creators and inventors with the wider interests and needs of society. Managing knowledge outcomes in a new open research and (...) innovation ecosystem is challenging and should become part of the EU’s IP strategy, underpinning EU policies with the new open science–open innovation paradigm. (shrink)

The primary intention of this book is to elucidate the relations between sensory perception and art as a form of knowledge. This enables us to understand how different kinds of art are given their meaning not only from observation, resemblance and reason but also from an artist’s sensitivity to the inner form of sensory experience as it is realized in perception, reflection, memory and imagination. By assuming a number of different points of view, Part 1 shows how the physical object (...) and the act of sensory perception are logically interdependent, and I give my elaboration of this argument two kinds of emphasis. In the first place, it opposes all arguments that support a merging of the mental and physical, as in idealism, materialism, neutral monism and panpsychism. A conceptual distinction is observed because sensory perception gives the physical object its identity. This idea also implies that the physical object is only realized by sentient life - self-aware inner life and a world become possible simultaneously. The second emphasis concerns the mind-body problem, and towards the end of Part 1 I offer an argument which places this problem in a certain light by representing the brain not as a physical counterpart to inner experience but as essentially instrumental to perception and self-awareness, and related experience. The argument in Part 2 is distinguished by a sense of continuity between the nature of sensory perception and the formal resources of artists in both physical and literary media. Hence, in a discussion of Titian’s Assumption of the Virgin, I indicate ways in which the painter conveys the inner experience and character of the figures in the painting by means of compositional design, light and colour, and thereby uses these and other sensuous resources to portray human life and experience. This is followed by a discussion of two sonnets by Shakespeare, in which the same general aim is pursued by using the literary resources of figurative language. Finally, a discussion of Hamlet shows how, in this work, the augmentation of figurative language by dramatic form strengthens the view that art can provide a form of knowledge that is based as completely upon intuition about our sensory experience as it is upon reason and observation. Just as my (true) perception of a cup as a vessel for drinking tea or coffee arises immediately from past experience, so the dramatist can see immediately from his or her past experience how a character might perceive things and behave. -/- . (shrink)

For long time, especially in the West, there is old paradigm that is strong separation between science and theology/religion matters. Especially, such a diverging path started from Galileo persecution, and also other patterns where religious authority seem to hold the last word on scientific issues. Other area of this World, seems to not hold such a diverging path, for instance it can be read in the works of physicist turned to religious philosopher, for instance Pavel Florensky and Nesteruk. That is (...) why we also discuss shortly about those scientists in this book. In the last chapter, we discuss about eureka, an experience which for a long time was attributed to divine spark or “God’s favor to an artist or to a scientist, such luminaries like Newton, Pascal, Leibniz etc.” Nonetheless, new methodology appears to be able to be generated once we accept balanced brain approach, where left brain and right brain hemispheres of humans can work together. (shrink)

This book is an anthology with the following themes. Non-European Tradition: Bussanich interprets main themes of Hindu ethics, including its roots in ritual sacrifice, its relationship to religious duty, society, individual human well-being, and psychic liberation. To best assess the truth of Hindu ethics, he argues for dialogue with premodern Western thought. Pfister takes up the question of human nature as a case study in Chinese ethics. Is our nature inherently good (as Mengzi argued) or bad (Xunzi’s view)? Pfister ob- (...) serves their underlying agreement, that human beings are capable of becoming good, and makes precise the disagreement: whether we achieve goodness by cultivating autonomous feelings or by accepting external precepts. There are political consequences: whether government should aim to respect and em- power individual choices or to be a controlling authority. Early Greek Thinking: Collobert examines the bases of Homeric ethics in fame, prudence, and shame, and how these guide the deliberations of heroes. She observes how, by depending upon the poet’s words, the hero gains a quasi- immortality, although in truth there is no consolation for each person’s inevi- table death. Plato: Santas examines Socratic Method and ethics in Republic 1. There Socrates examines definitions of justice and tests them by comparison to the arts and sciences. Santas shows the similarities of Socrates’ method to John Rawls’ method of considered judgments in reflective equilibrium. McPherran interprets Plato’s religious dimension as like that of his teacher Socrates. McPherran shows how Plato appropriates, reshapes, and extends the religious conventions of his own time in the service of establishing the new enterprise of philosophy. Ac- cording to Taylor, Socrates believes that humans in general have the task of helping the gods by making their own souls as good as possible, and Socrates’ unique ability to cross-examine imposes on him the special task of helping others to become as good as possible. This conception of Socrates’ mission is Plato’s own, consisting in an extension of the traditional conception of piety as helping the gods. Brickhouse and Smith propose a new understanding of Socratic moral psychology—one that retains the standard view of Socrates as an intellectualist, but also recognizes roles in human agency for appetites and passions. They compare and contrast the Socratic view to the picture of moral psychology we get in other dialogues of Plato. Hardy also proposes a new, non-reductive understanding of Socratic eudaimonism—he argues that Socrates invokes a very rich and complex notion of the “Knowledge of the Good and Bad”, which is associated with the motivating forces of the virtues. Rudebusch defends Socrates’ argument that knowledge can never be impotent in the face of psychic passions. He considers the standard objections: that knowledge cannot weigh incom- mensurable human values, and that brute desire, all by itself, is capable of moving the soul to action. Aristotle: Anagnostopoulos interprets Aristotle on the nature and acquisition of virtue. Though virtue of character, aiming at human happiness, requires a complex awareness of multiple dimensions of one’s experience, it is not properly a cognitive capacity. Thus it requires habituation, not education, according to Aristotle, in order to align the unruly elements of the soul with reason’s knowledge of what promotes happiness. Shields explains Aristotle’s doctrine that goodness is meant in many ways as the doctrine that there are different analyses of goodness for different types of circumstance, just as for being. He finds Aristotle to argue for this conclusion, against Plato’s doctrine of the unity of the Good, by applying the tests for homonymy and as an immediate cons- equence of the doctrine of categories. Shields evaluates the issue as unresolved at present. Russell discusses Aristotle’s account of practical deliberation and its virtue, intelligence (phronesis). He relates the account to contemporary philo- sophical controversies surrounding Aristotle’s view that intelligence is neces- sary for moral virtue, including the objections that in some cases it is unnecessary or even impedes human goodness. Frede examines the advantages and disadvantages of Aristotle’s virtue ethics. She explains the general Greek con- ceptions of happiness and virtue, Aristotle’s conception of phronesis and compares the Aristotle’s ethics with modern accounts. Liske discusses the question of whether the Aristotelian account of virtue entails an ethical-psy- chological determinism. He argues that Aristotle’s understanding of hexis allows for free action and ethical responsibility : By making decisions for good actions we are able to stabilize our character (hexis). Hellenistic and Roman: Annas defends an account of stoic ethics, according to which the three parts of Stoicism—logic, physics, and ethics—are integrated as the parts of an egg, not as the parts of a building. Since by this analogy no one part is a foundation for the rest, pedagogical decisions may govern the choice of numerous, equally valid, presentations of Stoic ethics. Piering interprets the Cynic way of life as a distinctive philosophy. In their ethics, Cynics value neither pleasure nor tradition but personal liberty, which they achieve by self-suffi- ciency and display in speech that is frank to the point of insult. Plotinus and Neoplatonism: Gerson outlines the place of ordinary civic virtue as well as philosophically contemplative excellence in Neoplatonism. In doing so he attempts to show how one and the same good can be both action-guiding in human life and be the absolute simple One that grounds the explanation of everything in the universe. Delcomminette follows Plotinus’s path to the Good as the foundation of free will, first in the freedom of Intellect and then in the “more than freedom” of the One. Plotinus postulates these divinities as not outside but within each self, saving him from the contradiction of an external foundation for a truly free will. General Topics: Halbig discusses the thesis on the unity of virtues. He dis- tinguishes the thesis of the identity of virtues and the thesis of a reciprocity of virtues and argues that the various virtues form a unity (in terms of reciprocity) since virtues cannot bring about any bad action. Detel examines Plato’s and Aristotle’s conceptions of normativity : Plato and Aristotle (i) entertained hybrid theories of normativity by distinguishing functional, semantic and ethical normativity, (ii) located the ultimate source of normativity in standards of a good life, and thus (iii) took semantic normativity to be a derived form of normativity. Detel argues that hybrid theories of normativity are—from a mo- dern point of view—still promising. Ho ̈ffe defends the Ancient conception of an art of living against Modern objections. Whereas many Modern philosophers think that we have to replace Ancient eudaimonism by the idea of moral obligation (Pflicht), Ho ̈ffe argues that Eudaimonism and autonomy-based ethics can be reconciled and integrated into a comprehensive and promising theory of a good life, if we enrich the idea of autonomy by the central elements of Ancient eudaimonism. Some common themes: The topics in Chinese and Hindu ethics are perhaps more familiar to modern western sensibilities than Homeric and even Socratic. Anagnostopoulos, Brickhouse and Smith, Frede, Liske, Rudebusch, and Russell all consider in contrasting ways the role of moral character, apart from intellect, in ethics. Brickhouse / Smith, Hardy, and Rudebusch discuss the Socratic con- ception of moral knowledge. Brickhouse / Smith and Hardy retain the standard view of the so called Socratic Intellectualism. Shields and Gerson both consider the question whether there is a single genus of goodness, or if the term is a homonym. Bussanich, McPherran, Taylor, and Delcomminette all consider the relation between religion and ethics. Pfister, Piering, Delcomminette, and Liske all consider what sort of freedom is appropriate to human well-being. Halbig, Detel, and Ho ̈ffe propose interpretations of main themes of Ancient ethics. (shrink)

Mimesis and the portrayal of reflective life in action : Aristotle's Poetics and Sophocles' Oedipus the King -- The portrayal of reflective life in action in poetry : Shakespeare's dramatization of the poet in Sonnets 1-126 -- The portrayal of reflective life in action in music : Bach's Prelude and Fugue in B flat minor (The Well-Tempered Clavier, Book 1) and Beethoven's String Quartet in A minor, opus 132 -- The portrayal of reflective life in action in painting : discovery (...) of the inner life of sensory perception in watercolours by Turner and oil paintings by Cézanne. (shrink)

"We wish this volume to be a sure companion to the study of free will, broadly construed to include action theory, moral and legal responsibility, and cohort studies feathering off into adjacent fields in the liberal arts and sciences. In addition to general coverage of the discipline, this volume attempts a more challenging and complementary accompaniment to many familiar narratives about free will. In order to map out some directions such accompaniment will take, in this introduction we (...) anchor the thirty contributions to this volume in some common history from which they arise, and attempt to indicate where future work in free will and moral responsibility will–and has already begun to–depart from that history." -Excerpt from Introduction. ... ... To read full introduction, (1) download attached file or (2) follow wiley_dot_com link below, click "Read An Excerpt", then click :Excerpt 3:(pdf)". (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

The history of the relationship between science and metaphysics is riddled with controversy. Aristotle and his followers see metaphysics as providing the foundations on which science and other human intellectual endeavors build. In opposition to the thoughts of Aristotle, Plato and his followers separate metaphysics from science as independent and unrelated sciences. With the Logical positivists, the debate is a reject of metaphysics in favour of science. Metaphysics then is seen as a pseudo-science. Rudolf Carnap's the "Elimination of Metaphysics (...) through the Logical Analysis of Language" and Alfred Jules Ayer's elimination of metaphysics from the domain of knowledge are examined, while Heidegger is brought in to salvage the situation given that he holds on to the superiority of metaphysics over science. (shrink)

ABSTRACT: A report on the pioneering of a new pedagogy designed to challenge students to use and improve their memory, increase their awareness of logical fallacies and tacitly embedded contradiction(s) and sensitize them to the deeply symbolic nature of thought in all its expressions (math, logos, music, picture and motor skills), as created, by the author, from in situ research at a senior level (ESL) course in Storytelling at one of East Asia’s premiere second languages university, and from teaching children (...) in several university summer programs. -/- As a Visiting Professor of Foreign Languages, I recently had a glorious opportunity to innovate curriculum and teaching techniques in an East Asian university classroom. Under the auspices of teaching senior level thematic courses in English as a Foreign Language, or more specifically, “storytelling,” I was blessed with the opportunity to innovate both on the level of curriculum and pedagogy. -/- But let me backtrack to set up my story from the start. All of this began in a children’s ESL class at a private language institute where I was given some newly formed intermediate level English classes for middle school students on a new campus that had yet to form a library. While waiting for my standard textbooks to arrive I began innovating with one of my own childrens’ stories titled The Tale of the Purple People Eater (a three page mythic story written in the late 90s. Please see appendix). In working with this story, because I envisioned presenting it orally (from memory) at first as a way to introduce students to memory arts exercises, I was compelled to read it over many times, which, to my surprise revealed a troubling feature: it was riddled with contradictions in every paragraph. At any rate, with the middle school aged students I only touched on this feature very briefly and focused more on language acquisition exercises. The tale nevertheless impressed upon me this bizarre aspect of language where a story can appear naturally cogent on the surface, but can also come apart at the seems if taken “literally.” Hence, later while teaching Storytelling in university with a rather dry textbook, I was invited to supplement the class with exercises of my own. Here I was curious to try work shopping the ‘Tale of The Purple People Eater’ with young adults. This involved three stages: 1) Memory work — or engaging with the unpublished story orally; 2) Exploring the contradictory nature of language and thought; 3) Probing the “deeply-symbolic” nature of meaning. -/- Of course, all of these levels have a long history of precedence in our civilization. Memory arts — though defunct now — had been highly developed in the ancient world, not least among bards who performed oral recitations from memory of the entire Illiad and Odyssey. Dialectics — now transmuted into the debate for show and prizes — had a deeper epistemological mission to discover truth and achieve enlightenment (i.e. Socrates, Boethius and St-Augustine). And if it could not be done via contradictory-prone rationality, it would do it by re-attaching or re-membering broken meanings via the sym-bol (“throwing together”), as per our lineage of platonic poets who created a world compelling enough to make us ask where Jesus went during his (underworld journey) three days in the crypt? Or, and, on what terrain did Dante travel? -/- Lets look at all three: Memory work can be very simple: it amounts to an oral recitation of the story in class followed by a homework assignment wherein the students are asked to reproduce the story (in writing) from memory. They can then compare ‘notes’ in class and by working in groups attempt to produce one version per group of the story in question. In this way we invite them to engage with ‘live’ stories as did our oral-history ancestors. Likewise, by writing it down (“for the first time”) they are re-living the act of our first bardic writer(s) who wove together a collection of competing versions of a popular legend to produce a standard. Very primal work! If Plato thought that writing meant the end of memory in his time, imagine what smart phones are doing to memory now. Contradictions too are easy to work with. It suffices to project a written version of the teacher’s story on the classroom screen — no note taking! — and let students have ample time to read it over and over, at first to check with their own memorized version, and later to seek out logical contradictions in the prose. Any way to ‘repair’ the story? Does it lose credibility because of contradictions? Can it be real without being true? Can it be true without being real? Do reality (L. res = matter) and truth (Gk. a-leithea = un-forgetting) etymologically speaking, share the same domain? -/- Further, if below the surface-meaning the story falls apart, its apparent mythical meaning immediately is called into question. This is a good time to ask the students to propose a (deeper) interpretation. On the surface, the obvious meaning of the Tale of the Purple People Eater, a world in which a purple ogre predatorily feasted on the purple race of the United Peoples of Benetton (a multi-racial nation representing every “skin colour of the rainbow”), revolves around racism, and indeed everyone save for one, thought the story was about racism. -/- I, the author, had the challenge of discovering the deeper meaning of my own story. Because it was written inspirationally one morning, the way we might record the memory of a dream from the night before in a journal, I also was ignorant of the story’s meaning. As luck would have it, a few days before I was to give my class feedback on their interpretations, a meditation on the color “purple” led to the book “The Color Purple” which I first heard of from a friend who, in my reply to a question about the book she was reading (in 1985), summarized it succinctly in one sentence about a black woman’s sexual awakening and liberation. I quickly got the book from the university library as well as the film which I viewed several times before my next class. -/- To my utter amazement, after reading the Tale of the Purple People Eater in light of the Color Purple and adjusting the meaning of color in the tale from the color of people’s complexion to the “color of people’s souls” (to commensurate with the film) as depicted in their clothing and other accoutrements (e.g. automobiles) as reflective of the “health of their souls” (white for revolt, purple for majesty, etc…) where the enslaved Celie is surrounded by drab lifeless colors in the beginning of the film in contrast to the liberated woman she has become in the end of the story symbolized by the extraordinary intensity of the purple shawl that bedecks her like an African queen, the tale can be considered, in part, as a kind of back story of the inner evolution of the book’s and film’s protagonist. -/- Many other cross-polenised metaphors come to the fore: Hippocrates in the tale is the mail man in the film; St-Yves anti-ageing gel is a metaphor for remaining in “childhood (sexual) slavery”; the Ex-Thrax vaccine is the spiritual laxative in the form of letters from Africa (from Ex-Lax and Thrace, a “wild place”) that eases Celie out of her yoke; the egg-shaped conference table with the pointy end in the tale is the kitchen table in the last meeting where Celie threatens her husband with the pointy end of the knife in the film… -/- Of course, the students could not be expected to decode the meaning of a story of this nature whose collective unconscious connotations the author himself had to go to great lengths to excavate almost like a detective of the subconscious. What was important here was the shared engagement between mind and narrative and how it acted as a vehicle for 1) re-membering, 2) becoming aware that all language is a metaphorical cover and 3) that the deep symbol and fused metaphor are divided not by external time and space but by external reality (in the Latin sense, res) and internal truth (in the Greek sense, aleithea). Myth then, in its highest meaning is a hybrid form (of these two) of narrative. Hence both parts real and true. (shrink)

In this chapter I show that it is possible to interpret an important group of postmodern texts as presenting intellectual and practical challenges with a specific focus that is worth the serious attention of everyone interested in politics. My interpretation shows that a certain strand of postmodern thought is not only consonant with a liberal democratic political morality, but also modifies and extends it in an eminently desirable direction. Such an interpretation has become possible because a significant consensus has (...) emerged from the writings of prominent commentators and participants in the debates about postmodernism. I reconstruct this emerging consensus by referring specifically to the contribution of these postmodern texts to politics, thus leaving aside its possible contribution to the arts and sciences. I start by giving an exposition of a new understanding of modernity that has been brought about by the debates on modernity / postmodernism. Then I characterize the postmodern political condition by describing those changes in contemporary modern societies that stimulate and facilitate the development and growth of postmodernism. The next section provides an interpretation of the political philosophy contained in the work of prominent postmodern thinkers such as Derrida, Foucault, Lyotard and Jencks. In this overview I show that an emphasis on the importance of heterogeneity and otherness unifies the diverse contributions of these postmodernists to political philosophy. I conclude the article by drawing some implications for politics in places like South Africa, from the insights I judge postmodernism provides to political philosophy in general. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 42.1 (2004) 113-115 [Access article in PDF] Wilhelm Dilthey. The Formation of the Historical World in the Human Sciences. Edited with an Introduction by Rudolf A. Makkreel and Frithjof Rodi. Princeton: Princeton University Press, 2002. Pp xiii + 399. Cloth $55.00. The first complete English translation of Wilhelm Dilthey's (1833-1911) most important mature work—a seminal work for hermeneutics, phenomenology, critical theory, and (...) the philosophy of history and the human sciences—is to be greatly welcomed. This excellent translation conveys the subtlety and richness of Dilthey's German. Its innovative translations of key terms will provide renewed stimulus to interpreting Dilthey's works.This edition includes Dilthey's investigation of the structures of consciousness in his three preliminary "Studies toward the Foundation of the Human Sciences," his exploration [End Page 113] of the import of the productive systems of historical life for knowledge in The Formation of the Historical World in the Human Sciences, and his final and perhaps best formulation of hermeneutics in "The Understanding of Other Persons and Their Manifestations of Life."Although Carnap and others utilized the word Aufbau in the sense of epistemic "construction," Makkreel and Rodi clarify how Dilthey used it in the sense of "formation." The formation of the historical world refers to its articulation in the human sciences which themselves theoretically reflect this historical world (GSW3: 1). They also argue that Dilthey's theory of the human sciences is not merely an epistemology (Erkenntnistheorie), but a theory of knowledge (Theorie des Wissens) that relates knowing to its context. Whereas epistemology seeks to establish the foundations of conceptual cognition (Erkenntnis), Dilthey places the epistemology of the human sciences within a larger context of the knowledge (Wissen) embodied in social practices and historical forms of life. Knowledge encompasses not only the conceptual cognition of reality, but also the values and purposes established about it.Dilthey accordingly situated the human sciences, which are determined by their respective object and how the object is given (SW3: 38), in relation to a pretheoretical life-nexus and its forms of elementary or ordinary understanding. These are tied up with the temporality, historicity, and structures of social life; with an epochal "objective spirit." Objective spirit indicates the ways in which the past has been objectified and continues to shape contemporary practices and it is analyzed in the human sciences as cultural systems and the external organization of society. A significant characteristic of the Formation is the development of the notion of "productive system or nexus." This new translation of Wirkungszusammenhang suggests a historical efficacy or productivity prior to any analysis of it as either causal or teleological (SW3: 4).The human sciences include the study of dynamic interconnected systems that articulate the intersection of meaning, value, purpose, and force. Dilthey interpreted these temporally, such that meaning primarily concerns how humans are determined by their past, value is based on their present feeling of life, and purpose is projective striving into the future in the face of productive forces (Kräfte) which cannot always be predicted or controlled.For Dilthey, understanding (verstehen) is intrinsically interpretive. Humans can cognize themselves and others only indirectly (SW3: 108), since we are conscious and reflective beings who are bound to the facticity of our bodies and world. Given that we know ourselves and others primarily through actions, life-expressions, and their effects—rather than through introspection or intuition—and that everyday understanding can face breakdowns and what seems distant or strange, elementary understanding leads to higher forms of understanding and interpretation; i.e., hermeneutics. Dilthey's project of a critique of historical reason proceeds from the context of life in all of its complexity and concreteness to the conceptual cognition of the sciences and, finally, to reflective awareness (Besinnung). This reflection is made possible by the prereflective reflexivity (Innesein or Innewerden) of the human subject and, with its double meaning of "sense" (Sinn) as meaning and bodily awareness, constitutes the basic movement of Dilthey's thought.Understanding provides more than scientific access to... (shrink)

In one of his earliest dialogues, the Soliloquia, Augustine identifies the liberal arts (disciplinae) with truth (veritas), and employs this somewhat puzzling identification as a premise in his infamous proof of the immortality of the soul (Sol. 2.24). In this paper, I examine Augustine’s argument for this peculiar identification. Augustine maintains both (1) that the constituent propositions of the liberal arts are true, and (2) that the liberal art of dialectic (disciplina disputandi) is the “truth (...) through which all disciplines are true” (Sol. 2.21). I argue that Augustine identifies the liberal arts with truth because (1) the constituent propositions of the liberal arts are learned, and (2) dialectic’s structure is essential to the liberal arts. I further suggest that the subject matter of each liberal art reflects a distinct segment of intelligible reality, that is, the realm of the intelligible Forms. (shrink)

The exacerbating energy crises that are wreaking havoc around the globe, as well as the apparent effects of climate change, have spurred, amongst other causes, the concerted orientation towards amelioration aims such as the United Nations Sustainable Development Goals (SDGs) and environmental, social, and corporate governance (ESG). Although often presented as not only the solution to these global problems (if adopted wholesale), they are increasingly being used as a vehicle to traffic the centralisation of power and exacerbate growing authoritarian trends. (...) This chapter aims to demonstrate how the narratives surrounding ESG package the problem into what might otherwise be the solution to global problems, missing the forest for the trees. (shrink)

The hermeneutical tradition represented by Yorck, Heidegger, and Gadamer has distrusted Dilthey as suffering from the two sins of modernism: scientific “positivism” and individualistic and aesthetic “romanticism.” On the one hand, Dilthey’s epistemology is deemed scientistic in accepting the priority of the empirical, the ontic, and consequently scientific inquiry into the physical, biological, and human worlds; on the other hand, his personalist ethos and Goethean humanism, and his pluralistic life- and worldview philosophy are considered excessively aesthetic, culturally liberal, relativistic, (...) and subjective. This essay involves two tasks in response to this negative evaluation of Dilthey that has shaped our current understanding of his philosophical project; first, an interpretation of the issues at stake in Heidegger’s reception of and struggles with Dilthey. These issues touch upon language, historicity, and the nature of hermeneutics. Second, by pursuing this task in light of Guignon’s interpretation of Dilthey and Heidegger, I hope to question and challenge the “overcoming” of Dilthey’s epistemic and life-philosophical hermeneutics in the “ontological” or “philosophical” hermeneutics of Heidegger. (shrink)

Responding to critiques of Dilthey’s interpretive psychology, I revisit its relation with epistemology and the human sciences. Rather than reducing knowledge to psychology and psychology to subjective understanding, Dilthey articulated the epistemic worth of a psychology involving (1) an impure phenomenology of embodied, historically-situated, and worldly consciousness as individually lived yet complicit with its naturally and socially constituted contexts, (2) experience- and communication-oriented processes of interpreting others, (3) the use of third-person structural-functional analysis and causal explanation, and (4) a (...) recognition of the ungroundability, facticity, and conflict inherent in knowledge and life. (shrink)

This paper reports (in section 1 “Introduction”) some quotes from Nelson Goodman which clarify that, contrary to a common misunderstanding, Goodman always denied that “grue” requires temporal information and “green” does not require temporal information; and, more in general, that Goodman always denied that grue-like predicates require additional information compared to what green-like predicates require. One of the quotations is the following, taken from the first page of the Foreword to chapter 8 “Induction” of the Goodman’s book “Problems and (...) Projects”: “Nevertheless, we may by now confidently conclude that no general distinction between projectible and non- projectible predicates can be drawn on syntactic or even on semantic grounds. Attempts to distinguish projectible predicates as purely qualitative, or non-projectible ones as time-dependent, for example, have plainly failed”. Barker and Achinstein in their famous paper of 1960 tried to demonstrate that the grue-speaker (named Mr. Grue in their paper) needs temporal information to be able to determine whether an object is grue, but Goodman replied (in “Positionality and Pictures”, contained in his book “Problems and Projects”, chapter 8, section 6b) that they failed to prove that Mr. Grue needs temporal information to determine whether an object is grue. According to Goodman, since the predicates “blue” and “green” are interdefinable with the predicates “grue” and “bleen”, “if we can tell which objects are blue and which objects are green, we can tell which ones are grue and which ones are bleen” [pages 12-13 of “Reconceptions in Philosophy and Other Arts and Sciences”]. But this paper points out that an example of interdefinability is also that one about the predicate “gruet”, which is a predicate that applies to an object if the object either is green and examined before time t, or is non-green and not examined before time t. The three predicates “green”, “gruet”, “examined before time t” are interdefinable: and even though the predicates “green” and “examined before time t” are interdefinable, being able to tell if an object is green does not imply being able to tell if an object is examined before time t (the interdefinability among three elements is a type of interdefinability present, for example, also among the logical connectives). Thus, it is wrong the Goodman’s thesis according to which if it is possible to determine without having temporal information whether the predicate “green” has to be applied to an object, then it is also possible to determine without having temporal information whether a predicate interdefinable with “green” has to be applied to an object. Another example of interdefinability is that one about a decidable predicate PD, which is interdefinable with an undecidable predicate PU: therefore even though we can tell whether an object is PD and whether an object is non-PD, we cannot tell whether an object is PU (since PU is an undecidable predicate) and whether an object is non-PU. Although the predicates PD and PU are interdefinable, the possibility to determine whether an object is PD does not imply the possibility to determine whether an object is PU (since PU is an undecidable predicate). Similarly, although the predicates “green” and “grue” are interdefinable, the possibility to determine whether an object is “green” even in absence of temporal information does not imply the possibility to determine whether an object is “grue” even in absence of temporal information. These and other examples about “grue” and “bleen” point out that even in case two predicates are interdefinable, the possibility to apply a predicate P does not imply the possibility to apply a predicate interdefinable with P. And that the possibility to apply the predicate “green” without having temporal information does not imply the possibility to apply the predicate “grue” without having temporal information. Furthermore, knowing that an object is both green and grue implies temporal information: in fact, we know by definition that a grue object can only be: 1) either green (in case the object is examined before time t); 2) or blue (in case the object is not examined before time t). Thus, knowing that an object is both grue and green, we know that we are faced with case 1, the case of a grue object that is green and examined before time t. Then the paper points out why the Goodman-Kripke paradox is a paradox about meaning that cannot have repercussions on induction. Finally the paper points out why Hume’s problem is a problem different from Goodman’s paradox and requires a specific treatment. -/- . (shrink)

Against the separation of metaphysics and science advocated for by Plato and his followers and against the rejection of metaphysics in favour of science the Logical Positivists, this work argues that 'a new link' between metaphysics and science is all the more necessary for man to better understand nature. This is precisely what Whitehead's process metaphysics purports to do. But why is 'a new link' necessary It is necessary because Aristotle and his followers already established a link 'an old link' (...) by making metaphysics the foundation of all the sciences. Yet, Aristotelian metaphysics is a substance based metaphysics while Whitehead's metaphysics takes process and especially the category of relation seriously. Whitehead's Process metaphysics prioritizes process over permanence, becoming over being, relation over substance. Why does Whitehead have such preference for process metaphysics over classical metaphysics The answer, as shall be shown in this paper, lies in science with the demise of Newtonian science and the rise of Einsteinian science based on the theory of relativity. In an era when the concept of depassement de la metaphysique has become such a dominant feature of modern and postmodern thought, it is therefore our point of interest to find out why Whitehead who situates himself within this period takes up metaphysics as the foundation of his philosophizing Why does Whitehead embark on reconciling science and metaphysics when all his contemporaries are dissociating themselves from the former These questions will be the main concern of my research in this paper. (shrink)

The essay is an English version of the German article "Wissenschaftliche Rationalität, menschliches Bewusstsein und pro-religiöse Ideen". It discusses immanent versus transcendent concepts in the context of the art of living, as well as the understanding of human consciousness in the context of religion. Science provides us with a far reaching understanding of natural processes, including biological evolution, but also with deep insights into its own intrinsic limitations. This is consistent with more than one interpretation on the “metatheoretical“, that is (...) on the philosophical and cultural level, including liberal, enlightened forms of religion as well as agnostic views. Choices and preferences are mainly a matter of wisdom and art of living, and not just of knowledge, and this, in my view, supports metaphysical and anthropological optimism as expressed in liberal pro-religious ideas. Within Christian theology, metaphysical optimism and openness are most characteristic for the ideas of “apokatastasis” – “salvation for all” - repeatedly condemned as heretical, but also widely supported from early Christianity to modern times. (shrink)