In this paper, we discuss three translation techniques: literal, cultural, and artistic. Literal translation is a well-known technique, which means that it is quite easy to find sources on the topic. Cultural and artistic translation may be new terms. Whilst cultural translation focuses on matching contexts, artistic translation focuses on matching reactions. Because literal translation matches only words, it is not hard to find situations in which we should not use this technique. Because artistic translation focuses on reactions, judging the (...) quality of an artistic translation work is one of the most difficult things one can do. We end up having a score of complexity and humanity for each one of the mentioned techniques: Literal translation would be the closest thing we have to the machines world and artistic translation would be the closest thing we have to the purely human world. By creating these classifications and studying the subtleties of each one of them, we are adding degrees of quality to our courses and to translation as a professional field. The main contribution of this paper is then the formalization of such a piece of knowledge. We, however, also lay the foundations for studies of this type. (shrink)

Our investigative question is what part of the human psyche is active when we are sleeping. We use the single-counter-example method, extracted from Classical Logic, to prove that it could not be the case that one of our existing models for the human psyche could explain the human sleep. The models of the human psyche that we consider are the Freudian, the Jungian, and our own. By proving that no known part could be active whilst we sleep, and we prove (...) all by presenting known facts, we reach the conclusion that we need a new model of psyche to account for the entire complexity of our beings. We associate sleep with dreams. Upon discussing the human dreams in more details, we end up applying the principles of the inference to the best explanation to explain the human dreams by means of references to the spiritual world. That makes us think about how the spiritists would describe our psyche, and we then present a new model. The new model is obviously a fruit of speculation. This time, the model involves all Freudian elements, our extensional elements, body, and soul. We use the synthetic method to construct our new model. Since our sleep time is so important, to the point of obliging us to build a new model for the human psyche, we worry about protecting it. We then use studies on the impact of noise on humans to talk about how bad the consequences of having a person speaking to us during sleep are. This trivially extends to people that are in hypnotic state. We try to make a case against hypnosis and interference with the sleep of human beings by referring to health, spiritual, and world consequences. Our main result is then a new model for the human psyche, and this time a model that has to do with what is beyond what has already been formally acknowledged by us. A secondary result is that we should not allow people to hypnotize others or to speak to them as they sleep. Our conclusions are that there is definitely something beyond our rationality that happens during our sleep time and this something has not been identified by Freud, Jung or us this far. Besides, that we should not allow people to hypnotize others or speak to them as they sleep. (shrink)

In this paper, we try to provide a theory that explains human behavior, and thinking in their totality. We missed the corporeal part when writing the theory about our new model for the human psyche: It was missing explaining that some things are physical, such as memories, involuntary organic movements, disease, etc. If we had developed a philosophical model for the soma, we would also miss the essence of the individual, what we have decided to call psyche. In order to (...) explain how our hand could not stand the pressure and ended up releasing the link that then got lose and killed somebody, we need the philosophical explanation involving the soma. In order to explain why a person had a shared-ego moment, we need the philosophical explanation involving the psyche. In this way, it is missing creating a theory that unifies all in order to produce a set that can explain any situation that involves human behavior and thinking. We are then calling the entity that collects all in one, which is needed for our better understanding, Human Persona. Persona because that reminds us of individuality, unique characteristics that tell us that the individual we call John Smith, of id 143, is someone special. Human because we do talk about personality of animals, and we would like to make sure we create an impression of difference and superiority when referring to humans. The tools we here use are logical analysis, deductive reasoning, selection and collection of real-life evidence, etc. (shrink)

In this paper, we take the approach of the lexicon makers: We contemplate human language instead of trying to resist its forces. Basically, some sigmatoids seem to have been created to be free of boundaries: We fence them as we please when we apply them to our assertions, but they are quite vague in the lexicon. We here identify at least two types of such sigmatoids: The synthetisers and the specifiers. The former would originate from our capacity of isolating common (...) features of objects that, in principle, have no possible intersection. The latter would originate from our attempt of describing the 3D World by means of 2D entities. We conclude that the intrinsic vagueness of these sigmatoids is something not only acceptable, but either pleasant or necessary. (shrink)

Entailment is an interesting sigmatoid: It should mean one thing, but it means another, just for starters. When used in Mathematics, it is usually with the sense of saying that something is definitely true. That would be the use in Classical Logic then. When used in Logic, it became something else. Now it was about how the logical system, which can be any nonclassical one, could be making a proposition become true or false. The major issue we found in 2000, (...) when learning from the own nonclassicists what they do, was that they talk about Nonclassical Logic, therefore a way of thinking that is not Cartesian, yet they stick to the notion of entailment we use in Mathematics, and therefore to the Classical Logic ways. We here discuss exactly this. (shrink)

The Unexpected Hanging Problem is also known as the Surprise Examination Problem. We here solve it by isolating what is logical reasoning from the rest of the human psyche. In a not-so-orthodox analysis, following our tradition (The Liar, Dichotomy, The Sorites and Russell’s Paradox), we talk about the problem from a perspective that is more distant than all the known perspectives. From an observational point that is in much farther than all the observational points used until now, the reader can (...) finally see why the problem has been perpetuated as a problem and can also see that the problem was never an actual problem: Once more, we have an allurement. The allurement this time makes us start paying attention to all the complexity of the human psyche when studying problems that involve human feelings. The main finding could be told to be that we have to understand and study more the human psyche, in all its intricacies, also when dealing with problems that seem to belong with exclusivity to Mathematics or Logic. (shrink)

We present a new model for the human psyche in this paper. We support the thinkers from Philosophy of Science that believe that we should keep the theory that best explains our phenomena, and, therefore, we believe that we should keep the theory we here present for the human psyche. We present evidences as to why our theory explains the human psyche better than the Freudian and the Jungian theories. We include all concepts created by Jung and Freud in our (...) theory apart from the collective unconscious. We introduce the elements extended id and extended ego in terms of human personality and the elements judgmental, non-judgmental, shared, and non-shared in terms of human mind. Our methodology consists in performing a logical analysis of the theories of Freud and Jung and then put them against the known reality to come up with solutions that address the gaps that both exhibit. (shrink)

This essay discusses the Vietnam War from the perspective of the strategist, and with focus on men-power,which is part of the concept of `order of the battle’. The interest is progressing toward determining best methodsfor the calculation of estimates of this type to decrease mistake in wars that involve various nations. Uponstudying the debate involving the estimates for the Vietnam War, period ranging from 1965 to 1968, theconclusion is that there were gross mistakes from the part of the military, and (...) methods of producing the order ofthe battle have to be much better examined. Systems of decision, and management deserve revision, so that whathas happened during the Vietnam War does not repeat: important is saving human lives, not the prestige ofindividual institutions or even the amount of negative criticism that is made publicly available about them.National forces must mean also Academia, and there is a chance that Academia can improve those systems bymuch if governmental authorities acknowledge its existence in all sectors of the national life. The best strategyis still including the dissident group or person, not facing them as an enemy, when it comes to those who areregarded by the general public as part of the national forces. (shrink)

Incarceration is a hurdle for The State, the perpetrator‘s family, society in general, the victim, and the perpetrator themselves. Laws, regulations, and rules are as relative, and fragile as their associated human group intended them to be, and it is frequently the case that they change so completely from one location to another that one can be regarded as a hero in one place, and most unacceptable perpetrator in another for practicing the same acts. It is time for a change: (...) community justice centers are a good start - especially if one considers their court intervention programs –because they align with the concept of restorative justice, and form a natural step toward incarceration zero, which has to be human kind‘s goal. (shrink)

We talk about how to best protect Australia against cyberterrorist attacks of the type in which the offenders use a computer to attack or in which the offenders attack computers. Our concern is phenomena like Stuxnet and Ransomware, but also any attack that has not yet happened, as for our official records, so say hacking of satellite and use of its allowances to burn people alive to death. We talk about the basics, which could be the advice of FireEye, and (...) we talk about the sophisticated, which could be what is not yet printed. We worry about actions that could be considered part of the intelligence system, so things that demand detailed study of the past and systemic plus organised collection of data in the present. We do not talk about how to deal with Acts of War: Only about how to protect our systems to best so that we do not get those happening via computer or from a computer. (shrink)

A discussion on this so debatable and debated concept, Higher Order Vagueness. After going through the issues that make Higher Order Vagueness an object of scientific attention, we conclude that vagueness is undesirable in logical systems but desirable in language, and the Semiotics Universe splits into three other universes inside of the universe of the Computer Science Systems. We create a new way of addressing problems with sigmatoids, and define vagueness in an almost mathematical fashion.

We here propose a solution to the problem we have raised. Basically, the mathematical notion of entailment seems to be connected to the inferential rules from Classical Logic, so that if we have P: x belongs to the reals, and Q: x+2=5 => x=3, P |= Q. Notwithstanding, we would also have that if P: x belongs to the interval (7,10), and Q: x+2=5 => x=3, P |= Q. The second instance of entailment does not seem to be justifiable if (...) our intuition is consulted: Even though we could say that absurdity implies anything in Classical Logic, entailment should be a concept that belongs to the metalogic, not to the logic of the system, so that we should not be inside of the Classical Logic World by the time we assess things in what regards entailment. As another point, our discussions in Entailment led us to choose the sense has as a consequence for entailment, so that it is not really acceptable that we have, as a consequence, using normal language, of x being inside of the real interval (7,10) that if x+2=5, then x=3. If x is in that interval, x+2 should not be 5, unless we are talking about moduli of vectors. However, when we transfer to Classical Logic, in having the antecedent false, and the consequent false as well, we have that the implication, which some call material, is true. We here discuss this sort of matter in detail, and hope to get to the bottom of the issue, and perhaps to a universal solution. (shrink)

In higher education, interdisciplinarity involves the design of subjects that offer the opportunity to experience ‘different ways of knowing’ from students’ core or preferred disciplines. Such an education is increasingly important in a global knowledge economy. Many universities have begun to introduce interdisciplinary studies or subjects to meet this perceived need. This chapter explores some of the issues inherent in moves towards interdisciplinary higher education. Definitional issues associated with the term ‘academic discipline’, as well as other terms, including ‘multidisciplinary’, ‘cross-disciplinary’, (...) ‘pluridisciplinarity’, ‘transdisciplinarity’ and ‘interdisciplinary’ are examined. A new nomenclature is introduced to assist in clarifying the subtle distinctions between the various positions. The chapter also outlines some of the pedagogical and epistemological considerations which are involved in any move from a conventional form of educational delivery to an interdisciplinary higher education, and recommends caution in any implementation of an interdisciplinary curriculum. (shrink)

Addressing classicists, philosophers, students, and general readers alike, this volume emphasizes the unity of Seneca's work and his originality as a translator of Stoic ideas in the literary forms of imperial Rome. It features a vitalizing diversity of contributors from different generations, disciplines, and research cultures. Several prominent Seneca scholars publishing in other languages are for the first time made accessible to anglophone readers. (See also the attached file with ToC and Introduction).

A recent attitudinal change towards animals has led many people to recognize their family structures as multispecies families, that is, a family composed of human members and animals of other species, united by affective ties, and solidarity, in a horizontal relationship, and even where there is mutual recognition. This social phenomenon requires that the legal concept of family, which today more than ever accepts the plurality of family structures, also includes multispecies families. The protection of multispecies families is necessary and (...) possible if one considers that in Latin America today, a post-positivist legal system prevails that is aimed at protecting fundamental rights and freedoms. This legal system allows for a broad interpretation of rights such as the right to free development of personality and the right to family integrity, rights that already serve as foundational for the recognition and protection of multispecies families in Latin America. (shrink)

On January 27, 2022, the Constitutional Court of Ecuador (the Court) granted judgment in the case 253-20-JH, called “Rights of Nature and Animals as Subjects of Rights, Estrellita Monkey Case,” popularly known as the Estrellita case. 1 The case generated high expectations because the Court selected it for the development of binding jurisprudence. Since its release, the case has received broad public attention due to its ruling and media outlets having announced that Ecuador is the frst country where animals have (...) legal rights. Given the importance of the Estrellita case, an analysis from an animal rights perspective is necessary. First, I will summarize the Rights of Nature under the Ecuadorian Constitution and the history of the Estrellita case. Secondly, I will explain the ruling of the Estrellita case, how the Court recognized individual animals as legal subjects, what rights of wild animals were recognized, the interspecies principle, and the ecological interpretation principle. Thirdly, I will argue why Rights of Nature is not the correct framework for the achievement of rights for animals, mainly because the ecological interpretation principle has the effect of undermining the full realization of those rights. Finally, I will present positive outcomes for animals in Ecuador that derive from the Estrellita case, as the Rights of Nature framework has a symbolic and instrumental value that one can use for the beneft of animals. (shrink)

In a theoretical reflection, the aim of this paper is primarily to discuss alterity in journalism. We believe that journalism plays a fundamental role in the construction of knowledge on similarities and differences between human beings, stressing social diversity as one of its purposes. We associate the concept of otherness, understood as a singular mode of existence of the “other”, with the purpose of journalism and with actions of empathy, sympathy and compassion. Based on a phenomenological perspective, we discuss the (...) importance of the meeting between the "self" and the "other", as well as the ability of journalists to perceive and narrate on the aspects that shape the identities of human beings. Moreover, we discuss otherness in journalistic narratives, approaching the relation between the lifeworld and the world of text... (shrink)

This paper argues that McDowell wrongly assumes that “terror”, Cavell’s reaction to the radical contingency of our shared modes of knowing or our “attunement”, expresses a skepticism that is antinomically bound to an equally unacceptable dogmatism because Cavell rather regards terror as a mood that reveals the “truth of skepticism”, namely, that there is no conclusive evidence for necessary attunement on pain of a category error, and that a precedent for McDowell’s misunderstanding is Hegel’s argument for necessary attunement (...) in a system of knowing, whose refutation Schelling holds it is the “merit of skepticism” to provide. (shrink)

In his lecture “Philosophy and the Unheard,” Cavell invites us to observe a pervasive analogy between Schoenberg’s idea of the twelve-tone row and Wittgenstein’s idea of grammar, which is supposed to encapsulate an expansive, sweeping philosophical program—Cavell’s own. For Cavell, the analogy evinces not only the kind of reading of Wittgenstein’s Philosophical Investigation, which is attuned to Wittgenstein’s seemingly paradoxical amalgamation of embrace and resistance in regarding to the conditions of modernity, but also a kind of philosophy (...) of music, which is illuminated by musical procedure. In this essay I probe into Cavell’s analogy, which, I contend, rests on Cavell’s interpretation (contra Von Wright) of Spengler’s influence on Wittgenstein. I argue that Cavell delineated the analogy in a way which does not consider a deeply felt gradation in Wittgenstein’s philosophical attitude toward modern music. This ultimately renders Schoenberg’s composition with twelve-tone incommensurate with Wittgenstein’s Spenglerian scheme of musical decline. I also argue that “Schoenbergian unheard” is not analogous to its purported Wittgensteinian counterpart. While the former inheres in comprehensibility—namely, correct, conscious application of the kind of contrived rules that would ensure coherence—the latter inheres in transparency, namely, a familiar physiognomy, which is internally related to the preconditions as well as the lived, embodied realities of musical intelligibility. From Wittgenstein’s perspective, the Schoenbergian idea of the row with its unforeseen yet pervasive consequences turns out to be tantamount to an idea of grammar for music for the meaning-blind. I conclude that in this “tale of two unheards,” Cavell invariably remains on the side of Wittgenstein. Philosophy, as it mattered most to him, has no business with music for the meaning-blind. (shrink)

Stanley Cavell isn't the first to arrive at philosophy through a life with music. Nor is he the first whose philosophical practice bears the marks of that life. Much of Cavell's life with music is confirmed for the world in his philosophical autobiography Little Did I Know. A central moment in that book is Cavell's describing the realization that he was to leave his musical career behind – for what exactly, he did not yet know. He connects (...) the memory-shock of this leaving with "the work of mourning." How does such a life out of music inform Cavell's philosophical sensibility? The thought I follow in this essay is that Cavell's distinctive orientation in philosophy – call this his lifelong coming to terms with his abandoning a life in music – is guided in part by an interest in those moments in experience where words seem to run out, or veer toward nonsense, leaving in their wake touchstones of ecstasy. I explore this idea by summarizing my exchange with Stanley Cavell years ago when I asked him whether certain passages from his essay "Music Discomposed" are depictions of the unsayable. Cavell's response is elaborated, or qualified, by considering a pair of moments in Little Did I Know where words appear to run out. I conclude by discussing culminating thoughts on the burden borne by words and their failure that appear in Cavell's late essay on music, "Impressions of Revolution.". (shrink)

The issue of skepticism emerges in Experience by Ralph Waldo Emerson. In Finding as Founding Stanley Cavell reads Emerson's essay as a contribution to the idealistic debate in order to recuperate Kant's 'thing in itself'. Placing that question in the ordinary space of everyday life makes Emerson a precursor of the attacks by Austin and Wittgenstein particularly regarding philosophy and skepticism. The possibility of redeeming our linguistic praxis and gaining some intimacy between language and world rises through a conversion (...) of our position in the world. However, this strategy of self-redemption seems to lack a warranty: the issue of skepticism still shows all its tragic relevance. (shrink)

What is properly Emersonian about moral perfectionism? Perhaps the best answer is: not much. Stanley Cavell's signature concept, which claims close kinship to Emerson's ethical philosophy, seems upon careful examination to be rather far removed from it. Once we get past the broad, unproblematic appeals to Emerson's “unattained but attainable self,” and consider the specific content and implications of perfectionism, the differences between the two thinkers become too substantive – and too fraught with serious misunderstandings – to be ignored. (...) It is above all Cavell's complete disregard for the Emersonian “moral sentiment” that jeopardizes his claim to be a continuator of Emerson's legacy in ethical philosophy. I would not deny that Cavell's own work stands as an extraordinary contribution to contemporary ethics. Nor would I dispute his title as the living philosopher who has done more than any other to restore Emerson to his rightful place in the history of American philosophy, as a thinker worthy of the highest consideration. Still less would I discount the boldness and originality of Cavell's readings of Emerson. What I am contesting, rather, is the propriety of attaching the label “Emersonian” to the notion of perfectionism, especially in view of its strong anti-metaphysical bias. The Emerson canon provides ample grounds for rejecting Cavell's claim as largely unsubstantiated and in a number of crucial ways inconsistent with the moral sentiment's firm grounding of ethics in ontology. (shrink)

In his early essay, “Must We Mean What We Say”, Cavell argues that the claims of ordinary language philosophers regarding “what we say when” are not empirical generalizations about a given group of speakers but are rather to be understood as measuring the limits of what counts as a coherent act of thinking and speaking. Cavell’s charge against the skeptic about the external world is that he seeks to think and speak beyond these limits. In this paper I (...) compare Cavell’s response to the skeptic to Davidson’s. Both base their responses on a broadly Kantian approach that appeals to the conditions under which thinking or speaking about objects is possible. On this approach the skeptic isn’t giving a false answer to an intelligible question, but rather, the question to which the skeptic is giving an answer is shown to be in some way unintelligible. But while Davidson’s critique of the skeptic is based on the conditions of ascribing meaning to one’s words, and contents to one’s beliefs, Cavell’s critique is based on the failure of the skeptic to mean the words he uses in the way that he needs. This difference expresses an underlying disagreement about the meaning of “meaning”: for Davidson the world comes into view through the meaning of our words and concepts, through the contents of our beliefs; for Cavell, the world comes into view through the agreement in “criteria” that are a condition of applying words and concepts to the world. This difference illuminates what Cavell calls “the truth of skepticism”: the idea that “my relation to the world and to others in general is not one of knowing”. (shrink)

My interest is the kind of philosophical vertigo that is a theme of Cavell’s work on scepticism. This describes the anxiety that is elicited via philosophical engagement with certain kinds of sceptical questions. There is a standing puzzle about this notion of vertigo, however, forcefully pressed, for example, by McDowell. Why should a resolution of the sceptical problem, one that putatively completely undercuts the motivation for scepticism in that domain, nonetheless generate vertigo in this sense? I aim to resolve (...) the puzzle, in a way that I believe underwrites this Cavellian notion, via consideration of Wittgenstein’s remarks on the structure of rational evaluation in his final notebooks, published as On Certainty. (shrink)

In this article I focus on Cavell’s theme of finding one’s voice, as it is articulated with reference to the philosophies of language of Wittgenstein and Austin. I start by spelling out Cavell’s Wittgensteinian-Austinian view of culture as the background for his approach to aesthetics and ethics. I then set out to explore the work done by the theme in aesthetics and ethics around the notion claim. I argue that Cavell’s effort to counter the pull of non-cognitivism (...) in aesthetics and ethics, building on the notion claim, is not only illuminating of his unique way of inheriting the history of analytic philosophy but also gives us a glimpse of where and how Continental and analytic philosophy may again cross paths in the future. (shrink)

This chapter is a substantially expanded version of (and so substantially supersedes) “Words Fail Me. (Stanley Cavell’s Life Out of Music)” that appeared in Inheriting Stanley Cavell: Memories, Dreams, Reflections (Bloomsbury, 2020). It offers to read Cavell’s claim that “philosophy, of a certain ambition, tends perpetually to intersect the autobiographical.” Its guiding thought is that a life that finds a home in philosophy from out of its devotion to music (as is true of, among others, Rousseau, Nietzsche, (...) and Wittgenstein, all philosophers Cavell wrote about and cared about) will take on a certain character. In Cavell’s case, his distinctive orientation in philosophy—call this his lifelong coming to terms with his abandoning a life in music—is guided in part by (1) an interest in those moments in experience where words seem to run out, or veer toward nonsense, leaving in their wake touchstones of ecstasy; and (2) an interest in the education of the senses, without which interest we risk their starvation. These twin claims are illustrated through an interweaving of remarks and reminiscences of Cavell on music that culminate in a reading of his last published pieces devoted to music, primarily “Impressions of Revolution.”. (shrink)

"William Day is . . . concerned to explore the dynamics of what Cavell calls 'a theology of reading' through a careful examination of a fragment of the philosopher's autobiography first published as 'Excerpts from Memory' (2006) and subsequently revised for Little Did I Know (2010). If, as Cavell suggests, 'the underlying subject' of both criticism and philosophy is 'the subject of examples', in which our interest lies in their emblematic aptness or richness as exemplars, exemplarity becomes central (...) to the aim of our reading. . . . Day considers how autobiography as a genre is preoccupied with the question of the author's exemplarity (Augustine or Rousseau), and in Cavell's retelling in 'Excerpts from Memory' he discusses how an event that Cavell would have us read allegorically - his move at the age of seven to a new apartment, his coming upon a familiar bowl containing nonpareils, his remark upon this to his father and his father's violent reaction - recasts a scene of paternal hatred as the child's offer of communion. Day suggests that this retelling proves to be redemptive: first, of the incident itself, and second, of the reader's own experience. Seeing how to read this autobiographical life as exemplary helps us to transfigure our own moments of deprivation into so many possibilities for freedom." --James Loxley and Andrew Taylor, introductory chapter to Stanley Cavell: Philosophy, Literature and Criticism, 15-16. (shrink)

This paper analyses the opposing accounts of ‘the ordinary’ given by Jacques Derrida and Stanley Cavell, beginning with their competing interpretations of J. L. Austin¹s thought on ordinary language. These accounts are presented as mutually critiquing: Derrida¹s deconstructive method poses an effective challenge to Cavell¹s claim that the ordinary is irreducible by further philosophical analysis, while, conversely, Cavell¹s valorisation of the human draws attention to a residual humanity in Derrida¹s text which Derrida cannot account for. The two (...) philosophers’ approaches are, in fact, predicated on each other like the famous Gestalt-image of a vase and two faces: they cannot come into focus at the same time, but one cannot appear without the other to furnish its background. (shrink)

It may be time to question analytic philosophy’s structural ignorance of the methods of ordinary language philosophy. Cavell’s Must We Mean What We Say? upsets the analytic tradition to this end, pursuing a “linguistic phenomenology” that focuses on ordinary language use as a resource for describing the world. Cavell thereby entrusts the tradition with a more ambitious and concrete philosophical task.

Iris Murdoch's famous case of M and D illustrates the moral importance of learning to see others in a more favourable light through renewed attention. Yet if we do not read this case in the wider context of Murdoch's work, we are liable to overlook the attitudes and transformations involved in coming to change one's mind as M does. Stanley Cavell offers one such reading and denies that the case represents a change in M's sense of herself or the (...) possibilities for her world of the kind exemplified by Nora in Ibsen's A Doll's House. In this essay, I challenge Cavell's reading, suggesting that the case, while it may not be an exemplar of the perfectionist outlook as described by Cavell, can and should be interpreted in perfectionist terms. To see this, I reflect on Murdoch's views on the endless perfectibility of language, the importance of humility, and the role of love and attention in moral learning. I conclude that Murdoch's work uniquely sheds light on how we might cultivate a perfectionist outlook in ourselves and others, and describes the distinctive role that some novels can play in moral education. (shrink)

This essay focuses on the explosive claim Cavell inserts in the middle of The Claim of Reason that a narrative history of a cer- tain style of philosophy should be called “Philosophy and the Rejection of the Human.” In order to understand the accusation, I shape interpretations of what Cavell means by nearly each of the terms of this dramatic sentence. I begin by comparing senses of “philosophy” by way of a comparison with Rorty’s critical review of The (...) Claim of Reason; I proceed by underlining how, in Cavell’s work, the notion “human” and its rejection also is entangled with that which Cavell describes as “skepticism.” It is necessary, therefore, to understand whether there is a specific characteristic difference between skepticism and the style of philosophy that is implicated in the “rejection of the human.” It seems as if there should be a difference, given Cavell’s noto- rious approval of the truth or the moral of skepticism and the apparent criticism of the philosophical style that rejects the human. I show that the difference can be discovered by focusing on Cavell’s understanding of criteria. In particular, I emphasize the (open) space of a subject’s relation to criteria, a subjective claim to universality without objectivity, in pursuing and extending Cavell’s own appeal to Kant’s Critique of Judgment. It is this subjective component that is rejected in the style of philosophy that Cavell singles out. (shrink)

This essay aims to understand the relations between Stanley Cavell’s theoretical generalities regarding the medium of film and his readings of individual films, with a particular focus on his writing on color in his book The World Viewed. I argue that a specific idea of color as connected to abstraction (as well as a correlative idea of black-and-white as connected to figuration) grounds the relations between Cavell’s general statements about color and his readings of individual color films, and (...) that this conception of color helps to bring out the level of medium specificity required for understanding Cavell’s notion of “projecting” a world. I likewise argue that this idea of color and abstraction lies behind Cavell’s claims about projecting a “unified” world in his writing on color’s connection with fantasy and futurity, in his approach to Jean-Luc Godard’s films, and even in his writing on color that follows The World Viewed. (shrink)

Memorial notice for Stanley Cavell originally published on the Harvard Philosophy Department website.

While Cavell is well known for his reinterpretation of the later Wittgenstein, he has never really engaged himself with post-Investigations writings like On Certainty. This collection may, however, seem to undermine the profoundly anti-dogmatic reading of Wittgenstein that Cavell has developed. In addition to apparently arguing against what Cavell calls ‘the truth of skepticism’ – a phrase contested by other Wittgensteinians – On Certainty may seem to justify the rejection of whoever dares to question one’s basic presuppositions. (...) According to On Certainty, or so it seems, the only right response to someone with different certainties is a reproach like ‘Fool!’ or ‘Heretic!’. This article aims to show that On Certainty need not be taken to prove Cavell wrong. It explains that Wittgenstein, in line with the first two parts of The Claim of Reason, does not reject scepticism out of hand but rather questions the sceptic’s self-understanding. Using arguments from Part Three of The Claim, the article moreover argues that a confrontation with divergence calls for self-examination rather than self-righteousness. Precisely because Wittgenstein acknowledges ‘the groundlessness of our believing’ or, in Cavellian terms, ‘the truth of skepticism’, he is not the authoritarian thinker that some have taken him to be. (shrink)

This essay argues that the exploration of scepticism and its implications in the work of Stanley Cavell and David Hume bears more similarities than is commonly acknowledged, especially along the lines of what I wish to call “sceptical naturalism.” These lines of similarity are described through the way each philosopher relates the “natural” and “nature” to the universal, the necessary, and the conventional.

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

The link is to an expanded, English version of this essay.

What is a fake artwork? This is seldom asked in aesthetics even though judging an artwork as excellent or original implicitly posits criteria for fraudulent or dubious artworks as well. This article presents Nelson Goodman’s proposal of how we are to understand fakes. It will criticize his predominantly cognitive approach for failure of incorporating a sense of aesthetic value, thereby leaving the possibility of artworks which are fakes but nevertheless originals unexplained. Instead Stanley Cavell’s writings on aesthetic judgment are (...) explored establishing a better frame for understanding these artworks. (shrink)

This essay distinguishes some significant commonalities and differences between the film-philosophies of Chilean filmmaker Raúl Ruiz (especially in his book Poetics of Cinema) and U.S. philosopher Stanley Cavell. I argue that despite shared senses of the poetics of the film image and certain shared philosophical references, Ruiz and Cavell differed over their conceptions of the model spectator and their relations to autonomous films and worlds from which spectators are excluded (on Cavell's picture) versus fragments out of which (...) the spectator might create their own films and worlds in which a spectator might become included (on Ruiz's picture). I then argue that a striking reconciliation between these perspectives takes place via each's conception of television, since it was precisely the features of the medium and its heteronomous parts that Cavell found bemusing from the perspective of his view of film (and its supposedly autonomous works) that allowed for Ruiz's natural career-long relationship with television and heteronomy, especially in Latin American telenovelas. I thus approach Ruiz's relation to telenovelas via Cavell's understanding of the possibilities of soap operas to explore arguments between different temporalities: "dialectical," narrative time and "undialectical" recurrences of needs and drives. I further explore this possibility with a reading of Ruiz's neglected, late-career Chilean TV series Litoral (2008), focused on the construction of stories by sailors aboard a ghost ship. I argue that the series' treatment of these different temporalities reaches its culmination in the poignant image of a sailor-storyteller stuck within a story of his own creation: a stark rendering of his taking a sideways-on view of the role of his own fantasies in its construction. (shrink)

A series of essays on film and philosophy whose authors - philosophers or film studies experts - write on a wide variety of films: classic Hollywood comedies, war films, Eastern European art films, science fiction, showing how film and watching it can not only illuminate philosophy but, in an important sense, be doing philosophy. The book is crowned with an interview with Wittgensteinian philosopher Stanley Cavell, discussing his interests in philosophy and in film and how they can come together.

This article highlights sympathies between Wang Yangming's notion of zhenzhi (real knowing) and Stanley Cavell's concept of acknowledgment. I begin by noting a problem in interpreting Wang on the unity of knowing and acting, which leads to considering how our suffering pain figures in our “real knowing” of another's pain. I then turn to Cavell's description of a related problem in modern skepticism, where Cavell argues that knowing another's pain requires acknowledging it. Cavell's concept of acknowledgment (...) answers to Wang's insistence that knowing and acting are one, and corrects Antonio Cua's very different appropriation of “acknowledgment” to explain Wang's doctrine. (shrink)

This essay provides an interpretation of the potential and limits of Michael Fried's difficult claims in his essay "Art and Objecthood" (1967) that cinema by its nature escapes the problems of modernism and also escapes the problems of theater. By focusing on Stanley Cavell's account of how cinema as an automatic medium escapes problems associated with variability across performances, I try to render a version of Fried's claim about cinema and theater that can ground a figurative version of his (...) claim about cinema and modernism, where film at least provides us a symbol of relief from concerns about medium specificity. In the second part of the essay I argue that something close to Cavell's and Fried's thoughts (about using the figure of theater to remind us of cinema's specificity, but also of cinema in its character as a symbol of relief from medium-specific concerns) takes on a certain urgency in questions about what cinema is in the digital age, manifested in representations of theater in the digitally photographed "Shakespeariadas" series by the contemporary Argentine filmmaker Matías Piñeiro. (shrink)

An analysis of some work by the Oaxaca-based Mexican experimental filmmaker and video artist Bruno Varela via the latter’s reading of the late U.S. philosopher Stanley Cavell, especially Cavell’s 1982 essay “The Fact of Television.” This essay focuses on the aesthetic possibilities of the very constitution of the electronic image, based in Cavell’s understanding of television’s dependence on notions of “switching,” as opposed to “succession,” as well as how those notions play a role in Varela’s understanding of (...) what it is to critique communications media while retaining their communal potential. Audiovisual work by Varela discussed in this essay include Línea 3 (2010-11) and Materia oscura (Dark Matter, 2016). (shrink)

Can we gain knowledge by reading literature? This essay defends an account of reading, developed by Stanley Cavell and Hans-Georg Gadamer, that phenomenologically describes the experience of acquiring self-knowledge by reading literary texts. Two possible criticisms of this account will be considered: first, that reading can provide other kinds of knowledge than self-knowledge; and, second, that the theory involves illegitimately imposing subjective meaning onto a text. It will be argued, in response, that the self-knowledge gained in reading allows one (...) to gain other sorts of knowledge too, and that the reading process described by Gadamer and Cavell avoids excessive subjectivism. (shrink)

: Thoreau's journal contains a number of passages which explore the nature of perception, developing a response to skeptical doubt. The world outside the human mind is real, and there is nothing illusory about its perceived beauty and meaning. In this essay, I draw upon the work of Stanley Cavell (among others) in order to frame Thoreau's reflections within the context of the skeptical questions he seeks to address. Value is not a subjective projection, but it also cannot be (...) perceived without the appropriate kind of emotional orientation or attunement toward the world: that is, an attitude of trust or acceptance. Without this affective receptivity, or "perceptual faith," our knowledge of reality is limited. The beliefs we hold onto in the face of objective uncertainty establish the framework within which we make particular evaluations, and in this sense they are a necessary condition of practical reason. Every understanding has its mood. (shrink)

This paper proposes a critical synthesis about different theories of time in physics and a new interpretation of its operational reality. We built it on two, deeply analyzed, fundamental ideas: the mathematical nature of Newtonian and relativistic time and the consequent need to build physical theories of time starting from the measurements obtained by real clocks. We observe that relativistic theories refer to axiomatic assumptions about clocks, probably not verified by experiments if we use clocks of different construction. We propose (...) the concept of evolutionary internal time and we conclude that a new interpretation of the nature of physical time should arise from a deep and accurate reflection about the rate of clocks. We believe that this approach to the question could open new theoretical perspectives about the evolution of physical systems. (shrink)

Stanley Cavell’s account of aesthetic judgment has two components. The first is a feeling: the judge has to see, hear, ‘dig’ something in the object being judged, there has to be an ‘emotion’ that the judge feels and expresses. The second is the ‘discipline of accounting for [the judgment]’, a readiness to argue for one’s aesthetic judgment in the face of disagreement. The discipline of accounting for one’s aesthetic judgments involves what Nick Riggle has called a norm of convergence: (...) the judge aims to get one’s audience to taste see or hear what the judge tastes or sees or hears in the object being judged. Because of the unmistakable difficulty in reaching agreement in aesthetic judgment, Riggle has denied that aesthetic judgment requires a convergence norm and has proposed instead that it requires ‘a kind of harmony of individuality’ (which Riggle calls ‘vibing’). We argue that Cavell offers a version of the convergence norm that is distinct from those that Riggle criticizes, namely Kant’s demand for agreement and Andy Egan’s presupposition of similarity in dispositions in ‘non-defective’ aesthetic conversations. Cavell’s version of the convergence norm is ‘the hope of agreement’. One can hope that one’s audience will agree with one’s aesthetic judgments even when one isn’t in a position to demand agreement or to presuppose similarity in the dispositions that would make agreement more likely. Cavell’s distinct convergence norm avoids Riggle’s criticisms and contributes to a richer account of what’s going on when we disagree about aesthetic matters. (shrink)

Questions Cavell's thesis that scepticism is a "natural" condition for mankind, by exploring certain historical developments (such as the scientific revolution) which does give scepticism a "natural" place in modern thinking. Emphasis is laid upon the question how scepticism can be an overwhelming ordinary experience, which is traced back to the establishment of devices such as the microscope.