In recent decades, the internet has become our predominant public space and yet the role of art in this space remains largely unthought. This paper argues that graphic art, and in particular digital graphic art, has great power to shape and transform our thinking and experience. But with that power comes an enormous political and ethical responsibility, a responsibility too often ignored by programmers and computer scientists. This paper uses the work of Denis Schmidt and Jacques Taminiaux as important resources (...) for developing a Heideggerian response to this lack. (shrink)

When comparing alternative courses of action, modern military decision makers often must consider both the military effectiveness and the ethical consequences of the available alternatives. The basis, design, calibration, and performance of a principles-based computational model of ethical considerations in military decision making are reported in this article. The relative ethical violation (REV) model comparatively evaluates alternative military actions based upon the degree to which they violate contextually relevant ethical principles. It is based on a set of specific ethical principles (...) deemed by philosophers and ethicists to be relevant to military courses of action. A survey of expert and non-expert human decision makers regarding the relative ethical violation of alternative actions for a set of specially designed calibration scenarios was conducted to collect data that was used to calibrate the REV model. Perhaps unsurprisingly, the survey showed that people, even experts, disagreed greatly amongst themselves regarding the scenarios’ ethical considerations. Despite this disagreement, two significant results emerged. First, after calibration the REV model performed very well in terms of replicating the ethical assessments of human experts for the calibration scenarios. The REV model outperformed an earlier model that was based on tangible consequences rather than ethical principles, that earlier model performed comparably to human experts, the experts outperformed human non-experts, and the non-experts outperformed random selection of actions. All of these performance comparisons were measured quantitatively and confirmed with suitable statistical tests. Second, although humans tended to value some principles over others, none of the ethical principles involved—even the principle of not harming civilians—completely overshadowed all of the other principles. (shrink)

How can we acquire understanding? Linda Zagzebski has long claimed that understanding is acquired through, or arises from, mastering a particular practical technê. In this paper, I explicate Zagzebski’s claim and argue that the claim is problematic. Based on a critical examination of Zagzebski’s claim, I propose, in conclusion and in brief, a new claim regarding the acquisition of understanding.

Informatics is generally understood as a “new technology” and is therewith discussed according to technological aspects such as speed, data retrieval, information control and so on. Its widespread use from home appliances to enterprises and universities is not the result of a clear-cut analysis of its inner possibilities but is rather dependent on all sorts of ideological promises of unlimited progress. We will discuss the theoretical definition of informatics proposed in 1936 by Alan Turing in order to show that it (...) should be taken as final and complete. This definition has no relation to the technology because Turing defines computers as doing the work of solving problems with numbers. This formal definition implies nonetheless a relation to the non-formalized elements around informatics, which we shall discuss through the Greek notion of téchne. (shrink)

The relationship between the physical world and technology is fraught with complications; and yet both physis and techne are necessary to create the environment in which humanity may flourish. Approaching the issue from a philosophical standpoint, this article introduces a series of papers that deal with the interface between philosophy and technology, the critical discussion of the challenges posed by technologies, and their impact or implications.

Aquinas’s characterization of sacra doctrina has received sustained engagement addressing its relation to contemporary conceptions of theology and Aristotelian conceptions of science. More recently, attention has been paid to Aquinas’s neo-Platonist influences, and the way they lead him to subvert purely Aristotelian categories. I therefore combine these themes by introducing the first study of whether sacra doctrina counts as a technê in Plato’s sense. After examining how Platonic technê relate to their ergon. epistasthai, gignôskein, and epistêmê and examining sacra doctrina’s (...) relationship to each of these Platonic categories, I suggest that sacra doctrina is an unqualified Platonic technê. (shrink)

Wie bekannt hat Scheler den Begriff der "phänomenologischen Reduktion" ausdrücklich von Husserl übernommen1, dennoch behauptet in der letzten Schaffensperiode ebenso deutlich, den Terminus "Phänomenologie" vermeiden zu wollen, und tatsächlich verwendet er entweder den Ausdruck "phänomenologische Reduktion" in Anführungszeichen oder den Begriff "Techne der Reduktion". Die These, die ich zu entwickeln versuchen werde, ist, daß es bei Scheler nicht nur eine einzige Theorie der Reduktion gibt und daß, ebenso wie verschiedene Realitätstheorien zu unterscheiden sind, ebenso viele Versuche zu erkennen sind, (...) die das Thema der Reduktion behandeln. Diese Versuche sind in großen Zügen auf zwei "Varianten" zurückzuführen: Die erste Variante ist jene, die wir alle kennen und die Scheler selbst in seiner mittleren Schaffensperiode als "phänomenologische Reduktion" bezeichnet. Die zweite Variante der Reduktion wird von ihm nicht eindeutig bestimmt, und es ist auch schwierig, dafür eine Bezeichnung zu finden. Auf jeden Fall verbindet sie Scheler mit Begriffen wie Sublimierung, Ekstase, Askese, "moralischer Aufschwung", etc.. Um sie von der ersten Variante zu unterscheiden werde ich sie "kathartische Reduktion" nennen, wobei das Wort "Katharsis" im Sinne von Platon gemeint ist. (shrink)

Techne and Truth. The problem of techne in the dispute between Gorgias and Plato -/- The source of the problem matter of the book is the Plato’s dialogue „Gorgias”. One of the main subjects of the discussion carried out in this multi-aspect work is the issue of the art of rhetoric. In the dialogue the contemporary form of the art of rhetoric, represented by Gorgias, Polos and Callicles, is confronted with Plato’s proposal of rhetoric and concept of art (...) (techne). The ingenuous and dramatic structure of the dialogue composed of three acts, in each of which Socrates’ consecutive interlocutors emerge, is difficult to interpret. It seems, however, that even though the first conversation between Socrates and Gorgias constitutes a small part of the dialogue, it forms the foundations for the discussion. This part, dealing with such important issues as the subject of art, knowledge, power and relation between art and good, is the starting point for the conversations which follow. What do the differences between the Gorgias’ and Plato’s concepts of art consist in? Any attempt to answer the question requires presentation of the background for the discussion taking place in Plato’s work as well as the reconstruction of Gorgias’ vision of the art of rhetoric and art in general, defining the relation between art and knowledge. The latter may be undertaken on the basis of two paraphrases of the treatise “On Non-existence”, two epideictic speeches entitled “Helen” and “Palamedes” and some smaller fragments which have been preserved from Gorgias’ creative output. The treatise “On Non–existence”, very paradoxical in its philosophical meaning, testifies to new, sophistic thinking represented by Gorgias of Leontinoi. The treatise is the polemic and attack on Eleatism based on certain principles and methods elaborated by the Eleatics themselves. It also shows that Gorgias – using traditional Eleatic schemes – is opposed to this tradition. Even though the treatise does not discuss the problem of art directly, it anticipates the considerations from epideictic speeches. “Helen” and “Palamedes” constitute further stages in the development of Gorgias’ thought and concept of art combining typically epideictic elements with some philosophical convictions. Gorgias refers to the Eleatic theme considering the issues of truth, knowledge and belief, yet defining them in the empirical spirit. Solutions in the cognitive sphere determine the horizon of Gorgias’ rhetoric. The word is separated from the existence. Human cognition is limited and therefore the word and visual images affect the belief. This promotes the great importance of rhetoric, painting and sculpture, i.e. the areas which influence in a specific way – creating the “delusion” (ἀπάτη). Through idealization art provides pleasure, which is its objective. Therefore the task of art is to create delusion. The rhetor of Leontinoi discusses the issue of “how?” to use the word ‘rhetoric’. Gorgias is aware that rhetoric may be used to talk about what is unknown and that technical correctness of a rhetoric statement is not identical with the truthfulness of the proclaimed message. Mentioning it, Gorgias shows his respect to the truth as a value which should be respected in speech on the one hand, and on the other emphasizes that the truth in itself has no persuasive power. For this reason it is not enough to proclaim the truth, but, to convince the listeners, the orator should possess the skill of speaking. What is then the relation between truth and art emerging from epideictic speeches? Gorgias undoubtedly emphasizes the formal aspect of speech, as rhetoric is art, thus an ability based on certain principles. According to Gorgias, the truth is the value which should be respected in speeches. Rhetoric is able to create a fictive world, as a great range of reality remains outside direct human experience. Rhetoric does not oppose the truth but discussing not only what is directly given concerns the area outside the sphere of direct experience. This concept of rhetoric is the basis of the discussion about art carried out in the dialogue “Gorgias”. Even though the first of the discussions in the dialogue – the conversation between Socrates and Gorgias – is directly concerned with rhetoric itself, numerous remarks testify to its much wider character. This is best exemplified by the way of carrying out the conversation by Socrates, who, asking questions about rhetoric practised by Gorgias, throughout the whole conversation compares it with other skills. Additionally, the manner and the structure of the conversation prove that Plato considers the issue of rhetoric from a wider perspective determined by the issue of art. The specific feature of the conversation is ordering it around main issues – such notions as πρᾶγμα, ἐπιστήμη, δύναμις, each of which has its own meaning in Plato. In the first part of Gorgias Plato presents the principles previously occurring in other dialogues in a certain order, thus constructing the structure of the conversation with Gorgias. The notions are not novum in Plato but the fact that he clearly wants to systematise them and present a certain concept of art is a new and significant aspect. This tendency is of paramount importance for the discussion because Gorgias’ answers are evaluated by Plato from the perspective of this clearly set concept consisting of not only established notions but also certain principles. The discussion between Socrates and Gorgias introduces a theme which is crucial for the dialogue: the relation between art and good, i.e. the technical and ethical spheres. The issue is introduced by Gorgias, who mentions that rhetoric may be used for evil purposes. On this basis Socrates proves that if rhetoricians can use rhetoric for evil purposes, they have no knowledge concerning the subject of their art – justice, because one who knows what is just, always acts justly. Thus the relation between the technical and ethical spheres transpires to be the main point of contention. The question is whether a technician following the principles of the art he practices may act against good. This paradoxical statement based on the well-known Socrates’ principle "nemo sua sponte peccat" acquires philosophical foundations in the dialogue. In its remaining two parts Plato presents a justification, placing the principle within the framework of a certain concept of art, as a result of which not only rhetoric but also many other skills are criticised. The notions on which the conversation with Gorgias focuses are more precisely defined in the subsequent parts of the dialogue. Additionally, Plato presents twice the conditions which art should fulfill. They oblige the “technicians” to know the nature and purpose of the art and to know the causes of undertaken activities and to be able to justify them. These conditions determine the relation between the two spheres – technical and ethical. According to Plato, art may not act against good because it should be the objective of its activities. Certain concepts of good and knowledge outlined in the dialogue are the guarantees of “technicality”. Good, which should be respected by every art, is understood objectively and is contrasted with subjective pleasure. Knowledge, which should be the basis of art, opposes experience, which uses observation and recollection. Additionally, the definition of knowledge, significance of order in the world assuming the form of “geometrical equality”, significance of mathematics becoming the ideal of exactness indicate that Plato’s concept of knowledge is formed in Gorgias. These conclusions render it impossible that the results of any activity deserving the name of art should oppose good. And this is Plato’s main reproach of Gorgias’ concept, who wrote about false speeches possessing the power of conviction because they were written according to the principles proof of art or who defined tragedy as “a deceit, where he who cheats is more just than he who does not and the cheated is wiser than he who was not cheated”. Such determination of the relation between the technical and ethical sphere resulted from Gorgias’ concept of the world and fundamental philosophical principles. The whole concept of art described by Plato in the dialogue opposes the view presented by Gorgias. According to Plato, every technical activity has a defined object (ἔργον), is based on knowledge (ἐπιστήμη) and is always aimed at the good of human soul or body. The danger revealed and presented in the dialogue by Plato exists in the very concept of art presented by Gorgias, i.e. in its empirical foundations and the resulting understanding of the relation between art and good. Gorgias’ concept of art based on empirical cognition, which concerns the world of phenomena and rejects the possibility of perfect knowledge, leads, according to Plato, to a dangerous falsification of the relation between art and good. Plato proves that this weakness of Gorgias’ concept is revealed when confronted with these representatives of “the magnificent art” who are not protected against radicalism by the adherence to the moral tradition. The comparison of two, completely contrasting concepts of art based on different philosophical understanding of knowledge and good is decisive for the criticism of rhetoric in Gorgias. The concept presented by Plato criticises contemporary rhetoric and sophistry but determines the direction of research of the real art of rhetoric. (shrink)

In this second of a 2-part survey of Aristotle’s epistemology, I present an overview of Aristotle’s views on technē (craft or excellent productive reason) and phronēsis (practical wisdom or excellent practical reason). For Aristotle, attaining the truth in practical matters involves actually doing the right action. While technē and phronēsis are rational excellences, for Aristotle they are not as excellent or true as epistēmē or nous because the kinds of truth that they grasp are imperfect and because they are excellent (...) states for humans, not simply speaking. I then discuss why Aristotle takes sophia (wisdom), understanding and scientific knowledge of the best things, to be its own excellence. While this is the best cognitive state for human beings, I argue that Aristotle thinks divine cognitive activity is different in kind and more perfect than any human activity. (shrink)

Departing from the premise that the poststructuralist paradigm still reigns supreme in feminist and gender theory, that is, despite the niche efforts made in the past two decades to challenge it linked to the so called “speculative” turn or the materialisms (and realisms) emerging from the feminist field itself (such as the Utrecht School, inspired by Rosi Braidotti), we set the call for papers for the issue before you in terms that would invite authors ready to challenge the dominant epistemic (...) framework. We invited papers that engage with materialism(s), realism(s), sciences and projects engaged in rethinking the post-human beyond the poststructuralist (and, we dare say, postmodern/ist) norm. -/- . (shrink)

One of the main features that distinguish modern novel from traditional one is the use of new narrative techniques such as monologue, flow of consciousness, leitmotiv and intertextuality. These techniques relate to new approaches that take shape in formal elements such as time, characters and event patterns that make up the modern novel. Which expression technique is used in the work is often related to the form and content of the novel. This research examines the Kevâbîsu Beyrût, which uses modern (...) and post modern expression techniques in the Arab novels of the last century, in the context of the content of the work and reveals the appropriateness of the techniques used for the purpose of the work. The authors of the novel, autobiographical, tried to convey the feelings of a civil war in many ways, and remained in the midst of conflicts. The techniques that came to the forefront in his narration have added aesthetic value to the composition of the narration and it has become one of the famous Arab novels. The introduction part of the work consists of the factors that prepared the ground for the civil war that took place in Lebanon between 1975 and 1990, the first chapter, the work of writer Gâde es-Semman, the third chapter; Kevâbîsu will investigate the relation between the narrative techniques of the novel Beirut and the factors leading to the writing of the work. (shrink)

Many philosophers working on virtue theory have resisted the idea that the virtues are practical skills, apparently following Aristotle’s resistance to that idea. Bucking the trend, Matt Stichter defends a strong version of this idea in The Skillfulness of Virtue by marshaling a wide range of conceptual and empirical arguments to argue that the moral virtues are robust skills involving the cognitive-conative unification of Aristotelian phronêsis (‘practical intelligence’). Here I argue that Aristotle overlooks a more delimited kind of practical intelligence, (...) strongly analogous to his own account of phronêsis, that unifies complex forms of expertise such as medicine or even high-level sports. Insofar as the skill model of virtue is compelling, it must draw on a robust conception of practical expertise (technê) like the one developed here rather than the ordinary, anemic conception of practical skills. (shrink)

Usually technological innovation and artistic work are seen as very distinctive practices, and innovation of technologies is understood in terms of design and human intention. Moreover, thinking about technological innovation is usually categorized as “technical” and disconnected from thinking about culture and the social. Drawing on work by Dewey, Heidegger, Latour, and Wittgenstein and responding to academic discourses about craft and design, ethics and responsible innovation, transdisciplinarity, and participation, this essay questions these assumptions and examines what kind of knowledge and (...) practices are involved in art and technological innovation. It argues that technological innovation is indeed “technical”, but, if conceptualized as techne, can be understood as art and performance. It is argued that in practice, innovative techne is not only connected to episteme as theoretical knowledge but also has the mode of poiesis: it is not just the outcome of human design and intention but rather involves a performative process in which there is a “dialogue” between form and matter and between creator and environment in which humans and non-humans participate. Moreover, this art is embedded in broader cultural patterns and grammars—ultimately a ‘form of life’—that shape and make possible the innovation. In that sense, there is no gap between science and society—a gap that is often assumed in STS and in, for instance, discourse on responsible innovation. It is concluded that technology and art were only relatively recently and unfortunately divorced, conceptually, but that in practices and performances they were always linked. If we understand technological innovation as a poetic, participative, and performative process, then bringing together technological innovation and artistic practices should not be seen as a marginal or luxury project but instead as one that is central, necessary, and vital for cultural-technological change. This conceptualization supports not only a different approach to innovation but has also social-transformative potential and has implications for ethics of technology and responsible innovation. (shrink)

Observing certain affinities with Plato’s Alcibiades I , this paper argues that a distinction between care (epimeleia ) of the soul and philosophy as its art (technê ) is reflected in Aristotle’s Protrepticus . On the basis of this distinction, it claims that two notions of philosophy can be distinguished in the Protrepticus : philosophy as epistêmê and philosophy as technê . The former has the function of contemplating the truth of nature, and Aristotle praises it as the natural telos (...) of human beings; whereas philosophy as technê helps nature to accomplish the end it designed for human beings. It emerges that according to Aristotle in the Protrepticus philosophy is the art of making oneself coincide with one’s nature as a human being. (shrink)

A new book by Roberto Marchesini, Tecnosfera, is reviewed. Technosfera serves as an in-depth exploration of the concept of techne and its relation to humanist and posthumanist thought for professionals. The book's core methodology is to explore the geneaological, linguistic and philosophical differences between the humanist and posthumanist concepts of techne and show how the latter is less contentious and favourable. The book is informationally dense, well-argued and academically current, providing seasoned scholars with a novel exploratory approach to (...) posthumanist theory. (shrink)

Paideutike techne (paideutyka) to teoretyczna i praktyczna wiedza o paidei. Platon łączy genezę tej techne z sofistyką Protagorasa. Celem pracy jest zbadanie genezy pojęcia paidei na podstawie zachowanych źródeł z V wieku p.n.e. (poezji lirycznej i dramatycznej, prozy sofistycznej i historycznej) oraz próba rekonstrukcji koncepcji paideutycznych Protagorasa z Abdery i ukazania ich jako źródła inspiracji dla Platona.

It is widely agreed that hypocrisy can undermine one’s moral standing to blame. According to the Nonhypocrisy Condition on standing, R has the standing to blame some other agent S for a violation of some norm N only if R is not hypocritical with respect to blame for violations of N. Yet this condition is seldom argued for. Macalester Bell points out that the fact that hypocrisy is a moral fault does not yet explain why hypocritical blame is standingless blame. (...) She raises a challenge: one must explain what is distinct about hypocritical blame such that the hypocritical blamer lacks the standing to blame, even if the arrogant or petty blamer does not. Of those writing on hypocrisy, only we offer a direct response to Bell’s challenge. Recently, however, our account has come under criticism. We argue here that (1) our account can handle these criticisms and that (2) no other rival account adequately addresses Bell’s challenge of explaining what is uniquely objectionable about hypocritical blame. Because answering Bell’s challenge is a necessary component of any plausible account of the relationship between hypocrisy and standing, our account remains the best on offer. (shrink)

Should we use the same standard of proof to adjudicate guilt for murder and petty theft? Why not tailor the standard of proof to the crime? These relatively neglected questions cut to the heart of central issues in the philosophy of law. This paper scrutinises whether we ought to use the same standard for all criminal cases, in contrast with a flexible approach that uses different standards for different crimes. I reject consequentialist arguments for a radically flexible standard of (...) proof, instead defending a modestly flexible approach on non-consequentialist grounds. The system I defend is one on which we should impose a higher standard of proof for crimes that attract more severe punishments. This proposal, although apparently revisionary, accords with a plausible theory concerning the epistemology of legal judgments and the role they play in society. (shrink)

Socrates’ refutations of Thrasymachus in Republic I are unsatisfactory on a number of levels which need to be carefully distinguished. At the same time several of his arguments are more powerful than they initially appear. Of particular interest are those which turn on the idea of a craft, which represents a shared norm of practical rationality here contested by Socrates and Thrasymachus.

Today, there is a family of celebrated police strategies that teach the importance of cracking down on petty crime and urban nuisance as the key to effective crime control. Under the “broken windows” appellation, this strategy is linked in the public mind with New York City and the alleged successes of its police department in reducing the rate of crime over the past two decades. This paper is critical of such order maintenance approaches to policing: I argue that infringements (...) of civil liberty by such departments could be reduced if the departments looked at law more as a good to be served for its own sake and less as an instrument for the promotion of order. In other words, a shot of legalism is the correct medicine to reduce police misconduct that pierces the law’s protections of citizen freedom. -/- This Article contributes to the critical literature on broken windows policing by reassessing the work of the famous Harvard scholar (James Q. Wilson) who fathered it. The Article takes Wilson’s work and turns it on its head, drawing very different prescriptive conclusions than he did himself. (shrink)

Spite is typically considered a vicious emotion that causes us to engage in petty, vindictive, and sometimes self-destructive behavior. Even though it has this bad reputation, I will argue that spite is a reactive attitude. Spite is emotional defiance of another’s command: to spite you, I will do something exactly because you told me not to. Our liability to feelings of spite presupposes that we recognize others as having practical authority, which is why it qualifies as a reactive attitude. (...) I conclude by offering conditions under which spite can be justified and unjustified. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 61.3 (2000) 453-471 [Access article in PDF] Liberty, Authority, and Trust in Burke's Idea of Empire Richard Bourke When Edmund Burke first embarked upon a parliamentary career, British political life was in the process of adapting to a series of critical reorientations in both the dynamics of party affiliation and the direction of imperial policy. During the period of the Seven Years' War, (...) a reconstituted militia became a focus for patriotic enthusiasm, uniting national sentiment against France and effectively eradicating the remnants of Jacobite rhetoric and aspiration. Traditional opposition between Tory and Whig became irrelevant, while Court and Country jointly came to the support of the Pitt-Newcastle ministry. However, in due course the Old Corps disintegrated as George III succeeded to the throne with the promise of an end to factional strife and the beginning of a patriotic alliance in government. But while competing ideologies and interests on the domestic political scene were undergoing comprehensive realignment, the pursuit of a blue-water policy in tandem with strategic continental campaigns brought Britain's struggle against France into North America, the Caribbean, and India. Trade continued to expand into Asia and West Africa, but the principles of commercial advantage were continually brought into open conflict with the exigencies of war. The division of power in Europe became embroiled in a substantial redivision of empire, and by 1763 British territorial expansion had reached its zenith.When Burke was appointed private secretary to the Marquis of Rockingham, with the national debt standing at an all time high and the demands of imperial defense unlikely to diminish, the politics of empire called for urgent attention from all sections of the political establishment. In particular the Rockinghamites, adopting a posture of aloofness from venality and petty interest, were obliged to advance policies for imperial government on the solid basis of political principle. 1 Coming into parliament as a member for Wendover in the wake of [End Page 453] Grenville's Stamp Act, at a time when the East India Company was assuming control of the revenue in Bengal, Burke set about formulating a doctrine of imperial sovereignty which would be serviceable to the party either in power or in opposition and which would be adequate to the complex reality of detached and extensive empire. The immediate reception of that inquiry, both in Britain and on the Continent, into the fraught world of post-Revolutionary political debate has had the long-term effect of distorting the order of emphasis in terms of which his career as a whole ought properly to be understood.The vigorous elaboration, in opposition to the Jacobin experiment in France, of the conditions under which moderate government could be exercised within the context of an absolute sovereignty was expressed in terms which had originally been invoked as part of a sustained attempt to reconcile civility with empire. As we shall see, that attempt involved a process of delicate coordination by means of which the interests of freedom would be brought into harmony with the demands of public power. In that sense the effort to make liberty and authority mutually responsible can be said to constitute the core ambition of Burke's political rhetoric. In this context responsibility defines the optimally beneficial relation between government and people on the one hand and national sovereignty and the extended empire on the other. This article outlines the practical and theoretical exploration of those relations within the frame of Burke's intervention in the world of eighteenth-century political discourse.Burke was of course well placed in 1765 to evolve a theory of imperial government that was at once ideologically compelling and politically viable. In his capacity as secretary to William Gerard Hamilton in the early 1760s he had already examined the corruption of legitimate empire as represented by the introduction of penal legislation into Ireland after 1694. The Tracts Relating to Popery Laws set out to convict the Irish Parliament in Dublin of flagrant misrule. A subordinate legislature within the empire is charged with having employed... (shrink)

As a full expression of techne, the information society has already posed fundamental ethical problems, whose complexity and global dimensions are rapidlyevolving. What is the best strategy to construct an information society that is ethically sound? This is the question I discuss in this paper. The task is to formulate aninformation ethics that can treat the world of data, information, knowledge and communication as a new environment, the infosphere. This information ethics must be able to address and solve the (...) ethical challenges arising in the new environment on the basis of the fundamental principles of respect for information, its conservation and valorisation. It must be an ecological ethics for the information environment. (shrink)

Dance, as a mode of physical interaction, offers opportunities to care and be cared for, but this does not mean that dancers will, in fact, care. There may be no moral motivation underlying a lift, dip or intricate sequence of coordinated action. Choreographic scores may (knowingly or not) encourage merely perfunctory movements that are a poor simulacrum to care. Moreover, the caring that is expressed through dance need not transfer to other walks of life. I am not alone in knowing (...) spectacularly talented dancers whose behaviour off the dance floor is far from ethical – from the arrogant and petty to the flagrant abuse that plagues institutions of art and culture. This article considers how dance can illuminate both the acts and sentiments of care, conveying particular ethical orientations that trouble straightforward, absolute moral reasoning. The article frames an enquiry into the relation between ethics and aesthetics of care, drawn from feminist epistemologists Joan Tronto, Maurice Hamington, and Nel Noddings, as well as my own performance research on partnering. I frame a zone between technique and competence, foregrounding care in dance as both a technical and ethical issue. I will consider the necessary conditions by which dancing together can manifest care, rather than suggest blanketly that it always does or even that it should. To make this argument, I will describe and analyse Considered Care, a duet I created in the autumn of 2021 in collaboration with Boston Ballet. This performance research project provided the material from which to consider the concept of need, a condition of care in a dancing situation. I will conclude by considering the relationship between needs and trust in conceptualizing care within partnering. (shrink)

We propose a natural definition of what it means in a constructive context for a Banach space to be reflexive, and then prove a constructive counterpart of the Milman-Pettis theorem that uniformly convex Banach spaces are reflexive.

The scope of the paper is to present the concept of the radical dyad of the “non-human,” in an attempt to think radical humanity in terms of Marxian materialism, which is the product of approaching Marx’s writings on “the real” and “the physical” by way of François Laruelle’s non-philosophical method. Unlike posthumanism, inspired by critical theory and the method of poststructuralism, the theory of the non-human, as a radical dyad of technology in the generic sense of the word (ranging from (...) the techné of speaking a natural language to AI technology) and the organic understood as physicality, does away with anthropocentrism. Moreover, it does away with any anthropomorphology of thought, that is, it does away with any theorizing or philosophy that is centered on the notion of (human) subjectivity or, to borrow a Laruellian term, any “posture of thought” that is molded according to the structure of subjectivity centered thinking. (shrink)

This chapter discusses some conceptual undercurrents, which flow beneath the surface of the literature on information and computer ethics (ICE). It focuses on the potential impact of Information and Communication Technologies (ICTs) on our lives. Because of their 'data superconductivity', ICTs are well known for being among the most influential factors that affect the ontological friction in the infosphere. As a full expression of techne, the information society has already posed fundamental ethical problems, whose complexity and global dimensions are (...) rapidly evolving. The task is to formulate an ethical framework that can treat the infosphere as a new environment worth the moral attention and care of the human inforgs inhabiting it. We have begun to see ourselves as connected informational organisms (inforgs), not through some fanciful transformation in our body, but, more seriously and realistically, through the re-ontologization of our environment and of ourselves. (shrink)

One of the central strengths of Salem's analysis of Nasserism is that she recognizes both its world-historical significance as a progressive nationalist movement, and its severe limitations. In the first section of this paper, I discuss Salem's notion of the "afterlives" of the Nasserist project by drawing attention to one of the most debilitating legacies of that project, namely the transformation of Egyptian politics into petty bourgeois politics. In the second section, I argue that while Salem does not explicitly (...) draw on Hegel's understanding of tragedy in her account of Nasserism, her analysis of Nasserism essentially amounts to depicting it as a Hegelian tragedy. By placing Salem's book in conversation with Hegel (and his philosophy of action), we can make explicit what I take to be one of the central claims made by Salem, namely that when passing judgment on past and present national liberation movements we should remember that innocence is "only non-action, like the mere being of a stone" [nur das Nichttun wie das Sein eines Steines] (Hegel 1986, 346). In the third section of this paper, I raise some critical points about Salem's characterization of the nationalism that was associated with the Nasserist project, as well as about the deployment of the concept of modernity in her analysis. I argue that her account of modernity in the book does not distinguish between the concept of modernity as it refers to a certain kind of normative philosophical discourse, and modernization theory qua theory of development. Finally, I draw on Salem's use of the concept of hegemony in order to pose a question regarding the political significance of the contemporary cultural hegemony of Islamist movements in Egypt. (shrink)

This paper argues that juridification has become the enemy of legality. By 'juridification' is meant the proliferation of legal norms and legally recognized norms. By legality is meant conformity with the ideal of the rule of law. The paper begins with the most obvious ways in which juridification threatens legality. Too much law makes the law on any subject hard to discover, hard to remember, and hard to follow. It also makes us too dependent on the discretion of petty (...) officials, who are therefore not sufficiently constrained by law. But the paper looks beyond the discretion of petty officials and argues that, in a way, the biggest threat to legality of our age comes from the proliferation of contractual norms, and the increasing diversion of contractual dispute-resolution into arbitration (and other ADR processes). The paper argues that those who rely on the law to recognise contracts should be subjected to an non-excludable jurisdiction of the courts in respect of all questions of law arising under those contracts, including their proper legal meaning. A compulsory arbitration clause, in other words, should be valid only subject to extensive judicial review of the arbitrator’s decisions. It is argued that contractual arbitration (and other ADR) that does not meet this condition is free-riding on the work of courts and professional lawyers, and should be regarded as antisocial – and that this is true even when it does more perfect justice between the parties. (shrink)

It has often been noted that Socratic cross-examination is problematic as a method of inquiry, i.e., as a method for 'acquiring' knowledge. Rarely has it been noticed that there are problems with cross-examination when used for the purposes of 'testing' for knowledge. In the 'Charmides', Socrates commits himself to the following principle: In order to discriminate between the person who knows and the person who does not know the subject matter covered by a particular discipline (technê), one must have mastered (...) that discipline. But if Socrates' disavowals of moral knowledge are sincere, it would seem to follow from this principle that, contrary to what Socrates says in many early dialogues, he cannot successfully test claims to moral expertise through cross-examination. Through an examination of the conditions that Socrates places on knowledge and on mastering a 'technê', I show how this problem can be resolved. (shrink)

The album Echo was produced in a depressed, drug-riddled phase when Tom Petty’s first marriage was ending and his physical condition so degraded that he took to using a cane. Petty filmed no videos, avoided playing the album’s songs on the follow-up tour and reported little memory of its making. The thoughtfulness and self-reflection that traumatic circumstances spur distinguish the album. So too does the tendency to look backwards in times of crisis, whether in hopes of finding solidity (...) in the past or just out of exhausted inability to cope with the present. -/- While melancholically creative, the album might be regarded as an echoing of past musical fragments. The sprightly mix of acoustic and electric guitars, the backing vocal harmonies and the stories of loss in songs such as “Won’t Last Long” and “This One’s for Me” harken to Petty’s albums from the late 80s to mid-90s. “Accused of Love” similarly contains echoes of Petty’s more upbeat work, but with depressing lyrical undertones. The production qualities and lyrics of “Rhino Skin” recollect “Asshole,” a Beck cover from Petty’s previous album. “I Don’t Wanna Fight”—a Heartbreakers performance composed and sung by Mike Campbell—returns to the hard driving rock of Damn the Torpedoes. The lyrics, straight-laced drums and layered drones of electric guitars of “Free Girl Now” go back further to “American Girl,” which itself was influenced by psychedelic music. At the same time, all of this typifies Petty’s oeuvre. Throughout his career, he made music steeped in past rock traditions. He was also a seminal figure in Southern rock, with its emphatically nostalgic character. -/- The crisis that Petty was experiencing echoes throughout the album in more specific ways, with many songs repeating the theme of being up or down, high or low. The theme of fighting or not wanting to has an especially strong echo, showing up in “Swingin’,” “Billy the Kid” and “I Don’t Wanna Fight.” These songs, in turn, exhibit nostalgia for past icons, with protagonists going down hard like Billy the Kid; or going down swinging like Sonny Liston; or again like Benny Goodman, Glenn Miller and Sammy Davis in a punny reference to the swing era. -/- The retrospective feel of the album is one of looking to the past for the sake of self-preservation in the present, along lines discussed by Nietzsche. While symptomatic of illness, Nietzsche maintains this movement “springs from the protective instinct of a degenerating life which tries by all means to sustain itself and to fight for existence.” This seeming denial of growth can, as Nietzsche continues, be “among the greatest conserving and yes-creating forces of life.” Petty clearly associated Echo with personal grief, refusing to listen to it for years. As with many other examples of art, however, the album was also a way of surviving and growing beyond a present trauma, and one more specifically that compelled him to overcome an important part of his past, namely, his wife of 20-plus years. One can speculate that clinging to fragments of the past—musical and otherwise—was a way of coping with a difficult present and a fading past. (shrink)

Bioart is a form of hybrid artistico-scientific practices in contemporary art that involve the use of bio-materials (such as living cells, tissues, organisms) and scientific techniques, protocols, and tools. Bioart-works embody vulnerability (intrinsic to all beings) and depend on (bio)technologies that allow these creations to come into being, endure and flourish but also discipline them. This article focuses on ‘semi-living’ sculptures by The Tissue Culture and Art Project (TC&A). TC&A’s artworks consist of bioengineered mammal tissues grown over biopolymer scaffoldings of (...) different shapes and require sterile conditions of a bioreactor and constant care in order to survive. The article explores how bioart-works are always already intertwined with multiple (bio)technologies and techniques of care and labour, forming specific feminist technoecologies that challenge conventional bioscientific and cultural imaginaries of embodiment and the relation between physis and techné. TC&A’s sculptures expose life as the non/living: the processual enmeshment of the organic and inorganic, living and non-living, and growth and decay. The article argues that thinking with and through the feminist technoecologies of bioart mobilises philosophical inventiveness: not only does it problematise the entwinement of technology and biomatter and of culture and nature, but it also prompts us to rethink the ontology of life. (shrink)

One of Plato’s aims in the Phaedrus seems to be to outline an ‘ideal’ form of rhetoric. But it is unclear exactly what the ‘true’ rhetorician really looks like, and what exactly his methods are. More broadly, just how does Plato see the relation between rhetoric and philosophy? I argue, in light of Plato’s epistemology, that the “true craft (techne) of rhetoric” which he describes in the Phaedrus is a regulative, but also an unattainable ideal. Consequently, the mythical palinode (...) in the dialogue is not (as some have claimed) an example of the true techne—and indeed it could not be. But neither is dialectic. Rather, dialectic is the closest approximation of the true techne of rhetoric which can be had; that is to say, dialectic is the best and highest kind of psychagogia (a ‘leading of the soul through words’). Plato’s purpose in describing the “true techne of rhetoric”, then, is not to reform or to rehabilitate rhetoric, but to urge us to abandon it in favor of the philosophical life. One implication of this is that Plato is just as hostile toward rhetoric as he is in the Gorgias. (shrink)

The specific role of empeiria in Aristotle’s ethics has received much less attention than its role in his epistemology, despite the fact that Aristotle explicitly stresses the importance of empeiria as a requirement for the receptivity to ethical arguments and as a source for the formation of phronêsis.1 Thus, while empeiria is an integral part of all explanations that scholars give of the Aristotelian account of the acquisition of technê and epistêmê, it is usually not prominent in explanations of the (...) acquisition of phronêsis.2 The abundant mentions of empeiria in Aristotle’s ethical treatises are often eclipsed in the secondary literature... (shrink)

Phenomenological reduction as a philosophical conversion (periagoge) -/- Während Husserl in den Ideen I die Reduktion als eine neue „Methode“ des Denkens, d. h. als eine „epistemologische“ Reduktion versteht, schlägt Scheler eine Reduktion als eine „Tèchne“ der Umbildung vor, durch die der Mensch seiner exzentrischen Stellung in der Welt Gestalt zu geben sucht. Mich interessiert an diesem Zitat vor allem der Gebrauch des griechischen Terminus „Tèchne“. Was Scheler damit bezeichnet, hat offensichtlich nichts mit dem zu tun, was wir heute unter (...) dem Begriff der Technik verstehen. Er spricht eben von einer Kunst „des inneren Handelns“. Meines Erachtens verweist Scheler durch diesen griechischen Begriff auf Platons Gedanken. Für diese These kann man sich bereits auf eine Stelle aus der mittleren Phase im Denken Schelers stützen, in der er nämlich die phänomenologische Reduktion als den moralischen Akt darstellt, dem der „platonische Aufschwung“ (Vom Wesen der Philosophie, GW V, 67) zugrunde liegt. Es ist nun geradezu dieser „platonische Aufschwung“, der im Nachlass ausdrücklich als eine „Tèchne“ (Nachlass, GW XI, 118) beschrieben wird. Was heißt nun in diesem Kontext tèchne bei Platon? Schelers Gebrauch des griechischen Terminus tèchne für die Bezeichnung der phänomenologischen Reduktion erinnert sehr an die tèchne tês periagogês im Höhlengleichnis Platons, durch die die Gefangenen aus der Höhle hinausgehen können. Diese tèchne versteht Platon als einen Bildungsprozess des Menschen; er lernt dadurch, seinen Blick auf das Gute hin zu lenken, damit seine Seinsweise in der Welt zurechtgerückt werden könne. Es geht also um eine conversio oder Umkehrung der eigenen Positionalität in der Welt, die den Übergang vom Leben zum guten Leben zustande bringen kann. Diese tèchne ist grundlegend für das Verständnis der paideía bei Platon, die sich nicht mit einer bloßen Übertragung von Informationen begnügt, sondern vielmehr nach einer periagogé (Umkehrung) der ganzen Seele strebt. Es muss also – wie Sokrates sagt – eine besondere „Kunst der Umkehrung [tèchne tês periagogês]“ geben, die lehrt, auf welche Weise am leichtesten und wirksamsten die Seele umgewendet werden kann, und zwar unter Berücksichtigung dessen, dass sie bereits sehen kann, aber es alleine nicht schafft, das Gesicht zu wenden, „wohin es solle“ (Politeia, VII, 518 d). (shrink)

“Don’t measure a gentleman’s heart with a petty man’s scheming” is an old Chinese adage describing the cognitive bias towards others based on one’s egocentric and negative worldview.

Ion, one of the earliest of Plato’s dialogues, is also considered as one of the philosopher’s less important philosophical works. It is also viewed as one of the earliest texts on the philosophy of art that distinguishes between techne and artistic creation, with the latter representing a form of divine inspiration which occurs outside the awareness of its creator. Here I will offer an alternative interpretation that is based on the dissociation of the poet from his reciter. The latter, (...) by operating as a medium, functions similarly to the ignorant in Chinese but possessor and user of a perfect manual, in Searle’s Chinese room. Furthermore, I propose that art, in Plato’s view, may represent a form of creative achievement with significance that exceeds the sum of the specific disciplines it deals with. (shrink)

En estas páginas hemos presentado varios argumentos para defender que existe una conexión entre el empleo de heurísticas y los procesos de deliberación. En lugar de caracterizar las heurísticas en función de las disciplinas, los campos y/o los ámbitos en que se emplean—tal y como hace, por ejemplo, el grupo ABC, i.e. racionalidad ecológica—las hemos proyectado sobre nuestros enclaves deliberativos, esto es, sobre un espacio eminentemente retórico y político. En dichos enclaves, tal y como solía recordarnos Quintín Racionero, la téchne (...) de la persuasión se nos presenta como parte del órganon de la filosofía práctica porque está aplicada a un espacio ontológico fundado por la comunicación humana. Y es en el seno de dicha comunicación como cabe entender la proliferación de razonamientos heurísticos encaminados al cálculo, la estimación y/o la ponderación, con ayuda de los cuales no sólo se orienta la acción colectiva sino las mismas fases de la deliberación. (shrink)

A materialist criticism of the interpretation of American history offered by Charles A. Beard finds that both the strengths and the weaknesses of the Progressive — or rather Populist — historians can be deduced from their character as intellectual representatives of the old middle class of petty proprietors. This class was especially influential in American history due to the presence of the "frontier," the petit-bourgeois regime of landed property, and the special character of American class coalitions. The way out (...) of the current impasse in American historical studies is to develop a materialist interpretation of American history having the peculiarities of U. S. capitalist development as its central theme and drawing on the insights provided by the Populist historians and their New Left critics. (shrink)

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

The articles examines how failure, especially in so-called 'stochastic' arts or sciences like medicine and navigation stimulated reflections about the nature of the knowledge required of a genuine art (techne) or science.

This analysis of Ptolemy's Teatriblos deals with how the social and cultural role of astrology changed between lì and III century a D.: from a practice hard fought, although successful, to a generally accepted branch of knowledge. In Ptolemy's treatise astrology is shown to be not a science but an art: a techne" fallible but not controvertible. As the basis for such a project of reforming common opinion about astrol¬ogy, we find a quiet yielding attitude toward sceptical antidogmatism, and (...) a non-deterministic way of conceiving man 's naturai relationship with heavenly bodies. (shrink)

Quanto segue intende proporsi come il resoconto di una conversazione che Andrea Oliani, Bruno Cortesi e Pietro Vigiani, tutti studenti presso l’Almo Collegio Borromeo di Pavia, hanno intrattenuto con Emanuele Severino, volta ad enucleare, muovendo da spunti talvolta anche polemici, alcune delle concettualità fondanti quel corpus di dottrine che cade sotto il nome di severinismo. Severino è stato squisito nell’accoglierci e ospitarci nella sua dimora di Brescia, lucido e assolutamente puntuale nel controbattere alle nostre provocazioni. La discussione ha poi trovato (...) naturale seguito in una conferenza di carattere più divulgativo tenuta dal filosofo presso il Collegio Borromeo, dal titolo Sulla Tecnica. Severino consegue la laurea in Filosofia nel 1950 come alunno del Collegio Borromeo, discutendo una tesi intitolata Heidegger e la metafisica sotto la supervisione di Gustavo Bontadini. Solo un anno più tardi ottiene la libera docenza in filosofia teoretica. Nel 1964 pubblica lo scritto Ritornare a Parmenide, che, insieme a La Struttura Originaria rappresenta la miccia che innescherà negli anni successivi quello che molti hanno definito lo “scandalo” del severinismo. Questi scritti, come altri, posseggono una portata teorica tanto dirompente che già nel 1969, a seguito di un lungo e accurato esame condotto da Cornelio Fabro, la Chiesa cattolica proclamerà l’insanabile pposizione tra il pensiero di Severino e il Cristianesimo. Comprendere tale pensiero è cosa ardua, se prima non ci sia volti alla grecità delle origini: essa è, per Severino, il luogo ove in maniera inaudita (nel senso letterale di “mai udita prima”) viene pensato l’Incontrovertibile, il “Sempre Salvo”, ciò la cui egazione è auto-negazione, e che pertanto non può in alcun modo essere contraddetto; In altri termini: la Verità. Essa è anche stata in grado per la prima volta di concepire in maniera radicale L’Essere e il suo corrispettivo: il Niente inteso come radicale assenza di qualsiasi positività. L’aver inteso la Verità come Saphés (“Ciò che brilla di luce propria” da cui Philo-Sophìa) da un lato, e l’aver posto L’Essere e il Niente dall’altro, sono gli atti che per Severino fondano quell’immenso edificio culturale che ancora oggi domina il pianeta tutto: L’Occidente. È possibile, dunque, individuare una pars construens e una pars destruens negli scritti di Emanuele Severino: da una parte sembra che, facendo uso di un apparato logico e ontologico raffinatissimo, egli cerchi di porre in questione le categorie di pensiero occidentali risolvendo il Problema dell’Occidente alla radice, cioè eliminandolo (accenneremo a quale sia questo problema e a cosa significhi eliminarlo); in questa che è una vera e propria opera di demolizione, il Nostro (pars construens) intende mostrare come tutto quanto si mostra nell’orizzonte esperienziale sia “da sempre salvo” perché eterno. Ciò sfocia, in scritti quali Pensieri sul Cristianesimo, Technè, Il Giogo, Il Nulla e la Poesia, in una “ricostruzione” volta a mostrare come le categorie introdotte dal pensiero greco si riverberino in ogni forma della razionalità occidentale, dall’arte, alla filosofia, al diritto, alla politica, determinandone in maniera necessaria gli sviluppi. Precisiamo, per correttezza, che lo stesso non è stato rivisto da Severino. (shrink)

This is a populist essay which can also be seen as philosophy in praxes. The essay is more about the techne of preparing to become a Shakta Tantric than about the philosophy of Tantra. It is written for a general audience and clears some of the misconceptions about Tantra.

This paper aims to reevaluate Aristotelian political theory from an egalitarian perspective and to pinpoint its legacy and relevance to contemporary political theory, demonstrating its importance for contemporary liberal democracies in a changing world, suggesting a new critique of liberal and neoliberal political theory and practice, and especially the improvement of our notion of the modern liberal-democratic state, since most contemporary representative liberal democracies fail to take into account the public interest of the many and do very little in order (...) to advance it. The paper will focus on key aspects of Aristotle’s thought, such as his notions of justice (δικαιοσύνη/dikaiosunē and ἁπλῶς δίκαιον/aplōs dikaion), concord (ὁμόμοια/homonoia), friendship (φιλία/philia) and the art of ruling (τέχνη τοῦ ἄρχειν/technē tou archein), arguing that Aristotle’s theory requires us to have concern for our fellow citizens; ‘concern for others’ as opposed to the mere ‘respect for others’ that contemporary neo-Kantian liberalism advocates . Hence, I will examine these aspects of Aristotle’s philosophy that have not so far been adequately discussed, in relation to his conception of the ‘common or public interest’ (τὸ κοινῇ συμφέρον/to koinē sympheron) which is essential in order to understand the Aristotelian vision for ‘the art of politics’ (τέχνη τοῦ ἄρχειν) which should always aim towards the interest of the many, i.e., the people (πλῆθος/plēthos). (shrink)

The essay reflects on Gadamer’s ambiguous legacy for the philosophy of work. On the one hand, there are times when Gadamer reproduces the problematic distinction between language and labor which short-circuits the very idea of a hermeneutics of work. This is particularly evident in Gadamer’s reflections on technique and craftsmanship in the central sections of Truth and Method, as well as in his descriptions of the “art” of dialogue and the tasks of hermeneutics that separate them emphatically them from the (...) sphere of “making.” I raise some questions about the adequacy of the distinction Gadamer draws between techne and phronesis that structures this account. I argue here that Gadamer’s characterization of the learning process involved in the mastery of a technique, as well as his conception of the instrumentality and monologicality of technical knowledge, is difficult to sustain, especially in view of recent research in the psychology and anthropology of work. I then go on to point out that elsewhere in his oeuvre Gadamer himself is critical of the conception of work that emerges through the lens of the techne / phronesis distinction. Indeed, on these occasions he hints at a conception of work that points beyond the Arendt / Habermas conception towards a critical hermeneutics of working life. This alternative approach to work is particularly apparent in Gadamer’s appropriation of Hegel’s dialectic, in his understanding of play, and in some of his later diagnostic reflections on the spirit of the age. In section four, I offer some suggestions for explaining how the tensions evident in Gadamer’s approach to work came about. Here I am interested in what prevented Gadamer from embracing whole-heartedly the project of a hermeneutics of work that he himself helped to lay the foundations for. I conclude with some brief remarks on why we should seek to build upon these foundations and renew the project of a critical hermeneutics of work today. (shrink)