The French existentialist philosopher, Simone de Beauvoir, long ago signalled the potentially empowering force of outdoor exercise and recreation for women, drawing on feminist phenomenological perspectives. Feminist phenomenological research in sport and exercise, however, remains relatively scarce, and this article contributes to a small, developing research corpus by employing a feminist phenomenological theoretical framework to analyse lived experiences of running in ‘public’ space. As feminist theorists have argued, such space is gendered and contested, and women’s mobility remains constrained by fears (...) of harassment and violent attack. Running also generates intense pleasure, however, and embodied empowerment. Drawing on findings from two separate but linked automethodological running research projects, here I explore salient and overlapping themes cohering around lived experience of pleasure and danger in both urban and rural spaces. (shrink)

This paper proposes a unified reading of pleasure's nature and value in Plato's _Philebus_. It also explains how the proposed reading illuminates certain claims about pleasure across the corpus that initially seem to be in some tension: (i) that pleasure is not the good; (ii) that pleasure is choiceworthy and an aspect of the best human life; and (iii) that pleasure is dangerous and tends to make us into bad people who live badly.

A significant strand of the ethical psychology, aesthetics and politics of Plato's Republic revolves around the concept of poikilia, ‘fascinating variety’. Plato uses the concept to caution against harmful appetitive pleasures purveyed by democracy and such artistic or cultural practices as mimetic poetry. His aim, this article shows, is to contest a prominent conceptual connection between poikilia and beauty (kallos, to kalon). Exploiting tensions in the archaic and classical Greek concept, Plato associates poikilia with dangerous pleasures to redirect admiration toward (...) a distinctly philosophical pursuit of the nature of beauty. This is to displace a prominent and problematic cultural sensibility—the aesthetics of poikilia—not to deny that fascinating variety, even in mimetic poetry, may be beautiful. Rather, Plato's cultural critique lays bare an epistemological problem in the ethical psychology of beauty: since they cannot be distinguished from what seems beautiful, how should one respond to fascinating yet dangerous attractions? (shrink)

The history of the political thought on pleasure is not a cloistered affair in which scholars only engage one another. In political thought, one commonly finds a critical engagement with the wider public and the ruling classes, which are both perceived to be dangerously hedonistic. The effort of many political thinkers is directed towards showing that other political ends are more worthy than pleasure: Plato battles vigorously against Calicles' pleasure seeking in the Gorgias, Augustine argues in The (...) City of God against the human tendency to hedonism in favor of a profound distrust of pleasure, and even Machiavelli claims in The Prince that it is in the prince's best interest to separate his pursuit of pleasure from his pursuit of political power. The thrust of the majority of political thought is to interrupt the popular equation that links pleasure with the good. Instead, political thought has largely followed Plato's lead and has worked to contain hedonism on two fronts. First, pleasure is rigorously separated from ethical and political good: what is good is not identical with what is pleasurable even if the two sometimes overlap. Second, even where the pursuit of pleasure is judged to be coincident with the good, pleasure should only be pursued to the degree it is rational to do so and pursued in the most rational way. Of course, it is not true that all thinkers hold to these two positions on pleasure. Epicureanism and utilitarianism are two major schools of thought that challenge the first precept equating pleasure with the good. Both Epicureanism and utilitarianism argue that the only good is pleasure. However, it is much less frequently that one finds a thinker challenging the second Platonic position that reason must master and guide our pursuit of pleasure—even the Epicureans and utilitarians believe that pleasure is best pursued rationally. However, Foucault has attracted recent attention by challenging the idea that reason should dominate the pursuit of pleasure. (shrink)

Like any broad narrative about the history of ideas, this one involves a number of simplifications. My hope is that by taking a closer look Spinoza's notorious remarks on animals, we can understand better why it becomes especially urgent in this period as well as our own for philosophers to emphasize a distinction between human and nonhuman animals. In diagnosing the concerns that give rise to the desire to dismiss the independent purposes of animals, we may come to focus on (...) a new aspect of what needs to change about contemporary thinking on species divisions. In what follows, I will bring out Spinoza's contradictory and ambivalent remarks pertaining to the specific differences between humans and animals. It is my suspicion that this ambivalence continues to plague us today. Like Spinoza, we want to say that humans are like and unlike animals. As a simply descriptive claim, it may be true and innocuous. Yet, the way we affirm our proximity and distance from nonhuman animals requires careful attention. Spinoza viewed this proximity as a source of danger. We might do well to emphasize, with thinkers such as Donna Haraway (2003),how our proximity and difference are also sources of pleasure and power, both to be able to enjoy the affectionate bond that can often develop between humans and our animal companions but also to quell the anxiety that might encourage us to exploit and abuse them. (shrink)

The article explains why we should not use dangerous drugs for pleasure.

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

In the times where the predominant description of the world has become that of the so-called “post-truth” reality, all the questions on the possibilities of leading a fulfilled life, the life of εὐδαιμονία, seem to have become irrelevant, if not unattainable. This is due to the reason that εὐδαιμονία, as such, intrinsically involves a connection with the truth and the universal. On the other hand, the concept of a fulfilled life should not exclude subjective happiness. The latter has always been (...) intertwined with the concept of pleasure. Nonetheless, what the contemporary world-view has to offer is not at all the compound of pleasure and truth, the dialectics of particular and the universal. Instead, it is a paradigm of life led by undifferentiated particular pleasures, to be desired and pursued for the sole purpose of their being pleasurable. Paradoxical as it may seem, the issue is not a new one. The first aim of this paper is to critically assess the Epicurean concept of pleasure. Rather than taking an a priori moralistic stance, I intent to point out that the concept in question is intrinsically, i.e., theoretically problematic. My second aim is to critically analyze the hedonistic world-view as such assessing it primarily as a political attitude. In addition, I hope to show that in contrast to ancient hedonism, which I regard as a type of unintentional individual escapism, contemporary hedonism has transformed into a systematically induced and politically desired ideology of activism prevention. Phrased in the context of Platonic terminology, it has become the discourse of the Cave. Thus, beginning with the sources analysis, the paper is mainly conceived as a critique of an idea targeting both its early and its ultimate manifestations. (shrink)

Compare your pain when immersing your hand in freezing water and your pleasure when you taste your favourite wine. The relationship seems obvious. Your pain experience is unpleasant, aversive, negative, and bad. Your experience of the wine is pleasant, attractive, positive, and good. Pain and pleasure are straightforwardly opposites. Or that, at any rate, can seem beyond doubt, and to leave little more to be said. But, in fact, it is not beyond doubt. And, true or false, it (...) leaves a good deal more to be said: about the nature of sensory affect; its relations to perception, motivation, and rationality; its value; and the mechanisms underlying it. Much is said about these matters in the contributions that follow. Here, in this introductory essay, we map the dialectical landscape and locate our contributors’ papers within it. (shrink)

This paper responds to a new objection, due to Ben Bramble, against attitudinal theories of sensory pleasure and pain: the objection from unconscious pleasures and pains. According to the objection, attitudinal theories are unable to accommodate the fact that sometimes we experience pleasures and pains of which we are, at the time, unaware. In response, I distinguish two kinds of unawareness and argue that the subjects in the examples that support the objection are unaware of their sensations in only (...) a weak sense, and this weak sort of unawareness of a sensation does not preclude its being an object of one’s attitudes. (shrink)

That all pleasure is good and all pain bad in itself is an eternally true ethical principle. The common claim that some pleasure is not good, or some pain not bad, is mistaken. Strict particularism (ethical decisions must be made case by case; there are no sound universal normative principles) and relativism (all good and bad are relative to society) are among the ethical theories we may refute through an appeal to pleasure and pain. Daniel Dennett, Philippa (...) Foot, R M Hare, Gilbert Harman, Immanuel Kant, J. L. Mackie, and Jean-Paul Sartre are among the many philosophers addressed. (shrink)

Drawing on Aristotle’s conception of the vices and virtues related to bodily pleasures, I argue that temperance and carnal wisdom, understood as practical wisdom about the conditions of bodily flourishing, are necessary for “mutual visibility” (full mutual perceptiveness and responsiveness in sex), as well as for treating ourselves and others as ends. Intemperance, “insensibility”, and carnal foolishness block mutual visibility by devaluing sensuous pleasures. Intemperance does this through objectification, insensibility through “disembodiment.” Since Aristotle has little to say about sex as (...) such, I extrapolate from his discussion of the virtues and vices in eating and drinking to sex, focusing on a feature of intemperance that is neglected in contemporary discussions but that is central to Aristotle’s own account of intemperance, viz., taking the wrong sort of pleasure in sex. (shrink)

What is the contrary of pleasure? “Pain” is one common answer. This paper argues that pleasure instead has two natural contraries: unpleasure and hedonic indifference. This view is defended by drawing attention to two often-neglected concepts: the formal relation of polar opposition and the psychological state of hedonic indifference. The existence of mixed feelings, it is argued, does not threaten the contrariety of pleasure and unpleasure.

There’s a certain pleasure in fantasizing about possessing knowledge, especially possessing secret knowledge to which outsiders don’t have access. Such fantasies are typically a source of innocent entertainment. However, under the right conditions, fantasies of knowledge can become epistemically dangerous, because they can generate illusions of genuine knowledge. I argue that this phenomenon helps to explain why some people join and eventually adopt the beliefs of epistemic communities who endorse seemingly bizarre, outlandish claims, such as extreme cults and online (...) conspiracy theory groups. It can be difficult to grasp how members of such groups come to believe the theories they endorse. I argue that one route to such beliefs is via deep absorption in fantasies of knowledge, which can lead entire groups to become collectively detached from reality. (shrink)

This volume deals with the general theory of pleasure of Plato and his successors.The first part describes the two paradigms between which all theories of ...

Traditional hedonists like Epicurus, Bentham and Sidgwick were quantitative hedonists who assumed that pleasures and pains differ, not just from each other, but also from other pleasures and pains only in such quantitatively measurable ways as intensity, duration, and nearness or remoteness in time. They also differ with respect to their sources or causes. John Stuart Mill introduced an interesting and important complication into the modern theory of hedonism by insisting that pleasures also differ qualitatively as well as quantitatively. This (...) article thoroughly and critically examines Mill’s attempt to explain what qualitative differences might mean, and it proposes, defends, and extends a plausible theory of qualitative differences. (shrink)

Theories have been formulated to address the problem of evil [“The concept of Evil”. Stanford Encyclopedia of Philosophy]. We look here at a possible origin of human evil in pre-human times by using an evolutionary scenario for self-consciousness based on identifications with conspecifics [“Proposal for an evolutionary approach to self-consciousness”. Menant 2014]. The key point is that these identifications have also taken place with suffering or endangered conspecifics, thus creating in the minds of our ancestors a huge anxiety increase, a (...) mental pain unbearable if not limited. To limit it our ancestors could have reduced the sufferings and dangers, or reduced the identification, or limited the conspecificity. Reducing the sufferings and dangers was straightforward as it also brought in evolutionary advantages (collaboration, imitation, communication, ToM, ...), with some pleasant feeling coming with the reduction of anxiety. But the two other possibilities may have produced very different outcomes. Reducing the identifications and limiting the conspecificity did reduce the mental pain and correspondingly produce some pleasure. But it has also lowered the emotional attachment to conspecifics as well as the care given to them. Conspecifics were then left alone with their sufferings. And as the process led to less mental pain, our ancestor were naturaly led to associate some pleasure to these sufferings of conspecifics. All this may have introduced in the mind of our ancestors the possibility to reduce anxiety and mental pains also by accepting and valorizing the sufferings of others, thus making evil deeds a potential source of pleasure. We propose these mechanisms as possible sources of psychology of evil in human evolution. These mechanisms now belong to our human nature where evil projects can become a means for limiting the unconscious anxiety present in our human minds. Such positioning of self-consciousness and human evil under a common evolutionary nature is new and needs more developments. Continuations are proposed. (shrink)

The most obvious varieties of mental phenomena directed to non- existent objects occur in our experiences of works of art. The task of applying the Meinongian ontology of the non-existent to the working out of a theory of aesthetic phenomena was however carried out not by Meinong by his disciple Stephan Witasek in his Grundzüge der allgemeinen Ästhetik of 1904. Witasek shows in detail how our feelings undergo certain sorts of structural modifications when they are directed towards what does not (...) exist. He draws a distinction between genuine mental phenomena and what he calls `phantasy-material', asserting that `the job of the aesthetic object, whether it is a work of art or a product of nature, is to excite and support the actualisation of phantasy-material in the experiencing subject'. We might think of such phantasy-material as a matter of Ersatz-emotions or emotional `slop'. We could then see Witasek's aesthetics as an elaborate taxonomy of the various different sorts of Ersatz-emotions which the subject allows to be stimulated within himself in his intercourse with works of art, and see works of art themselves as machines for the production of ever more subtle varieties of such phantasy-material in the perceiving subject. (shrink)

In Book 9 of Plato's Republic we find three proofs for the claim that the just person is happier than the unjust person. Curiously, Socrates does not seem to consider these arguments to be coequal when he announces the third and final proof as ‘the greatest and most decisive of the overthrows’. This remark raises a couple of related questions for the interpreter. Whatever precise sense we give to μέγιστον and κυριώτατον in this passage, Socrates is clearly appealing to an (...) argumentative standard of some kind, and claiming that his final argument alone meets this standard. But what precise standard is Socrates invoking here? And given that the first two arguments of Book 9 fall short of this standard, why does he not simply leap directly to the third, most decisive proof? (shrink)

Explaining the "intentional object" some people assign pleasure, I argue that a person is pleased about something when his thoughts about that thing cause him to feel pleasure. Bernard Williams, Gilbert Ryle, and Irving Thalberg, who reject this analysis, are discussed. Being pleased (or distressed) about something is a compound of pleasure (pain) and some thought or belief. Pleasure in itself does not have an "intentional object".

This paper responds to recent developments in the field of sensory augmentation by analysing several technological devices that augment the sensory apparatus using the tactile sense. First, I will define the term sensory augmentation, as the use of technological modification to enhance the sensory apparatus, and elaborate on the preconditions for successful tactile sensory augmentation. These are the adaptability of the brain to unfamiliar sensory input and the specific qualities of the skin lending themselves to be used for the perception (...) of additional sensory information. Two devices, Moon Ribas’ Seismic Sense and David Eagleman’s vest, will then be discussed as potential facilitators of aesthetic experiences in virtue of the tactile sensory augmentation that these devices allow. I will connect the experiences afforded by these devices to the Kantian categories of the mathematical and the dynamical sublime, and to existing accounts of tactile sublimity. Essentially, the objects these devices make sensible, earthquakes for the Seismic Sense and digital information for the vest, produce pleasurable feelings of potential danger, awe, and respect. The subsequent acclimation to this new way of sensing and the aim to comprehend its sensed object are then discussed as possible objections to the interpretation of these experiences as sublime, and as aesthetic in general. To exemplify these issues and concretise my thesis of tactile sensory augmentation as a trigger of the sublime, I will outline an experiment to use the vest as an aid for faster decision making on the stock market. (shrink)

Bodily (dis)pleasures and emotions share the striking property of being valenced, i.e. they are positive or negative. What is valence? How do bodily (dis)pleasures and emotions relate to one another? This chapter assesses the prospects of two popular theses regarding the relation between bodily (dis)pleasures and emotions in light of what we can reasonably think about valence. According to the first thesis, the valence of bodily (dis)pleasures is explanatory prior vis-à-vis the valence of emotions. According to the second, emotions contain (...) bodily (dis)pleasures. I argue that bodily (dis)pleasures are intentional states whose valence is to be understood in terms of evaluative experience, and bring to light the similarities and dissimilarities between their intentional structure and that of emotions. On this backdrop, I offer reasons to conclude that we should adopt neither of the two theses. (shrink)

Recent results from the neurosciences demonstrate that pleasure and pain are not two symmetrical poles of a single scale of experience but in fact two different types of experiences altogether, with dramatically different contributions to well-being. These differences between pleasure and pain and the general finding that “the bad is stronger than the good” have important implications for our treatment of nonhuman animals. In particular, whereas animal experimentation that causes suffering might be justified if it leads to the (...) prevention of more suffering, it can never by justified merely by leading to increased levels of happiness. (shrink)

I argue, contra Mohan Matthen, that at least some aesthetic pleasures arising from the appreciation of aesthetic features of artworks are what he calls ‘r-pleasures’ as opposed to ‘f-pleasures’—and moreover, that the paradigm aesthetic pleasure appears to be an r-pleasure on Matthen's terms. I then argue that talk of r- and f-pleasures does not distinguish different kinds, but two different features of pleasure; so this supposed distinction cannot be used to characterize a sui generis aesthetic pleasure.

A rich and multi-stranded sociology of sporting embodiment has begun to emerge in recent years. Calls have been made to analyze more deeply not only the sensory dimensions of lived sporting bodies but also the values prevailing within particular physical–cultural worlds. This article contributes to a small, developing research corpus by employing theoretical perspectives drawn from phenomenological sociology to explore cross-country runners' sensory encounters with the elemental, contoured by the values of the running lifeworlds they inhabit. Autoethnographic and autophenomenographic data (...) were collected via three research projects. Senses of touch still remain under-researched within the sporting sensorium, and here we focus on the “elemental haptics” of earth and air on our cross-country training runs. We also explore the rich, complex somatic experiences afforded by various of these elemental combinations. For runners, as for many sports participants, the haptic emerges as a key aspect of our sensuous running lifeworld. (shrink)

According to Plato's successors, assimilation to god (homoiosis theoi) was the end (telos) of the Platonic system. There is ample evidence to support this claim in dialogues ranging from the Symposium through the Timaeus. However, the Philebus poses a puzzle for this conception of the Platonic telos. On the one hand, Plato states that the gods are beings beyond pleasure while, on the other hand, he argues that the best human life necessarily involves pleasure. In this paper, I (...) argue that the solution to this puzzle lies in the fact that the processes by which we assimilate to god, learning and becoming virtuous, are restitutive and hence pleasant. Thus, the reason why the best human life necessarily involves pleasure is that we can never become fully divine and perfect, but must constantly strive to become like the divine, through pleasureful restitutive processes. In this paper, I also provide a close examination and taxonomy of the different models that Plato presents throughout his corpus of assimilation to god. -/- Note: "Fleeing the Divine" (Philebus: Selected Papers from the VIII Symposium Platonicum) is an earlier, shorter version of this paper. (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)

This article debunks Bruno Latour’s seemingly pro-scientific and well-intentioned posture. I briefly summarize Latour’s constructivist, relativist, hybridist, and mystic philosophy, insisting on his radicalization in his last two books. I show that Latour’s conception is akin to “pseudo-profound bullshit”, inasmuch as he tries to hide his mysticism behind the invocation of scientific facts. I then concentrate on Latour’s politicization of climate science, showing that it is: self-contradictory from an epistemological point of view, since it presupposes scientifically established facts while at (...) the same time undermining their objectivity; counterproductive, and even dangerous, from the political point of view, since it recommends a full politicization of climate science and ignores its harmful effects. I conclude by advocating a distinction between science and politics, and by showing that Latour’s philosophy fosters our current post-truth predicament. (shrink)

The passage of Mill’s Utilitarianism that sets out the condition in which one pleasure has a superior quality than another stokes interpretive controversy. According to the Lexical Interpretation, Mill takes one pleasure, P1, to be of a superior quality than another, P2, if, and only if, the smallest quantity of P1 is more valuable than any finite quantity of P2. This paper argues that, while the Lexical Interpretation may be supported with supplementary evidence, the passage itself does not (...) rule out qualitative superiority without lexical dominance, as it only requires P1 to be more valuable than any quantity of P2 that it is possible for someone to experience. Some will object that this concession to opponents of the Lexical Interpretation still renders Mill’s condition for qualitative superiority too demanding to be plausible. However, if Mill’s qualitative rankings apply to higher-order pleasures taken in modes of existence as such rather than to the pleasures of different activities chosen from within these modes, the objection loses much of its force. One upshot is that Mill may have more to contribute to debates in contemporary population axiology than is usually acknowledged. (shrink)

Do claims of taste function as validity claims? Our ordinary use of aesthetic notions suggests as much. When I assert that Rodin’s Camille Claudel is ‘beautiful’ I mean my claim to be, in a sense, correct. I expect others to concur and if they do not I think that they are mistaken. But am I justified in attributing an error to the judgment of someone who, unlike me, does not find Rodin’s Camille Claudel beautiful? Not obviously. For it looks, on (...) the other hand, that my assertion “The sculpture of Camille Claudel is beautiful” is not an assertion about a property of that sculpture, not, that is, about a feature of the world which exists for others as well as for me. Quite the opposite, I seem to base my claim on a subjective response, on a certain feeling of mine. I maintain that the sculpture of Camille Claudel is ‘beautiful’ because it produces a particular effect upon me, namely it pleases me aesthetically. But how can the feeling of pleasure, being a subjective response on my part, serve as a normative ground for a claim? (shrink)

This paper shows the ways in which Kant’s notions of the feeling of life and the feeling of the promotion of life may be influenced by Epicurus’ theory of pleasure and the Stoic notion of oikeiôsis, respectively. Accordingly, getting a clear picture of Epicurus’ theory of pleasure and the Stoic notion of oikeiôsis will help us (i) understand why Kant introduces these notions in the third Critique and (ii) why he identifies aesthetic pleasure with the feeling of (...) the promotion of life. As I will demonstrate, the feeling of life allows us to be conscious of the harmonious interaction of our faculties with each other while the feeling of the promotion of life allows us to be aware of the harmonious relationship between our faculties and nature. Hence, the feeling of the promotion of life indicates the well-being of the subject in its relation to its environment. (shrink)

This essay explores the meaning of Kant's transcendental definition of pleasure and displeasure. I will explain the meaning of "definition" and "transcendental" respectively in relation to the feeling of pleasure and displeasure, contrasting with the interpretations of Guyer (2018) and Deimling (2018). Not only will I show how they are wrong, but I will also offer reasons for their misinterpretations. This essay proposes that the transcendental definition of pleasure and displeasure bears more systematic significance in Kant's philosophy (...) than previous researchers might have thought. My analysis also leads back to Kant's conception of the anthropological relation between life, desire, and pleasure. (shrink)

In Plato’s Philebus, Socrates’ second account of ‘false’ pleasure (41d-42c) outlines a form of illusion: pleasures that appear greater than they are. I argue that these pleasures are perceptual misrepresentations. I then show that they are the grounds for a methodological critique of hedonism. Socrates identifies hedonism as a judgment about the value of pleasure based on a perceptual misrepresentation of size, witnessed paradigmatically in the ‘greatest pleasures’.

Plato’s account of pleasure in Republic IX has been treated as an ill-conceived and deeply flawed account that Plato thankfully retracted and replaced in the Philebus. I am convinced, however, that this received view of the Republic’s account is false. In this paper, I will not concern myself with whether, or in what way, Plato’s account of pleasure in the Republic falls short of what we find in the Philebus, but will rather focus on the merits of the (...) former. My concern will be further narrowed down to the first half of the third proof: the proof involves two criteria for the evaluation of pleasures, the criteria of purity and of truth, both of which yield the result that the philosopher’s pleasures are the most pleasant (because it turns out that only those pleasures are pure and only they are true). I will be addressing the criterion of purity, which is based on a psychological/phenomenological account of pleasure and pain. This account has been harshly criticized as full of ambiguity and confusion, as I explain in detail below. I believe, however, that these criticisms result from misunderstanding, and failing to appreciate the complexity of, Plato’s account. In this paper, I will offer an interpretation of Plato’s psychological account of pleasure and pain in Republic IX, showing that this account is, contrary to its detractors, both interesting and persuasive on many points. (shrink)

By what types of properties do we specify twinges, toothaches, and other kinds of mental states? Wittgenstein considers two methods. Procedure one, direct, private acquaintance: A person connects a word to the sensation it specifies through noticing what that sensation is like in his own experience. Procedure two, outward signs: A person pins his use of a word to outward, pre-verbal signs of the sensation. I identify and explain a third procedure and show we in fact specify many kinds of (...) mental states in this way. (shrink)

This is a piece written for interdisciplinary audiences and contains very little philosophy. It looks into whether, or in what sense, pains and pleasures are emotions.

In both the Laches (191d-e) and the Laws (1.633c-d, 1.634a-b, and 1. 635d), Plato has his protagonist defend the claim that courage (andreia) is not simply a matter of resisting pain and fear but about overcoming pleasure and desire as well. In this paper, I argue that Plato took the expansive view of courage seriously and that there are several reasons why we should too.

Despite considerable growth in understanding of various aspects of sporting and exercise embodiment over the last decade, in-depth investigations of embodied affectual experiences in running remain limited. Furthermore, within the corpus of literature investigating pleasure and the hedonic dimension in running, much of this research has focused on experiences of pleasure in relation to performance and achievement, or on specific affective states, such as enjoyment, derived after completing a run. We directly address this gap in the qualitative literature (...) on sporting and exercise embodiment by contributing novel insights on the mind-body pleasures of running via focusing analytic attention towards the pleasures recalled by runners as experienced during positive, rewarding running experiences. Applying conceptual insights drawn from sociological phenomenology, we analyse data from an in-depth, event-focused interview study with distance runners who reported positive, rewarding experiences in recent recreational runs. Through reflexive thematic analysis, we present findings in relation to three themes: (1) ‘running feels like it should’; (2) sensory engagements; and (3) time out. The study contributes fresh perspectives, both conceptually and in relation to data-collection approach, to a small literature on the lived experience of pleasure in sport, exercise and physical cultures. (shrink)

I present an image of humanity as the will to power expressed in context of affirmationand danger in the eternal return. Nietzsche argues the death of God not as a theological argument but as an existential challenge for humanity to be re-experienced. It is read in light of the eternal return: without ontological references or quasi-transcendentals, how is life to be lived? Deleuze contextualizes Nietzsche’s critique of nihilism qua a typology of active and reactive modes of being, however I (...) go beyond to provide what I consider an anthropological account. I do this by differentiating the will to power from individual willing and present the danger that an affirmation of life entails. Nietzsche challenges us with the eternal return. With this, one is led to realize that she is her own destruction (Untergehen) at the same time as her overture (Übergehen). She has the ability, power, capacity to overcome and self-create. With this realization one ought to remain truthful to this in form of truth-telling (Redlichkeit). Nietzsche projects humanity as a perilous crossing over from nihilism to affirmation with an embrace of an ethics of danger. This crossing over is a mark of life as the will to power. It is an overcoming of nihilism and the assurance amidst nihilism’s farce that the godhead is dead and that the eternal return is a daunting challenge we cannot escape from. With these, we are afforded an image of humanity as the will to power. (shrink)

In this paper, I first consider three possible explanations for why celebrities typically apologise publicly and sometimes also include their fans among the targets of their apology. I then identify three moral dangers of celebrity apologies, the third of which arises specifically for fan-targeted apologies, and each of which teaches us important lessons about the practice of celebrity apologies. From these individual lessons, I draw more general lessons about apologies from those with elevated social positions and the powers they are (...) associated with. (shrink)

This study rethinks the critical reception of Hegelianism in nineteenth-century France, arguing that this reception orbits around "pantheism" as the central political-theological threat. It is Hegel’s alleged pantheism that French authors often take to be the root cause of the other dangers that become associated with Hegelianism over the course of the century, ranging from the defence of the status quo to radical socialism to pangermanism. Moreover, the widespread fixation on the term "pantheism" as the enemy of all that is (...) true, and as the term that defines the age, is symptomatic of the perception of the nineteenth century by its contemporaries as a period of crisis and turmoil, in which heretical energies are let loose that threaten to unground all authority and all transcendence. More speculatively, I suggest in the conclusion that it is the same energies that the term "communism" comes to capture, too. (shrink)

Many commentators have remarked upon the striking points of correspondence that can be found in the works of Freud and Nietzsche. However, this essay argues that on the subject of desire their work presents us with a radical choice: Freud or Nietzsche. I first argue that Freud’s theory of desire is grounded in the principle of inertia, a principle that is incompatible with his later theory of Eros and the life drive. Furthermore, the principle of inertia is not essentially distinct (...) from his later theory of the death drive. Consequently, Freud’s theory of desire can only be interpreted consistently as a monism of the death drive. I then analyze Nietzsche’s attempt to ground his theory of desire in the concept of the will to power. I argue that Nietzsche’s view of desire is fundamentally opposed to the key elements of Freud’s theory of desire: the principle of constancy, the Freudian definition of the drive, and the pleasure principle. Next, I explicate the stakes of this opposition by analyzing the social consequences of each view for morality and justice. I argue that the Freudian subject seeks to dominate the social other, and that there is an insurmountable conflict between the satisfaction of desire and the demands of social life. Consequently, Freud’s view allows only for a negative conception of the social good in which morality is defined as the intrinsically impossible task of eliminating evil, and justice can be achieved only through the equal distribution of instinctual frustration. Finally, I argue that in Nietzsche’s theory of desire there is no essential conflict between individual desire and social life. The Nietzschean subject desires to manifest power in the form of activity that is independent of external agents, not to dominate the other. Consequently, Nietzsche’s view allows for the possibility of a positively defined concept of the social good in which morality is the affirmation and enhancement of every subject’s happiness, and justice can be achieved through the promotion and protection of an equality of power among subjects. (shrink)

Study of Batman´s villain Scarecrow through the lens of ancient Stoicism, particularly according to the Stoic theory of passions.