Increasingly complex and autonomous systems require machine ethics to maximize the benefits and minimize the risks to society arising from the new technology. It is challenging to decide which type of ethical theory to employ and how to implement it effectively. This survey provides a threefold contribution. First, it introduces a trimorphic taxonomy to analyze machine ethics implementations with respect to their object (ethical theories), as well as their nontechnical and technical aspects. Second, an exhaustive selection and description of relevant (...) works is presented. Third, applying the new taxonomy to the selected works, dominant research patterns, and lessons for the field are identified, and future directions for research are suggested. (shrink)

While artificial intelligence (AI) is increasingly applied for decision-making processes, ethical decisions pose challenges for AI applications. Given that humans cannot always agree on the right thing to do, how would ethical decision-making by AI systems be perceived and how would responsibility be ascribed in human-AI collaboration? In this study, we investigate how the expert type (human vs. AI) and level of expert autonomy (adviser vs. decider) influence trust, perceived responsibility, and reliance. We find that participants consider humans to be (...) more morally trustworthy but less capable than their AI equivalent. This shows in participants’ reliance on AI: AI recommendations and decisions are accepted more often than the human expert’s. However, AI team experts are perceived to be less responsible than humans, while programmers and sellers of AI systems are deemed partially responsible instead. (shrink)

This paper defends an intellectualist interpretation of Diotima’s speech in Plato’s Symposium. I argue that Diotima’s purpose, in discussing the lower lovers, is to critique their erōs as aimed at a goal it can never secure, immortality, and as focused on an inferior object, themselves. By contrast, in loving the form of beauty, the philosopher gains a mortal sort of completion; in turning outside of himself, he also ceases to be preoccupied by his own incompleteness.

I argue that in the Phaedo, Plato maintains that the soul is located in space and is capable of locomotion and of interacting with the body through contact. Numerous interpreters have dismissed these claims as merely metaphorical, since they assume that as an incorporeal substance, the soul cannot possess spatial attributes. But careful examination of how Plato conceives of the body throughout his corpus reveals that he does not distinguish it from the soul in terms of spatiality. Furthermore, assigning spatial (...) attributes to the soul plays an important role in Plato’s account of the relation of body and soul. (shrink)

In this paper, I offer a new interpretation of Aristophanes’ speech in Plato’s Symposium. Though Plato deliberately draws attention to the significance of Aristophanes’ speech in relation to Diotima’s (205d-206a, 211d), it has received relatively little philosophical attention. Critics who discuss it typically treat it as a comic fable, of little philosophical merit (e.g. Guthrie 1975, Rowe 1998), or uncover in it an appealing and even romantic treatment of love that emphasizes the significance of human individuals as love-objects to be (...) valued for their own sakes (e.g. Dover 1966, Nussbaum 1986). Against the first set of interpreters, I maintain that Aristophanes’ speech is of the utmost philosophical significance to the dialogue; in it, he sets forth a view of eros as a state of lack and a corresponding desire for completion, which is the starting-point for Diotima’s subsequent analysis. Against the second, I argue that Aristophanes’ speech contains a profoundly pessimistic account of eros. Far from being an appreciative response to the individuality of the beloved, eros, for Aristophanes, is an irrational urge, incapable of satisfaction. It is this irrationality that precludes Aristophanes’ lovers from achieving the partial satisfaction of erotic desire that is open to their Socratic counterparts through their relationship to the forms. (shrink)

This paper analyzes the apraxia argument in Cicero’s Academica. It proposes that the argument assumes two modes: the evidential mode maintains that skepticism is false, while the pragmatic claims that it is disadvantageous. The paper then develops a tension between the two modes, and concludes by exploring some differences between ancient and contemporary skepticism.

In dialogues ranging from the Symposium to the Timaeus, Plato appears to propose that the philosopher’s grasp of the forms may confer immortality upon him. Whatever can Plato mean in making such a claim? What does he take immortality to consist in, such that it could constitute a reward for philosophical enlightenment? And how is this proposal compatible with Plato’s insistence throughout his corpus that all soul, not just philosophical soul, is immortal? In this chapter, I pursue these questions by (...) applying the distinction between general and earned immortality to the Phaedo and the Symposium. I argue that, while Plato attributes general immortality to all soul in the Phaedo, in the Affinity Argument, he proposes that the philosopher’s soul can achieve earned immortality through contemplating forms. It is this form of immortality that Plato claims is unavailable to humankind in the flux passage of the Symposium. At the same time, in the ascent passage, he holds out the possibility – albeit with significant reservations – that the philosopher’s soul may transcend its humanity and achieve earned immortality through its communion with the form. (shrink)

In this chapter, I offer an overview of current scholarly debates on Plato's Lysis. I also argue for my own interpretation of the dialogue. In the Lysis, Socrates argues that all love is motivated by the desire for one’s own good. This conclusion has struck many interpreters as unattractive, so much so that some attempt to reinterpret the dialogue, such that it either does not offer an account of interpersonal love, or that it offers an account on which love is, (...) in fact, an other-regarding state. Others, notably Vlastos, criticize Socrates’ theory as implausibly and repellently egoistic. I maintain, against the first group, that Socrates is indeed offering an egoistic theory of love. I argue, against the second, that, while Socrates’ theory may be repellent, it possesses considerable explanatory power and avoids certain weaknesses which infect contemporary approaches to love. (shrink)

In this paper, I explore parallels between philosophical and tyrannical eros in Plato's Republic. I argue that in arguing that reason experiences eros for the forms, Plato introduces significant tensions into his moral psychology.

Note: "Next to Godliness" (Apeiron) is an expanded version of this paper. -/- 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. (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)

In this chapter, I offer an overview of current scholarly debates on Plato's Lysis. I also argue for my own interpretation of the dialogue. In the Lysis, Socrates argues that all love is motivated by the desire for one’s own good. This conclusion has struck many interpreters as unattractive, so much so that some attempt to reinterpret the dialogue, such that it either does not offer an account of interpersonal love, or that it offers an account on which love is, (...) in fact, an other-regarding state. Others, notably Vlastos, criticize Socrates’ theory as implausibly and repellently egoistic. I maintain, against the first group, that Socrates is indeed offering an egoistic theory of love. I argue, against the second, that, while Socrates’ theory may be repellent, it possesses considerable explanatory power and avoids certain weaknesses which infect contemporary approaches to love. (shrink)

Introduction to a volume on Hegel, asking why his thought continues to be relevant today.

In the Protagoras, Socrates argues that what appears to be akrasia is, in fact, the result of a hedonic illusion: proximate pleasures appear greater than distant ones. On the face of it, his account is puzzling: why should proximate pleasures appear greater than distant ones? Certain interpreters argue that Socrates must be assuming the existence of non-rational desires that cause proximate pleasures to appear inflated. In this paper, I argue that positing non-rational desires fails to explain the hedonic error. However, (...) careful consideration of Socrates’ treatment of appearances reveals that he is not without resources to explain the illusion. I argue that in the Protagoras, appearances are imagistic mental representations that appear true but tend to be false. I suggest that proximate pleasures produce inflated hedonic predictions because we represent them more vividly than distant ones, yielding greater anticipatory pleasure which causes us to overestimate their magnitude. (shrink)

One of the ways in which Plato has captured the popular imagination is with the claim that the philosopher can feel erôs, passionate love, for the objects of knowledge. Why should Plato make this claim? In this chapter, I explore Plato’s treatment of philosophical erôs along three dimensions. First, I consider the source of philosophical erôs. I argue that it is grounded in our mortality and imperfection, which give rise to a desire for immortality and the immortal. Second, I turn (...) to the object of philosophical erôs. I suggest that it is an arresting response to beauty, through which we come to value the ideal properties of the forms. Finally, I address the nature of erôs. I claim that it is a focusing desire, that overrides other concerns and causes us to overwhelmingly focus on its object. I conclude the chapter by considering the problem Vlastos famously raises for Plato’s account of erôs: can it do justice to disinterested, interpersonal love? In agreement with Vlastos, I claim that one who comes to grasp the forms will cease to feel interpersonal love; however, I also suggest that erôs can give rise to philia, beneficent concern with the wellbeing of others. (shrink)

This chapter examines Plato's moral psychology in the Phaedrus. It argues against interpreters such as Burnyeat and Nussbaum that Plato's treatment of the soul is increasingly pessimistic: reason's desire to contemplate is at odds with its obligation to rule the soul, and psychic harmony can only be secured by violently suppressing the lower parts of the soul.

Wars and crises worldwide force millions of people to flee and seek refuge, often outside their countries of origin. What moral responsibilities do states have towards refugees? In this Ethical Annotation, Dr Jos Philips and his co-authors zoom in on the responsibilities of EU countries. They consider arguments in favour of and against admitting refugees and argue that EU countries must do at least at much as they can do at little cost, and perhaps even more.

Researchers in the health sciences regularly discover information of potential health importance unrelated to their object of study in the course of their research. However, there appears to be little guidance available on what researchers should do with this information, known in the scientific literature as incidental findings. The study described here was designed to determine the extent of guidance available to researchers from public sources. This empirical study was part of a larger two-year project funded by the National Human (...) Genome Research Institute to generate guidance on how incidental findings should be managed in human subjects research, especially genetics, genomics, and imaging research. We generated empirical analysis of publicly available guidance and consent forms to help guide a multidisciplinary Working Group of experts in their formulation of normative recommendations reported in this symposium. (shrink)

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

"In 'I Don't Know, Just Wait: Remembering Remarriage in Eternal Sunshine of the Spotless Mind', William Day shows how Kaufman's Eternal Sunshine of the Spotless Mind should be considered part of the film genre known as remarriage comedy; but he also shows how Kaufman contributes something new to the genre. Day addresses, in particular, how the conversation that is the condition for reunion involves discovering 'what it means to have memories together as a way of learning how to be together'. (...) One of the most innovative aspects of Kaufman's filmic representation of such a conversation is its effect on the audience: how the narrative structure 'replicates for the viewer the felt contingency of memory that we attribute' to the characters we see onscreen - a couple contending with the interrelated experiences of remarriage and remembering." --David LaRocca, Introduction to The Philosophy of Charlie Kaufman, 12. (shrink)

Seeing Wittgenstein Anew is the first collection to examine Ludwig Wittgenstein’s remarks on the concept of aspect-seeing. These essays show that aspect-seeing was not simply one more topic of investigation in Wittgenstein’s later writings, but, rather, that it was a pervasive and guiding concept in his efforts to turn philosophy’s attention to the actual conditions of our common life in language. Arranged in sections that highlight the pertinence of the aspect-seeing remarks to aesthetic and moral perception, self-knowledge, mind and consciousness, (...) linguistic agreement, philosophical therapy, and “seeing connections,” the sixteen essays, which were specially commissioned for this volume, demonstrate the unity of not only Philosophical Investigations but also Wittgenstein’s later thought as a whole. They open up novel paths across familiar fields of thought: the objectivity of interpretation, the fixity of the past, the acquisition of language, and the nature of human consciousness. Significantly, they exemplify how continuing consideration of the interrelated phenomena and concepts surrounding aspect-seeing might produce a fruitful way of doing philosophy. The volume includes a concordance for the unnumbered remarks in the various editions of Philosophical Investigations, including the latest (4th) edition. (The front matter is posted here. The introduction - "Seeing Aspects in Wittgenstein" - appears below under "Published articles."). (shrink)

This is the introduction to Seeing Wittgenstein Anew, eds. William Day & Victor J. Krebs (Cambridge UP, 2010), a collection of essays on Ludwig Wittgenstein's remarks on aspect-seeing. Section 1: Why Seeing Aspects Now?; Section 2: The Importance of Seeing Aspects; Section 3: The Essays. (The front matter to Seeing Wittgenstein Anew appears above under "Books.").

This essay presents an approach to understanding improvised music, finding in the work of certain outstanding jazz musicians an emblem of Ralph Waldo Emerson's notion of self-trust and of Stanley Cavell's notion of moral perfectionism. The essay critiques standard efforts to interpret improvised solos as though they were composed, contrasting that approach to one that treats the procedures of improvisation as derived from our everyday actions. It notes several levels of correspondence between our interest in jazz improvisations and the particular (...) demands of Emerson's writing, and ends by considering how exemplary moments of instruction in jazz are expressive of Emersonian self-trust. (shrink)

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

Induced by intake of the psychedelic substances LSD, psilocybin, DMT and mescaline, psychedelic experiences have been extensively described by subjects as entailing a most unusual increase in the scope and quality of their consciousness. Accordingly, psychedelic experiences have been widely characterised as an “expansion of consciousness.” This article poses the following question, as yet unaddressed in contemporary philosophy and the tradition of phenomenology: to what exactly does “expansion of consciousness” refer as a general characterisation of psychedelic experiences, and what role (...) might attention play therein? On the basis of Aron Gurwitsch’s phenomenology of attention, the following thesis is presented: (a) “expansion of consciousness” refers to a particular restructuration of consciousness in psychedelic experiences. (b) This occurs by means of certain extreme transformations in direction, scope, mode and degree of attention. In order to explicate this thesis, the characteristic features of psychedelic experiences that pertain to expansion of consciousness and attention are first systematically identified from a survey of subject reports. Second, it is demonstrated that the few previous attempts to understand expansion of consciousness in terms of attention as a filter/reducing-valve, spotlight or zoom-lens each fail to explain how consciousness is structured in psychedelic experiences. Third, it is argued that psychedelic expansion of consciousness is a general restructuration of consciousness by means of extreme attentional transformations. In conclusion, brief consideration is given to the question of whether psychedelic expansion of consciousness can have epistemic and ethical value for life. (shrink)

"Lest one think that the focus on aspect-seeing in Wittgenstein is only a means to more contemporary philosophical ends, one ought to read Day’s remarkable 'Wanting to Say Something: Aspect-Blindness and Language'. Day considers the issue of aspect-blindness, arguing that universal aspect-blindness is impossible for beings with language. Specifically, he shows that a child’s first attempt at language, at trying “bloh” for “ball,” is neither an indication that the child sees the ball for the first time, nor an indication that (...) the child is giving a first label for an object seen all along. Rather, he shows that this attempt is an indication of the dawning of an aspect. The dawning of aspects, so common during the phase of language acquisition, becomes supplanted by language itself. Universal aspect-blindness is not humanly possible, then. Day argues that the acquisition of language results in a loss of desire for aspects (which it is possible to regain through art). Localized aspect-blindness is familiar because as language-users, we have lost our desire for aspects. Day then turns to questions about the deep purpose behind Wittgenstein’s style. Why are those doubting voices prominent? Why does Wittgenstein demand so often that the reader answer his questions? Day shows that these elements of Wittgenstein’s style arise from a motivation to regain his own desire for aspects, and he wants to re-awaken our own desire for aspects. Day motivates us to consider aspect-seeing in order to see Wittgenstein himself anew." --Chris Weigel, Book Review of Seeing Wittgenstein Anew, Journal of the History of Philosophy 49:2 (April 2011): 263. (shrink)

Human relationships with cars are multifaceted and morally fraught. Cars serve multiple functions, and generate experiences characteristic of both fine art and everyday aesthetic experience – but they’re also the roots of dire eco-social ills. Recent theories tend to undermine the aesthetic aspects of human-automobile relationships in order to emphasize cars’ ethically problematic effects. But cars’ shameful consequences need not cancel out their beauty or their relevance to aesthetic theories. I suggest that David Hume’s aesthetic tenets demonstrate how and why (...) cars are beautiful, foregrounding considerations that automobile aesthetics can’t afford to ignore but that risk being obscured by cars’ positively and negatively charged status. For instance, Hume underscores rational choice as an element of aesthetic experience: we can choose how and when to experience cars’ beauty or ugliness. According to Hume, utility tends to inspire sentiments of beauty; and what is ethically good is most useful to humanity at large. But tension arises from this principle, as Hume finds that even socially harmful phenomena are yet aesthetically interesting. This provocative tension is at the heart of the aesthetic appreciation of cars, and is part of what makes such appreciation worthwhile. Hume paves the way to a realistic aesthetics of automobiles that can account for their problematic effects while refusing to downplay their aesthetic potential. This paper was presented at the 2011 Meeting of the American Society for Aesthetics in Tampa, Florida. (shrink)

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

In this essay I argue the extent to which meaning and judgment in aesthetics figures in Wittgenstein’s later conception of language, particularly in his conception of how philosophy might go about explaining the ordinary functioning of language. Following a review of some biographical and textual matters concerning Wittgenstein’s life with music, I outline the connection among (1) Wittgenstein’s discussions of philosophical clarity or perspicuity, (2) our attempts to give clarity to our aesthetic experiences by wording them, and (3) the clarifying (...) experience of the dawning of an aspect, which Wittgenstein pictures as the perception of an internal relation. By examining Wittgenstein’s use of “internal relation” from the Tractatus to his later writings, I come to challenge the still prevalent understanding of Wittgenstein’s appeals to grammar as an appeal to something given (e.g., to a set of grammatical rules). Instead, as I argue, Wittgensteinian appeals to grammatical criteria should be understood as modeled by the form of justification found in our conversations about art. (shrink)

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

In *Here and There*, Stanley Cavell suggests that music, like speech, implicates the listener, so that our descriptions of music "are to be thought of not as discoveries but as impressions and assignments of meaning." Such impressions express what "makes an impression upon us," "what truly matters to us." Moreover, this aspect of music "is itself more revolutionary than ... any political event of which it could be said to form a part." I offer one indication of that significance by (...) considering a recent challenge to an old claim about the relation between jazz and democracy. Stanley Crouch claims that jazz practice is an emblem of democracy, while Benjamin Givan observes the undemocratic, hierarchical way that jazz musicians work together. But both positions rest on a limited notion of "democracy." I contrast it to the tradition in political thought that requires each citizen to find their own voice if they're to acquire the ability to govern themselves. Consequently, a better emblem of jazz's democratic advance lies in the challenge it presents to the attentive listener. Jazz listening is increasingly characterized by a learned culture of hearing what isn't played, hearing allusions, hearing unspoken interplay. The nature of this "hearing between the lines" parallels the tradition of esoteric writing in the history of political thought. It suggests that jazz's democratic importance is found in the listener's willingness to give voice to what she hears, not knowing whether her experience is shared by others or whether it singles her out, possibly for skepticism or ridicule. (shrink)

Merleau-Ponty and Contemporary Philosophy is an ambitious collected volume of fourteen chapters, accompanied by an epilogue by Jean-Luc Nancy, in which current Merleau-Ponty scholars together aim to demonstrate the urgent relevance of Merleau-Ponty to contemporary philosophy across a range of fields including ontology, epistemology, anthropology, embodiment, animality, politics, language, aesthetics, and art. Divided into four thematic sections, namely, “Legacies”, “Mind and Nature”, “Politics, Power, and Institution” and “Art and Aesthetics”, this collected volume provides a rich resource for Merleau-Ponty scholars who (...) are interested in novel applications and understudied aspects of his thought. It also opens up Merleau-Ponty’s oeuvre to the general reader, presenting many possible entry-ways into the diversity of his work. In my review of Merleau-Ponty and Contemporary Philosophy, I suggest that each of its thematic sections could have been the subject of a separate volume themselves, and that the volume would then perhaps have not suffered from a number of poorly developed lines of argumentation. But I consider that the inclusion of all these thematically diverse sections in a single volume nonetheless presents a forceful display of the wide-ranging relevance of Merleau-Ponty’s work to contemporary philosophy. (shrink)

Wittgenstein's lack of sympathy for Shakespeare's works has been well noted by George Steiner and Harold Bloom among others. Wittgenstein writes in 1950, for instance: "It seems to me as though his pieces are, as it were, enormous sketches, not paintings; as though they were dashed off by someone who could permit himself anything, so to speak. And I understand how someone may admire this & call it supreme art, but I don't like it." Of course, the animosity of one (...) great mind for another has its own interest. But the interest here is increased by two factors: (1) Wittgenstein's brief but specific critique of Shakespeare's similes, of interest particularly since he identifies his own philosophical strength half-deprecatingly but still seriously as one of crafting beautiful similes; and (2) Wittgenstein's and Shakespeare's shared concern, as revealed in Stanley Cavell's writings, with the human impulse to skepticism. The present paper considers the importance of these two factors in weighing Wittgenstein's judgment. It suggests that Wittgenstein's frequent charge that Shakespeare is "completely unrealistic" is not a misunderstanding of the Bard (Wittgenstein distinguishes his "failure to understand" from others' willingness to misunderstand Shakespeare) but rather an expression of Wittgenstein's anxiety over Shakespeare's wholly original use of language to represent the sound of the raw motives to skepticism. (shrink)

A reading of the film Moonstruck (1987) is presented in two movements. The first aligns Moonstruck with certain Hollywood film comedies of the 1930s and 40s, those Stanley Cavell calls comedies of remarriage. The second turns to some aspects of Emerson's writing – in particular his interest in our relation to human greatness, and his coinciding interest in our relation to the words of a text – and shows how Moonstruck inherits these Emersonian, essentially philosophical interests.

We investigate a recently devised polyhedral semantics for intermediate logics, in which formulas are interpreted in n-dimensional polyhedra. An intermediate logic is polyhedrally complete if it is complete with respect to some class of polyhedra. The first main result of this paper is a necessary and sufficient condition for the polyhedral completeness of a logic. This condition, which we call the Nerve Criterion, is expressed in terms of Alexandrov’s notion of the nerve of a poset. It affords a purely combinatorial (...) characterisation of polyhedrally complete logics. Using the Nerve Criterion we show, easily, that there are continuum many intermediate logics that are not polyhedrally complete but which have the finite model property. We also provide, at considerable combinatorial labour, a countably infinite class of logics axiomatised by the Jankov–Fine formulas of ‘starlike trees’ all of which are polyhedrally complete. The polyhedral completeness theorem for these ‘starlike logics’ is the second main result of this paper. (shrink)

Documentary film is that genre of filmmaking that lays bare the fact of all film, which is that it presents "a world past" (Cavell, The World Viewed). This fact of film seems to point to a paradox of time in our experience of movies: we are present at something that has happened, something that is over. But what if we were to take this fact to show that film has the power to place us outside our ordinary, unreflective relation to (...) time? In this essay I examine three pre-cinematic descriptions of relations to time – in Emerson, Thoreau, and Weil – that anticipate the paradox of time inherent in film. I then put that examination to use in a reading of Werner Herzog's Cave of Forgotten Dreams, a film ostensibly about prehistoric cave paintings but whose achievement is its declaration, not to document some past time, but to liberate the present moment. (shrink)

What is one doing when one improvises music, as one does in jazz? There are two sorts of account prominent in jazz literature. The traditional answer is that one is organizing sound materials in the only way they can be organized if they are to be musical. This implies that jazz solos are to be interpreted with the procedures of written music in mind. A second, more controversial answer is offered in David Sudnow's pioneering account of the phenomenology of improvisation, (...) Ways of the Hand. Sudnow claims that learning to improvise at the piano is concerned centrally with copying the bodily ways of one's mentors and finding how one's instructable hands and the keyboard come to answer to one another, so that "to define jazz ... is to describe the body's ways." But despite its greater sensitivity over the traditional account, Sudnow's account is flawed both as a description of how improvisatory skill is acquired and as a model for describing the interest of jazz. My critique of Sudnow compares his account to Augustine's account of learning language, and finds that Wittgenstein's criticisms of Augustine extend to Sudnow. I offer a third approach to understanding improvised music, one which treats the procedures of improvisation as derived from, and importantly at play in, our everyday actions. (shrink)

In “On the Teachings of Gotama Buddha” (1925) and “Socrates-Buddha” (1926), Edmund Husserl claims that the Buddha achieves a transcendental view of consciousness by performing the epoché. Yet, states Husserl, the Buddha fails to develop a purely theoretical and universal science of consciousness, i.e., phenomenology, because his purely practical goal of Nibbāna limits knowledge of consciousness. I evaluate Husserl’s claims by examining the Buddha’s Majjhima Nikāya. I argue that Husserl correctly identifies an epoché and transcendental viewpoint in the Buddha’s teachings. (...) However, I contend that Husserl’s distinction between pure theory and pure praxis leads him to misconstrue the function of the Buddha’s epoché, the extent of knowledge that the Buddha gains from the transcendental viewpoint, and the nature of Nibbāna. I finally suggest that the Buddha presents a way of studying consciousness that is a way of life, meaning that any distinction between pure theory and pure praxis is dissolved. (shrink)

Wittgenstein's Philosophical Investigations is organized in short paragraphs or "remarks." Most of these are numbered consecutively, but some are not – including his remarks on "aspect-seeing" that are the focus of Seeing Wittgenstein Anew. This appendix to that volume is an indexed catalog of the unnumbered remarks, cross-referenced to four different editions, including the latest (4th) edition. -/- Note: There is a missing remark that should be inserted on p. 363 of the concordance, after the "A sensation can" line, thus: (...) What is the 185e 158e PPF §60. (shrink)

This essay attempts to address the question, "What makes an improvised jazz solo a maturation of the possibilities of this artform?" It begins by considering the significance of one distinguishable feature of an improvised jazz solo - how it ends - in light of Joseph Kerman's seemingly parallel consideration of the historical development of how classical concertos end. After showing the limits of this comparison, the essay proposes a counter-parallel, between the jazz improviser's attitude toward the solo's end and Ludwig (...) Wittgenstein's attitude toward our (or philosophy's) arriving at the end of justifications. The parallel depends on one's granting that both the improviser and Wittgenstein are, in their distinct ways, doing battle against the recurring human fantasy of the fixity of experience. (shrink)

I here present an anarchist critique of the idea of ‘animalistic evil’ and its common use as a justification for the State’s existence and use of force. On this view, ‘evil’ is a privation of morality, justice, and civilised behaviour. It is then identified with the ‘animalistic’ since animals are often thought to be defined by the aforesaid privation. I first clarify the idea of animalistic evil within the history of philosophy and science. Aristotle (384–322 BCE), Thomas Hobbes (1588–1679), and (...) Thomas H. Huxley (1825–1895) prominently argue that all that prevents humanity from devolving into animalistic evil, a state of violent and individualistic struggle for bare survival, is the power of State government to forcibly control the animalistic drives within its citizens. I subsequently pose two questions. (1) Is it justified to associate animal life with evil when this is (a) understood as a privation of a morality, justice and society and (b) characterised as an individualistic struggle for survival? (2) If this is not justified, what is the political harm of doing so? Building on the work of the anarchist thinker Peter Kropotkin (1842–1921), I argue that any conception of animalistic evil is unjustifiable, that it is a false justification for the State’s existence and use of force, and that the State, upon making the empty threat of animalistic evil, both violently harms individuals and impedes the socially beneficial practice of mutual aid. (shrink)

In this paper, I consider the use of mathematical results in philosophical arguments arriving at conclusions with non-mathematical content, with the view that in general such usage requires additional justification. As a cautionary example, I examine Kreisel’s arguments that the Continuum Hypothesis is determined by the axioms of Zermelo-Fraenkel set theory, and interpret Weston’s 1976 reply as showing that Kreisel fails to provide sufficient justification for the use of his main technical result. If we take the perspective that mathematical results (...) are used in the context of a modelling of something not necessarily mathematical, then the situation is clarified somewhat, and the procedure for arriving at justification for the use of such results becomes clear. I give an example of a particularly strong form this justification might take, using the idea of formalism independence due to Gödel and Kennedy. (shrink)

Despite their differences, Ludwig Wittgenstein, Ralph Waldo Emerson, and Leo Strauss share two key philosophical commitments. They recognize that philosophy cannot establish or discover a conceptual structure to which one might appeal to justify what one says. And they agree that the task of philosophical writing is to convey a way of thinking set apart from that which seeks to establish or discover conceptual structures. Yet each knows that his writing, in the absence of a universal ground of appeal, will (...) mostly fail to convey that way of thinking, and so will be, to that extent, esoteric. What differentiates them is their rendering of philosophy's inherent esotericism. -/- Wittgenstein's late interest in aspect-seeing and aspect-blindness grows out of his well-documented despair that his writing would fall before uncomprehending eyes. The correlation here rests on noticing, contra Stephen Mulhall, that Wittgenstein's aspect-seeing remarks are inspired by aesthetic matters, not least by the 'subjective universality' of aesthetic judgments. Indeed, Wittgenstein's appeals to grammatical criteria are rightly understood, not as appeals to rules in a game, but as cousin to the form of justification in aesthetics. But then, as in aesthetic justification, there may be no reason for a speaker's inability to convey to another the connections he or she may see. Emerson, whose approach to writing comes into view alongside parallel strategies in jazz and film, begins with the fact that he can write the way he does---relying on the transformative possibilities of words whose multiple meanings he acquired the way anyone does---and concludes that no one is precluded from finding in his writing a model for transforming thinking. Strauss begins with the fact that esoteric writing works the way it does---conveying the writer's true thoughts to some while withholding them from the majority---and concludes that such writing reveals a natural order of rank among readers. Yet nothing in the nature of writing philosophy as Strauss understands it compels one, in the end, to accept Strauss's conclusion. (shrink)