Alex Rosenberg’s latest book purports to establish that narrative history cannot have any epistemic value. Rosenberg argues not for the replacement of narrative history by something more science-like, but rather the end of histories understood as an account of human doings under a certain description. This review critiques three of his main arguments: 1) narrative history must root its explanations in folk psychology, 2) there are no beliefs nor desires guiding human action, and 3) historical narratives are (...) morally and ethically pernicious. Rosenberg’s book reprises themes about action explanation he first rehearsed 40 years ago, albeit with neuroscience rather than sociobiology now “preempting” explanations that trade on folk psychological notions. Although Rosenberg’s argument strategy has not altered, the review develops a number of reasons as to why his approach now lacks any plausibility as a strategy for explaining histories, much less a successful one. (shrink)

What goes round at the end of history for the two Germans.

This article makes two main claims: that Debord’s concept of the ‘integrated spectacle’ is related to end of History narratives; and that the related concept of ‘disinformation’ is manifested in new forms of media-driven warfare. These claims are substantiated through a comparative analysis between Debord’s texts and contemporary politics, primarily as described by Adam Curtis and by the RETORT collective. The resulting understanding of our contemporary politics is a situation where subjects who appear to be free, are in fact (...) only free to choose between competing brands of neo-liberalism that manipulate and baffle in order to obfuscate their true agendas. This situation is termed a ‘spectacular malaise’. The article then critiques post-Marxist claims to a re-birth of History and therefore a potential end to the spectacular malaise. It argues that the Arab Spring and Occupy movement did not signal an end to the end of History, as they were unable to articulate an alternative vision. This situation is compared to the last days of the Soviet Union, when change also seemed unimaginable. It identifies Mark Fisher’s call for activists to demonstrate alternative possibilities and reveal contingency in apparently natural orders to counter the spectacular malaise. Three art collectives are considered as potential candidates to take up this challenge: Women on Waves, Voina, and SUPERFLEX. The article concludes that while making actual social and political change is useful for demonstrating alternative possibilities, it is art’s symbolic value that reveals contingency and strikes at the heart of the spectacular malaise. (shrink)

In this book, Fukuyama seeks to provide affirmative answers to two fundamental questions: Has the ideal of liberal democracy effectively triumphed throughout the world so that we can now speak of the end of humankind's ideological development and thus the end of history? If so, is this a good thing?

What are we to make of the fact that world leaders, such as Canada’s Justin Trudeau, have, within the last few decades, offered official apologies for a whole host of past injustices? Scholars have largely dealt with this phenomenon as a moral question, seeing in these expressions of contrition a radical disruption of contemporary neoliberal individualism, a promise of a more humane world. Focusing on Canadian apology politics, this essay instead proposes a nonideal approach to state apologies, sidestepping questions of (...) what they ought to do and focusing instead on their actual functioning as political acts. Through a sociologically informed speech act theory and Foucault’s work on power, apology is conceptualized as a speech act with an essentially relational nature. The state, through apologizing, reaffirms the norms governing its relationship to its subjects at a moment when a past transgression threatens to destabilize this relation. From a Foucauldian point of view, the state’s power inheres in the very stability of the state–citizen relation, and we should therefore see apologies as defensive moves to protect state hegemony. In the context of Western liberal democracies, such as Canada, apologies embody, rather than challenge, the logic of neoliberal governmentality by suggesting that everything, including resentment against the state, can be managed within the current status quo. Nevertheless, total cynicism about apology politics is not warranted. In many indigenous apology campaigners’ demands for contrition we see another side of apologies: their potential to bring about change by enacting counterhegemonic relations to the state. (shrink)

The discourse of ‘the end of ideology’ put forward by Bell in 1960 was centred on the notion that an ideological consensus had been reached, especially in developed countries, and that ideologies were no longer necessary given that economic growth had replaced political growth as the predominant subject of debate. With the fall of the Berlin Wall and the collapse of real socialism in parallel to the breakup of the USSR, the discourse that liberalism constitutes the dominant and only paradigm (...) rose dramatically in prominence alongside the neoliberal policies implemented following the economic crisis in the 1970s. Undoubtedly, one of the most important works in this trend was the ‘end of history’ thesis put forward by Fukuyama in the 1990s. This study is rooted in the need to reconsider these ‘finalisation’ theses founded on liberalism’s supposed lack of alternatives in the aftermath of the 2007–2008 global financial crisis. Offering a critique of historical economic-political liberalism, it aims to demonstrate the failure of these ending theses, both of which are still accepted and promoted by defenders of neoliberalism. This study employs historical and hermeneutic qualitative research methods. Its most important finding is that neoliberalism cannot be both a political and an economic ‘end’. (shrink)

This paper critically evaluates institution reconstructing critique—the central methodological strategy employed by Axel Honneth in his latest book Freedom’s Right designed to articulate and justify the normative standards employed by a critical theory of the present. It begins by considering, at a general level, the promises and limits of three ideal-typical normative methodologies of social critique: first principles critique, intuition refining critique, and institution reconstructing critique. It then turns to the details of Honneth’s history and diagnosis of market spheres (...) of society as one key example of institution reconstruction critique. This leads to a consideration of some challenges facing this kind of critique, paying particular attention to problems posed by alternative reconstructions of the same data. It argues, in particular, that there is a troubling indeterminacy in this reconstruction, since alternative teleologies yield substantively different normative analyses of capitalism, and hence substantively different social critiques. In conclusion, the paper suggests some methodological remedies which might need to be adopted in order to make good on the promise of institution reconstructing critique while avoiding some of its most challenging problems. (shrink)

Spengler’s work is typically represented as speculative philosophy of history. However, I argue that there is good reason to consider much of his thought as preoccupied with existential and phenomenological questions about the nature and ends of human existence, rather than with history per se. In this paper I consider Spengler’s work in comparison with Heidegger’s history of Being and analysis of technological modernity. I argue that Spengler’s considerable proximity to much of Heidegger’s thought compels us to (...) reconsider the nature and scope of Spengler’s philosophical project. (shrink)

In ‘The End of Art: A Real Problem or Not Really a Problem?’ I raised some questions about Arthur Danto’s famous ‘end of art’ thesis. A largely polemical paper, it was intended as an invitation to further discussion, and Kalle Puolakka has now taken up this invitation in ‘Playing The Game After The End of Art’. I thank him for his many insightful remarks. Critical comments are typically more interesting and helpful than simple praise, and Puolakka’s comments are no exception. (...) I would therefore like to return the favour. I will place Puolakka’s remarks under critical examination and in the process hope to rephrase, refine, and defend some of my original claims. First, however, I will briefly restate my reading of Danto’s ideas on the end of art. (shrink)

In 1984, Arthur Danto wrote an article with the telling title ‘The End of Art.’ Just a few years earlier, Richard Rorty had declared the end of philosophy and Michel Foucault, the end of politics. A few years later, Francis Fukuyama was to declare the end of history. So, on the face of it, Danto’s thesis fits in nicely with the ‘endism’ that was popular in the 1980s. In important ways, however, I believe it also stands out.

In this essay I consider the end-of-art thesis in its metaphysical and empirical versions. I show that both use the correspondence theory of truth as the basis for their conception of the history of art. As a counterpart to these theories I have chosen Patočka’s conception of the history of art. His theory is based also on the relationship between art and truth, but he conceives truth in the phenomenological sense of manifestation. In the rest of the essay (...) I seek to show the consequences Patočka’s conception has for the history of art. In the rst part, I set out to show Patocka’s critique of Hegel’s aesthetics as a system based on the correspondence theory of truth. In particular, I endeavour to explain his critique of some intrinsic problems of Hegel’s aesthetics, the general failure of Hegel’s system to achieve its goal, and, lastly, Hegel’s giving up on the meaning of the art in the present. I also seek to show that Danto’s version runs into the same problems and conclusions as Hegel’s. In the second part I discuss Patočka’s analysis of modern art and the aesthetic attitude, where he nds a hidden a nity between art and aletheia, which Hegel overlooked. e last part of the essay focuses on the consequences that the conception of the truth of art as aletheia have for the history of art. I conclude that art in such a conception represents an independent eld of the manifestation of being in history beside philosophy. Moreover, modern and contemporary art do not mean the end of art; rather, they have their place in art history based on aletheia, since they are more focused on the manifestation itself than on what is manifested. Unlike Hegel and Danto, therefore, Patočka retains the historical meaning of modern and contemporary art. His conception of the history of art, summed up under the idea of aletheia, has greater explanatory potential than Hegel’s and Danto’s conceptions, and it retains the historical meaning of modern and contemporary art. (shrink)

This article investigates a tension that arises in Hegel’s aesthetic theory between theoretical and practical forms of reason. This tension, I argue, stems from Hegel’s appropriation of an Aristotelian framework for a historically unfolding social teleology which puts practical reason to work for the aims of theoretical reason. Recognizing that this aspect of Hegel’s dialectic is essential in overcoming problems left in Kant’s transcendental idealism, the appearance of incongruence does not lessen. Grouped together with absolute spirit, Hegel positions art as (...) a transitory mode of mind, a vehicle, which aims to raise spirit to the higher cognition of philosophy. When the unfolding absolute concept becomes too complex for articulation in the material, art must end, as spirit’s message can be expressed only through the non-material form of philosophy. This study focuses on the ambivalence found in Hegel’s writings regarding his account of historical completion. Though Hegel sees in the Absolute a metaphysical solution to the unity of subject and object, the practical aspects of the unity appear to falter when philosophy becomes the dominant mode of expression at the close of a historical cycle. In Lectures on the History of Philosophy, Hegel links his notion of the Absolute, albeit with modification, to Aristotle’s nous. As described in De Anima, this entails a progression in which active and possible intellect rise to the level of the eternal, while passive intellect, the imaginative element, passes on with the body. Because the architecture of Aristotle’s nous, which is not in line with his defense of poetry, is integrated into the blueprint of Hegel’s absolute, an unresolved tension emerges in the spirit of art. A divergence of aims is forced to the surface through Hegel’s application of a template for achievement of theoretical knowledge, with an end in the universal, to a form of practical knowing which has an end in the particular. (shrink)

Coleman Hughes argues for a "colorblind" approach to morality and policy: we should try to treat people without regard to race. I argue that colorblindness is less feasible, and less desirable, than it sounds. Hughes conceives of race as being skin-deep, not the sort of thing one should care about. But in American politics, "races" are often really ethnic groups, defined by a shared culture and history -- two things that we might reasonably care about. A colorblind ethos asks (...) ethnic minorities not to be partial towards their group and to instead join in the "melting pot." Understandably, not everyone will want to do this, and the result is both a moral and practical challenge for colorblind politics. (Currently rewriting this to submit to the Journal of American Affairs; comments welcome.). (shrink)

Is the being in an irreversible persistent vegetative state as the result of a horrible accident numerically identical to the human person, Lindsay, who existed before the accident? Many proponents of Thomistic metaphysics have argued that Aquinas’s answer to this question must be “yes.” In particular, it seems that Aquinas’s commitment to both Aristotelian hylomorphism and the unity of substantial form (viz., that each body/soul composite possesses one and only one substantial form) entails the position that the human person remains (...) alive as long as biological life persists. I argue, however, that although Aquinas does possess a deeply integrated account of human nature and is indeed committed to the claim that the person, Lindsay, exists as long as Lindsay’s body lives, there is good reason to suppose that he also holds that the body in the PVS is not Lindsay’s body in anything more than an equivocal sense. (shrink)

Jean-François Lyotard's intellectual evolution in the late 1970s and 1980s is well known in continental philosophy. In 1979, with the publication of The Postmodern Condition, Lyotard became famous for his report on "the obsolescence of the metanarrative apparatus of legitimation". Later, in his magnum opus Le diférend he expanded on this, claiming that "a universal rule of judgment between heterogeneous genres is lacking in general". Yet, this creative moment in Lyotard's career, responsible for shaping the philosophical concept of the postmodern (...) condition, is rarely connected to his book La guerre des Algériens (1989). This work was supposed to implement his new postmodern concepts in relation to the war in Algeria. The present article looks at La guerre des Algériens, within its broader historical and philosophical context, as a unique opportunity to evaluate the validity of Lyotard's philosophical shift, especially his new concept of radical heterogeneity at work in history. (shrink)

In The Life of a Style, Jonathan Gilmore claims that such narrative developments inhere in the history of art itself.By exploring such topics as the discovery ...

The striking title The End of Art managed to draw attention to the philosophical work of Arthur Danto. However, the lack of a systematic development which could support this thesis made him face harsh criticism. However, strong foundations for his statements can be deduced from his writings. In this paper, I analyse how to understand the thesis of the ‘end of art’. It should be approached not as a monolitical notion but as a complex concept that combines three different senses: (...) 1) the ‘end of art’ in the Hegelian sense: the conversion of art into philosophy, 2) the ‘end of art’ in the historiographical sense: as the end to the narratives of the history of art, and 3) the ‘end of art’ as the beginning of a new period in history, where Danto’s philosophy of art would be fully valid. (shrink)

In his philosophy of art history, Arthur C. Danto claims that in the 1960 ́s the master narrative of art had come to an end, and that we had reached the end of art. This conception has been widely considered, but also misunderstood. Hans Maes has recently discussed Danto's conception of the end of art in his article, where he clears some misconceptions about the thesis, but at the same time challenges Danto's analysis of contemporary art.

In the final pages of On What Matters, Volume II, Derek Parfit comments: ‘We live during the hinge of history... If we act wisely in the next few centuries, humanity will survive its most dangerous and decisive period... What now matters most is that we avoid ending human history.’ This passage echoes Parfit's comment, in Reasons and Persons, that ‘the next few centuries will be the most important in human history’. -/- But is the claim that we (...) live at the hinge of history true? The argument of this paper is that it is not. The paper first suggests a way of making the hinge of history claim precise and action-relevant in the context of the question of whether altruists should try to do good now, or invest their resources in order to have more of an impact later on. Given this understanding, there are two worldviews - the Time of Perils and Value Lock-in views - on which we are indeed living during, or about to enter, the hinge of history. -/- This paper then presents two arguments against the hinge of history claim: first, that it is a priori extremely unlikely to be true, and that the evidence in its favour is not strong enough to overcome this a priori unlikelihood; second, an inductive argument that our ability to influence events has been increasing over time, and we should expect that trend to continue into the future. The paper concludes by considering two additional arguments in favour of the claim, and suggests that though they have some merit, they are not sufficient for us to think that the present time is the most important time in the history of civilisation. GPI Working Paper No. 12-2020. (shrink)

To get a comprehensive understanding of the core concept of “the end of art”, this book analyses the intellectual trajectory of Arthur Danto, highlighting his successive achievements in philosophy of action, philosophy of history and philosophy of art. If, as Danto says, everything is extensively associated with everything else, it is impossible to avoid putting the philosophy of art in relation with his whole philosophical system. -/- .

It feels like the world is ending. In the midst of apocalyptic times it’s tempting to cling on tightly to what we still have. But what if our desire to save the world is part of the problem? -/- Theology for the End of the World suggests that in responding to the deeply entwined systems of capitalism, racism and patriarchy we should stop trying to unearth a ‘good version’ of Christianity which stands opposed to these forms of violence and seek (...) instead to reckon with the role that Christianity has played in making the world we now inhabit. How has Christianity shaped the histories of marriage and the family? How did Christianity invent race and give birth to capitalism? Grappling with the ambivalent inheritance of Christianity, a tradition passed down by enslaved people and enslavers; by violent husbands, resourceful wives and courageous sex workers; by rich people and the dispossessed, the book suggests Christians should give up on trying to redeem the world – a social order founded on violence and exploitation – and seek instead to end it. (shrink)

A survey of commentaries on Aristotle’s Poetics over the past century reflects a long-standing assumption that pleasure, rather than understanding, is to be seen as the real aim of tragedy, despite weak textual evidence to this end. This paper seeks to rehabilitatethe role of understanding in tragedy’s effect, as Aristotle sees it, to an equal status with that of its affective counterpart. Through an analysis of the essential inducement of wonder on the part of the viewer and its connection with (...) the organic unity of the plot—what Aristotle calls the “soul” of tragedy—I argue that the telos of tragedy in the Poetics is intended to accommodate both pleasure and incipient philosophical activity without necessarily privileging either. (shrink)

Kant’s third question (“What may I hope?”) is underdiscussed in comparison to the other two, even though he himself took it to be the question that united his efforts in theoretical and practical philosophy. This is largely his own fault: in his discussion of the question he moves quickly from talking about rational hope to discussing the kind of Belief or faith (Glaube) that grounds it. Moreover, the canonical statements of his own moral proof do not seem to give hope (...) any essential role to play. In this chapter I first consider the ways in which pre-Kantian authors muddied the distinction between what we would call “hope” and “expectation.” I then look at how Kant’s views about hope evolve to the point where, by the time of the “End of All Things” essay of 1794, he seems to endorse a kind of hopeful pessimism about our this-worldly situation, at least. I then examine a version of Kant’s moral proof that succeeds in locating a role for hope that is distinct from that of Belief, expectation, optimism, and so on. Finally, I turn to some contemporary work in two very different arenas – Anthropocene scholarship and Christian eschatology – in order to look at how the concepts of hope and optimism are deployed in those contexts. We will see that although some of the recent discourses about the “Good Anthropocene” slip beyond hope into full-blown optimism, most authors working on ecological and environmental topics are careful to keep the attitudes distinct. By contrast, there is a tendency among contemporary theologians to follow earlier Christian authors in slipping beyond mere hope to optimistic faith, and even to full-blown certainty. (shrink)

The suppression of trade barriers and liberalization of financial flows inherent to the expansive dynamic of globalization have not extended to international flows of workers. To impede the free movement of workers, restrictive migratory policies have been implemented, and borders have been fortified with walls and fences. In the face of this widespread phenomenon, this chapter presents an alternative consisting of three steps. First, it is noted that in the current migratory context, borders play a key role in reproducing inequalities (...) between countries. Next, it is argued that given the incompatibility of this function with global justice, it is necessary to seek some remedy to put an end to the suffering caused by this structural injustice, a suffering that is endured by an immense number of people unlucky enough to have been born on the wrong side of a border. After presenting a conception of borders that, unlike walls, would enable the movements of people, finally, a scenario is proposed in which the rights of political membership would be reassigned in a cosmopolitan manner and in which borders would usually remain open. Although this does not entail a radical suppression of the aforementioned injustice, its implementation would contribute to not only its reduction but also to the compensation of victims. (shrink)

Medicine is increasingly subject to various forms of criticism. This paper focuses on dominant forms of criticism and offers a better account of their normative character. It is argued that together, these forms of criticism are comprehensive, raising questions about both medical science and medical practice. Furthermore, it is shown that these forms of criticism mainly rely on standards of evaluation that are assumed to be internal to medicine and converge on a broader question about the aim of medicine. Further (...) work making medicine’s internal norms explicit and determining the aim of medicine would not only help to clarify to what extent the criticism is justified, but also assist an informed deliberation about the future of medicine. To illustrate some of the general difficulties associated with such a task, the paper concludes by critically engaging Edmund Pellegrino’s account of the aim of medicine as well as the Hastings Center’s consensus report. (shrink)

The aim of this paper is to show how concern with agency, expressed in the idea that history is the doing of agents, shapes both Kant’s and Hegel’s conceptions of history and, by extension, the roles they accord philosophical historiography.

Abstract: Four main forms of Doomsday Argument (DA) exist—Gott’s DA, Carter’s DA, Grace’s DA and Universal DA. All four forms use different probabilistic logic to predict that the end of the human civilization will happen unexpectedly soon based on our early location in human history. There are hundreds of publications about the validity of the Doomsday argument. Most of the attempts to disprove the Doomsday Argument have some weak points. As a result, we are uncertain about the validity of (...) DA proofs and rebuttals. In this article, a meta-DA is introduced, which uses the idea of logical uncertainty over the DA’s validity estimated based on a virtual prediction market of the opinions of different scientists. The result is around 0.4 for the validity of some form of DA, and even smaller for “Strong DA”, which predicts the end of the world in the near term. We discuss many examples of the validity of the DA in real life as an instrument to prove it “experimentally”. We also show that DA becomes strongest if it is based on the idea of the “natural reference class” of observers, that is, the observers who know about the DA (i.e. a Self-Referenced DA). Such a DA predicts that there is a high probability of a global catastrophe with human extinction in the 21st century, which aligns with what we already know based on analysis of different technological risks. (shrink)

Abstractabstract:Hegel's end-of-art thesis is arguably the most notorious assertion in aesthetics. I outline traditional interpretive strategies before offering an original alternative to these. I develop a conception of art that facilitates a reading of Hegel on which he is able to embrace three seemingly contradictory theses about art, namely, (i) the end-of-art thesis, (ii) the continued significance of art for its own sake (autonomy thesis), and (iii) the necessity of art for robust knowledge (epistemicnecessity thesis). I argue that Hegel is (...) able to embrace all three theses at once through a conception of the work of art as an internally purposive whole (what I call the "IP View" of art). On the IP View, because of the kind of wholes that artworks are, they (i.a) are valuable for their own sake as ends-in-themselves, (i.b) yield valuable experiences because they are valuable for their own sake, and thereby (i.c) are necessary for robust knowledge. Finally, I suggest that not only does Hegel appear to hold the IP View of art, but also that on such a view, there is a very sensible reason for affirming (one reading of) Hegel's end-of-art thesis as an important means to establishing art's actual significance for robust knowledge against soaring, but unsubstantiable, claims about art's potency with respect to robust knowledge. (shrink)

In this article, two different claims about nature are discussed. On the one hand, environmental philosophy has forced us to reflect on our position within nature. We are not the masters of nature as was claimed before. On the other hand there are the recent developments within synthetic biology. It claims that, now at last, we can be the masters of nature we have never been before. The question is then raised how these two claims must be related to one (...) another. Rather than stating that they are completely irreconcilable, I will argue for a dialogue aimed to discuss the differences and similarities. The claim is that we should not see it as two successive temporal phases of our relation to nature, but two tendencies that can coexist. (shrink)

It is a truism to say that we live in a world that has been deeply shaped by imperialism. The history of humanity is, in many ways, a story of the attempted and achieved subjugation of one people by another, and it is unsurprising that such interaction has had profound effects on the contemporary world, affecting cultural understandings of community identity; the composition of, and boundaries between, modern day states; and the distribution of resources between different communities. This chapter (...) addresses the claim that some contemporary states may possess obligations to pay reparations as a result of the lasting effects of a particular form of historic imperialism: colonialism. Claims about the harms and benefits caused by colonialism must make some kind of comparison between the world as it currently is, and a counterfactual state where the injustice which characterised so much of historic interaction between colonisers and the colonised did not occur. Rather than imagining a world where there was no such interaction, this chapter maintains that the appropriate counterfactual is one where relations between different communities were characterized by an absence of domination and exploitation. This means that current day states may possess reparative duties which are much more extensive than is often supposed. (shrink)

Scholars studying classic political texts face an important decision: Should these texts be read as artifacts of history or as sources for still-valid insights about politics today? Competing historical and “presentist” approaches to political thought do not have a methodological dispute—that is, a disagreement about the most effective scholarly means to an agreed-upon end. They instead have an ethical dispute about the respective value of competing activities that aim at different purposes. This article examines six ethical arguments, drawn primarily (...) from the work of Quentin Skinner, in favor of the historical approach. It concludes that while both intellectual history and presentist theory are ethically justifiable, the best justification of the former enterprise is that it can help us achieve the purposes of the latter. (shrink)

It started and ended in Chile! This might be the introductory sentence to an economic history of our times. After the 1973 military coup the “Chicago Boys”, a group of Chilean economists educated by Milton Friedman at University of Chicago, took control of Pinochet’s economic policy. A type of policy which later on entered government offices in the UK and the US together with Margaret Thatcher and Ronald Reagan. Today protesters on the streets of Santiago seeks to tear down (...) the core pillars of the paradigm installed by the Chicago boys. Looking at broader developments, the essential driver of change over the past four decades have however not been an economic one but rather a legal one. Or rather the essential change has been the economics discipline acting as an invasive species entering into the realm of law though the law and economics paradigm. (shrink)

The manual represents the evolution of the concept of law from antiquity to the end of XX century. It also describes some important Anglo-American directions in the philosophy of law, which are important for developments of Ukrainian legal system (legal positivism, naturalism, realism, criticism, feminism, economical theory of law, postmodernism, etc. The main text is supplemented with excerpts from the writings on the philosophy of law, which are little known for Ukrainian readers. The audience of textbook is students, educators, jurists (...) and lawyers, legislators, and public officials. -/- Contents in English. (shrink)

This book aims at six important conceptual tools developed by philosophers. The author develops each particular view in a chapter, hoping to constitute at the end a concise, interesting and easily readable whole. These concepts are: 1. Ethics and realism: elucidation of the distinction between understanding and explanation – the lighthouse type of normativity. 2. Leadership, antirealism and moral psychology – the lightning rod type of normativity. 3. Bright light on self-identity and positive reciprocity – the reciprocity type of normativity. (...) 4. The virtue of generosity and its importance for inclusive education – the divine will type of normativity. 5. Ethical education as normative philosophical perspective. The normativity of self-transformation in education. 6. Aesthetics as expression of human freedom and concern for the whole world in which we live. (shrink)

The book is a history of the concept of experience in philosophy. Minakov focuses mainly on Western 19-20th century philosophical movements and their use of the experience concept. Author uses topological method to describe growth of the conseptual content of experience, as well as decline in its use in the end of 20th century.

The article re-visits the different scholarly approaches to Hegel's end-of-art scenario, and then proposes a new reading whereby ending and finitude are presented as essential features of beautiful art. The first and most determinant of art's endings is the death of the Christly art object, not representations of Christ, but the actual death of (the son of) God himself as the last classical artwork. The death of God represents the last word in Greco-Roman art, the accomplishment of the beautiful individuality (...) and its failure to present the Absolute in a singular, naturally infected, lively, human (made) form. The ending of art brings about a new form of the sacred: the representational language of revelatory religion. The ongoing production of modern artistic forms is a feature of actuality ("Wirklichkeit") and as such is condemned to an infinite approximation of what has been. Such actuality nonetheless "ends" in the ironic discourse of contemporary artistic expression, which Hegel qualifies as a "Vereitelung". The final realization of the beautiful art form, as a human-informed singularity embodying absolute content, may well be the Encyclopedia of Philosophical Sciences, whose performative iteration takes place in the form of "worship" practiced in the modern, state university. (shrink)

Between the end of the nineteenth century and the first twenty years of the twentieth century, stimulated by the impetuous development of logical studies and taking inspiration from Leibniz's idea of a characteristica universalis, the three founding fathers of the analytic tradition in philosophy, i.e., Frege, Russell, and Wittgenstein, started to talk of a logically perfect language, as opposed to natural languages, all feeling that the latter were inadequate to their (different) philosophical purposes. In the second half of the twentieth (...) century, however, the very idea of a logically perfect language ceased for various reasons to seem attractive to analytic philosophers. Thus, it might appear that this idea could be classified together with the many other bizarre ideas that from time to time surface in the history of philosophy-an idea that perhaps had a beneficial impact on the development of twentieth century logic, but which can now be put to rest. In this brief note, I contend that this conclusion may be too hasty. Indeed, if a well-known empirical hypothesis advanced in 1975 by Jerry Fodor turns out to be true, then there is a logically perfect language, after all. More precisely, I argue that, if it exists, Fodor's language of thought possesses the main characteristics a logically perfect language is required to have. (shrink)

From the beginning of the 16th century to the end of the 18th century, there were not less than ten philosophers who focused extensively on Venn’s ostensible analytical diagrams, as noted by modern historians of logic (Venn, Gardner, Baron, Coumet et al.). But what was the reason for early modern philosophers to use logic or analytical diagrams? Among modern historians of logic one can find two theses which are closely connected to each other: M. Gardner states that since the Middle (...) Ages certain logic diagrams were used just in order to teach “dull-witted students”. Therefore, logic diagrams were just a means to an end. According to P. Bernhard, the appreciation of logic diagrams had not started prior to the 1960s, therefore the fact that logic diagrams become an end the point of research arose very late. The paper will focus on the question whether logic resp. analytical diagrams were just means in the history of (early) modern logic or not. In contrast to Gardner, I will argue that logic diagrams were not only used as a tool for “dull-witted students”, but rather as a tool used by didactic reformers in early modern logic. In predating Bernhard’s thesis, I will argue that in the 1820s logic diagrams had already become a value in themselves in Arthur Schopenhauer’s lectures on logic, especially in proof theory. (shrink)

The momentum of globalization and universalism, operating through the media, information technology and politics, has steadily diminished the importance of cultural diversity. It has even threatened to erase many of our cultural traditions, or extinguish our diverse experiences of the sacred. Yet the sacred which seems to be lost is often still encased in our cultural objects, stories and religious rituals. This paper will discuss how the memories of the sacred can be both preserved and reawakened. This paper will focus (...) on three scholars who develop alternative approaches to the universal. Franz Rosenzweig saw universal historical progress as oppressive. He believed that the practice of his Jewish religion offered a resistance and a possible correction to the general movement of history. Walter Benjamin saw the forgotten 'ruins' of history encase memories of the sacred and the silenced voices within history. For Benjamin, the role of interpretation is to awaken these hidden memories and voices which are encoded within our objects, images and commodities. This led him to a particular idea of a momentary messianic redemption in relation to greater flow of time. And finally, Jacob Taubes read St. Paul as offering a revolutionary model on how to live one's particular faith within a wider political order. In general, each writer developed an idea of redemption which involves a kind of remembrance of what has been obscured by the more general universal movement of history itself. This is especially relevant for the various religious and cultural communities within Cambodia. The paper will begin and end by discussing the origin story of Cambodia – the marriage between Preah Thong, the Indian prince, and Neag Neak, the Naga princess. I will additionally try to demonstrate that the story and its various reenactments is important because it represents a regenerative process rooted in the eclectic character of South East Asian culture in general. Various forms of memory within the syncretic or eclectic context of Southeast Asia can operate to preserve the sacred in an age of universalization and globalization. It also illustrates how the performance of memory can also offer an antidote to the "trauma" of Cambodia's past. (shrink)

Fukuyama's 'The End of History' has referred to Kojeve's 'homogenous state' as some sort of conceptual container for the evolving idea of liberal democracy. This paper critically re-assess the homogeneity of state as final stage of liberal idea and defends civil society in terms of democratic governance. It also invites to discuss the role of scholars as public intellectuals and repels the ideological abuse of the scientific method.

The coronavirus catastrophe that we are experiencing is first of all the result of an ecological catastrophe, but its underlying fundamental cause is the political crisis that our democracies are living. The sustainable development model is a smokescreen that will lead not to making deepgoing changes to the economic paradigm but to continuing with business as usual. The betrayal of the elites, both political and economic, supported by a system that is no longer democratic, has exposed the population to this (...) type of sanitary problem. A deep transformation of our political system is urgently needed. The people must take part in a true democracy, a direct democracy, that initiates a new democratic revolution capable of countering the sinister interests of the elites, of the caste in power. (shrink)

The exploration of chemical periodicity over the past 250 years led to the development of the Periodic System of Elements and demonstrates the value of vague ideas that ignored early scientific anomalies and instead allowed for extended periods of normal science where new methodologies and concepts are developed. The basic chemical element provides this exploration with direction and explanation and has shown to be a central and historically adaptable concept for a theory of matter far from the reductionist frontier. This (...) is explored in the histories of Prout’s hypothesis, Döbereiner Triads, element inversions necessary when ordering chemical elements by atomic weights, and van den Broeck’s ad-hoc proposal to switch to nuclear charges instead. The development of more accurate methods to determine atomic weights, Rayleigh and Ramsey’s gas separation and analytical techniques, Moseley’s X-ray spectroscopy to identify chemical elements, and more recent accelerator-based cold fusion methods to create new elements at the end of the Periodic Table point to the importance of methodological development complementing conceptual advances. I propose to frame the crossover from physics to chemistry not as a loss of accuracy and precision but as an increased application of vague concepts such as similarity which permit classification. This approach provides epistemic flexibility to adapt to scientific anomalies and the continued growth of chemical compound space and rejects the Procrustean philosophy of reductionist physics. Furthermore, it establishes chemistry with its explanatory and operational autonomy epitomized by the periodic system of elements as a gateway to other experimental sciences. (shrink)

In this article the possibilities of expanding the boundaries of the knowledge and tradition of art philosophy in Turkey through the works of names outside the discipline of philosophy are investigated. For this purpose the production of architectural historian Doğan Kuban is discussed. Kuban’s works are evaluated from a philosophical perspective and it is tried to justify that they should be included in the philosophy of art literature. It has been accepted by the researchers that aesthetics/philosophy of art in Turkey (...) started with the effect of westernization after the Tanzimat. The main problems of the few studies that follow the development of aesthetics are that they examine aesthetics, which developed mainly through literary figures and philosophers who had less space than them, until the establishment of the Republic, only through the works of professional philosophers since the Republic, and they exclude the idea of tradition by not establishing a connection between the local thinkers they have examined and ending their development line with İsmail Tunalı. Common problems in research create the impression that the acceptance of aesthetics or philosophy of art as an activity that only the philosopher can do is accepted as a prejudice. However, philosophy of art is not a field specific to philosophers and limiting the development and accumulation of philosophy of art in Turkey to the work of philosophers narrows the scope of discussion. When a philosophical approach to the subject is sought other than philosophers, the opportunity to meet important names in different disciplines and to read them with a new eye increases. When approached from this perspective, Doğan Kuban’s (1926-2021) works deserve to be questioned in terms of art philosophy. It is noteworthy that Kuban’s production which started in the 1950s and lasted for about 70 years presents a wide field of data and interpretation and that he often attempts theory by reminding the absence of criticism and philosophy in our culture. There are also thinkers who refer to Kuban’s interest in philosophy, aesthetics and philosophy of art. However, Kuban’s relevance to philosophy and aesthetics/art philosophy has not been studied extensively. In the article firstly answers will be sought to the questions of what philosophy and philosophy of art are, and then Kuban’s philosophy of art will be revealed according to the criteria to be determined here. Kuban’s philosophy of art will be examined in three stages. His own theoretical approach will be analyzed by reviewing his objections to the tradition of philosophy of art. In the next step, his views on the philosophy of architecture and the philosophy of Turkish art, which he pursued throughout his production as a quest, will be examined. Finally the problems in Kuban’s philosophy of art will be pointed out and its possibilities will be emphasized. Philosophy is the ability to redefine the concepts starting from the most basic/original problems in any field where one doubts the answers, to determine the principles of the field, to answer the sub-questions with principles in line with consistency and validity, and to construct his own explanation model for the structure of the field by associating these answers. In order to make philosophy of art and philosophy of architecture it is necessary to answer the basic questions of the relevant field, to reach conceptual and principled goals, and to present a model of explanation of the structure of the field within a certain method. In the context of the criteria of art philosophy determined here, Kuban’s thoughts can be questioned in terms of philosophy of art. The philosophy of art, the philosophy of architecture and the philosophy of Turkish art, which became evident by the bringing together of different pieces in Kuban’s works, is a continuous and mutually determined effort. The thinker who criticizes the thinking styles and provisions of Western aesthetics, has created his own concept map with redefinitions and conceptualizations. Kuban redefined the concepts in the field of study, based on these he constructed his understanding of art, the philosophy of architecture and tried to create a model of explanation of Turkish art in which he revealed its history, evolution and basic features. Criticizing the views of C. E. Arseven, J. Strzygowski, E. Diez and O. Aslanapa, Kuban tried to define Turkish art in his own way and tried to explain the basic principles of Turkish art through monumental and civil architecture. Even though this model of explanation has deficiencies it offers new research opportunities to history of art and philosophy researchers with the questions it asks, the concepts it highlights and its unresolved aspects. With his philosophical awareness, criticisms of the philosophy of art, the philosophy of architecture and the attempt to construct the theory of Turkish art, Kuban should be included in the subject area of the philosophy of art studies in Turkey. Evaluation of Kuban’s thoughts by including them in the accumulation of art philosophy in our history of thought will both broaden and diversify the horizon of the field of art philosophy and will enable the philosophy of art to be considered in the context of new relationships between individuals and disciplines by following the traces of thinkers from such different fields. (shrink)

Abstract: This study introduces a machine learning-based model for predicting student performance using a comprehensive dataset derived from educational sources, encompassing 15 key features and comprising 62,631 student samples. Our five-layer neural network demonstrated remarkable performance, achieving an accuracy of 89.14% and an average error of 0.000715, underscoring its effectiveness in predicting student outcomes. Crucially, this research identifies pivotal determinants of student success, including factors such as socio-economic background, prior academic history, study habits, and attendance patterns, shedding light on (...) the nuanced dynamics of student performance. The key influential features identified in this study offer valuable insights into the complex factors shaping student achievement. These insights are vital for educators, policymakers, and institutions seeking to enhance educational outcomes and promote equitable access to quality education. This research provides a data-driven foundation for proactive interventions, personalized learning strategies, and support systems, ultimately contributing to improved student performance and academic success. The high accuracy of the predictive model and the feature analysis it provides empower decision-makers in the education sector. This model holds significant potential for applications in student performance monitoring, early intervention, and tailored educational strategies. By adopting a data-driven approach, this work advances the field of educational analytics and contributes to the goal of fostering student success and educational equity. (shrink)

Nickles (2016, 2017, forthcoming) raises many original objections against scientific realism. One of them holds that scientific realism originates from the end of history illusion. I reply that this objection is self-defeating and commits the genetic fallacy. Another objection is that it is unknowable whether our descendants will regard our current mature theories as true or false. I reply that this objection entails skepticism about induction, leading to skepticism about the world, which is inconsistent with the appeal to the (...) end of history illusion. Finally, I argue that we have an inductive rationale for thinking that our descendants will regard our current mature theories as true. (shrink)

This article looks at some of the metaphysical properties of cognitive artefacts. It first identifies and demarcates the target domain by conceptualizing this class of artefacts as a functional kind. Building on the work of Beth Preston, a pluralist notion of functional kind is developed, one that includes artefacts with proper functions and system functions. Those with proper functions have a history of cultural selection, whereas those with system functions are improvised uses of initially non-cognitive artefacts. Having identified the (...) target domain, it then briefly looks at the multiple usability of physical structures and the multiple realizability of cognitive function. Further developing insights from the “dual nature of artefacts thesis”, the article ends with conceptualizing the structure–function relations of cognitive artefacts. More specifically, it unpacks the relation between physical structure, representational structure, information, and cognitive function. (shrink)

The Black antislavery theorist Quobna Ottobah Cugoano (c.1757–c.1791) is increasingly recognized as a noteworthy figure in the history of philosophy. Born in present-day Ghana, Cugoano was enslaved at the age of 13 and shipped to Grenada, before being taken onwards to England, where the 1772 Somerset court ruling in effect freed him. His Thoughts and Sentiments on the Evil of Slavery [1787/1791] broke new ground by demanding the immediate end of the slave-trade and of slavery itself, without any compensation (...) to slaveholders. Notwithstanding this, Cugoano endorsed the legitimacy of penal enslavement on principled grounds – like many other abolitionists writing in late eighteenth-century Britain. “Every free community might keep slaves, or criminal prisoners in bondage” – and even sell them. Amidst the growing literature exploring Cugoano’s abolitionism, his paradoxical justification of penal slavery has bewildered commentators. Far from an offhand inconsistency, I argue that this justification is deeply embedded within his moral and legal philosophy; constraining his antislavery arguments while simultaneously serving retaliatory aims. His two-pronged principle of just punishment – the lex talionis (‘eye for an eye, bondage for bondage’) as tempered by mercy – sometimes demands penally enslaving colonial slaveholders and slave-traders in turn. Throughout, I compare Cugoano’s justification of penal enslavement with those of other early modern philosophers, especially Locke and Kant. This helps me position Cugoano within the history of philosophy, thus making his views more accessible to a wider philosophical audience. It also indicates just how deeply theories of punishment shaped philosophical thinking about penal bondage in the period. (shrink)