In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 41.3 (2003) 417-418 [Access article in PDF] Heidi M. Ravven and Lenn E. Goodman, editors. Jewish Themes in Spinoza's Philosophy. Albany: The State University of New York Press, 2002. Pp. ix + 290. Cloth, $78.50. Paper, $26.95.The current anthology presents an important contribution to the study of Spinoza's relation to Jewish philosophy as well as to contemporary scholarship of Spinoza's metaphysics and political (...) theory.In the opening essay, Lenn Goodman takes upon himself the ambitious task of evaluating Spinoza's positions as to several central disputes throughout the history of philosophy. In this rich and extensive essay Goodman argues that Spinoza's radical rationalism makes him pursue syntheses between traditionally opposed poles. Lee Rice's article, "Love of God in Spinoza," carefully analyzes Spinoza's concept of love and suggests the existence of three kinds of love parallel to the three kinds of knowledge. Warren Montag addresses the unresolved issue of Spinoza's relation to the Kabbalah. Montag sides with Deleuze against the association of Spinozism with the Neo-Platonic theory of emanation, arguing that unlike the Neo-Platonists and Kabbalists, Spinoza's view of God rules out any hierarchy, and does not assume a descent from primal simplicity into complexity. Edwin Curley contributes a beautiful reading of the story of Job and of Maimonides' interpretation of the story. Curley follows Maimonides' discussion of the various positions regarding the question of divine providence and his attempt to identify the speeches of the characters of the book of Job with each of these positions. Following a sensitive consideration of various attempts to [End Page 417] recover Maimonides' own rather concealed view about providence, Curley concludes that "[W]hatever you think Maimonides' final word on Job is, our examination of him certainly supports [Spinoza's] claim that [Maimonides] reads Scripture in terms of Platonic or Aristotelian speculations" (170).Warren Zev Harvey's essay addresses Spinoza's most neglected work, the Compendium of the Grammar of the Hebrew Language. Apart from providing an outline of Spinoza's work as a Hebrew grammarian ("a noun-intoxicated grammarian") and pointing out some of Spinoza's more eccentric views about the nature of the Hebrew language, Harvey makes a compelling case for the importance of the book for the study of Spinoza's metaphysics. He points out a fascinating analogy which Spinoza draws between the parts of speech: (proper) noun, adjectives, and participles, and Spinoza's key metaphysical terms: substance, attributes, and modes. (Think about the weighty implications of this analogy for Curley's interpretation of the substance-mode relation.) According to Harvey, Spinoza's claim that all Hebrew words are derived from nouns is a linguistic parallel to Spinoza's pivotal metaphysical doctrine which makes all things be in the substance (or God). Kenneth Seeskin's article discusses the views of Maimonides and Spinoza on the question of creation and God's relation to the world. Seeskin reconstructs an interesting critical dialogue between these two philosophers. According to Seeskin, both philosophers held that an effect must be similar to its cause. Maimonides' commitment to Negative Theology and to the denial of any common measure between God and finite things forced him to deny causal or explanatory relation between God and the world. What Maimonides can suggest instead is rather to prove that the emergence of the world ex nihilo and according to the divine will, is possible, and even likely given certain astronomical facts of medieval science. Thus, Maimonides would hold that "although we have grounds for believing that creation occurred, we will never be in a position to say how" (120). For Spinoza, such a view constitutes nothing but a "sanctuary of ignorance." Thus, according to Seeskin, Spinoza affirms a clear causal relation between God and the world of finite things insofar as God is said to explain the world. While I tend to agree with most aspects of this analysis, it is important to note that Spinoza also claims that "between the finite and infinite there is no relation" (Letter 54). This... (shrink)

(CONTENIDO: LA FILOSOFÍA DE ALTHUSSER A 50 AÑOS DE LIRE LE CAPITAL Pedro Karczmarczyk, 3; DISCURSO Y DECRETO: SPINOZA ALTHUSSER Y PÊCHEUX Warren Montag 11; ALTHUSSER LECTOR DE GRAMSCI Vittorio Morfino 43 LAS ABSTRACCIONES, ENTRE LA IDEOLOGÍA Y LA CIENCIA João Quartim de Moraes 67 ELOGIO DEL TEORICISMO. PRÁCTICA TEÓRICA E INCONSCIENTE FILOSÓFICO EN LA PROBLEMÁTICA ALTHUSSERIANA, Natalia Romé 85 MARXISMO Y FEMINISMO: EL RECOMIENZO DE UNA PROBLEMÁTICA1 115 Luisina Bolla* / Pedro Karczmarczyk* 115 RRESEÑAS El materialismo de (...) Althusser. Más allá del telos y del Eschaton de Vittorio Morfino, por Valentín Huarte 153; El sujeto en cuestión, Pedro Karczmarczyk (ed.) por Constanza Storani; 159 La posición materialista. El pensamiento de L. Althusser entre la práctica teórica y la práctica política, de Natalia Romé, por Ingrid Sarchman y Carolina Collazo 164. (shrink)

Quietist Moral Realists accept that there are moral facts and properties, while aiming to avoid many of the explanatory burdens thought to fall on traditional moral realists. This chapter examines the forms that Quietist Moral Realism has taken and the challenges it has faced, in order to better assess its prospects. The best hope, this chapter argues, lies in a pragmatist approach that distinguishes the different functions of diverse areas of discourse. This paves the way for a form of Quietism (...) that does not simply remain quiet about the explanatory demands of metaethics, but rather is able to diagnose where they go wrong. By combining a neopragmatic analysis of the discourse with an easy approach to ontology, , we can develop a form of Quietist Moral Realism that is far stronger than critics of quietism have appreciated. (shrink)

We face reality presented with the data of conscious experience and nothing else. The project of early modern philosophy was to build a complete theory of the world from this starting point, with no cheating. Crucial to this starting point is the data of conscious sensory experience – sense data. Attempts to avoid this project often argue that the very idea of sense data is confused. But the sense-data way of talking, the sense-data language, can be freed from every blemish (...) using ideas from contemporary metaontology. We can adopt a sense-data framework that vindicates the traditional claims of sense-data theories and leads to plausible theories of perception and color. We can, we should, and in a sense, we must. Yet when we do, we face the traditional problem of external world skepticism, head-on. The real challenge of skepticism is forced upon us; it cannot honestly be avoided using externalist tricks, burden of proof shifting, or other razzle dazzle. But the challenge can be met: we are rational to posit the external world as the best explanation of the many synchronic and diachronic patterns over our sense-data. This paper argues for all of these points and ends with a plea for analytic empiricism – a traditional sense-data version of empiricism that uses all of the tools of analytic philosophy while avoiding the more questionable doctrines of the Vienna Circle (phenomenalism, verificationism). Analytic empiricism is our last best hope for completing the great philosophical project of early modern philosophy. (shrink)

In this paper two concepts of populism are identified, explicated, and critically discussed. Their links with underlying views of democracy are emphasized. It is argued that the second concept, but not the first concept, is both consistent with the values of pluralism and inclusion and also expresses a normatively defensible aspiration for greater economic democracy.

Despite its many advantages as a metaethical theory, moral expressivism faces difficulties as a semantic theory of the meaning of moral claims, an issue underscored by the notorious Frege-Geach problem. I consider a distinct metaethical view, inferentialism, which like expressivism rejects a representational account of meaning, but unlike expressivism explains meaning in terms of inferential role instead of expressive function. Drawing on Michael Williams’ recent work on inferential theories of meaning, I argue that an appropriate understanding of the pragmatic role (...) of moral discourse—the facilitation of coordinated social behavior—suggests the kind of inferences we should expect terms with this function to license. I offer a sketch of the inferential roles the moral ‘ought’ plays, and argue that if we accept that the relevant inferential roles are meaning-constitutive, we will be in a position to solve the Frege-Geach problem. Such an inferentialist solution has advantages over those forwarded by expressivists such as Blackburn and Gibbard. First, it offers a more straightforward explanation of the meaning of moral terms. It also gives simple answers to at least two semantic worries that have vexed contemporary expressivists—the “problem of permissions” and the commitment to “mentalism”, both of which I argue are problems that don’t get traction with an inferentialist approach. I conclude by considering ways in which this approach can be expanded into a more robust semantic account. (shrink)

In his arguments that science itself can answer moral questions, Sam Harris often appeals to our intuitions about the badness of suffering. If we share these intuitions, Harris argues, we’ve taken a significant step in conceding to a basically utilitarian worldview. In this chapter, I critically assess Harris’ arguments and find them deeply wanting.

Once upon a time, logical conventionalism was the most popular philosophical theory of logic. It was heavily favored by empiricists, logical positivists, and naturalists. According to logical conventionalism, linguistic conventions explain logical truth, validity, and modality. And conventions themselves are merely syntactic rules of language use, including inference rules. Logical conventionalism promised to eliminate mystery from the philosophy of logic by showing that both the metaphysics and epistemology of logic fit into a scientific picture of reality. For naturalists of all (...) stripes, this was paradise. Alas, paradise was lost. By the end of the twentieth century, logical conventionalism had been almost universally abandoned. But more recently, it has been revitalized. This chapter provides an overview of logical conventionalism and its history, clears away misunderstandings, and briefly responds to both the canonical objections to conventionalism (from Quine, Dummett, Boghossian, and many others) as well as new objections (from Field and Golan). From paradise lost, to paradise regained: logical conventionalism is back. (shrink)

Explaining genuine moral disagreement is a challenge for metaethical theories. For expressivists, this challenge comes from the plausibility of agents making seemingly univocal claims while expressing incongruent conative attitudes. I argue that metaethical inferentialism – a deflationary cousin to expressivism, which locates meaning in the inferential import of our moral assertions rather than the attitudes they express – offers a unique solution to this problem. Because inferentialism doesn’t locate the source of moral disagreements in a clash between attitudes, but instead (...) in conflicts between the inferential import of ethical assertions, the traditional problem for expressivism can be avoided. After considering two forms of inferentialism that lead to revenge versions of the problem, I conclude by recommending that we understand the semantics of moral disagreements pragmatically: the source of univocity does not come from moral or semantic facts waiting to be described, but instead from the needs that ethical and semantic discourses answer – a solution to the problems of what we are to do and how we are to talk about it. (shrink)

A short paper discussing and critiquing common claims that "truth is relative.".

Plato claimed that morality exits to control conflict. Business people increasingly are called upon to resolve moral conflicts between various stakeholders who maintain opposing ethical positions or principles. Attempts to resolve these moral conflicts within business discussions may be exacerbated if disputants have different communicative styles. To better understand the communication process involved in attempts to resolve a moral dilemma, we investigate the "discourse ethics" procedure of Jürgen Habermas. Habermas claims that an individual's level of moral reasoning parallels the type (...) of communication which that individual typically uses in attempts to resolve conflict. Our research focuses upon the relationship between the communicative style used by participants attempting to resolve a particular moral dilemma involving workplace safety and the level of moral reasoning possessed by those participants. The results of our study suggest that, contrary to Habermas' views, participants with "higher" levels of moral reasoning do not use "discursive" communicative tactics more frequently than participants that possessed "lower" moral reasoning. (shrink)

What role should religion play in public discourse? Not long ago Richard Rorty argued, in more than one place, that religion is a "conversation stopper" which polite people refer to only in private conversations. Religious believers complain, however, that this practice renders it impossible for them to participate in public discourse. They ask whether a democratic community is worthy of the name if it effectively forbids (by custom or legislation) a significant segment of its citizens from acknowledging and drawing upon (...) their own traditions to help justify their moral and political claims? This paper draws upon the work of Jeffrey Stout, Robert Brandom, and importantly a Confucian understanding of ritual to argue that Rorty goes too far in arguing that religious assumptions have no place in public discourse. (shrink)

Quantifier variance is a well-known view in contemporary metaontology, but it remains very widely misunderstood by critics. Here we briefly and clearly explain the metasemantics of quantifier variance and distinguish between modest and strong forms of variance (Section I), explain some key applications (Section II), clear up some misunderstandings and address objections (Section III), and point the way toward future directions of quantifier-variance-related research (Section IV).

Bibliography of South African literary works and literary criticism published in 2019.

Western societies are experiencing a crisis of trust: we no longer enjoy high levels of confidence in social institutions and are increasingly skeptical of those holding positions of authority. The crisis of trust, however, seems paradoxical: at the same time we report greater feelings of mistrust or an erosion of trust in institutions and technologies we increasingly entrust our wellbeing and security to these very same technologies and institutions. Analyzing trust not only will help resolve the paradox but suggests that (...) the crisis entails normative expectations linked to collective identity, and as such, trust can be understood as a public virtue. (shrink)

The theoretical underpinnings and practical worth of content-based, intentional, or "folk" psychology have been challenged by three distinct groups of philosophical critics in the past 15 years or so. The first group, comprised by Hilary Putnam, Tyler Burge, and other advocates of "wide" or "externalist" theories of meaning, claims that traditional psychologists have been mistaken in assuming that our beliefs, desires, and other content-laden states supervene on or inhere in our individual minds or brains. The other two groups are both (...) "eliminative materialists," who charge that the intentional approach is inadequate and that it can or will be replaced by a completely non-interpretive discipline: either neuropsychology, in the view of Patricia and Paul Churchland, or a strictly syntactic computational psychology, according to Stephen Stich. ;This dissertation defends "notional world" or narrow intentional psychology against these charges, primarily on the strength of its practical merits, in contrast to the limitations and adverse effects of the proposed alternatives. Psychology is at least partly an applied science with a mandate to help understand and treat concrete psychological problems such as Post Traumatic Stress Disorder and depression, I argue, so any theorist who proposes to reconfigure or phase out existing approaches must be prepared to take over these duties with at least equal facility. However, whereas various "narrow" schools of psychotherapy such as Cognitive Therapy are fairly successful in this regard and show every indication of continuing to be needed for the foreseeable future, the Syntactic Theory seems to show very poor promise of being able to help relieve the distress of people with psychological disturbances, while a purely neurobiological approach is inappropriate in many cases, and tends to cause a variety of untoward and dangerous side-effects. As for the "wide" theorists with their emphasis upon the social and environmental contributions to meaning: they must acknowledge that a good deal of content is in the head; and, more importantly, by focusing on the role of the "experts" in a society's language-game, they miss the whole point of a psychological attribution, which is to understand an individual's reasons--however idiosyncratic--for acting as he or she does. (shrink)

Integrity not only is a central concept within virtue ethics and a subject of considerable debate among philosophers regarding its nature and relation to other virtues, but also is important for our understanding of what it means to possess a constituted and coherent self. Much of the literature on integrity is focused on relationships among moral principles and virtues, while less attention is paid to any relationship that integrity might have to practical agency or personal identity. In maintaining this focus, (...) philosophers fail to appreciate the special relation integrity has to the constitution of a coherent self. Central to integrity are considerations about self-identity and agency because it is through ongoing and deliberate activities that reflect the type of person with which she wishes to identify that a person constitutes self-identity and agency in a coherent manner. Once the relationship between integrity and a coherent self is properly understood, it becomes clear that the moral content of integrity is relatively thin and that the approbation usually associated with a person of integrity stems not from judgments about convictions or principles, but from the relationship between actions and commitments. (shrink)

Book Review of The Cosmopolitan Tradition: A Noble but Flawed Ideal. By Nussbaum Martha C..

Background: All research has room for improvement, but authors do not always clearly acknowledge the limitations of their work. In this brief report, we sought to identify the prevalence of limitations statements in the medRxiv COVID-19 SARS-CoV-2 dataset. Methods: We combined automated methods with manual review to analyse manuscripts for the presence, or absence, either of a defined limitations section in the text, or as part of the general discussion. Results: We identified a structured limitations statement in 28% of the (...) manuscripts, and overall 52% contained at least one mention of a study limitation. Over one-third of manuscripts contained none of the terms that might typically be associated with reporting of limitations. Overall our method performed with precision of 0.97 and recall of 0.91. Conclusion: The presence or absence of limitations statements can be identified with reasonable confidence using automated tools. We suggest that it might be beneficial to require a defined, structured statement about study limitations, either as part of the submission process, or clearly delineated within the manuscript. (shrink)

Eleven top Deleuze scholars reclaim Deleuzian philosophy as moral philosophy Ethics plays a crucial, if subtle, role in Gilles Deleuze's philosophical project. Michel Foucault claimed that Anti-Oedipus was `a book of ethics, the first book of ethics to be written in France in quite a long time'. But what is the nature of the immanent ethics that is developed in Deleuze's thought? How does it differ from previous conceptions of ethics? And what paths does it open for future thought, given (...) the ethical challenges facing humanity in so many domains? Each of the eleven essays in this collection explores the ethical dimension of Deleuze's thought along a new and singular trajectory, and in so doing, attempts to reclaim his philosophy as an ethical philosophy. (shrink)

The Pleasures of Reason in Plato, Aristotle, and the Hellenistic Hedonists se centra en la relación mutua entre las capacidades humanas de sentir placer y dolor y el carácter afectivo que las une con las facultades cognitivas de aprender, comprender, recordar, evocar, planificar y anticiparse. Para esto, Warren consagra toda su agudeza analítica a eminentes obras del pensamiento antiguo: particularmente nos referimos a los diálogos platónicos República, Protágoras y Filebo. Otro tanto hace con De Anima, De Memoria et Reminiscentia, (...) Ética a Nicómaco, Retórica y Poética de Aristóteles. Finalmente, hacia la mitad y sobre el final del libro, se dedica a poner en diálogo sus análisis sobre Platón y Aristóteles con las escuelas hedonistas clásicas del helenismo: epicúreos y cirenaicos. (shrink)

In the contemporary debate on moral status, it is not uncommon to find philosophers who embrace the the Principle of Full Moral Status, according to which the degree to which an entity E possesses moral status is proportional to the degree to which E possesses morally relevant properties until a threshold degree of morally relevant properties possession is reached, whereupon the degree to which E possesses morally relevant properties may continue to increase, but the degree to which E possesses moral (...) status remains the same. One philosopher who has contributed significantly to the contemporary debate on moral status and embraces the Principle of Full Moral Status is Mary Anne Warren. Warren holds not only that it is possible for some entities to possess full moral status, but that some entities actually do, e.g., normal adult human beings. I argue that two of Warren’s primary arguments for the Principle of Full Moral Status—the Argument from Pragmatism and the Argument from Explanatory Power—are significantly flawed. (shrink)

In her book, Moral Status, Mary Anne Warren defends a comprehensive theory of the moral status of various entities. Under this theory, she argues that animals may have some moral rights but that their rights are much weaker in strength than the rights of humans, who have rights in the fullest, strongest sense. Subsequently, Warren believes that our duties to animals are far weaker than our duties to other humans. This weakness is especially evident from the fact that (...) Warren believes that it is frequently permissible for humans to kill animals for food. Warren’s argument for her view consists primarily in the belief that we have inevitable practical conflicts with animals that make it impossible to grant them equal rights without sacrificing basic human interests. However, her arguments fail to justify her conclusions. In particular, Warren fails to justify her beliefs that animals do not have an equal right to life and that it is permissible for humans to kill animals for food. (shrink)

To modern ears, the word Epicurean indicates (if anything) an interest in fine dining. But at least throughout the early modern period up until the 19th century, Epicureanism was known less for its relation to food preparation and more so, if not scandalously so, for its doctrine about the annihilation of the human soul at death, its denial of human immortality, and its attempt to justify the claim that death should not be feared since “Death is nothing to us” ( (...) Kyriai Doxai [hereafter KD] 2). Epicureans — like many ancient schools of thought — sought to establish an objective “morality of happiness” or rational teaching about right conduct which allowed its practitioners to arrive at a kind of well-being. Epicureans identified such well-being or happiness with “freedom from disturbance” ( ἀταραξία), and insofar as the fear of death undermined such contentedness in life, they presented arguments against the claim that death was a bad thing. Put more concisely, Epicureans believe that (as James Warren [JW] puts it), “if we think about death correctly, we think about living a good life correctly, and vice versa” (7). But whereas other ancient thinkers — most famously Socrates and his students — had sought to cure the fear of death by positing an immortal soul which philosophy was to prepare for life after the death of one’s body, Epicureans took the opposite route and argued that in part it was the longing for an impossible immortality that contributed to the fearfulness of death. (shrink)

This article explores the relation between cinema and philosophy through the lens of interest shown by some filmmakers in the lives and works of philosophers. It begins by delving into contemporary perspectives on the relationship between philosophy and cinema. In order to assess how the constitutive dissimilarity of the two terms and the ways in which they can be brought together are at the origin of speculative short circuits and experiences of wonder, it brings together the works of thinkers – (...) Cavell, Benjamin, and Kracauer; and filmmakers Rossellini, Montaldo, Keaton, and Jarman. Reflecting on the aesthetic and cultural impact of cinema is all the more important given the current omnipresence of images and prosthetic technologies that, with their incessant solicitations, threaten the processes of apprehension, learning, and conveying of knowledge. Thinking and perceiving differently thus becomes an essential function of cinema, one keenly performed in Safaa Fathy’s Derrida’s Elsewhere, analyzed in the last two sections. (shrink)

Over the last few decades, virtue has become increasingly important in philosophy, psychology, cognitive science, and education. However, as each of these disciplines approaches virtue from a decidedly different perspective, it has proven difficult to come up with an understanding of virtue that satisfies the standards of all four disciplines. In their book, Jennifer Wright, Michael Warren, and Nancy Snow attempt to put forward such an understanding.

Review of All Things Wise and Wonderful by E. Janet Warren.

Warren Zevon’s musical career, though brilliant throughout, is particularly notable for its ending: diagnosed with a terminal illness, Zevon refused a potentially debilitating medical treatment to put his remaining energy into recording another album. The resulting record –2003’s 'The Wind' – was in many ways the perfect farewell: songs of dirty, dark, uncompromising, country-tinged rock, blistering guitar solos, all mixed with intelligent, black-as-coal gallows humour. But it was also a moving farewell to his fans, a heartfelt, personal reflection on (...) his life and impending death: it begins with the words “sometimes I feel like my shadow’s casting me” and ends with “keep me in your heart for a while”. 'The Wind' ranks among Zevon’s very best and belongs in the same category as albums like David Bowie’s 'Blackstar' and Leonard Cohen’s 'You Want It Darker': works of great artists that knew the end was coming and made that knowledge musical. But though it had a particular force towards the end, death had always featured as a prominent theme in Zevon’s music. In fact, the albums that preceded his terminal diagnosis – especially 2000’s 'Life’ll Kill Ya' – have a marked preoccupation with death and dying, and many of his song’s characters (gunmen, gangsters, boxers, murderers of all stripes) either dealt death out, died, or both. -/- In this chapter, I argue that Zevon’s music and speech in his late public appearances personify an idea in Martin Heidegger’s philosophy called ‘authentic being-towards-death’. In his landmark text 'Being and Time', Heidegger undertakes a painstaking analysis of human existence. One of its conclusions is that to live a fully authentic life, we must reckon with our mortality, come to terms with it and allow this reckoning to have a transformative effect on how we live and how we think about our existence. This results, Heidegger argues, in a distinct way of being that he calls ‘being-towards-death’ and ‘anticipatory resoluteness’ in the face of death. Authentic being, which involves properly taking ownership of our lives and their meaning, cannot be adequately achieved without a serious confrontation with the fact that we will one day die. I claim that Warren Zevon’s music, with its continual engagement with death which culminates in 'The Wind', is one of the great musical manifestations of exactly this type of project. Heidegger’s writing is often notoriously abstract, but it pertains to the most fundamental issues about what it means to be human. Engaging with it alongside Zevon’s music provides a fruitful opportunity to make it concrete, better able to understand its most important aspects while providing an interesting conceptual toolkit to apply to the music of one of the great songwriters of death. (shrink)

This paper concerns Warren Quinn’s famous “The Puzzle of the Self-Torturer.” I argue that even if we accept his assumption that practical rationality is purely instrumental such that what he ought to do is simply a function of how the relevant options compare to each other in terms of satisfying his actual preferences that doesn’t mean that every explanation as to why he shouldn’t advance to the next level must appeal to the idea that so advancing would be suboptimal (...) in terms of the satisfaction of his actual preferences. Rather, we can admit that his advancing would always be optimal, but argue that advancing isn’t always what he ought to do given that advancing sometimes fails to meet some necessary condition for being what he ought to do. For instance, something can be what he ought to do only if it’s an option for him. What’s more, something can be what he ought to do only if it’s something that he can do without responding inappropriately to his reasons—or, so, I argue. Thus, the solution to the puzzle is, I argue, to realize that, in certain circumstances, advancing is not what the self-torturer ought to do given that he can do so only by responding inappropriately to his reasons. (shrink)

Rudolf Carnap's 1930s philosophy of logic, including his adherence to the principle of tolerance, is discussed. What theses did Carnap commit himself to, exactly? I argue that while Carnap did commit himself to a certain multitude thesis—there are different logics of different languages, and the choice between these languages is merely a matter of expediency—there is no evidence that he rejected a language-transcendent notion of fact, contrary to what Warren Goldfarb and Thomas Ricketts have prominently argued. (In fact, it (...) is obscure just what Goldfarb and Ricketts claim about Carnap). Toward the end I critically discuss Michael Friedman's suggestion that Carnap believed in a relative a priori. (shrink)

Chrisoula Andreou says procrastination qua imprudent delay is modeled by Warren Quinn’s self-torturer, who supposedly has intransitive preferences that rank each indulgence in something that delays his global goals over working toward those goals and who finds it vague where best to stop indulging. His pair-wise choices to indulge result in his failing the goals, which he then regrets. This chapter argues, contra the money-pump argument, that it is not irrational to have or choose from intransitive preferences; so the (...) agent’s delays are not imprudent, not instances of procrastination. Moreover, the self-torturer case is intelligible only if there is no vagueness and if the agent’s preferences are transitive. But then he would delay only from ordinary weakness of will. And when it is vague where best to stop indulging, rational agents would use symmetry-breaking techniques; so, again, any procrastination would be explained by standard weakness of will, not vagueness. (shrink)

Ecofeminist philosophy is a development of feminist philosophy that addresses the intersection of sexism and environmental issues. Coined by Francoise d’Eaubonne, the term “ecofeminism” refers to a diverse collection of feminist thought that shares the conviction that the present environmental crisis is due not solely to the anthropomorphic nature of dominant conceptualisations of human-nature relations, with their emphasis on notion of mastery and control, but also to their androcentric nature. Technology features frequently in ecofeminist writings, in analyses of technocracy (Birkeland (...) 1993), Nuclear Power (Caputi 1993), reproductive technologies (Diamond 1990), or the production of computer interfaces (Romberger 2011), to give but a few examples. Despite being a recurrent theme, technology itself as a phenomenon is rarely directly considered. For many ecofeminists technology seems to operate as an umbrella term for a collection of artefacts whose positive or negative characteristics are ultimately contingent upon the manner in which they are employed. The individual technologies appear as value neutral. There are of course exceptions to this piecemeal approach to technological artefacts, and in this chapter I shall focus upon two ecofeminist philosophers whose consideration of technology moves from the individual instance towards a more general account of the nature of technology. The first, Karen Warren, gives technology a central place in her philosophical analysis. However, I shall suggest, her commitment to an instrumental understanding of technology renders her approach problematic. I will then consider the work of Vandana Shiva. Standard analyses of Shiva’s work tend to overlook the philosophical dimensions of her thought, in particular the continuous emphasis on science and technology. I argue that Shiva puts forward a sophisticated technological determinist philosophy of that emphasises the role of political and patriarchal interests in technological development and subsequent social and environmental interventions. (shrink)

Ordinary and philosophical thought suggests recognizing a distinction between two ways something can be of final value. Something can be of final value in virtue of its connection to other things of value (“non-basic final value”) or something can be of final value regardless of its connection to other things of value (“basic final value”). The primary aim of this paper is to provide an account of this distinction. I argue that we have reason to draw this distinction as it (...) helps avoid certain problems. I criticize accounts of this distinction due to Warren Quinn, Fred Feldman, and Michael Zimmerman. I then provide my own positive account which incorporates several of the insights of those accounts while avoiding their pitfalls. I conclude by relating my account to issues concerning partiality and appropriate attitudes. (shrink)

The Deleuzian studies on cinema highlight the importance of two semiotic regimes (movement-image and time-image) for the understanding of our aesthetical and epistemological relationship with moving images. On the contrary, this article highlights the moments of crisis between the two regimes, pointing out the generic character of uncertainty and ambiguity in the nature of mental images: once the sensorimotor scheme that dominates the cinematographic montage has been weakened, the characters, unable to act, can imagine, desire, dream, hallucinate, and remember. New (...) types of images appear: recollectionimages, dream-images, and world-images. How do these new types of images make us rethink our usual relationship with the world and with reality? With this article on cinema’s virtual and oneiric dimension, I expect to disseminate one of Gilles Deleuze’s greatest contributions to film philosophy: the distinction between the imaginary and reality. (shrink)

The aim in this chapter is to explore the similarities and differences between the city symphony film genre of the 1920s and 1930s and the contemporary virtual city walking tours that are popular on YouTube these days, eventually discussing the change in representation of the individual in daily life over a century. The city symphony was born with modernism in the early 20th century initially to present an interpretation of the city with daily activities, human beings, their interaction with industrial (...) technology and the urban environment. A significant and pioneering film of the genre is by Walter Ruttmann titled Berlin: Symphony of a Metropolis (1927) which I will try to analyze its filmic elements in order to draft a summary of the style and vision of the director and his contemporaries. On the other hand, the virtual city walking tours on YouTube represent a very different representation of urban exploration. These videos show various cities through the act of simple walking recorded in a long one-take POV shot with a gimbal-camera. Despite minor differences in terms of commentary and music use, these videos are quite similar to each other when compared to city symphony films in general. The methodological approach for analyzing and interpreting these films and videos is guided by the neoformalist approach proposed by Bordwell and Thompson in the 1980s, along with Noël Carroll’s view on critical evaluation. Since this post-theoretical approach is non-formulaic in terms of its methodology, it fits the two examples I will provide that are stylistically very distant. After establishing the form and style of the works, I will try to follow Carroll’s suggestions in order to critically interpret, analyze and evaluate the works. The comparison between the city symphony film and virtual city walking tour reveals a complex interplay between continuity and change in regards to the individual. While both share a rather common goal of capturing the essence of urban life their differences are to be found in their stylistic choices and their interpretations of the goal itself. The city films of the 1920s and 30s were avant-garde expressions that combined artistic innovation with socio-political commentary. They were often experimental, using montage sequences, juxtaposition and abstract imagery to convey the ever changing industrialized modern city life. Ruttmann’s Berlin is emblematic of this approach, offering a poetic and critical reflection on urban existence. In contrast, the virtual city walking tours on YouTube are more accessible and immediate. They provide a first-person perspective that allows viewers to virtually traverse different cities, experiencing sights and sounds without the mediation of artistic abstraction. The similarity in these videos suggests a standardized format that prioritizes immersion over critique. This article offers a valuable contribution to the understanding of urban representation of the individual in film and digital media. By comparing the city symphony film with virtual city walking tours, I try to illuminate the evolving relationship between art, technology and urban life. I argue that not only is there a completely different representation of the individual within the frame, but there is also ethical considerations to be put forth regarding the one that makes the frame, or the camera. In the end I argue that the human-ness of a work of art or any type of video is more important than immersiveness. (shrink)

Walter Benjamin’s oft-quoted 1936 essay “The Work of Art in the Age of Its Technological Reproducibility” advances the claim that, for the first time in history, the “function” of the work of art is political, as evidenced by cinema. For Benjamin, film is the “first art form whose artistic character is entirely determined by its reproducibility” and Giorgio Agamben, a contemporary Benjaminian philosopher, further elucidates this “function,” positing that cinema essentially ranks with ethics and politics, not solely with aesthetics, and, (...) consequently, is proximate to philosophy itself. Whereas Deleuze’s Cinema books posed cinema as enacting time in a pure state, Agamben, in his “Notes on Gesture,” breaches from Deleuze’s spatial and cartographic theory of cinema, drawing on Guy Debord’s “détournement via montage,” Simone Weil’s “decreation” and, perhaps most implicitly, from Benjamin. Agamben’s political theory of cinema, motivated by cinema’s “stoppage and repetition of time,” is directly informed by Benjamin’s: “optical unconscious,” appropriation of Brecht’s “social Gestus,” and the relationship between technological reproducibility and aura. Agamben’s “gesture” fastens cinema’s aesthetics not only to ethics and politics, but to the “ontological consistency of human experience,” or to a way of being. (shrink)

Tarkovsky s’est opposé au montage et a considéré que la base de l’art cinématographique (l’art du film) est le rythme interne des images. Il a considèré le cinéma comme une représentation des courants distinctifs ou des ondes de temps, transmis dans le film par son rythme interne. Le rythme est au cœur du « film poétique ». Un rythme comme un mouvement dans le cadre (« la sculpture dans le temps »), pas comme une séquence d'images dans le temps. Le (...) temps passé dans le cadre exprime quelque chose de significatif et de vrai, qui dépasse les événements eux-mêmes et est reçu différemment par chaque spectateur. DOI: 10.13140/RG.2.2.30568.62727. (shrink)

Due to Gӧdel’s incompleteness results, the categoricity of a sufficiently rich mathematical theory and the semantic completeness of its underlying logic are two mutually exclusive ideals. For first- and second-order logics we obtain one of them with the cost of losing the other. In addition, in both these logics the rules of deduction for their quantifiers are non-categorical. In this paper I examine two recent arguments –Warren (2020), Murzi and Topey (2021)– for the idea that the natural deduction rules (...) for the first-order universal quantifier are categorical, i.e., they uniquely determine its semantic intended meaning. Both of them make use of McGee’s open-endedness requirement and the second one uses in addition Garson’s (2013) local models for defining the validity of these rules. I argue that the success of both these arguments is relative to their semantic or infinitary assumptions, which could be easily discharged if the introduction rule for the universal quantifier is taken to be an infinitary rule, i.e. non-compact. Consequently, I reconsider the use of the ω-rule and I show that the addition of the ω-rule to the standard formalizations of first-order logic is categorical. In addition, I argue that the open-endedness requirement does not make the first-order Peano Arithmetic categorical and I advance an argument for its categoricity based on the inferential conservativity requirement. (shrink)

This study firstly addresses three threads in Chris Marker’s work – theology, Marxism, and Surrealism – through a mapping of the work of both Giorgio Agamben and Jacques Derrida onto the varied production of his film and photographic work. Notably, it is late Agamben and late Derrida that is utilized, as both began to exit so-called post-structuralism proper with the theological turn in the late 1980s and early 1990s. It addresses these threads through the means to ends employed and as (...) ends proper (as production of semi-autonomous works that also, paradoxically, index a much larger field of inquiry and theoretical praxis). It is perhaps French “schizophrenia” regarding theological versus political agency that best accounts for the sardonic deployment of irony and humor in Marker’s work in the face of Big History. Such means to ends (plus a subtle anti-intellectualism vis-à-vis fashionable academic trends) tend to underscore the severity and ultimate sincerity of Marker’s overall cultural-political project. -/- Dossier Chris Marker is also a study of a late-modern chiasmus, impersonal-personal agency, as it comes to expression in the works of Marker, as the dynamic interplay of political and subjective agency. As chiasmus, the complementary halves of this often-apocalyptic dynamis (a semi-catastrophic, temporal or historical force-field) also – arguably – secretly agree to meet, through the work of art, in the futural (problematized in contemporary French post-phenomenological and post-post-structuralist theory as “the event).” Consistent with the classical figure of concordia discors, Marker resolves these irreducible warring aspects of life experience in an atemporal and ahistorical moment that inhabits the work of art from its inception. This redemptive aspect in art is also the ultimate gesture of the artwork as autonomous subject and “mask” (or “screen”) for forces that reside beyond the frame of the image or work, as its proverbial Other, or within the frame, as other to that Other. -/- Despite the complications of the as-yet unresolved post-modern condition (its nihilist-relativist bias), and its similar, mostly circular concerns with the image and/or media, Marker’s work is clearly not post-modern. In fact, when tested against immemorial cultural epiphenomena, that work withstands all attempts at categorization and/or art-historical analysis proper. It remains unassimilable to the post-modern cause ... What emerges, upon closer examination, and through rigorous re-contextualization, is the prescient force of Marker’s works toward that futural state buried in art that is also “theological,” versus atheological, and heedlessly anterior to cultural politics per se. -/- In the case of Marker, this age-old or immemorial “thing-in-itself” (the artwork as image of world-chiasmus) finds its foremost or penultimate formation in his very-still photography – the singular images that are also the building blocks for his renowned ciné-essays. Not without irony, this same austere, reductive force of the still image (as form of proscription) also inhabits the more complex, synthetic works (or montages) that he has formulated and presented “dramatically,” here and there, through the often-sketchy apparatuses of his new-media experiments, as of the late 1980s. Ultimately, this world-image as chiasmus was always present within his earliest literary projects, from the 1940s forward – most especially in books and essays, with or without actual images. -/- Marker’s “return” to photography (to exhibiting still photography in galleries), in the late 2000s, is in many ways a return to the singular object of the artist-critic’s desire; the image in/for itself, while that image – endlessly troubled or interrogated for decades – continues to speak “in tongues” anyway, often against, or oblivious to, the voice of the author/artist/narrator. -/- Marker is a High Romantic Christian Marxist. The “Christic” aspect is rightly well-hidden, but emerges when the eschatological versus historical center of his work is exposed (the existential-metaphysical fuse such as also inhabits the works of Caravaggio), and when his early years are examined in light of his later and/or final years. Marker’s semi-personal/semi-impersonal apocalyptic vision is writ large in diverse works that cross decades, figuring a redemptive, world-shattering formation of art as pleroma. (shrink)

Orthodoxy holds that there is a determinate fact of the matter about every arithmetical claim. Little argument has been supplied in favour of orthodoxy, and work of Field, Warren and Waxman, and others suggests that the presumption in its favour is unjustified. This paper supports orthodoxy by establishing the determinacy of arithmetic in a well-motivated modal plural logic. Recasting this result in higher-order logic reveals that even the nominalist who thinks that there are only finitely many things should think (...) that there is some sense in which arithmetic is true and determinate. (shrink)

Une mise en lumière de la spécificité du cinéma en trois parties : le cinéma et l'image, le cinéma et le langage, le cinéma et le montage. Deux textes de G. Deleuze et N. Burch complètent l'ensemble.

Missing Links, A Book in Ten Sessions received the Award from the Association of Moving Image Researchers [AIM] for Best Monograph released in 2023. -/- Missing Links, A Book in Ten Sessions is Lucas Ferraço Nassif's elaboration on the work of art in Gilles Deleuze and Félix Guattari through description, time, cosmology, and desire production. The films of Chantal Akerman, alongside Anne Carson and Ludwig Wittgenstein, are his main objects of study. -/- //The book is available, open access.// -/- //In (...) Missing Links, Lucas Ferraço Nassif instructs that “cinema exists in the tension of desires, from everything that is in the game”. And “what is in the game vibrates”, or becomes perceptible in the tempo of film and filmic thought that somehow promises to reveal the nature of this world (maybe, a world that’s about to end). To approach such perception is to submit to description, says Nassif, and then proceeds to investigate the act of describing in all its perilous demand and exhausting impossibility. What can we know, after all, of Chantal Akerman’s Jeanne Dielman, at whom we look and look? Or of any seemingly-unified object that, in being worthy of our attention, must be recognized most fundamentally for the way it slips and blurs? I’m dazzled by this writer’s courage to “work on the void”, to tilt, heart in mouth, at ghosts and ruins. This is the drama I came for. — Matt Longabucco// -/- //Inside the cracks in Lucas Ferraço Nassif’s cinecriticism is an elegy for Chantal Akerman, born the same year as me and Anne Carson too, both here hailed. This elegy is composed as a montage that tells the tale of the Jewish filmmaker as desperado fleeing Sherriff Jean-Luc Godard on a runaway midnight train to Rio, which makes an unscheduled stop in Wittgenstein, Montana. What with all the humming, you just can’t see it. Or if you can, you can’t describe it. “We have nowhere else to start.” — Charles Bernstein// -/- //Lucas Ferraço Nassif’s expansive, rhizomatic project is “full” of missing links in the sense of plenitude: a surfeit of references, genres, affects, and paths for the reader to follow, the listener to harken, the viewer to watch. In the process of tracing affinities between the cast of characters in the intellectual drama staged here — from Jean-Luc Godard to Ludwig Wittgenstein, Anne Carson to Chantal Akerman, Gilles Deleuze to Jacques Lacan, and beyond — we have the chance to reconsider the articulations and boundaries, the flows and stoppages, between film and writing, autobiography and criticism, theory and practice. Missing Links is a ciné-poème of flickering, delicate attention that compels our immersion in turn. — Craig Dworkin//. (shrink)

According to the Doctrine of Doing and Allowing, the distinction between doing and allowing harm is morally significant. Doing harm is harder to justify than merely allowing harm. This paper is the first of a two paper critical overview of the literature on the Doctrine of Doing and Allowing. In this paper, I consider the analysis of the distinction between doing and allowing harm. I explore some of the most prominent attempts to analyse this distinction:. Philippa Foot’s sequence account, (...) class='Hi'>Warren Quinn’s action/ inaction account, and counterfactual test accounts put forward by Shelly Kagan and Jonathan Bennett. I also discuss Jeff McMahan’s account of the removal of barriers to harm. I argue that analysis of the distinction has often been made more difficult by two mistaken assumption: (1) the assumption that when an agent does or allows harm his behaviour makes the difference to whether or not the harm occurs (2) the assumption that the distinction between doing and allowing and the distinction between action and inaction are interchangeable. I suggest that Foot’s account is the most promising account of the doing/allowing distinction, but that it requires further development. (shrink)

The term "pastiche" originally means a "pasty" or "pie" dish containing several different ingredients. It has come to be used synonymously with a variety of terms whose meanings are rarely fixed with clarity: parody, montage, quotation, allusion, irony, burlesque, travesty, and plagiarism. Al;though some definitions of pastiche strive to remain neutral, others have taken on a pejorative sense. Still others are more positive, especially within the realms of twentieth-century postmodern art and architecture.

World food production is facing exorbitant challenges like climate change, use of resources, population growth, and dietary changes. These, in turn, raise major ethical and political questions, such as how to uphold the right to adequate nutrition, or the right to enact a gastronomic culture and to preserve the conditions to do so. Proposals for utopic solutions vary from vertical farming and lab meat to diets filled with the most fanciful insects and seaweeds. Common to all proposals is a polarized (...) understanding of food and diets, famously captured by Warren Belasco in the contraposition between technological fixes and anthropological fixes. According to the first, technology will deliver clean, just, pleasurable, affordable food; future generations will not need to adjust much of their dietary cultures. According to the second, future generations should dramatically change their dietary habits (what they eat and how they eat it) to achieve a sustainable diet. The two fixes found remarkably distinct perspectives over dietary politics and the ethics of food production and consumption. In this paper we argue that such polarized thinking rests on a misrepresentation of the ontological status of food, which in turn affects the underlying ethical and political issues. Food is a socially constructed object that draws in specific ways on habits, norms, traditions, geographical, and climatic conditions. Although this thesis seems somewhat obvious, its consequences on the ethical and political perspectives on the future of food have not been derived properly. After introducing the issue at stake (¤1), we point out the polarities that characterize food utopias (¤2) and their ontological faults (¤3). We hence suggest that a socio-ontological analysis of food can better deliver the principles for a foundation of food utopias (¤4). (shrink)

The distinction between doing and allowing appears to have moral significance, but the very nature of the distinction is as yet unclear. Philippa Foot's ‘pre-existing threats’ account of the doing/allowing distinction is highly influential. According to the best version of Foot's account an agent brings about an outcome if and only if his behaviour is part of the sequence leading to that outcome. When understood in this way, Foot's account escapes objections by Warren Quinn and Jonathan Bennett. However, more (...) analysis is required to show what makes a relevant condition part of a sequence. Foot's account is promising, but incomplete. (shrink)

According to the Doctrine of Doing and Allowing, the distinction between doing and allowing harm is morally significant. Doing harm is harder to justify than merely allowing harm. This paper is the second of a two paper critical overview of the literature on the Doctrine of Doing and Allowing. In this paper, I consider the moral status of the distinction between doing and allowing harm. I look at objections to the doctrine such as James’ Rachels’ Wicked Uncle Case and Jonathan (...) Bennett’s argument that any acceptable analysis of the distinction leaves it implausible that the distinction is morally relevant. I consider putative defences of the Doctrine from Philippa Foot and Warren Quinn. I argue that neither Foot not Quinn provides a satisfactory justification of the Doctrine of Doing and Allowing, but that the idea of self-ownership discussed by Quinn can be developed to provide a justification of the doctrine. (shrink)