The Blumenberg-Löwith 'debate' over the 'secularization hypothesis' is an evocative clash that has remained a matter of discussion both inside and outside of the mid-twentieth century German tradition, which has yet to register fully the implications of Blumenberg’s work on the topic of modernity. On one side is Hans Blumenberg, who perceives modernity as justified on its own terms. On the other side is Karl Löwith, who does not recognize a substantive break between modernity and its epochal genetic precursors. My (...) reading recognizes the heart of this debate to be over an impulse either to espouse or oppose the sovereignty of philosophical modernity in its relation to worldmaking. In this paper, I argue that Blumenberg’s thesis of 'self-assertion' describes a re-establishing of the project of worldmaking in a sophisticated and nuanced language that is missed by Löwith’s diagnosis of modern philosophy of history. (shrink)

This paper delves into the nature of intellectual property rights in aesthetic creations, particularly works of visual art and literary works. The discussion focuses on copyrights interests, but there are also implications for trademark and patent rights. The argument assumes a fairly conventional definition of "property," namely, the set of legal relations between the owner and all other persons relating to the use, enjoyment and disposition of a tangible thing. The problem with such a definition as applied to aesthetic creations (...) is that no ordinary tangible thing necessarily embodies a creation which can exist in multiple copies, so the paper takes the transcendent view that the tangible thing subject to legal relations is the entire terra firma or material universe being shaped in the image, sounds or words of the aesthetic creation. Therefore, the paradigm suggested for intellectual property is a monopoly on shaping the entire physical universe, thus the Worldmaking concept. It then follows that intellectual property in an aesthetic creation enables the owner to stop plagiarists from using any part of the material world to recreate in the audience the imaginative experiences first created by the protected work. (shrink)

The contribution examines Goodman’s conception of philosophy, in particular his remark that his project can be understood as a «critique of worldmaking». It is argued that, despite dealing with epistemological questions, the general theory of symbols and worldmaking does not answer them. Rather, it can be conceived as a practical conception comparable to Kant’s critique of reason or to Wittgenstein’s critique of language games, i. e. , as a philosophy of world orientation. It is claimed that Goodman himself (...) could not articulate this dimension of his position appropriately as he kept using the language of epistemology. Yet many aspects of his thinking become much clearer if they are interpreted within a non-epistemological frame. (shrink)

Martin Heidegger defines the world as ‘the ever non-objective to which we are subject as long as the paths of birth and death . . . keep us transported into Being’. He writes that the world is ‘not the mere collection of the countable or uncountable, familiar and unfamiliar things that are at hand . . . The world worlds’. Being able to fully and richly express how the world worlds is the task of the artist, whose artwork is the (...) crystallization of this ‘worlding’. For Heidegger it is especially the poet who is attuned to this ‘worlding’, for the poet’s work is focussed on and happens within language itself. The poet is a ‘world-maker’, but this ‘worlding’ is not directed at creating a fictional world; rather it is aimed at revealing the world itself, drawing to the foreground the ‘ever non-objective’ nature of the world, the world happening and unfolding through and with us. This paper, using T.S. Eliot’s poetry, particularly Four Quartets as an example, will delve into how the language of the poet is able to articulate this seemingly invisible boundary between the everyday world and that same world revealed as a mysterious potential that ‘worlds’. The ‘religious imagination’ is central in how this transformation of reality, through poetic language, can manifest. Paul Ricoeur’s work on the poetic and religious dimensions of imagination, particularly the notion of ‘hope’ provides the theoretical underpinnings to explain this transformation. (shrink)

In this essay, I focus on Lugones’s relatively lesser explored notion of playfulness. I weigh in on the debate about whether playfulness is necessary for what Lugones calls “world-traveling,” which enables one to recognize another person as a full subject. I argue that although the attribute of playfulness may not be necessary for world-traveling, it is necessary for collaborative world-making––creating a new, shared world that is opened through the activity of play.

For 4E cognitive science, minds are embodied, embedded, enacted, and extended. Proponents observe that we regularly ‘offload’ our thinking onto body and world: we use gestures and calculators to augment mathematical reasoning, and smartphones and search engines as memory aids. I argue that music is a beyond-the-head resource that affords offloading. Via this offloading, music scaffolds access to new forms of thought, experience, and behaviour. I focus on music’s capacity to scaffold emotional consciousness, including the self-regulative processes constitutive of emotional (...) consciousness. In developing this idea, I consider the ‘material’ and ‘worldmaking’ character music, and I apply these considerations to two case studies: music as a tool for religious worship, and music as a weapon for torture. (shrink)

Some reflections on Nelson Goodman’s ontological pluralism (as emerging from his Ways of Worldmaking) and its influence on contemporary philosophy, taking the querelle with Quine in the columns of The New York Review of Books as a starting point.

This paper deals with the concept of media-competence in the era of globalization. The starting point is the hypothesis that the very globalization of society, culture, communication and information is a deep challenge for expanding this concept to a meta-competence. In a brief outline it is pointed out that common concepts of media-competence, in describing media only as tools of communication, are based on a naturalistic or even instrumentalistic fallacy. Therefore the operationalization of media-competence is often reduced to a catalogue (...) of skills for educational programs, designed to fulfill economic demands, e.g. of the labour market. The originally critical goal of media-competence, as reflection of media-realities on a second order or meta-level, remains inefficient, until media-education seizes the efforts of the “Medial turn” in media-science and media-philosophy. Considering media not only as media systems or media contents or media technologies, but as possibilities of different forms of construction of reality, media-competence then turns out as meta-competence, i.e. an individualistic action-oriented reflexive competence, concerning the different medial ways of worldmaking. When at the next step media-competence is related to the process of globalization, it results that media-competence is essentially an individualistic and globalistic, within transaction-oriented reflexive competence, concerning the integration of different worldwide possible medial ways of worldmaking from an individual point of view. Thus meta-media-competence seems to be the modus vivendi in the era of globalization, a practice of everyday postmodern philosophy. (shrink)

“4E” approaches in cognitive science see mind as embodied, embedded, enacted, and extended. They observe that we routinely “offload” part of our thinking onto body and world. Recently, 4E theorists have turned to music cognition: from work on music perception and musical emotions, to improvisation and music education. I continue this trend. I argue that music — like other tools and technologies — is a beyond-the-head resource that affords offloading. And via this offloading, music can (at least potentially) scaffold various (...) forms of thought, experience, and behavior. To develop this idea, I consider the “material” and “worldmaking” character of music, and I apply these considerations to two cases studies: music as a tool for religious worship, and music as a weapon for torture. (shrink)