Brecht’s Life of Galileo provides elements for elaborating what I call “a theory of the encounter of practices”. The concept of the encounter pushes back against teleological theories that predestine modern science to operate as an instrument of domination. I argue that Life of Galileo stages the missed encounters in modernity between science, politics, and art at the same time as it foregrounds the emancipatory power of science. I trace the encounter of practices from the play’s opening scenes – highlighting (...) what I call Galileo’s “double life”. Then, I turn to the most important scene of the play, Scene 10, in which political and artistic practices repurpose Galileo’s novel inventions for their emancipatory desires. In the virtual potentialities of this encounter, that is, despite the missed encounter between Galileo and “the people”, Brecht’s Life of Galileo continues to be fruitful for theorizing the emancipatory power of science. (shrink)

There is a broad consensus, within the interlocking system of art institutions, on the goals viewed as worth achieving. Artists, for example, will strive to realize broadly formalist values in their work; critics will strive to discern and articulate the achievement of such values; dealers will strive to discover and promote artists whose work successfully reflects these standards; and collectors will strive to acquire and exchange such work.The long-range effect of this tightly defended consensus is that the art practitioners who (...) share it determine - through their shared values and practices, and the economic and social factors that determine them - the criteria of critical evaluation for all art that aspires to entry into existing art institutions. I shall describe this as a state of critical hegemony. That is, the socioeconomically determined aesthetic interests of these individuals define not only what counts as "good" and "bad" art, but what counts as art, period. (shrink)

Henry Molaison, aged eighty-two, died at the end of 2008, and just after noon on exactly the first anniversary of his death, December 2, 2009, scientists began slicing his brain into 2,500 tissue samples. Known primarily in his lifetime as only H.M., he left his brain to science so that it could be dissected and digitally mapped – a gift much beloved by many scientists. An amnesiac in life, H.M. first rose to prominence in 1962 when Dr. Brenda Milner, a (...) pioneer in the field of neuropsychology, demonstrated that though H.M. was severely amnesic and could not remember past activities, he could nevertheless learn certain habits. The experiment involved the now famous mirror drawing. This article, written by a philosopher/artist and a neuroscientist/neuroaesthetician, argues that artists are unable to verbally articulate thoughts about their own art practice for reasons similar to why H.M. could not. All memories are not stored in the same part of the brain. Different categories of memories i.e., semantic memory or procedural memory, are stored in different parts of the brain. We argue that the procedural memory is not readily accessible to semantic memory. (shrink)

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)

In this article, it is claimed that by considering Rancière’s understanding of politics of aesthetics alongside Stengers’ conception of the ecology of practices, it is possible to think about the autonomy of artistic practices which would be created and sustained politically. Rancière demonstrates that the artistic autonomy was previously subordinated to a variety of historical imperatives, while Stengers warns about an apolitical mission of the great narrative of the Anthropocene. Both philosophers make a case for talking about the autonomy of (...) artistic practices based on political differing, but in Stengers’ philosophy, the political principle of dissensus is supported by an ecological perspective. She argues for a symbiotic consensus, where the political is defined as being both contradictory and attuned to the situational interconnectedness. In the destructive environment of the Anthropocene, Stengers challenges the tradition of critical reflexivity and proposes a way out – the autonomy of practices that is not universally given but needs to be constantly recomposed together. (shrink)

Through the prism of archipelicity, the artistic production of the Afro-American Diaspora reveals its diffractive potential: at once close to and far from its original origins, it unfolds in the in-between of a double consciousness. In his seminal essay, Paul Gilroy calls for the overcoming of binary oppositions in order to better apprehend the complexity of Afro-diasporic intellectual culture, which he sees as specifically transnational (Gilroy, 1993). As inclusive as this theoretical framework may seem, it is challenged by the inherent (...) transcoloniality of the artistic dynamics animating the region of the Black Island Americas. To this day, avatars of the colonial model persist in the Lesser and Greater Antilles and in the majority of the coastal nations of the Caribbean basin. To a certain extent, these schemes continue to influence the aesthetic-political choices of the region’s visual artists and performers, while providing them with symbolic codes that can be interpreted as signs of belonging to the Afro-Trans American diaspora. It is therefore a challenge to claim any form of diasporic citizenship in such a shifting and uncertain configuration. What is thought to be relevant from an individual or community perspective may prove to be institutionally subversive. In the syncretic tradition of Cuba and Brazil, the same code can be given different semiotic meanings depending on the political and pragmatic context. This article therefore takes an ethno-critical look at the contribution of such practices to the broader framework of archipelagic networks and map zones of Afro-diasporic connectivity in a trans-American context. (shrink)

This article presents a new reading of Fichte’s aesthetics that differs from a primarily functionalist interpretation of the imagination and art. It demonstrates that the “hovering” (Schweben) of the creative imagination should be viewed as the first principle of Fichte’s aesthetics, in which the latter consists of a triad of the pleasant, the beautiful and the sublime. Moreover, it argues that in the text Ueber Geist und Buchstab in der Philosophie (1795/1800) Fichte created a real and original monogram of the (...) hovering creative imagination, a monogram whose theoretical basis stems from Kant’s concept of the monogram in the 1st Critique as a “wavering sketch”. It contends that this overlooked but key artistic and practical example of a monogram opens up new perspectives for Fichtean aesthetics, further confirming that its first principle should be explicitly identified with the theory of the hovering imagination in the Grundlage der gesammten Wissenschaftslehre of 1794/95. (shrink)

This paper examines East Asian literati’s sisŏhwa (poetry, calligraphy and painting) mainly done by ink and wash painting and focuses on their painting theories related to integrative learning and artistic practice. The literati expressed their philosophical ideas using visual and textual language according to Illyul theory based on the Sŏhwa Same Origin theory. They delivered their intentions through symbolic meaning of the visible in terms of the Uisang theory, and put emphasis on ki in their pictorial space using the (...) Kiunsaengdong theory in a monistic universe. The literati’s process of sisŏhwa practice unifies the mind/spirit with body/material and connects humans with nature/the universe. It also enables the creation of a representation of nature according to Shitao’s Oneness of Brushstroke theory. Ultimately it trained them for aesthetic harmony and spiritual enlightenment. As a result, Sisŏhwa Contemplative Practice theory was formed. This paper suggests that this theory should be reconstructed as the basic discipline in education. (shrink)

Heidegger’s reimagining of the artwork was instrumental in forcing a re-evaluation of modern aesthetic assumptions in the first half of the twentieth century. Heidegger’s theory of the origin of the work of art derives from a hermeneutic analysis of a single van Gogh masterpiece. On Heidegger’s view, the artwork provides a substantive and practical way of accessing the nature of art even if questions remain about all manifestations of the nature of art in general. This paper turns his analysis to (...) an alternative influential artwork - Duchamp's ‘Fountain’. I argue ‘Fountain’ presents difficulties for Heidegger’s method, some of which can be accommodated. However, the requirement to confine phenomenal engagement to the art object alone leads to problems when the object is appropriated from outside the artworld, not exhibited, and only one photograph bears witness to its existence. The prospect of broadening the focus of our attention from the art object alone to the ‘drama’ of ‘Fountain’ provides for a much richer phenomenal engagement. However, this move runs counter to a second stipulation of Heidegger's approach - that the artist’s intentions and her performative acts in creating the object should be excluded from our engagement with the work. Duchamp's radical move with ready-mades, and ‘Fountain’, in particular, disarms more than Heidegger’s early post-modern conception of an artwork. It also places pressure on aesthetic theories that lack the capacity to reset ontological boundaries when deeper transformative experiences lie beyond the remit of the object alone, or when art-relevant concepts are appropriated into and out of the realm of art. Duchamp points to a richer means of engaging with artworks than the one construed by Heidegger, one that includes consideration of the relevant artmaking acts. (shrink)

This paper formulates a Deweyan theory of performing arts practice that relies for its support on two main things: The unity Dewey ascribed to all intelligent practices (including artistic practice) and The observation that many aspects of the work of performing artists of Dewey’s time include features (“dramatic rehearsal,” action, interaction and habit development) that are part of Dewey’s characterization of the moral life. This does not deny the deep import that Dewey ascribed to aesthetic experience (both in (...) art and in life), but it does suggest that we might use his theory of ethical practice in conjunction with his theory of art as experience in order to create a more robust and unified Deweyan theory of what the performing artist does. (shrink)

Nietzsche has a surprisingly significant and strikingly positive assessment of mathematics. I discuss Nietzsche's theory of the origin of mathematical practice in the division of the continuum of force, his theory of numbers, his conception of the finite and the infinite, and the relations between Nietzschean mathematics and formalism and intuitionism. I talk about the relations between math, illusion, life, and the will to truth. I distinguish life and world affirming mathematical practice from its ascetic perversion. For Nietzsche, (...) math is an artistic and moral activity that has an essential role to play in the joyful wisdom. (shrink)

This issue of Technoetic Arts: A Journal of Speculative Research (TA) encompasses eight articles by artists and scholars from around the globe who engage with methodologies of art practice within research that reflects on technological and ecological change, contributing to the discourse on the inclusion of subjective experience in research. The articles by authors Dulmini Perera, Kate Doyle, Nora S. Vaage, Merete Lie, Nikita Peresin Meden, Kristina Pranjić, Peter Purg, Nicolaas H. Jacobs, Marth Munro, Chris Broodryk, Semi Ryu, Rahul (...) Mahata, Doreswamy, Sana Altaf and Aqib Javid Parry form a collection that crosses disciplines and genres to engage in fundamental critique of existing modes of enquiry and conclusion. The texts situate art and design methodologies in particular cultural contexts and in relation to frameworks defined by research methodologies of the sciences and humanities to gain agency for critique and to counter a sense of inevitability that has come to mark the most recent crises. (shrink)

This article explores the force and limitations of Jacques Rancière’s novel attempt to rethink the relationship between aesthetics and politics. In particular, it unravels the paradoxical threads of the fundamental contradiction between two of his steadfast claims: (1) art and politics are consubstantial, and (2) art and politics never truly merge. In taking Rancière to task on this point, the primary objective of this article is to work through the nuances of his project andforeground the problems inherent therein in order (...) to break with the “talisman complex” and the “ontological illusion” of the politics of aesthetics in the name of a new understanding of the social politicity of artistic practices. (shrink)

The soundwalk was invented as part of the initiatives undertaken by the World Soundscape Project group with an acoustic ecology profile, which emphasised the noise pollution that exists in people’s sonic environment and the need to reacquire our ‘lost skill’ of conscious listening. Initially, the practice of soundwalking was used as a method allowing us to ‘hone our hearing’ (to boost our sonological competence), to show the human condition with respect to modern reality. Soon, the soundwalk became an inspiration (...) for many artistic undertakings that made use of the sonic properties of the environment and employed various listening strategies. This article is designed to present the idea of soundwalking since its theory and practices began to form. By presenting selected works by Hildegard Westerkamp, I intend to show the motivations behind the practice of soundwalking, which encompass the complex issues of perceiving and assessing city sounds. I refer these to Tim Ingold’s proposition to understand sound as a medium of experience. Soundwalking, as a practice of conscious listening by focusing attention on aural sensations, paradoxically seems to reveal the multi‑sensory structure of our relationship with the world, and the mediatory function of sound in our experience of being‑in‑the‑world. (shrink)

Foucault’s participation in the 1954 carnival of the mad at an asylum in Switzerland marked the beginning of his critical reflections on the origins of psychology. The event revealed a paradox at the heart of psychology to Foucault, for here was an asylum known for its progressive method and groundbreaking scientific research that was somehow still exhibiting traces of a medieval conception of madness. Using the cultural expression of this carnival as a starting place, this paper goes beyond carnival costumes (...) to uncover the historical structures underneath the discipline of modern psychology. Drawing on Foucault’s earliest works in psychology, his 1954 Mental Illness and Personality, his 1954 “Dream, Existence and Imagination,” his 1957 “Scientific Research and Psychology” and briefly his 1961 History of Madness, I will describe the discrepancy between the theory of modern psychology, which finds its heritage in the methods of modern science, and the practice of modern psychology, which finds its heritage in the classical age. I will argue that this division helps make sense of unexplained psychological phenomena, as seen in general practices related to artistic expression, and individual experiences, as seen in the presence of guilt and the resistance to medical diagnosis in patients. (shrink)

Extensive scientific, philosophical and artistic activities were carried out in the Islamic World’s various science and civilization centers during the early Middle Ages. In these centers, noteworthy works of mathematics, astronomy, geography, medicine, pharmacology, optics, botany, chemistry and other fields of science, which would later determine improvement paths for these fields, were created. Abu al-Izz Ismail ibn al-Razzaz al-Jazari (12th-13th centuries), was a magnificent Muslim scientist known for his work named The Book of Knowledge of Ingenious Mechanical Devices (Kitab fi (...) ma‘rifati’l-hiyal al-handasiyya) and he was born in geography where many scientists were trained. He contributed to the development of science and civilization, the joint legacy of humanity and demonstrated his true capability and success in the field of ilm al-hiyal (the scientific field which addresses the information and practices regarding mechanical technology and engineering in Islamic science history). From this perspective, it is evident that al-Jazari had a wide field of interest, made his mark in the age he lived in with his brave and innovative ideas, and was a wise engineer. al-Jazari’s detailed descriptions and explanations of water clocks, oil lamp clocks and water pumping machines, as well as their construction, were astounding. In addition, al-Jazari’s studies on metal casting techniques, cone valves, wheel balance and the real-world use of aspiration tubes are important in contemporary engineering studies. When all these are considered, it becomes clear that his designation as the “Leonardo da Vinci of the Islamic World” is not a coincidence. Many studies on al-Jazari’s scientific legacy have been conducted in various parts of the world. There are various manuscripts of his aforementioned book. Based on these manuscripts, the work has been -fully or partially- translated into many languages, including Turkish. The German and English translations served as a basis for studies on al-Jazari in other languages. In recent years, studies conducted on al-Jazari in Türkiye (books, articles, domestic and international symposiums, congresses etc.) have demonstrated his brilliance and competence as a scientist. Furthermore, studies on al-Jazari are still ongoing in Türkiye. As for Russia, the scientific legacy of the scientists raised in the Islamic World such as Avicenna, al-Farabi, Abu Bakr al-Razi, Abu Rayhan al-Biruni, Abu al-Qasim al-Zahrawi, Muhammad ibn Musa al-Khwarizmi, al-Battani, al-Kashi, Abd al-Rahman al-Khazini, Nasir al-Din al-Tusi was researched within the scope of a special plan and program. Depending on the relevant studies, al-Jazari and his work drew attention as well. A small portion of the aforementioned Russian studies is known in Türkiye. It is safe to assume that al-Jazari studies in Russia are virtually unknown in Türkiye. The present study primarily aims to contribute to the literature on the scientific legacy of al-Jazari, a Middle Age Islamic scientist best known for his famous work in the mechanical field. More specifically, the present study aims to: 1) to identify the studies on al-Jazari in Russia, and in the former USSR countries, where academic studies are still in Russian after the Soviet Union period, to create a chronological biography and to set forth their compilation; in other words, to create a bibliography which includes Russian studies on al-Jazari; 2) to provide information on the structure and content of the studies in question, to detect the methodological issues encountered in these works, and make solution recommendations to solve these issues; 3) to contribute to continuing and future studies in Türkiye on al-Jazari in terms of source and material index. In conclusion, it should be stated that comparative reading was conducted centered on The Book of Knowledge of Ingenious Mechanical Devices (Kitab fi ma‘rifati’l-hiyal al-handasiyya). It should also be noted that Russian popular internet publications (which are not based on academic research and are created/reproduced for commercial and personal purposes) were excluded from the assessment. (shrink)

Contemporary moral theorists are increasingly attentive to the ways human beings actually make sense of their moral experience and compose meaningful lives. Martha Nussbaum's re-introduction of Aristotelian practical wisdom and Alasdair MacIntyre's emphasis on narrativity are good examples of a shift in focus away from tedious polemics about the single "right thing to do" in a situation. But recent theorists have tended to lack a highly articulated philosophical framework--especially a full-blooded theory of moral belief and deliberation--that would enable us better (...) to wend our way along the trails they have blazed. We are born, MacIntyre proclaims, with a social past, a tradition into which we grow. Yet MacIntyre advances a new moral vision independent of recent philosophical traditions that might accommodate and direct his own insights and inquiries. Classical American pragmatism, especially as developed by John Dewey, provides a framework that can clarify and extend the achievements of contemporary moral theory. I contend that a thoroughgoing reconstruction of our moral vision would profit immensely from looking back to Dewey's theory of moral understanding. I propose here to articulate the center of vision of this theory by developing a Deweyan conception of deliberation as imaginative dramatic rehearsal. (shrink)

Musical works change. Bruckner revised his Eighth Symphony. Ella Fitzgerald and many other artists have made it acceptable to sing the jazz standard “All the Things You Are” without its original verse. If we accept that musical works genuinely change in these ways, a puzzle arises: why can’t I change Bruckner’s Eighth Symphony? More generally, why are some individuals in a privileged position when it comes to changing musical works and other artifacts, such as novels, films, and games? I give (...) a view of musical works that helps to answer these questions. Musical works, on this view, are created abstract objects with no parts. The paradigmatic changes that musical works undergo are socially determined normative changes in how they should be performed. Due to contingent social practices, Bruckner, but not I, can change how his symphony should be performed. Were social practices radically different, I would be able to change his symphony. This view extends to abstract artifacts beyond music, including novels, films, words, games, and corporations. (shrink)

...If, in some places, backward science determines the remaining period by the lack of optimism only by the number 123456789, then our progressive science expands it to 987654321, which is eight times more advanced than theirs. However, due to the inherent caution of scientists, both sides do not specify the measuring unit of reference — year, day, hour or minute are meant. Leonid Leonov. Collected Op. in ten volumes. Volume ten. M.: IHL, 1984, p.583. -/- The modern men being as (...) a rule is proceeding in three relatively autonomous, but immanently coexisting, and each penetrating dialectically through other, and each contesting even cruelly with other, and each more or less dominating on other, differently in various societies, worlds: the first one of the barbarity, the second one the culture, the third one the civilization... Barbarity is the mode of coexistence of autonomous human societies based on the unlimited will to act so as subject wants to do without any limitations of his activities... Culture is the mode of coexistence of autonomous human societies based on the most ancient testaments, customs, traditions etc of the highestly sacrified appearence... Civilisation is the mode of coexistence of autonomous human societies based on the reasoned or legitimated by social contracts, by profits, by expediency and so more constitutions, institutions etc... -/- Andrei Melnikov-Pechersky in his epic "In the Woods" says that there was a movement among the Old Believers in Russia, or a current that proclaimed Kostroma the new and, it seems, the only true Jerusalem, in an apocalyptic sense, of course, which in its spiritual scale was probably not inferior to the Bogomils, shakers, Mormons, or else and the whole Reformation in potential. In Western Europe, every more or less convex nuance of the history of a state or region (even if it is a small San Marino) is overgrown with almost a dozen institutions, not always state ones, by the way, in which almost every sneeze and step of very ambivalent historical subjects in a broad sense is studied. Especially in the young, but very pretentious America of the United States, which embodies all world justice. In our country, for example, even many leading humanitarian specialists do not realize the spiritual value of the Ipatievsky MONASTERY. The Russian writer Boris Shiryaev, who died quite a long time ago and in a very far abroad, devoted a special part of his documentary and artistic epic of wanderings "The Inextinguishable Lampada" to an entertaining and instructive, tragic fate of a kind of village monarchy in some Villages of the Kostroma province (I could not identify the area, and, frankly, I did not really try) in the early years The Soviet government. At the same time, all Russians learn about the French emperor Napoleon almost with their mother's milk how many percent of cyanide potassium was found in his hair, they reflect on Lermontov's "Airship" (probably, just not to "memorize" the imposed "Borodino" by heart). The events, of course, are incomparable, but the fact is significant. The outstanding national artist (if not to say a thinker of the Chesnyakov level) Grigory Pavlovich Kusochkin was glorified wherever, in whatever catalogues he was not included. Paris, London, New York, St. Petersburg, Moscow... To look at some smear of luminaries like Picasso or Modigliani, international tourist routes are organized in the restaurant toilet using the finest marketing technologies, and we did not even know Grigory Pavlovich by sight until, thank God, a series of TV shows on all Russian channels was dedicated to him in one gulp. Why is this happening? Is it a consequence of poverty or the result of the conscious policy of the ruling elite of the country and the world? The regions of the Kostroma Region are Austria, Switzerland, Bavaria, Armenia, Moldova, and Georgia... Georgia! I served in the army there. In this small but very great country, judging even by the appearance of its President Shevardnadze, although it is smaller than the Kostroma region, there are so many different, but Georgian-speaking peoples! Kakhetians, Meskhetians, Imereti, Iveretians, Mingrelians, Khevsurs... Adjarians (mostly Georgian-speaking Muslims) even have their own autonomy. And some peoples are not Georgian—speaking at all — South Ossetians, Abkhazians, Kurds, Armenians, Greeks, even Assyrians. In the Kostroma Region, and in any Russian "province" — not much less: there are plenty of the same Georgians or Armenians everywhere, quite moderate, loyal, and so on. Having, as a rule, their own officially registered associations within the framework of cultural autonomy. Well done! And Israel! He is the only one with all his "illegal" (and I am for the fact that every nation knows better where its ancestral lands are) territories half the size of the Kostroma region. The total number of Jews worldwide, according to the "Soviet Encyclopedic Dictionary" in 1987, is about 14 million. Meanwhile, the fate of Israel is being preoccupied (it is very instructive how he achieved this!) all the united nations of the world. In the Kostroma Region and its diaspora, it seems to everyone, and especially to its semi-migrant, Varangian leadership. I don't care if they build a public atomic bomb here in the form of a nuclear power plant or not. Because they do not know the value of this land, the greatness of its spirit. Kostroma is a holy land. I will immediately make a reservation that by Kostroma I mean not only the modern region, but the entire area that has ever historically been associated with Kostroma. The USSR is also a part of the great historical Russia. In this sense, even the entire era of the Russian Romanov Empire is the Kostroma region. Or: many toponymic objects of our native land are called mysteriously beautiful: Sharya, Shunga, Shekshema, Sholezhka, - we need to find out what kind of peoples — and where are they now? — we left such euphonious archetypal combinations, because these are our Kostromsky peoples, these are our Kostroma people. Or, say, the classic of American and world sociology Pitirim Alexandrovich Sorokin writes in his autobiographical scientific novel "The Long Way" that he studied at the Khrenovskaya (what a strong word!) teachers' seminary of Kostroma province, but in an administrative row for propaganda activities, gendarmes were taken by sledge to the prison of the city of Kineshma - is this not a fact for Kostroma, and primarily for him, local history, although Kineshma has long been attributed to the Ivanovo region, and Pitirim Alexandrovich is buried on the other side of the planet?! I have not the slightest doubt that Kostroma provided spiritual food, gave birth to and nurtured a huge intellectual diaspora with extremely valuable material on a national, global scale. And this is both in direct and indirect order, in the form of a chain reaction. Apparently, it is easy for an intelligent person to grow up in Kostroma, but it is impossible to live, and somewhere on the contrary. Therefore, it is not surprising that the geneticist academician D. K. Belyaev, who was born in the village of Protasov near Nerekhta, very close to Kostroma, glorified Moscow and Siberia with his discoveries and practical results, which immeasurably enriched the Soviet state treasury with foreign exchange income from the sale of the most valuable fur grown according to the biotechnology developed by him in a much shorter time than it usually turns out in nature. And in Kostroma, most likely, few people know who he is and what he is famous for. I will focus in more detail on one of the aspects of his great life. This happened back in the so-called pre-Perestroika times. In a series of his speeches, Dmitry Konstantinovich, based on the results of his and colleagues' research, emphasized, in his opinion, the determining role of the biological factor in shaping the content of human essence, of course, only in a philosophical, conceptual aspect. For some reason, this was opposed by a geneticist, as they say, persecuted at one time by the "senile" in selectionism (including human nature) by the Michurino-Lysenkoists, academician N. P. Dubinin, which personally remains incomprehensible to me until now. With a grateful curtsey to Academician Dubinin and his point of view, the famous French humanist, member of the Politburo of the French Communist Party Lucien Sav appeared on the pages of the Communist magazine. The material was clearly titled: "Problems are not only scientific, but also political." He very indecently attributed the views of academician Belyaev to "a reactionary ideology that tries to put genetics at its service, and more broadly, biology, in order to present all kinds of social inequalities of all kinds as inherent in nature itself"(1). I would like to see any ideology that does not try to "put this or that at its service," much less something worthwhile... A little later, the editorial of the Communist hit the "biologizers", and soon Dmitry Konstantinovich was gone. In short, it is only on the example of our fellow countrymen that you can write interesting, world-class essays on science and its history, but instead our scientists should fit their global potencies into a page and a half (good yet. if not entirely at their own expense), and then for at least three years to guess whether they will be published or not. Now it no longer surprises me how at one time, when, after reading the listener card I filled out, the sweetest girl from the IPKPON office at USU congratulated me for something. It turned out that the dean of the Faculty of Philosophy of USU, doctor, professor, Honored Scientist, and now academician Konstantin Niko-laevich Lyubutin is a countryman, Kostromsky, or rather Manturovsky by origin, as I write below in the notes — we are Kostromendors. To him, my fellow citizen in the most subtle micropatriotic dimensions, I owe a lot in my professional and social development, even in survival. Because that's how it often turns out: you can be born here, sometimes you can live here... It's very hard. Maybe the Kostroma origin of an outstanding Russian historian of philosophy, organizer of science and education, educator and friend of a galaxy of people devoted to the Motherland and the cause is not a great milestone in the history of the region, but name me at least a dozen Russian cities on the scale of Kostroma, from where such intellectual ones would come out into the world and light luminaries like ours. No matter who you take from the world significance of the pillars of national (and world, and foreign, - even the great Rabbi of Lubavitcher spent three years in exile in a Campfire, — I learned from some foreign voices) history, literature, culture in general, technology, science and so on - you will always find someone, which is very directly related to Kostroma. Pushkin, Lermontov, Gorky. Alexander Nikolaevich Ostrovsky, Pisarev, Uspensky, Katenin, Florensky, Savrasov, Kustodiev, Dyagilev, Mikhalkov, Alexander Alexandrovich Zinoviev; writers, artists, entrepreneurs, revolutionaries, inventors, politicians... In some world-famous for its classic Russian provincialism, Kologriv has been storing, figuratively speaking, unique sketches, if not of Leo-Nardo da Vinci himself, then certainly of his school, almost since the seventeenth century. And not only that. Nevertheless, the well-known Chukhloma to the Fatherland, in addition to thinkers of the rank of Rozanov and Zinoviev (where should domestic philosophers mature and not be born, if not in Chukhloma, Manturov or Khrenknowswhere?), gave an actor of amazing, national, originality — Mikhail Pugovkin, who can not be confused with anyone, a role that no one will repeat. (shrink)

It is argued that the theory of situated cognition together with dynamic systems theory can explain the core of artistic practice and aesthetic experience, and furthermore paves the way for an account of how artist and audience can meet via the artist's work. The production and consumption of art is an embodied practice, firmly based in perception and action, and supported by features of the local, agent-centered and global socio-cultural contexts. Artistic creativity and aesthetic experience equally result (...) from the dynamic interplay between agent and context, allowing for artist and viewer to relate to the artist's work in similar ways. (shrink)

In this essay, I will look into Arthur Schopenhauer’s pessimism, which culminates in the view that since life is not worth living, it is better for us to deny it than try to affirm it. I will argue that his pessimism is not sustainable, and that it fails on its own propositions. In section 1, I will look at the importance of suffering as the central point in Schopenhauer’s pessimism. For Schopenhauer, the essence of the world, which he calls will, (...) is a never-ending, blind and purposeless striving that objectifies itself in the organic and inorganic world. Will, which can also be called the will to live, is constantly driving us from one desire to another, leaving us almost without rest in the constant state of need, hence suffering. I will argue against his position that only suffering is of a positive nature, while happiness can only be negative. According to Schopenhauer, the rare moments of happiness we experience consist only in the absence of suffering. I will also look into his view that absolute happiness is impossible to achieve and question this statement as a weak argument for pessimism. -/- Section 2 will focus on Schopenhauer’s use of the concepts of pain and suffering. As it seems that he uses them as co-extensive terms, I will explain why they are not co-extensive. -/- In section 3, I will discuss Schopenhauer’s view that the world has a moral meaning. Because of inevitable suffering, according to Schopenhauer, our only moral solution to the problem of suffering will be to deny suffering, consequently, life itself. And this is, for him, the hidden moral meaning of the world that only philosophy can uncover. -/- In section 4, I will look at the importance of aesthetic experience, which for Schopenhauer, represents the proof that the will can be abandoned and that the short periods of liberation from the will/suffering can be reached. As for Kant, for Schopenhauer, the aesthetic experience must be purposeless and unintentional and never contemplated or purposeful. Since our contemplated activities belong to the knowledge driven by the principle of practical reason that operates on the basis of our innate categories of time, space and causality and is related only to the phenomenal world, ideas that are the essence of artistic experience cannot be grasped by such knowledge. They can only be contemplated by objective knowledge by genius, who, in the process of artistic creation, abandons his individuality and disconnects from the phenomenal world completely, grasping the idea of a perceived object purely by its rare gift and not by reason. -/- In the final section, I will look at compassion, which can help us overcome suffering, according to Schopenhauer. By abandoning our selfishness through compassion, we can identify with the suffering of others and understand that we are the same as others. That will help us comprehend that our individuality is the main cause of suffering and trigger our attempt to overcome suffering through compassion. I will argue that compassion cannot be devoid of self-interest and, as such, still requires a strong presence of the will. I will also show why asceticism is, as the ultimate attempt to completely redeem suffering, antipodal to compassion. (shrink)

Reedition of papers in English spanning from 1986 to 2009 /// Historical background -- An imposed legacy -- Twentieth century contemporaneity -- Appendix: The philosophy of teaching legal philosophy in Hungary /// HISTORICAL BACKGROUND -- PHILOSOPHY OF LAW IN CENTRAL & EASTERN EUROPE: A SKETCH OF HISTORY [1999] 11–21 // PHILOSOPHISING ON LAW IN THE TURMOIL OF COMMUNIST TAKEOVER IN HUNGARY (TWO PORTRAITS, INTERWAR AND POSTWAR: JULIUS MOÓR & ISTVÁN LOSONCZY) [2001–2002] 23–39: Julius Moór 23 / István Losonczy 29 // (...) ON THE SURVIVAL OF ILMAR TAMMELO’S LETTER AND MANUSCRIPT ADDRESSED TO PROFESSOR MOÓR [2009] 41–44 // PROFESSIONAL DISTRESS AND SCARCITY: ALEXANDER HORVÁTH AND THE LEGACY OF NATURAL LAW IN HUNGARY [2005] 45–50 // HUNGARIAN LEGAL PHILOSOPHY IN THE 20TH CENTURY [2011] 51–72: I. The Pre-war Period [1. Bódog (Felix) Somló (1871–1920) 52] / II. The Inter-war Period [2. Gyula (Julius) Moór (1888–1950) 54 / 3. Barna Horváth (1896–1973) 55 / 4. József Szabó (1909–1992) 57 / 5. István Bibó (1911–1979) 58 / 6. Tibor Vas (1911–1983) 59 / 7. István Losonczy (1918–1980) 60] III. The Post-war Period (Communism) 61 [8. Imre Szabó (1912–1991) 62 / 9. Vilmos Peschka (1929–2006) 63 / 10. Kálmán Kulcsár (1928–2010) 65] IV. Contemporary Trends and Perspectives 66 [11. Csaba Varga (b. 1941) 66 / 12. András Sajó (b. 1949) 69 / 13. Béla Pokol (b. 1950) 70] V. Our Understanding of the Law Today 71 --- AN IMPOSED LEGACY -- LOOKING BACK [1999] 75–94: 1. On Ideologies and Marxism in general 75 / 2. Life of an Intellectual in Communism 79 / 3. On Marxism and its Socialist Cultivation in Particular 82 / 4. Legal Philosophising [4.1. Approaches to Law 87 / 4.2. Arriving at a Legal Ontology 91] 5. Conclusion 94 // LEGAL PHILOSOPHY OF THE MARXISM OF SOCIALISM: HUNGARIAN OVERVIEW IN AN INTERNATIONAL PERSPECTIVE [2003] 95–151: I. Development and Balance of Marxist Philosophising on Law in Hungary [1. Preliminaries (until 1948) 96 / 2. Stalinism (from the Soviet Occupation on) {a) Liquidation of the »Residues« 98 / b) Soviet-type Uniformisation [Gleichschaltung] 99 / c) Denial of the Past, with a Dual Effect 99 / d) »Socialist Legality«, Drawn from the Progressive Past of Western Europe 103 / e) Search for the Germs of Scholarly Evolution 103} 3. Institutionalisation Accompanied by Relaxation (from the 1960s) [a) Epigonism Becoming the Scholarly Ideal 104 / b) Stalinism in a Critical Self-perspective 105 / c) Disciples Diversified Launching their own Trends 107 / d) Comparatism 110 / e) (Re)discovery of the Western Legal Philosophy as a Competitor 112 / f) A Leading Mediatory Role within the »Socialist World Order« 114} 4. Disintegration (in the 1980s) {a) Attempt at Laying New Foundations for Marxism with Epigonism Exhausted 115 / b) Competitive Trends Becoming Exclusive 115 / c) Western Legal Philosophy Acknowledged as a Fellow-traveller within the Socialist Orbit Proper 116 / d) Hungarian Legal Theory Transforming into a National Corpus 118 / e) The Practical Promotion of Some Balance 119} 5. End-game for a Substitute State Religion (in the 1990s) 120] II. Marxist Legal Philosophising in an International Perspective [Ad 1: To the Preliminaries 122 / Ad 2: To Stalinism 124 / Ad 3: To Institutionalisation Accompanied by Relaxation {a) Late Separation from Vishinskiy’s Theory 125 / b) From Ideological Self-closure to an Apparently Scholarly Openness 127 / c) From Political Ideology to Genuine Scholarship 130 / d) International Recognition of Socialist Jurisprudence as an Independent Trend 135 / e) Together with Western Trends 137} Ad 4: To Disintegration {a) Loss of Attraction as Mere Epigonism 139 / b) Exclusivity of Competing Trends 139 / c) Fellowship with »Bourgeois« Trends 140 / d) An own Trend, Internationally Recognised 141 / e) A yet Progressive Role 142} Ad 5: To the Present state 143] III. A Temporary Balance 145 // AUTONOMY AND INSTRUMENTALITY OF LAW IN A SUPERSTRUCTURAL PERSPECTIVE [1986] 151–175: 1. The Strange Fate of Concepts 151 / I. A Relational Category 2. Basis and Superstructure: The Genuine Meaning 154 / 3. Exerting Social Influence as a Conceptual Minimum 156 / 4. Relationships within the Prevailing Totality 158 / 5. Attempts at Interpretation in Hungary 159 / 6. The Lukácsian Stand 162 / 7. Lukács’s Recognitions 168 / 8. Some Criticism 169 / II. The Law’s Understanding 171 / 9. Law Interpreted as Superstructure 171 / 10. Conclusions Drawn for the Law’s Understanding 173 // LEGAL THEORY IN TRANSITION (A PREFACE FROM HUNGARY) [2000] 177–186 // DEVELOPMENT OF THEORETICAL LEGAL THOUGHT IN HUNGARY AT THE TURN OF THE MILLENNIUM [2006] 187–215: 1. International Environment 188 / 2. The Situation in Hungary 190 / 3. Outlook I: The Historical-comparative Study of Legal Cultures and of the Lawyerly Way of Thinking 203 / 4. Outlook II: The Paradigmatic Enigma of the Transition to Rule of Law 207 / 5. Incongruity in Practice 213 / 6. Perspectives 214 --- TWENTIETH CENTURY CONTEMPORANEITY -- CHANGE OF PARADIGMS IN LEGAL RECONSTRUCTION: CARL SCHMITT AND THE TEMPTATION TO FINALLY REACH A SYNTHESIS [2002] 219–234: 1. Dangers of Intellectualism 219 / 2. Schmitt in Facts 221 / 3. Schmitt and Kelsen 222 / 4. On Bordering Conditions 226 / 5. With Kelsen in Transubstantiation 230 / 6. Polarisation as the Path of Theoretical Development 232 // KELSENIAN DOCUMENTS IN HUNGARY: CHAPTERS ON CONTACTS, INCLUDING THE GENESIS OF AUTOBIOGRAPHY [2006] 235–243: 1. Preludes 235 / 2. The Search for Moór’s Bequeath 235 / 3. Moór’s Collegiality 238 / 4. Bibó as a Disciple Translating 241 // THE »HART-PHENOMENON« [2002] 245–267: I. The Hart-miracle 246 [1. The Scene of Britain at the Time 247 / 2. The Personal Career 250 / 3. The Opus’ Career 252 / 4. Verbal Sociologism 255 / 5. Growing into the British Pattern 259] II. The Hart-phenomenon 260 [6. Origination of a Strange Orthodoxy 261 / 7. Mastering Periods of the 20th Century 263 / 8. Raising the Issue of Reception in Hungary 365] // LITERATURE? A SUBSTITUTE FOR LEGAL PHILOSOPHY? [2007] 269–287: 1. The Enigma of Law and its Study 269 / 2. “Law and Literature” 271 / 3. Varieties of “Law and Literature” 274 / 4. The German Study of Artistic Representations 280 / 5. Some Literary Reconsiderations 285 / 6. Conclusion 287 --- APPENDIX -- THE PHILOSOPHY OF TEACHING LEGAL PHILOSOPHY IN HUNGARY [2007] 291–320: I. Why and How to Philosophise in Law? 291 / II. The State of Teaching Legal Philosophy 294 / III. The Philosophy of Teaching Legal Philosophy 296 / IV. Programme at the Catholic University of Hungary 300 [1. Graduate Studies 300 {a) Basic Subjects 301 / b) Facultative Seminars 305 / c) Closing Subjects 309 / d) Written Memoranda and the Thesis 312} 2. Postgraduate Studies 313 / 3. Conclusion 317] V. Perspectives 318 /// Index of Subjects 321 / Index of Normative Materials 328 / Index of Names 329 . (shrink)

In the small but growing literature on the philosophy of country music, the question of how we ought to understand the genre’s notion of authenticity has emerged as one of the central questions. Many country music scholars argue that authenticity claims track attributions of cultural standing or artistic self-expression. However, careful attention to the history of the genre reveals that these claims are simply factually wrong. On the basis of this, we have grounds for dismissing these attributions. Here, I argue (...) for an alternative model of authenticity in which we take claims about the relative authenticity of country music to be evidence of ‘country’ being a dual character concept in the same way that it has been suggested of punk rock and hip-hop. Authentic country music is country music that embodies the core value commitments of the genre. These values form the basis of country artists’ and audiences’ practical identities. Part of country music’s aesthetic practice is that audiences reconnect with, reify, and revise this common practical identity through identification with artists and works that manifest these values. We should then think of authenticity discourse within country music as a kind of game within the genre’s practice of shaping and maintaining this practical identity. (shrink)

What is a game? What are we doing when we play a game? What is the value of playing games? Several different philosophical subdisciplines have attempted to answer these questions using very distinctive frameworks. Some have approached games as something like a text, deploying theoretical frameworks from the study of narrative, fiction, and rhetoric to interrogate games for their representational content. Others have approached games as artworks and asked questions about the authorship of games, about the ontology of the work (...) and its performance. Yet others, from the philosophy of sport, have focused on normative issues of fairness, rule application, and competition. The primary purpose of this article is to provide an overview of several different philosophical approaches to games and, hopefully, demonstrate the relevance and value of the different approaches to each other. Early academic attempts to cope with games tried to treat games as a subtype of narrative and to interpret games exactly as one might interpret a static, linear narrative. A faction of game studies, self-described as “ludologists,” argued that games were a substantially novel form and could not be treated with traditional tools for narrative analysis. In traditional narrative, an audience is told and interprets the story, where in a game, the player enacts and creates the story. Since that early debate, theorists have attempted to offer more nuanced accounts of how games might achieve similar ends to more traditional texts. For example, games might be seen as a novel type of fiction, which uses interactive techniques to achieve immersion in a fictional world. Alternately, games might be seen as a new way to represent causal systems, and so a new way to criticize social and political entities. Work from contemporary analytic philosophy of art has, on the other hand, asked questions whether games could be artworks and, if so, what kind. Much of this debate has concerned the precise nature of the artwork, and the relationship between the artist and the audience. Some have claimed that the audience is a cocreator of the artwork, and so games are a uniquely unfinished and cooperative art form. Others have claimed that, instead, the audience does not help create the artwork; rather, interacting with the artwork is how an audience member appreciates the artist's finished production. Other streams of work have focused less on the game as a text or work, and more on game play as a kind of activity. One common view is that game play occurs in a “magic circle.” Inside the magic circle, players take on new roles, follow different rules, and actions have different meanings. Actions inside the magic circle do not have their usual consequences for the rest of life. Enemies of the magic circle view have claimed that the view ignores the deep integration of game life from ordinary life and point to gambling, gold farming, and the status effects of sports. Philosophers of sport, on the other hand, have approached games with an entirely different framework. This has lead into investigations about the normative nature of games—what guides the applications of rules and how those rules might be applied, interpreted, or even changed. Furthermore, they have investigated games as social practices and as forms of life. (shrink)

With the aim of teaching and practicing art for the good or moreover the better, Josef Albers proves to be an idealist. At the same time, he confirms with this conviction that art can also arouse the opposite. This conviction is already evident in the grammatical form of the term, which proves that art is functional or a technique for socio-cultural applications, whether good or bad. In the presentation of the political and philosophical background of this idea as well as (...) in the analysis of Josef Albers´s ´artistic research´ on the artistic means as cultural techniques, this assumption is to be proved by the essay. (shrink)

“Applying the Heisenberg Uncertainty Principle to 21st Century Art” was delivered to the 2009 Congress of the International Association of Art Critics (AICA) in Dublin as a guide to critical thinking through a paradigm shift. This new paper uncovers a new critical theory in the form of a formula that has been successfully applied to a universal appraisal of arts across all boundaries, whether they be gender, discipline or culture. The configuration predicted by Pauli as arising from under the collapsed (...) quantum wave is sourced in an ancient icon: the hieros gamos. As her functional role as newspaper critic shifted to a more esoteric passage as performance artist/curator/blogger, the author spent 14 years theorizing; and another 14 years applying a new critical theory to contemporary art. Her (R)evolution series for the Huffington Post places the containment of the hieros gamos at the forefront of contemporary art practice. The goal is the embodiment of Jean Gebser’s 360-degree aperspectival awareness, whereas the shadow is contacted and absorbed into the very body of art. This paper will reveal the strategy for determining holistic art forms containing the 21st century icon that Pauli understood would arise from under the collapsed quantum wave. (shrink)

Images are double agents. They receive information from the world, while also projecting visual imagination onto the world. As a result, mind and world tug our thinking about images, or particular kinds of images, in contrary directions. On one common division, world traces itself mechanically in photographs, whereas mind expresses itself through painting.1 Scholars of photography disavow such crude distinctions: much recent writing attends in detail to the materials and processes of photography, the agency of photographic artists, and the social (...) determinants of the production and reception of photographs. As such writing makes plain, photographs cannot be reduced to mechanical traces.2 Yet background conceptions of photography as trace or index persist almost by default, as no framework of comparable explanatory power has yet emerged to replace them. A conception of photography adequate to developments in recent scholarship is long overdue. Rather than constructing such a conception top-down, as philosophers are wont to do, this paper articulates it by examining selected works by James Welling.3 There are several reasons for this: Welling’s practice persistently explores the resources and possibilities of photography, the effect of these explorations is to express a particular metaphysics of the mind’s relation to its world, and appreciating why this metaphysics is aptly expressed by exploring photography requires a revised conception of what photography is. In as much as it provides a framework for a richer interpretation of Welling, the new conception is also capable of underwriting a wide range of critical and historical approaches to photography. (shrink)

In this paper I examine how ethics can help us solve the morally relevant problems that arise in crisis situations by distinguishing theoretical from extra-theoretical approach to moral phenomena. I begin by asking how a crisis can be the topic of philosophical examination, subsequently narrowing down the question to ethics. From the perspective of this philosophical discipline, a crisis could be approached in two ways: by applying general theories, such as Kant’s deontology or utilitarianism, to different crisis situations, or by (...) constructing thought experiments. I illustrate both approaches and then, by contrasting heuristic significance of ethical thought experiments with their argumentative function, I introduce the thesis that these experiments reveal truth about morality independently of any particular theory or viewpoint. I also defend the oft-disputed view that fictional scenarios, seen as developed thought experiments, can expand our ‘moral knowledge’, and illustrate that thesis by examining a fictional narrative that deals with a crisis – the explosion of a reactor in the ‘Chernobyl’ nuclear power plant. (shrink)

I argue that contemporary artists fix the features of their works not only through their actions of making and presenting objects, but also through auxiliary activities such as corresponding with curators and institutions. I refer to such fixing of features as the artist’s sanction: artists sanction features of their work through publicly accessible actions and communications, such as making a physical object with particular features, corresponding with curators and producing artist statements. I show, through an extended example, that in order (...) to grasp the nature of contemporary artworks, and thus be in a position to interpret them, we must attend to the features the artist has sanctioned. However, this does not amount to saying that the artist’s intention fixes the features of the work. While related to intentions, sanctions are not identical to them; and, indeed, the features the artist has sanctioned may conflict, in some cases, with those she intended. I distinguish my view from actual and hypothetical intentionalism and show that considering the artist’s sanction does not force us to accept any particular interpretation of the work. I also show that, while it has special relevance to our understanding of contemporary artworks, the notion of the sanction is in fact relevant to traditional Western art as well. (shrink)

Virtually everyone who has advanced an ontology of art has accepted a constraint to the effect that claims about ontology should cohere with the sort of appreciative claims made about artworks within a mature and reflective version of critical practice. I argue that such a constraint, which I agree is appropriate, rules out a one-size-fits-all ontology of contemporary visual art (and thus of visual art in general). Mature critical practice with respect to contemporary art accords artists a significant (...) degree of stipulative authority regarding the features and boundaries of their works. This results in ontological variation among visual artworks. Any claim to the effect that all works belong to the same ontological category will thus come out false or uninformative. Interesting, substantive claims about ontological status can be made only in relation to specific works; that is, we must consider the ontological status of each contemporary artwork individually. The only general ontological claim that can be made about visual artworks (and also about artworks in other forms) is that they belong to the sort of thing that artists create. But this is not a substantive ontological claim. (shrink)

How does a coloured bird end up on a TUGboat? This is the story of an artist who studied philosophy and combined her skills in a PhD at the University of Amsterdam (NL). In order to write her dissertation, she had to learn the LaTeX typesetting programme. Many years later, she still makes art and still writes down her thoughts in LaTeX, with the Memoir class and XeLaTeX as first choice. Always trying to stretch the limits of the programme to (...) her convenience. -/- This essay is not a technical article written by a developer conjuring up ingenious innovations to the LaTeX programme. By contrast, it discusses the relationship between LaTeX, art (photography) and the concept of 'measurability' from the perspective of a philosophising artist. (shrink)

Simon Høffding’s book A Phenomenology of Musical Absorption (2019) contributes to a growing field of research focusing on the artist’s and performer’s experience, as significant for philosophical understanding of on the one hand expertise and skill-formation, on the other art and artistic practice. Høffding’s work is based on a qualitative study of the world-famous ensemble The Danish String Quartet, and has two purposes according to the author: first, to answer a question that arises when confronted with expert musicians’ descriptions (...) of their experiences: “Who is playing?” While deeply concentrated – absorbed – during rehearsal or performance, musicians have described the feeling of something else taking over: the body, the fingers, the instrument, the music. What kind of self is present in this experience and what kind of consciousness does the musician have of her own performance and of the musical work that is performed? Second, Høffding presents a phenomenological account of the experiences at issue, that is based on thorough empirical work and analysed with tools from phenomenology and cognitive science. While not mainly concerned with philosophical aesthetics, the musical work itself has an important role to play in answering these two questions. In the book, Høffding shows with wonderful clarity the value of listening to and analysing performers’ depiction of their experience, not only in order to provide a theoretical framework that can account for the particular experiences associated with expertise but also to prompt philosophical understanding of artistic/aesthetic experience, art and creativity. There are, however, certain problems with his account. One is the internal conflict between the idea that absorption can be experienced at any level of music making, and the claim that only professional experts can experience absorption in its stronger form, without giving a clear argument for this differentiation. Another is Høffding’s desire to present his work as a “paradigmatic case”, resulting in a certain lack of generosity vis-à-vis precursors and other scholars, and interpretations that are not always backed up by the interview material. In general, there are a number of unclear references and loose ends, that this reader would have wished to be worked out in detail. This being said, Høffding has uncovered a thought-provoking path that I hope will be continued. (shrink)

This article is basically an artist's statement published in connection with a major interdisciplinary art project currently in development (completion date estimated to be 2020).

The inoffensive title of Section 1.4.7 of Hume’s Treatise of Human Nature, ‘Conclusion of this Book’, belies the convoluted treatment of scepticism contained within. It is notoriously difficult to decipher Hume’s considered response to scepticism in this section, or whether he even has one. In recent years, however, one line of interpretation has gained popularity in the literature. The ‘usefulness and agreeableness reading’ (henceforth U&A) interprets Hume as arguing in THN 1.4.7 that our beliefs and/or epistemic policies are justified via (...) their usefulness and agreeableness to the self and others; proponents include Ardal (in Livingston & King (eds.) Hume: a re-evaluation, 1976), Kail (in: Frasca-Spada & Kail (eds.) Impressions of Hume, 2005), McCormick (Hume Stud 31:1, 2005), Owen (Hume’s reason, 1999), and Ridge (Hume Stud 29:2, 2003), while Schafer (Philosophers, forthcoming) also defends an interpretation along these lines. In this paper, I will argue that although U&A has textual merit, it struggles to maintain a substantive distinction between epistemic and moral justification—a distinction that Hume insists on. I then attempt to carve out the logical space for there being a distinctly epistemic notion of justification founded on usefulness and agreeableness. However, I find that such an account is problematic for two reasons: first, it cannot take advantage of the textual support for U&A; secondly, it is incompatible with other features of the text. (shrink)

Many philosophers hold that if an agent acts intentionally, she must know what she is doing. Although the scholarly consensus for many years was to reject the thesis in light of presumed counterexamples by Donald Davidson, several scholars have recently argued that attention to aspectual distinctions and the practical nature of this knowledge shows that these counterexamples fail. In this paper I defend a new objection against the thesis, one modelled after Timothy Williamson’s anti-luminosity argument. Since this argument relies on (...) general principles about the nature of knowledge rather than on intuitions about fringe cases, the recent responses that have been given to defuse the force of Davidson’s objection are silent against it. Moreover, the argument suggests that even weaker theses connecting practical entities with knowledge are also false. Recent defenders of the thesis that there is a necessary connection between knowledge and intentional action are motivated by the insight that this connection is non-accidental. I close with a positive proposal to account for the non-accidentality of this link without appeal to necessary connections by drawing an extended analogy between practical and perceptual knowledge. (shrink)

In this paper, I evaluate three views of philosophical pragmatism’s practical implications for academic and non-academic or public discourses, as well as offer my own view of those implications. The first view is that of George Novack. In an underappreciated tract, Pragmatism versus Marxism, the American Trotskyite and union organizer launched a vicious attack on John Dewey’s career as a professional philosopher. He alleged that Dewey’s ideas were inaccessible to all but a small community of fellow academicians. While Novack conceded (...) that Dewey’s philosophical inquiries had a cross-pollinating influence on other academic fields, he doubted that the beneficial products of those inquiries traveled far beyond the walls of the so-called ‘ivory tower.’ Larry Hickman offers a second view. He understands Dewey’s claim in Experience and Nature that philosophy serves as a “liaison officer” to mean that philosophers should provide a common lexicon that translates between the languages of distinct disciplines. In other words, for Dewey, the role of philosophy, including philosophical pragmatism, is to facilitate interdisciplinarity. Since interdisciplinary sharing is usually confined to academic discourse, Novack’s challenge is perfectly compatible with Hickman’s interpretation of Dewey’s ‘liaison officer’ claim. Both Novack and Hickman are mistaken, though in different degrees and for different reasons. The third, and more promising, view is advanced by Robert Talisse. He cites the life and works of Sidney Hook, one of Dewey’s better-known students, as an exemplary case of a pragmatist who consistently realized his pragmatic commitments in public discourse. The most important reason for qualifying Hickman’s interpretation of Dewey’s ‘liaison officer’ claim is that the measure of pragmatism’s value is not solely the ability of pragmatists to facilitate interdisciplinary collaboration, but their ability to also insert their ideas into public discourse. In my view, philosophical pragmatists, and philosophers generally, should both facilitate interdisciplinarity in academic discourse and introduce philosophical notions into public discourse—that is, serving in the dual capacity of interdisciplinary scholar and public intellectual. (shrink)

This article contributes to the debate on the relation between Aristotle’s practical and theoretical philosophy. It argues that his practical philosophy depends to a considerable extent on his teleological conception of nature. This thesis is primarily directed against scholars who maintain that Aristotle does not derive political and human relations from natural or cosmic conditions. The paper defends David Sedley’s anthropocentric interpretation of Aristotle’s natural teleology and shows how Aristotle applies teleological explanations to power relations among human beings – among (...) men and women and among freemen and natural slaves – and their purposes and goals. The article focuses on Aristotle’s human ‘function’ (ergon) argument, which is a teleological argument at the centre of his practical philosophy. It argues that this argument, which Aristotle presents to define ‘human flourishing’ or ‘happiness’ (eudaimonia), depends on his definition of man as the only ‘living being that has language and reason’ (zôon logon echon). It further claims that the dispute about whether Aristotle identifies eudaimonia only with a life of contemplation or whether eudaimonia includes a political life can be clarified by referring to the natural purpose of logos. (shrink)

Paisley Livingston claims that an artist’s intentions are successfully realized and hence determinate of the meaning of a work if and only if they are compatible and “mesh” with the linguistic and conventional meanings of the text or artefact taken in its target or intended context. I argue that this specific standard of success is not without its difficulties. First, I show how an artist’s intention can sometimes be constitutive of a work’s meaning even if there is no significant meshing (...) between the artist’s intention and his work. Second, I argue against the claim that the artist’s intentions need to be compatible with the linguistic and conventional meanings of a text. Third, I discuss a case that creates a particular puzzle for Livingston since the intentions of the artist concerned are clearly not successfully realized, though they are compatible and mesh with all the relevant data. I conclude my paper by suggesting a solution to this puzzle. (shrink)

Intelligent neurotechnology is an emerging field that combines neurotechnologies like brain-computer interface (BCI) with artificial intelligence. This paper introduces a capability framework to assess the responsible use of intelligent BCI systems and provide practical ethical guidance. It proposes two tests, the threshold and flourishing tests, that BCI applications must meet, and illustrates them in a series of cases. After a brief introduction (Section 1), Section 2 sets forth the capability view and the two tests. It illustrates the threshold test using (...) examples from clinical medicine of BCI applications that enable patients with profound disabilities to function at a threshold level through computer mediation. Section 3 illustrates the flourishing test by exploring possible future applications of BCI involving neuroenhancements for healthy people, using examples adapted from research currently underway in the US military. Section 3 applies a capability lens to a complex case involving dual effects, both therapeutic and non-therapeutic, showing how the threshold and flourishing tests resolve the case. Section 4 replies to three objections: neurorights are the best tool for assessing BCI; the two tests are moving targets; and the analysis utilizes a capability view to do work it is not designed for. The paper concludes that a capability view offers unique advantages and gives practical guidance for evaluating the responsible use of present and future BCI applications. Extrapolating from our analysis may help guide other emerging technologies, such as germline gene editing, expected to impact central human capabilities. (shrink)

Inspired by Helen Longino’s ‘critical contextual empiricism’, in this paper I argue that art arises from social epistemic procedures that encompass both aesthetic functions and institutional practices. Within these procedures, aesthetic functions are developed, validated, and enforced through institutional practices, rather than being solely tied to the artistic outcomes of those practices. I call this approach ‘critical contextual aestheticism’.

The argument and discussion in this paper begins from the premise that Hume was an atheist who denied the religious or theist hypothesis. However, even if it is agreed that that Hume was an atheist this does not tell us where he stood on the question concerning the value of religion. Some atheists, such as Spinoza, have argued that society needs to maintain and preserve a form of “true religion”, which is required for the support of our ethical life. Others, (...) such as D’Holbach have argued that religion is not only false it is pernicious and it should be eradicated. This paper argues that Hume rejected both these proposals, on the ground that they rest, in different ways, on excessively optimistic assumptions. The sensible, practical form of atheism that Hume defends has a more modest and realistic aim, which is simply to restrict and limit the most pernicious forms of religion. Understood this way, Hume’s practical atheism is very different from the forms of “old” atheism associated with Spinoza and D’Holbach, as well as from the “new atheism” of thinkers such as Dawkins and Dennett. -/- Reprinted in Paul Russell, "Recasting Hume and Early Modern Philosophy: Selected Essays" (New York: Oxford University Press, 2021): 340-383. (shrink)

This book explores Iris Murdoch as a philosopher who, through her distinctive methodology, exploits the advantages of having a mind on the borders of literature and politics in her early career writings (pre-The Sovereignty of Good). By focusing on a single decade of Murdoch’s early career, Jamieson tracks connections between her views on the state of literature and politics in postwar Britain and her approach to the philosophy of mind and moral philosophy. Furthermore, this close study reveals that, far from (...) a stylistic quirk, Murdoch’s use of metaphors, analogies, and other literary devices is internal to her methodology. Finally, rather than asking what Murdoch’s views are, this work will ask “what is Murdoch trying to achieve with her writings and public lectures, and how does she go about this?” By answering the latter question, we will have a new strategy for interpreting her writings more generally. The book contributes to the growing body of scholarship focusing on Iris Murdoch’s philosophical writings, and on women in the history of analytic philosophy. (shrink)

This study delves into the intricate relationship between an artist’s background (including nationality and gender) and the popularity of their artworks in the Museum of Modern Art (MoMA) in New York. Leveraging statistical methods, including Chi-squared tests and ANOVA, significant correlations between an artist’s nationality, gender, and the popularity of their artworks were identified. Time series analysis further underscored evolving trends in MoMA’s acquisition patterns over the years. The research also utilized a Random Forest classification model to predict artwork popularity, (...) achieving an accuracy rate of 0.75. The findings shed light on the dynamics of art acquisitions and offer implications for diversifying and enhancing museum collections in the future. (shrink)

Arthur Danto’s analytic theory of art relies on a form of artistic interpretation that requires access to the art theoretical concepts of the artworld, ‘an atmosphere of artistic theory, a knowledge of the history of art: an artworld’. Art, in what Danto refers to as post-history, has become theoretical, yet it is here contended that his explanation of the artist’s creative style lacks a theoretical dimension. This article examines Danto’s account of style in light of the role the artistic metaphor (...) plays in the interpretation of the artwork, arguing that it is unable to account for the metaphorical power he claims is embedded within the work of art. An artist’s style issues from a unique perspective, the way an artist inhabits a specific spot in history. Though each person has such a perspective, when applied aesthetically, it is the key to the articulation of a unique historical meaning in the work of art. At the same time, artists’ knowledge of their contribution remains cut off from this perspective, for they are unaware of their self-manifestation of the historical concept of style. This article makes the case that Danto’s notion of style, based on Sartre’s notion of being-for-itself, cannot fulfil the role he allots it in his theory because, at some level, artists must apprehend their style to create a work of art capable of functioning critically as a countertext. It is only through the apprehension of their style, and dialogical activity that takes place between the artist and the beholders, that the unseen body of artworld theory is formed. Without this, when oriented to the aesthetic, style provides no concept or theory for the mind to behold. This article presents an alternative approach to style that recognizes the role of theory in the creation of metaphor, which would circumvent this problem. (shrink)

This paper argues that Immanuel Kant’s practical philosophy contains a coherent, albeit implicit, defense of the legitimacy of capital punishment, one that refutes the most important objections leveled against it. I first show that Kant is consistent in his application of the ius talionis. I then explain how Kant can respond to the claim that death penalty violates the inviolable right to life. To address the most significant objection – the claim that execution violates human dignity – I argue that (...) motives of honor, as Kant conceives it, require a rational person to will her own execution, were she to commit murder. (shrink)

There has been an important artist in our midst. Her work is about gender, race, and the internal structures of the artworld, and it predated the current popularity of those topics in theoretical circles by three decades.... Piper's volumes serve two functions. Volume I, Selected writings in Meta-Art, 1968-1992, provides an intimate history of the development of her own creative art making, while Volume 2, Selected writings in Art Criticism, 1967-1992, chronicles her more public responses to art-critical writings. Together they (...) form an intense document of a practicing, successful artist who is exceptionally articulate and hence interesting to read. It is no coincidence that her deep commitment to making political art--in which the artist is an agent of social change--functions in tandem with her scholarly pursuits in Kantian ethics. (shrink)

In the first chapter of his Knowledge and Lotteries, John Hawthorne argues that thinkers do not ordinarily know lottery propositions. His arguments depend on claims about the intimate connections between knowledge and assertion, epistemic possibility, practical reasoning, and theoretical reasoning. In this paper, we cast doubt on the proposed connections. We also put forward an alternative picture of belief and reasoning. In particular, we argue that assertion is governed by a Gricean constraint that makes no reference to knowledge, and that (...) practical reasoning has more to do with rational degrees of belief than with states of knowledge. (shrink)

Both European and Anglo-American philosophical traditions of Kant scholarship draw a sharp distinction between Kant’s theoretical and practical philosophies. They cite KrV, A 14.23 –28; KrV, A 15.01– 09; KrV, B 28.22 – 28; KrV, B 29.01 –12 as evidence that the analyses of intuition, understanding and reason proffered in the first Critique apply to cognition only, and therefore do not significantly illuminate his analyses of inclination, desire, or respect for the moral law in the Groundwork, second Critique, Metaphysics of (...) Morals, or Religion. This paper is part of a larger project that takes issue with this near-universal consensus, and with the canonical interpretation of KrV, A 14.23– 28; KrV, A 15.01 –09; KrV,B 28.22 –28; KrV, B 29.01 – 12. Many of the most important terms in Kant’s mature moral philosophy – such as “action,” “reason,” “freedom,” “will,” “categorical,” “imperative,” “ought,” “maxim,” “duty,” “inclination,” “end,” and “idea” – are introduced, and sometimes elaborated at length, in the first Critique; and often appear in the Groundwork with little or no further elaboration. This suggests that Kant intended the analysis of self and rationality in the first Critique to serve as a formal foundation for his subsequent analysis of practical deliberation and moral motivation in the Groundwork. Here I argue specifically that Kant’s use of the first-/third-person asymmetry in his analysis of action in the first Critique’s Resolution of the Third Antinomy is necessary to his account of moral motivation and moral intention in the Groundwork; and that the structure of pure apperception he offers in the Transcendental Deduction resolves this asymmetry. (shrink)

Most artists who are familiar with the contemporary art scene—especially the New York City scene—know that “beauty” is not especially hip. Unless, that is, it serves a “deeper” purpose, e.g., it helps to make a conceptual or political point. Danto’s influence, it would seem, pervades and persists (31). But, as Brand points out in her introduction, in the past twenty years or so, the philosophical study of beauty has been making a comeback; she lists over fifty titles that have been (...) written on the subject since the nineties. Brand’s book, Beauty Unlimited, promises to add to the feminist oeuvre on the subject. The book is comprised of twenty essays, with a foreword by Carolyn Korsmeyer and an introduction by Brand. Although the majority of the essays are interdisciplinary, they are primarily written by trained philosophers. Other essays are written by practicing artists and writers, historians, and cultural anthropologists. (shrink)