It is astonishing that we humans are able to have, act on and express moral beliefs. This dissertation aims to provide a better philosophical understanding of why and how this is possible especially when we assume metaethical expressivism. Metaethical expressivism is the combination of expressivism and noncognitivism. Expressivism is the view that the meaning of a sentence is explained by the mental state it is conventionally used to express. Noncognitivism is the view that the mental state expressed by a moral (...) sentence is a noncognitive, desire-like state. The central question of this dissertation is this: "How can metaethical expressivists explain that we are able to express moral beliefs?" The shortest answer this dissertation will give is the following: "by becoming `dispositional expressivists´." Dispositional expressivists hold that moral beliefs are dispositions to be in certain mental states that resemble desires. More precisely, a central thesis of this study is that to hold a moral belief is to be disposed to be in a desire-like, noncognitive state where this state has some specific structure. This dissertation arrives at and justifies this thesis by making a number of steps. It starts with preparing the ground by developing a general theory of what it is for a sentence to express a mental state. Roughly, this theory states that for a sentence to express a mental state is for that sentence to be conventionally used to perform a speech act which counts as sincere only if the user or speaker is in that mental state. This theory of expressing satisfies all the constraints that must be satisfied for it to be compatible with the purposes of metaethical expressivism. The next step is to provide a solution to the most notorious semantic problem confronting metaethical expressivism, the problem of explaining how sentences containing moral words can have compositional meaning and stand in logical relations also known as the Frege-Geach or embedding problem. Building on the research of Mark Schroeder, a new expressivist semantics, called `Attitude Semantics´, will be developed for a first-order language. The motivating idea underlying attitude semantics is that expressivists can avoid the problematic feature of so-called `biforcation´ if they treat the structures of the mental states expressed by moral sentences as well as that expressed by non-moral sentences as being isomorphic. In order to give those structures a philosophically interesting interpretation, it will be suggested that we treat sentences as expressing dispositional states. As a toy example we will treat the sentence `murder is wrong´ as expressing the disposition to be for blaming for murder. After dealing with the Frege-Geach problem, I turn to the metaethical expressivists' project of quasi-realism. Two major goals of this project are to explain how moral sentence can be truth-apt and how the states expressed by them can be regarded as moral beliefs. In order to establish those goals I critically examine a number of theories of truth-aptness by providing counterexamples to them. I then present my own theory which says that a sentence is truth-apt iff and because there is a conventional way to use it to express a belief. What is new about this theory is that it treats expressing a belief as being explanatorily more basic than being truth-apt. Belief, according to this theory, explains truth-aptness, not vice versa. This has the important consequence that it shows that what I call the `orthodox strategy´ of quasi-realists is mistaken and needs to be inverted: expressivists must `earn the right´ to moral belief before they can establish that moral sentences are truth-apt, and not the other way round. The second part of this dissertation is then concerned with the question of what it is to hold a moral belief and how they can figure in rational reasoning. In short: it is concerned with earning the right to moral belief. After discussing the major problems confronting a noncognitivist theory of belief, most importantly what I call the `tightrope problem´, I argue for a dispositional form of noncognitivism about moral belief that combines elements from Eric Schwitzgebel's dispositionalism about belief and Sebastian Köhler's `conceptual role expressivism´. This dispositional noncognitivism perfectly matches and justifies the dispositionalist interpretation of the expressivist semantics developed before. In order to fully earn the right to moral belief, however, metaethical expressivists must also deal with several epistemological objections concerning the rationality of moral belief. The first objection I deal with comes from Derek Baker and is directed against Mark Schroeder's specific development of expressivism. I deal with this objection because my own theory bears close resemblance to Schroeder's theory and so it might be worried that it confronts the same issues. Fortunately, we will see that Baker's objection rest on a number of mistaken assumptions and so neither applies to Schroeder's expressivism nor to the version which I defend in this study. The other epistemological objection to metaethical expressivism I deal with is Cian Dorr's famous wishful-thinking objection. In contrast to previous replies to this objection I attack it by directly questioning the central assumption on which it rests, namely that reasoners can never be justified in basing a factual belief on a desire-like state. I argue that this is false, and that under certain conditions reasoning from desire-like mental states to factual beliefs is justified. My argument shows that even if holding a moral belief is being in a desire-like noncognitive state, basing factual belief on a moral belief can give one an epistemic reason for the factual belief. Hence, even if moral thoughts are wishes, moral thinking is not wishful thinking. I take my arguments to earn the dispositional expressivist the right to moral belief. By the previously defended theory of truth-aptness in terms of belief, this allows the dispositional expressivists to conclude that moral sentences are also truth-apt. This finishes the quasi-realist project of this dissertation. In the last part of this dissertation I switch gears and present two unnoted problems for metaethical expressivists having to do with explaining moral motivation. Both arguments are surprisingly simple. The first one is this: if motivation requires a belief as well as a desire (Humeanism), and moral judgments motivate by themselves (internalism), then moral judgments cannot be desires only. If this argument is sound, it shows that the famous `motivation argument´ not only entails the falsity of cognitivism, but also the falsity of noncognitivism. The second argument is the following: moral judgments when combined with suitable external desires motivate to act (externalism), but if motivation requires belief as well as desire (Humeanism), then moral judgments cannot be desires only. I discuss several ways in which noncognitivists might want to deal with those problems, but leave it as an open question whether those solutions will ultimately be viable. Overall, this dissertation makes serious contributions to the research program of metaethical expressivism. It makes proposals for how to solve a number of notorious problems, such as the Frege-Geach problem in semantics and the wishful-thinking problem in epistemology. Besides this, however, it also raises two new problems for metaethical expressivism in the philosophy of action. For those reasons this dissertation will be of interest for anyone who wants to defend or criticize expressivism in metaethics, and more generally, anyone who wants to better understand our astonishing ability to express moral beliefs. (shrink)

Although epistemic possibility figures in several debates, those debates have had relatively little contact with one another. G. E. Moore focused squarely upon analyzing epistemic uses of the phrase, ‘It’s possible that p’, and in doing so he made two fundamental assumptions. First, he assumed that epistemic possibility statements always express the epistemic position of a community, as opposed to that of an individual speaker. Second, he assumed that all epistemic uses of ‘It’s possible that p’ are analyzable in terms (...) of knowledge, not belief. A number of later theorists, including Keith DeRose, provide alternative accounts of epistemic possibility, while retaining Moore’s two assumptions. Neither assumption has been explicitly challenged, but Jaakko Hintikka’s analysis provides a basis for doing so. Drawing upon Hintikka’s analysis, I argue that some epistemic possibility statements express only the speaker’s individual epistemic state, and that contra DeRose, they are not degenerate community statements but a class in their own right. I further argue that some linguistic contexts are belief- rather than knowledge-based, and in such contexts, what is possible for a speaker depends not upon what she knows, but upon what she believes. (shrink)

In this article, author evaluated past/present perspectives about philosophy and branches of philosophy due to historical period, religious perspective, and due to their organized categories/branches or areas. Some types of interactions between some disciplines are given as an example. The purpose of this article is, to solve problems related with philosophy and past branches of philosophy, to define new philosophy perspective in the new system, to define new questions and questioning about philosophy or branches of philosophy, to define new or (...) re-constructed branches of philosophy, to define the relations between the philosophy branches, to define good and/or correct structure of philosophy and branches of philosophy, to extend the definition/limits of philosophy, others. Author considered R-Synthesis as a method for the evaluation of the philosophy and related past branches of philosophy. This R-Synthesis includes general/specific perspective with eight categories, 21-dimensions, and twelve general subjects for the past 12,000 years. It is a kind of synthesis of supernaturalism and naturalism, physics and metaphysics, others. In this article, author expressed 27 possible definitive/certain result cases of the new synthesis and defined the possible formation stages to express new theories, new disciplines, theory of interaction, theory of relation, hybrid theory, and others as constructional and/or complementary theories. These theories are considered for 21 major effective disciplines which are defined for a country and for the world. New philosophy perspective, branches of philosophy, and aims/purposes of R-Philosophy are defined to organize many inquiries about the name, number, and relation between special subject “X” and “philosophy of X” in some manner. This new perspective includes necessary and sufficient number of philosophy branches, and so it limits the number of “philosophy of X” in the philosophical system. New Era Philosophy is defined with its sub branches, its constructional philosophies, and with its 8D hybrid philosophy perspective. Ideal Philosophical System is defined with general/specific figure. Some of the new and/or re-constructed branches of philosophy explained with the new defined set of questions, new sub branches and constructional philosophies. Integration of the past/present branches of philosophy into the ideal philosophical system is explained generally. Philosophical interests of the some past philosophers and their relations with the ideal philosophical system expressed with table. (shrink)

У статті проаналізовано місце паронімічної атракції в словотворчій практиці І. Павлюка. Наголошено на стилістичних особливостях функціювання новотворів-атрактантів. На основі лексико-стилістичного аналізу засвідчено розширення меж сполучуваності неологізмів-атрактантів та узуальних слів до паронімічних гнізд. Із застосуванням методу компонентного аналізу описано семантику складних слів, утворених за допомогою компонентів-атрактантів.

(Open Access.) Quantifiers frequently figure in works of fiction. But occurrences of quantificational expressions within fictions seem no more inevitably to be associated with real domains than uses of names within fictions seem inevitably to be associated with existing referents. The paper outlines some philosophical puzzles resulting from this apparent lack of associated domains, puzzles that are broadly analogous to more familiar ones raised by the apparently nonreferential nature of many fictional names. The paper argues, in the light of an (...) important disanalogy between quantifiers and names, that the quantificational puzzles are substantive, in that they cannot be resolved merely by appealing to the possibility of empty domains. It then argues that, despite the cited parallels between occurrences of quantifiers and names within fictions, promising treatments of fictional names do not always straightforwardly generalise to provide accounts of the quantificational phenomena: the quantificational puzzles are therefore not only substantive but also distinctive. The paper provides further testament to the depth and interest of the problems involving content that are generated by fiction, by identifying a very wide range of previously neglected cases, while also helping to situate within a broader context the notoriously hard philosophical challenges posed by fictional names. (shrink)

The syllogistic figures and moods can be taken to be argument schemata as can the rules of the Stoic propositional logic. Sentence schemata have been used in axiomatizations of logic only since the landmark 1927 von Neumann paper [31]. Modern philosophers know the role of schemata in explications of the semantic conception of truth through Tarski’s 1933 Convention T [42]. Mathematical logicians recognize the role of schemata in first-order number theory where Peano’s second-order Induction Axiom is approximated by Herbrand’s Induction-Axiom (...) Schema [23]. Similarly, in first-order set theory, Zermelo’s second-order Separation Axiom is approximated by Fraenkel’s first-order Separation Schema [17]. In some of several closely related senses, a schema is a complex system having multiple components one of which is a template-text or scheme-template, a syntactic string composed of one or more “blanks” and also possibly significant words and/or symbols. In accordance with a side condition the template-text of a schema is used as a “template” to specify a multitude, often infinite, of linguistic expressions such as phrases, sentences, or argument-texts, called instances of the schema. The side condition is a second component. The collection of instances may but need not be regarded as a third component. The instances are almost always considered to come from a previously identified language (whether formal or natural), which is often considered to be another component. This article reviews the often-conflicting uses of the expressions ‘schema’ and ‘scheme’ in the literature of logic. It discusses the different definitions presupposed by those uses. And it examines the ontological and epistemic presuppositions circumvented or mooted by the use of schemata, as well as the ontological and epistemic presuppositions engendered by their use. In short, this paper is an introduction to the history and philosophy of schemata. (shrink)

On Kratzer’s canonical account, modal expressions (like “might” and “must”) are represented semantically as quantifiers over possibilities. Such expressions are themselves neutral; they make a single contribution to determining the propositions expressed across a wide range of uses. What modulates the modality of the proposition expressed—as bouletic, epistemic, deontic, etc.—is context.2 This ain’t the canon for nothing. Its power lies in its ability to figure in a simple and highly unified explanation of a fairly wide range of language use. (...) Recently, though, the canon’s neat story has come under attack. The challenge cases involve the epistemic use of a modal sentence for which no single resolution of the contextual parameter appears capable of accommodating all our intuitions.3 According to these revisionaries, such cases show that the canonical story needs to be amended in some way that makes multiple bodies of information relevant to the assessment of such statements. Here I show that how the right canonical, flexibly contextualist account of modals can accommodate the full range of challenge cases. The key will be to extend Kratzer’s formal semantic account with an account of how context selects values for a modal’s.. (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

PDF with introduction and front and back materials. Abstract: A provocative examination of the consequences of Levinas’s and Adorno’s thought for contemporary ethics and political philosophy. This book unfolds a dialogue between Emmanuel Levinas and Theodor W. Adorno, using their thought to address contemporary environmental and social-political situations. Eric S. Nelson explores the “non-identity thinking” of Adorno and the “ethics of the Other” of Levinas with regard to three areas of concern: the ethical position of nature and “inhuman” material others (...) such as environments and animals; the bonds and tensions between ethics and religion and the formation of the self through the dynamic of violence and liberation expressed in religious discourses; and the problematic uses and limitations of liberal and republican discourses of equality, liberty, tolerance, and their presupposition of the private individual self and autonomous subject. Thinking with and beyond Levinas and Adorno, this work examines the possibility of an anarchic hospitality and solidarity between material others and sensuous embodied life. -/- “This is an extremely impressive, original, and thorough treatment of two key twentieth-century thinkers and their applicability to the most pressing social and political issues of our time.” — Jeffrey A. Bernstein, author of Leo Strauss on the Borders of Judaism, Philosophy, and History -/- “This book is an excellent and timely contribution to political and environmental philosophy, located around a nuanced historical and philosophical approach to Levinas and Adorno. It will be of great interest to anyone concerned with these figures or with the current moment.” — Martin Shuster, author of Autonomy after Auschwitz: Adorno, German Idealism, and Modernity. (shrink)

This chapter presents an account of Merleau-Ponty’s interpretation of the body schema as an operative intentionality that is not only opposed to, but also complexly intermingled with, the representation-like grasp of the world and one’s own body, or the body image. The chapter reconstructs Merleau-Ponty’s position primarily based on his preparatory notes for his 1953 lecture ‘The Sensible World and the World of Expression’. Here, Merleau-Ponty elaborates his earlier efforts to show that the body schema is a perceptual ground against (...) which the perceived world stands out as a complex of perceptual figures. The chapter clarifies how Merleau-Ponty’s renewed interpretation of the figure-ground structure makes it possible for him to describe the relationship between body schema and perceptual (body) image as a strictly systematic phenomenon. Subsequently, the chapter shows how Merleau-Ponty understands apraxia, sleep, and perceptual orientation as examples of dedifferentiation and subtler differentiation of the body-schematic system. The last section clarifies how such body-schematic differentiating processes give rise to relatively independent superstructures of vision and symbolic cognition which constitute our body image. It, moreover, explains how, according to Merleau-Ponty, the cognitive superstructures always need to be supported by praxic operative intentionality to maintain their full sense, even though, in some cases, they have the power to compensate for praxic deficiencies. (shrink)

In this paper, I would like to show how the movements of never stable meanings that link biography and religion are figured and interwoven throughout a kind of ineffable literary and philosophical notion of religion. Religion is a notion that can be understood through a cluster of topics such as origin, promise, dissociation, the unconditional, forgiveness, the undeconstructable and the possibility of the impossible—terms and expressions that Derrida suggests describe God.

The set of symbols of success is a set of cultural determinants of activity and their functioning is connected with the fundamental functions of culture as a system of historically developing supra-biological programs of life. The relevance of considering the symbolization of success in modern cinema is due to several factors. First, according to the majority of art historians and film theorists, cinema remains the leading, most widespread form of art throughout the 20th and 21st centuries. If we understand art (...) as a figurative comprehension of reality, its process and result, which is expressed in works, then the symbolization of success in cinema can be considered one of the most common practices for representing the determinants of activity through a figurative comprehension of reality. An analysis of this process in modern cinematography reveals the mechanisms of functioning of one of the elements of the totality of joint life programs as a segment of modern culture, limited by the boundaries of film communication. Secondly, the development of cinematography largely determines the fundamental changes in the culture of the 20th century. and there is no reason to believe that its influence is diminishing in recent times. Consequently, modern cinema remains one of the most important areas of cultural life, the study of which allows expanding scientific understanding of the patterns of changes taking place in culture. Thirdly, the development of information and communication technologies at the end of the 20th century. led to the fact that the value complexes of traditional cultures of different peoples of the world and expansive global neoplasms of a supranational nature (mass, elite, corporate, fandom, etc.) are simultaneously transmitted into the space of personal culture. Cinema in the new conditions only strengthened its position as the leading relay of value complexes. The special socio-forming qualities of cinema were noted both by its pioneers (L. Delluk, A. Dovzhenko, Ch. Chaplin, S. Eisenstein, etc.), scientists (B. Balash, V. A. Gottwald, E. M. Samuylenko, etc.) , and the ideologists of cultural revolutions at the beginning of the 20th century. G. Turner, in particular, drew attention to the fact that “to achieve control over the everyday representation of the world for a nation means to acquire strong power over the representation of individuals about themselves and about each other”, referring to the threat to the integrity and coherence of an individual’s understanding of the world under the pressure of foreign cultural domination over film communication. In this regard, the search for ways to relevantly measure the trends in the development of modern culture by marking in cinema the cultural determinants of activity, which are the symbols of success, seems to be an urgent theoretical and scientific-practical task, the solution of which expands the predictive potential of culture and its projective possibilities. (shrink)

Talk at University of Turin, 'Kant, oltre Kant, May 5th 2023. --- -/- It is useful, while keeping in mind a holistic approach, to concentrate on a common theme in Kant’s text, which it will turn out is the quintessential element of his novel ‘way of thinking’, as he himself put it in preface of the second edition of the Critique of Pure Reason. This common theme is the idea of synthesis, which is what holds together, and is the entryway (...) to, all the other familiar aspects of Kant’s thought: his concept of self-consciousness or how mind is involved in cognition, his ideas about the role of the imagination, his theory of knowledge and his metaphysics of experience, and not unimportantly, its relation to what is probably the most Kantian element here: the categories of the understanding as the first principles of knowledge. But the meaning of synthesis and its role in its various facets, though frequently the subject of discussion in papers and monographs alike, is hardly understood in contemporary Kant scholarship. Most readings of the text of the Deduction, the part in which Kant elucidates his concept of synthesis, exhibit a shallow, mechanical understanding of it. -/- A compounding factor is that synthesis can’t really be understood independently of the other aforementioned elements of Kant’s thought. Grasping the meaning of synthesis implies coming to grips with his concept of self-consciousness and the way both self-consciousness and the categories are intricately and intimately involved. Most interpretations consider these aspects too much as if they were indeed separable faculties or entities that serve separable functions, undercutting an important feature of Kant’s metaphysics: the possibility of a priori unified cognition, for which an indivisible self-legislating subject is responsible. Rather, they are expressions of various aspects of a singular function of the mind as the ground of possible unified knowledge. -/- One striking example of such a superficial reading of the text is the way the relation between figurative synthesis and intellectual synthesis—or in the case of the A-Deduction the threefold synthesis—is standardly interpreted, as if the two are independent or quasi-independent functions of different faculties of the mind, the imagination and the understanding. In this paper, I focus on the relation between figurative and intellectual synthesis, while arguing that failing to understand this properly, indeed the relation between the imagination and the understanding, leads to a vicious regress in the explanation of the ground of knowledge, for which a priori synthesis is specifically designed. In other words, failing to see the intimate relation between the imagination and the understanding, the very identity that lies at their root, risks losing sight of the primary aim of Kant’s thought: the possibility of a priori unified knowledge. (shrink)

In my dissertation, I develop a novel approach to thought experiments and literary learning. It’s novel primarily because, unlike many prominent approaches, it has us refrain from advancing theories, from giving logical analyses, and from explicating. We are, instead, to proceed in a way inspired by Wittgenstein’s writings. We are, that is, to clarify words that give rise to problems and to clear those problems away. To clarify words, we may compare language games in which figure terms like “thought experiment.” (...) Thereby, we might see that the concept these terms express has a family resemblance character. To clear away problems, we may describe how such a concept, if not illuminated, yields philosophical problems about thought experiments and literary learning. -/- After I develop this approach, I bring it to bear on two problems, and I achieve two main results. One problem concerns the nature of thought experiments. It is: Why do we have trouble explaining what we know them to be? I find that, despite appearances, we have no such trouble. Central to this result are two claims about thought experiments. One is that imaginings aren’t common to them. The other is that our unreflective concept of them has a family resemblance character. -/- The other problem concerns stories in works of literary fiction. It is: How could we possibly learn about the world from them? To solve it, you might claim that we learn by performing thought experiments, and then appeal to a theory of them. I find that you’d risk explaining the wrong thing. That is, you may well explain only how we learn—not how we do so from literature itself. Central to this result are three claims, which concern how these stories differ from thought experiments. They differ, I claim, (i) in how we count imaginings as experiences of them, (ii) in how free we are to interpret them, and (iii) in how complex they may be. This done, I’ve twice taken my novel approach and achieved results. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

After coining the term “philopsychy” to describe a “soul-loving” approach to philosophical practice, especially when it welcomes a creative synthesis of philosophy and psychology, this article identifies a system of geometrical figures (or “maps”) that can be used to stimulate reflection on various types of perspectival differences. The maps are part of the author’s previously established mapping methodology, known as the Geometry of Logic. As an illustration of how philosophy can influence the development of psychology, Immanuel Kant’s table of twelve (...) categories and Carl Jung’s theory of psychological types are shown to share a common logical structure. Just as Kant proposes four basic categories, each expressed in terms of three subordinate categories, Jung proposes four basic personality functions, each having three possible manifestations. The concluding section presents four scenarios illustrating how such maps can be used in philosophical counseling sessions to stimulate philopsychic insight. (shrink)

In this work, author evaluated past theories and perspectives behind the definitions of science and/or branches of science. Also some of the philosophers of science and their specific philosophical interests were expressed. Author considered some type of interactions between some disciplines to determine, to solve the philosophical/scientific problems and to define the possible solutions. The purposes of this article are: (i) to define new synthesis method, (ii) to define new perspective for the philosophy of science, (iii) to define relation between (...) new philosophy perspective and philosophy of science, (iv) to define and organize name, number, relations, and correct structure between special science branches and philosophy of science, (v) to define necessary and sufficient number of branches for philosophy of science, (vi) to define and express the importance and place of new philosophy of science perspective in the new system, (vii) to extend the definition/limits of philosophy of science, (viii) to re-define meanings of some philosophical/scientific theories, (ix) to define systematic solution for the conflicts, problems, confusions about philosophy of science, sciences and branches of science, (x) to define new branches of science, (xi) to re-construct branches and hierarchy of science, (xii) to define new theories about science and branches of science. Author considered R-Synthesis as a method for the evaluation of the philosophy, philosophy of science, sciences and branches of science. This R-Synthesis includes evaluation of eight categories of general/specific perspective, 21-dimensions, and 12 general subjects (with related scope and contents) for the past 12,000 years. It is a kind of synthesis of science and non-science, physical science and non-physical science, religious science and non-religious science, and others. In this article, author defined 27 possible definitive/certain result cases for this new synthesis. Author defined the possible formation stages shortly to express new disciplines, new constructional and/or complementary theories. These theories are considered to define 21 major effective disciplines. New philosophy perspective is defined (R-Philosophy) shortly. New perspective and sub branches are defined for the philosophy of science. Major sciences are defined due to new basic philosophies. 42-basic components are defined for each science branch. New and/or re-constructed sciences, branches of science, basic sciences, and new hierarchy of science are defined with figure. Electromagnetic sciences, information sciences, and system sciences are defined specifically. Hybrid Sciences, New Era Science, and Ideal Scientific System are defined with general/specific figure. Relation between the some old branches and new branches of science was expressed generally due to new perspective of philosophy of science. (shrink)

Bolivian writer Victor Hugo Viscarra is a constant figure on whom a good number of readers have focused their attention. Review after review of his work has been appearing in the Bolivian press and, in that sense, readers have taken his writings with a blind acceptance omitting in such a way a position that goes beyond the literary frontier. The existence of any work on Viscarra’s role as a thinker, his views on politics, the customs of society itself or the (...) imaginaries and identities in Bolivian territory is doubtful. This work aims, on the one hand, to take a critical tour of his thought from a philosophical view (particularly inspired by Nietzsche) and, on the other hand, to try to place the figure of Viscarra next to the virtues of genius and as a “critic of society”. What do Víctor Hugo Viscarra’s ideas express? Is it possible to find in your writings a critique of the way of thinking, living and acting of Bolivian society, in particular to today’s society? In short, does Viscarra’s thinking diagnose the malaise of society at that time? Answering these questions is the intention of this work. (shrink)

Brand image constitutes one of the most salient, over-defined, heavily explored and multifariously operationalized conceptual constructs in marketing theory and practice. In this Chapter, definitions of brand image that have been offered by marketing scholars will be critically addressed in the context of a culturally oriented discussion, informed by the semiotic notion of iconicity. This cultural bend, in conjunction with the concept’s semiotic contextualization, are expected both to dispel terminological confusions in the either inter-changeable or fuzzily differentiated employment of such (...) terms as brand image, symbol, icon, as well as to address the function of brand image at a deeper level than a mere construct to be operationalized in quantitative studies of purchase drivers. This shift in focus is coupled with a critical turn from the cogito-centric view of the consuming subject through the cognitivist lens of the AI metaphor as decision-making centre at the origin of largely conscious meaning-making, in favor of a psychoanalytically informed approach that considers figurativity as an essential process whereby brand image is formed. In these terms, brand image will be intimately linked to brand images as figurative multimodal expressive units and rhetorical tropes, as figurative syntax, that are responsible for shaping an idiolectal brand language, as well as to distinctive levels of iconicity as textual condition of possibility of a brand language. In order to understand the role of iconicity as fundamental condition of brand textuality, rather than just a procedure for spawning brand images, the discussion is contextualized in a wider framework involving the culturally situated source of brand images, how they become correlated with brand image concepts and how correlations between brand images and brand image result in brand knowledge structures (Keller 1998). This opening up of the discussion on iconicity is enacted against the background of what I call the Brand Imaginarium which involves: (i) a critical engagement with the dominant cognitivist perspective in branding research that prioritizes individual memory in brand knowledge formation, through a cultural branding lens that involves two additional types of memory, viz. communicative and cultural (ii) a critical engagement with the cognitivist perspective on brand knowledge formation that prioritizes conscious processing of stimuli (as ‘brute facts’, rather than as already semiotized expressive units) in a cognitive mechanism from which the faculty of imagination has been expelled, by restoring the importance of imagination in brand knowledge formation, and, concomitantly, by showing that the highly figurative language of brands may not be researched thoroughly unless imagination is posited anew as processing correlate (iii) the adoption of an expansionist approach to the role of the imaginary in brand knowledge formation, from cognitive (or psychic) faculty, to a more sociologically inclined process of inter-subjective mirroring, and concomitantly as imaginary social significations (Castoriades 1985) that are shared by culturally conditioned and habituated subjects that engage in meaningful cultural practices, rather than individual processing monads. (shrink)

This paper explores the relation between victims’ stories and normativity. As a contribution to understanding how the stories of those who have been abused or oppressed can advance moral understanding, catalyze moral innovation, and guide social change, this paper focuses on narrative as a variegated form of representation and asks whether personal narratives of victimization play any distinctive role in human rights discourse. In view of the fact that a number of prominent students of narrative build normativity into their accounts, (...) it might seem obvious that there is a connection between victims’ stories and moral insight. However, the category of victims’ stories spans an enormous variety of texts – private diaries, memoirs written for publication, interviews with journalists or social scientists, depositions prepared by human rights workers, stories shared with like-minded activists or with support groups, stories told to medical professionals, and testimony in courts, truth commissions and asylum hearings, to mention just some of the possibilities. The different contexts of elicitation and the different rules governing expression in these sites should make us wary of ready generalizations about the nature of victims’ narratives. Moreover, I doubt that existing explications of the way in which norms figure in narratives yield satisfactory theories of the contribution victims’ stories can make to discovering and defending just policies and practices. I consider two of the most prominent accounts of the relation between narrative and normativity. For different reasons, the account Anthony Amsterdam and Jerome Bruner present in their work on narrative and law and the account Hayden White presents in his work on narrative and history fail to appreciate the capacity of victims’ stories of abuse to advance understanding of and increase respect for human rights. In defense of the value of victims’ stories, I propose an account of the relation between normativity and a salient type of victim’s narrative that seems especially resistant to integration into human rights discourse. -/- . (shrink)

In the following text we would like to present the philosophical discussion on untrusting lies, which introduces a space for innocent lie understood as figurative manipulation of the speech: a poetic trope that we would argue could not only be generously used to help us tolerating our sometime deceiving human condition—which is global and universally ours, that of the finitude of human capacity of knowledge and ethical action—but also to maximise our capacity for knowledge formation and adaptation to values. (...) Concepts formation and communication relates to a collective interplay of different interiorized images, before it comes to the exterior in some well-chosen expressions, in self-mastered way; their origin remain in a mentally latent process of selection of content and ideas, as possible solutions of in a games of compatible propositions. These unconscious materials of our life relies on our capacity to identify and quickly switch between different spans, that enable us to focus on complex sets data, all depending very much on figurative manipulations, that should not be confounded with blameworthy and misleading representations. (shrink)

Dâwûd al-Qarisî (Dâvûd al-Karsî) was a versatile and prolific 18th century Ottoman scholar who studied in İstanbul and Egypt and then taught for long years in various centers of learning like Egypt, Cyprus, Karaman, and İstanbul. He held high esteem for Mehmed Efendi of Birgi (Imâm Birgivî/Birgili, d.1573), out of respect for whom, towards the end of his life, Karsî, like Birgivî, occupied himself with teaching in the town of Birgi, where he died in 1756 and was buried next to (...) Birgivî. Better known for his following works on Arabic language and rhetoric and on the prophetic traditions (hadith): Sharḥu uṣûli’l-ḥadîth li’l-Birgivî; Sharḥu’l-Ḳaṣîdati’n-nûniyya (two commentaries, in Arabic and Turkish); Şarḥu’l-Emsileti’l-mukhtalifa fi’ṣ-ṣarf (two commentaries, in Arabic and Turkish); Sharḥu’l-Binâʾ; Sharḥu’l-ʿAvâmil; and Sharḥu İzhâri’l-asrâr, Karsî has actually composed textbooks in quite different fields. Hence the hundreds of manuscript copies of his works in world libraries. Many of his works were also recurrently printed in the Ottoman period. One of the neglected aspects of Karsî is his identity as a logician. Although he authored ambitious and potent works in the field of logic, this aspect of him has not been subject to modern studies. Even his bibliography has not been established so far (with scattered manuscript copies of his works and incomplete catalogue entries). This article primarily and in a long research based on manuscript copies and bibliographic sources, identifies twelve works on logic that Karsî has authored. We have clarified the works that are frequently mistaken for each other, and, especially, have definitively established his authorship of a voluminous commentary on al-Kâtibî’s al-Shamsiyya, of which commentary a second manuscript copy has been identified and described together with the other copy. Next is handled his most famous work of logic, the Sharhu Îsâghûcî, which constitutes an important and assertive ring in the tradition of commentaries on Îsâghûcî. We describe in detail the nine manuscript copies of this work that have been identified in various libraries. The critical text of Karsî’s Sharhu Îsâghûcî, whose composition was finished on 5 March 1745, has been prepared based on the following four manuscripts: (1) MS Kayseri Raşid Efendi Kütüphanesi, No. 857, ff.1v-3v, dated 1746, that is, only one year after the composition of the work; (2) MS Bursa İnebey Yazma Eser Kütüphanesi, Genel, No.794B, ff.96v-114v, dated 1755; (3) MS Millet Kütüphanesi, Ali Emiri Efendi Arapça, No. 1752, ff.48v-58r, dated 1760; (4) MS Beyazıt Yazma Eser Kütüphanesi, Beyazıt, No. 3129, ff.41v-55v, dated 8 March 1772. While preparing the critical text, we have applied the Center for Islamic Studies (İslam Araştırmaları Merkezi, İSAM)’s method of optional text choice. The critical text is preceded by a content analysis. Karsî is well aware of the preceding tradition of commentary on Îsâghûcî, and has composed his own commentary as a ‘simile’ or alternative to the commentary by Mollâ Fanârî which was famous and current in his own day. Karsî’s statement “the commentary in one day and one night” is a reference to Mollâ Fanârî who had stated that he started writing his commentary in the morning and finished it by the evening. Karsî, who spent long years in the Egyptian scholarly and cultural basin, adopted the religious-sciences-centered ‘instrumentalist’ understanding of logic that was dominant in the Egypt-Maghrib region. Therefore, no matter how famous they were, he criticized those theoretical, long, and detailed works of logic which mingled with philosophy; and defended and favored authoring functional and cogent logic texts that were beneficial, in terms of religious sciences, to the seekers of knowledge and the scholars. Therefore, in a manner not frequently encountered in other texts of its kind, he refers to the writings and views of Muhammad b. Yûsuf al-Sanûsî (d.1490), the great representative of this logical school in the Egyptian-Maghrib region. Where there is divergence between the views of the ‘earlier scholars’ (mutaqaddimûn) like Ibn Sînâ and his followers and the ‘later scholars’ (muta’akhkhirûn), i.e., post-Fakhr al-dîn al-Râzî logicians, Karsî is careful to distance himself from partisanship, preferring sometimes the views of the earliers, other times those of the laters. For instance, on the eight conditions proposed for the realization of contradiction, he finds truth to be with al-Fârâbî, who proposed “unity in the predicative attribution” as the single condition for the realization of contradiction. Similarly, on the subject matter of Logic, he tried to reconcile the mutaqaddimûn’s notion of ‘second intelligibles’ with the muta’akhkhirûn’s notion of ‘apprehensional and declarational knowledge,’ suggesting that not much difference exists between the two, on the grounds that both notions are limited to the aspect of ‘known things that lead to the knowledge of unknown things.’ Karsî asserts that established and commonly used metaphors have, according to the verifying scholars, signification by correspondence (dalâlat al-mutâbaqah), adding also that it should not be ignored that such metaphors may change from society to society and from time to time. Karsî also endorses the earlier scholars’ position concerning the impossibility of quiddity (mâhiyya) being composed of two co-extensive parts, and emphasizes that credit should not be given to later scholars’ position who see it possible. According to the verifying scholars (muhaqqîqûn), it is possible to make definition (hadd) by mentioning only difference (fasl), in which case it becomes an imperfect definition (hadd nâqis). He is of the opinion that the definition of the proposition (qadiyya) in al-Taftâzânî’s Tahdhîb is clearer and more complete: “a proposition is an expression that bears the possibility of being true or false”. He states that in the division of proposition according to quantity what is taken into consideration is the subject (mawdû‘) in categorical propositions, and the temporal aspect of the antecedent (muqaddam) in hypothetical propositions. As for the unquantified, indefinite proposition (qadiyya muhmalah), Karsî assumes that if it is not about the problems of the sciences, then it is virtually/potentially a particular proposition (qadiyya juz’iyyah); but if it is about the problems of the sciences, then it is virtually/potentially a universal proposition (qadiyya kulliyyah). This being the general rule about the ambiguous (muhmal) propositions, he nevertheless contends that, because its subject (mawdû‘) is negated, it is preferable to consider a negative ambiguous (sâliba muhmalah) proposition like “human (insân) is not standing” to be a virtually/potentially universal negative (sâliba kulliyyâh) proposition. He states that a disjunctive hypothetical proposition (shartiyya al-munfasila) that is composed of more than two parts/units is only seemingly so, and that in reality it cannot be composed of more than two units. Syllogism (qiyâs), according to Karsî, is the ultimate purpose (al-maqsad al-aqsâ) and the most valuable subject-matter of the science of Logic. For him, the entire range of topics that are handled before this one are only prolegomena to it. This approach of Karsî clearly reveals how much the ‘demonstration (burhân)-centered’ approach of the founding figures of the Muslim tradition of logic like al-Fârâbî and Ibn Sînâ has changed. al-Abharî, in his Îsâghûjî makes no mention of ‘conversion by contradiction’ (‘aks al-naqîd). Therefore, Karsî, too, in his commentary, does not touch upon the issue. However, in his Îsâghûjî al-jadîd Karsî does handle the conversion by contradiction and its rules. Following the method of Îsâghûjî, in his commentary Karsî shortly touches on the four figures (shakl) of conjuctive syllogism (qiyâs iqtirânî) and their conditions, after which he passes to the first figure (shakl), which is considered ‘the balance of the sciences’ (mi‘yâr al-‘ulûm), explaining the four moods (darb) of it. In his Îsâghûjî al-jadîd, however, Karsî handles all the four figures (shakl) with all their related moods (darb), where he speaks of fife moods (darb) of the fourth figure (shakl). The topic of ‘modal propositions’ (al-muwajjahât) and of ‘modal syllogism’ (al-mukhtalitât), both of which do not take place in the Îsâghûjî, are not mentioned by Karsî as well, either in his commentary on Îsâghûjî or in his Îsâghûjî al-jadîd. Karsî proposes that the certainties (yaqîniyyât), of which demonstration (burhân) is made, have seven, not six, divisions. After mentioning (1) axioms/first principles (awwaliyyât), (2) observata/sensuals (mushâhadât), (3) experta/empiricals (mujarrabât), (4) acumenalia (hadthiyyât), (5) testata (mutawâtirât), and (6) instictives (fitriyyât), that is, all the ‘propositions accompanied by their demonstrations,’ Karsî states that these six divisions, which do not need research and reflection (nazar), are called badîhiyyât (self-evidents), and constitute the foundations (usûl) of certainties (yaqîniyyât). As the seventh division he mentions (7) the nazariyyât (theoreticals), which are known via the badîhiyyât, end up in them, and therefore convey certainty (yaqîn). For Karsî, the nazariyyât/theoreticals, which constitute the seventh division of yaqîniyyât/certainties, are too numerous, and constitute the branches (far‘) of yaqîniyyât. Every time the concept of ‘Mughâlata’ (sophistry) comes forth in the traditional sections on the five arts usually appended to logic works, Karsî often gives examples from what he sees as extreme sûfî sayings, lamenting that these expressions are so widespread and held in esteem. He sometimes criticizes these expressions. However, it is observed that he does not reject tasawwuf in toto, but excludes from his criticism the mystical views and approaches of the truth-abiding (ahl al-haqq), shârî‘â-observant (mutasharri‘) leading sufis who have reached to the highest level of karâmah. (shrink)

One of the singularities of Latin exegesis of Aristotle’s Sophistici elenchi, is that it arbitrarily brought together two families of fallacies, the «figure of speech» and the «accident», despite the fact that they are on either side of the divide between sophisms related to expression and sophisms independent of expression, a divide that lays at the heart of Aristotle’s taxonomy of sophistic arguments. What is behind this surprising identification? The talk is meant to show that it actually originates from a (...) curious mistake in Boethius’ translation of Aristotle’s Sophistici elenchi, 22, 178b 36-37 which radically transformed the nature of the argument at stake. While it was originally an example of the fallacies related to the «figure of speech», Boethius’ translation wrongly brings about two arguments instead of one, both related to the «accident». This explains why authors from the Latin tradition came to think that fallacies of «figure of speech» were linked to fallacies of «accident» closely enough to ask whether they actually fell outside expression, even though it does not at first glance appear that such a possibility was allowed or even suggested by Aristotle’s text. This odd question illustrates some of the remarkable features of the medieval archive and how some of its most peculiar problems came to be. It specifically allows us to reconstruct the mechanisms through which a minor disturbance in the letter of the text leads to a whole new way of organising its exegetical material. (shrink)

We have a basic definition of genus in Topics (I, 5, 102a31-35): ‘A genus is what is predicated in what a thing is of a number of things exhibiting differences in kind. We should treat as predicate in what a thing is all such things as it would be appropriate to mention in reply to the question “what is the object in question?”; as, for example, in the case of man, if asked that question, it is appropriate to say “He (...) is an animal.”’ He indicates that ‘of the common predicates that which is most definitely predicated in what the thing is, is likely to be the genus.’ (To. , I, 18, ^108b22) From this definition, what is demonstrative in the definition of genus, Aristotle asserts, is ‘what is common to all the cases.’ (To., I, 18, ^108b22) This common thing is ‘one identical thing which is predicated of both and is differentiated in no merely accidental way.’ (Met., I, 1057b37) This means that the things in which the genus is common must be essentially different. In fact, this very common genus must be essentially different in the things it is their genus. Therefore, things that are identical in a genus are at the same time different in that very genus. This means that though the genus is the same in them, it is indeed different in them and they are not the same as each other in that very same genus but specifically different from each other: ‘For not only must the common nature attach to the different things, e.g. not only must both be animals, but this very animal must also be different for each (e.g. in the one case horse, in the other man), and therefore this common nature is specifically different for the two things (διὰ τοῦτο τὸ κοινὸν ἓτερον ἀλλήλων ἐστι τῷ εἴδει). One then will be in virtue of its own nature one sort of animal, and the other another, e.g. one a horse and the other a man. This difference then must be an otherness of the genus. For I give the name of ‘difference in the genus’ to an otherness which makes the genus itself other.’ A. Characteristics of genera The following are the characteristics of genera: 1. Those to which the same figure of predication applies are one in genus. (Met. , Δ, 1016b32-35) 2. Things that are one in genus are all one by analogy while things that are one by analogy are not all one in genus. (Met, Δ, 1016b35-1017a3) 3. A genus includes contraries. (Met., Δ, 1018a25-31) 4. All the intermediates are in the same genus as one another and as the things they stand between. (Met., I, 1057a18-30; 1057b31-34) 5. Not every predicate is a genus of what it is predicated on; for this would equate a genus with one of its own species. (PsA., A, 22, 83b7-10) 6. The opposite of the genus should always be the genus of the opposite. (To., Δ, 4, ^125a27-29) 7. A genus divides the object from other things. (To., Z, 3, 140a^24) 8. None of unity and being is a genus. (Met., B, 998b22-27; Met., K, 1059b31-34; PsA., B, 7, 92b12-14) 9. There is no necessity or even no possibility that things that are the same specifically or generically should be numerically the same. (To., H, I, 152b30-) 10. To be called one due to having one genus is in a way similar to be one due to having the same matter. (Met., Δ, 1016a24-28) 11. The substance of a thing involves its genus, and thereby all the higher genera are predicated of the lower. (To., Z, 5, 143a^20- ) 12. Being falls immediately into genera. (Met., Γ, 1004a4-6) 13. They do not exist apart from the individuals. (Met., B, 999a29-32; Met., I, 1053b21-22) 14. A genus is not a simple qualification but marks off the qualification of substance. (Cat., 5, 3b18-21) 15. Genera are criteria of difference when ‘the things have not their matter in common and are not generated out of each other.’ (Met., I, 1054b27-31) 16. The genus of a thing is its matter (ὓλη). (Met., I, 1058a23-25) 17. A genus is applicable to a wider range than its species. (Cat., 5, 3b21-23) 18. A genus is prior to its species in existence: while a genus reciprocates on the existence of its species, they do not reciprocate on the existence of their genus. (Cat., 13, 15a3- ) Aristotle’s example is this: if there is a fish there is an animal, but if there is an animal, there is not necessarily a fish. 19. The genus of a thing expresses ‘what it is’ and its essence. (To., I, 5, 102a31- ; To., Z, 5, 143a^20- ) 20. A genus is most familiar than its differentia and may be them all. (To., Z, 9, 149a16) 21. The genus is more substantial than its species. (Met., H, 1042a13-16) 22. One, being and substance cannot be classes. (Met., I, 1053b21-24; cf. 1054a8-11) 23. Aristotle draws a distinction between a simple and a composite concept in their falling within a genus. While a simple one can, a composite one cannot. He discusses this between ‘justice’ and ‘just man’: ‘the former falls within the genus, whereas the other does not … for nothing which does not happen to belong to the genus is essentially the genus; e.g. a white man is not essentially a color.’ (To., Γ, 1, ^116a24) 1) Genus and universal ‘Genera are universals’ (Met., Λ, 1069a26-27; Δ, 1014b9-10) and more universal than differentia and species (Met., Δ, 1014b9-12), but it is evident that not all universals are genera. (Met., A, 992b10-13) 2) Co-ordinate species The species resulting from the same division are co-ordinate species. They are the results of the same division in the same genus. Thus, none of them is prior or posterior to others but they are simultaneous by nature. (Cat., 13, 14b33-15a3) 3) Priority of genus to species Aristotle defines prior (λοιπόν) based on reciprocation as to implication of existence: ‘Τhat from which the implication of existence does not hold reciprocally is thought to be prior.’ (Cat., 12, 14a32-34) His examples are genera and species: ‘genera are always prior to species since they do not reciprocate as to implication of existence.’ (Cat., 13, 15a4-6) Τhus, if there is a fish, there is an animal, but if there is an animal, there is not necessarily a fish. 4) Generic versus non-generic attributes As the above discussions illustrates, not all attributes can be genera of their subjects. Thus, we ought to distinguish between generic and non-generic attributes of each subject. K. J. Spalding distinguishes between substantive and classificatory attributes, a distinction that, he believes, is absent from the Aristotelian logic. Classificatory attributes are those that originate and exist in class alone, and are generic like ‘human’ and ‘animal.’ These attributes do not belong to the individual as individual. For example, animal belongs to the Socrates not as Socrates but as man. Substantive attributes, on the other hand, are those that belong to Socrates as Socrates and not as a class. Attributes like sense attributes that originate independently of generic structure and ‘do not involve a necessary relation to or dependence on a class’ are substantive attributes. (shrink)

A. Accident 1. We call an accident (συμβεβηκὸς) that which attaches to something and can be truly asserted, but neither of necessity nor usually.’ (Met. , Δ, 1025a14-16) 2. Whenever an accident attaches to a subject, it attaches to it not because it is that subject (μὴ διότι τοδὶ ἧν). (Met., Δ, 1025a21-24) 3. ‘There is no definite cause for an accident, but a chance cause, i.e. an indefinite one.’ (Met., Δ, 1025a24-25) 4. ‘The accident has happened or exists, -not (...) in virtue of itself, however, but of something else. (Met., Δ, 1025a28-29) 5. ‘What attaches to each thing in virtue of itself but is not in its substance is an accident.’ (Met., Δ, 1025a30-32) 6. ‘An accident is something which, though it is … neither a definition nor a property nor a genus, yet belongs to the thing.’ (To., I, 5, 102b4-) 7. An accident is ‘something which may either belong or not belong to any one and the self-same thing, as (e.g.) being seated may belong or not belong to some self-same thing.’ (To., I, 5, 102b4-) 8. ‘There is nothing to prevent an accident from becoming a temporary or relative property … [and] there is nothing to prevent an accident from becoming both a relative and a temporary property; but a property absolutely it will never be.’ Aristotle’s example is ‘being seated.’ That it is a temporary property is evident. It is also a relative property to those who are not seating when he is the only person sitting. Therefore, it is a temporary and also a relative property. 9. ‘In the case of accidents and in no other it is possible for something to be true in a certain respect and not universally’ and ‘there is nothing to prevent an attribute belonging in part’ so that it is open to dispute accidents e.g. being white or just about a man because he might be white or just in part only. Thus, ‘conversion is not a necessary process in the case of accidents.’ (To., B, 1, 109a9-) B. Essential versus accidental Aristotle distinguishes between two senses of being (τὸ ὄν): accidental sense (κατὰ συμβεβηκός) and essential sense (καθ᾿ αὑτό). The accidental sense happens when something is said to be another thing while there is in fact a third thing which is both of them. Thus, being the first thing is not by itself the second thing. a) Aristotle speaks of three ways in which one thing is said in an accidental sense to be another. (Met., Δ, 1017a8-22) i) When both the subject and the predicate are accidents of a third thing and it is in fact the third thing which ‘is’ by its own. Thus, when it is said e.g. that ‘The just is musical’ it is said accidentally because it is in fact a third thing, Socrates for example, which is just and musical. (Met., Δ, 1017a13-19) ii) When that to which the attribute belongs is. The example of this must be ‘the man is musical’ because it is in fact the man which is. iii) When the subject which has as an attribute that of which it is itself predicated, itself is. The example of this must be Aristotle’s third example: ‘The musical is man.’ b) Aristotle rejects the essential sense to categories: ‘Those things are said in their own right to be that are indicated by the figures of predication; for the senses of ‘being’ are just as many as these figures.’ (Met., Δ, 1017a22-24) Aristotle does not give us any example of the essential sense. Daniel W. Graham suggests that while essential predication is of the logical form of ‘S is P,’ the logical form of the accidental predication is ‘S has P.’ Although he concedes that the is/has contrast is not Aristotle’s, for which he thinks Aristotle prefers ‘said of’/’in’ terminology, he points to the discussion of ‘have’ in Cat. 15 as an evidence of its potential value for an analysis of predication. Kirwan analyses the distinction of essential and accidental predicate as such: while essential predicates ‘are identical with the subjects of which they are predicated; other predications are true in virtue of the fact that two distinct items, e.g. a substance and a quality, ‘coincide.’ Herman Weidemann believes ‘what divides a predicative statement which predicates essentially from a predicative statement which predicates accidentally is the fact that the former does- whereas the latter does not- answer the question what its subject cannot fail to be without ceasing to exist, as the somewhat its subject goes on existing, no matter what happens to be true of it during its existence, or, what kind of things its subject must be in order to be identifiable as one and the same object as long as it exists.’ C. Essential 1. Either the formula or the name of the subject of an essential attribute is involved in it. For example, animal is involved in female but not in white. (Met., Z, 1030b23-26) 2. Essential attributes, combined together, form a unity. Thus, e.g. animal and biped form a unity because they are both essential of man. (OI., II, 11, 21a14-16) 3. Aristotle distinguishes between two kinds of essential attributes (PsA., A, 4, 73a34-b3; 22, 84a12-17): a) Those attributes that belong to their subject as elements in its essential nature as e.g. line belongs to triangle or point to line. Here the very being of triangle is composed of line or that of line is composed of points: line is contained in the formula of triangle and point in that of line. b) Those attributes whose subjects are contained in their own defining formula as e.g. straight is an essential attribute of line because line is part of the defining formula of straight or odd belongs to number because number is part of the defining formula of odd. Every attribute that is related in neither of these two ways to its subject, it is not an essential but an accidental attribute. (PsA., A, 4, 73b3-5) 4. That attribute which is not predicated of a subject other than itself is an essential attribute. A substance cannot be predicated of anything but itself and is, thus, essential. (PsA., A, 4, 73b5-10) 5. A thing consequently co-stated with anything is essential. For example, if a beast dies when its throat is being cut, its death is also essentially connected with the cutting because the cutting was the cause of death, not death a coincidence of cutting. (PsA., A, 4, 73b10-15) 6. Essential attributes in both of this sense, either in the sense that their subjects are contained in them or in the sense that they are contained in their subjects, are necessary as well as consequently co-stated with their subjects. The reason is that it is impossible for them to inhere in their subjects either simply or in the qualified sense (that one or other of a pair of opposites must inhere in the subject as e.g. one of straight or curve must be necessarily predicable of a line or one of odd or even of number). (PsA., A, 4, 73b16-21; 6, 74b5-12; B, 96b1-5) 7. Only those attributes that are within a genus are essential and possessed by their respective subjects as such and, thus, are necessary. Thereupon, both the conclusion and the premises of demonstrations which produce scientific knowledge are essential. (PsA., A, 6, 75a28-31) Therefore, ‘the extreme and the middle terms must be drawn from the same genus; otherwise, as predicated, they will not be essential and will thus be accidents.’ (PsA., A, 6, 75b10-12) Also, the theorems of a science can be demonstrated by means of another science only when they are related as subordinate to superior. (PsA., A, 6, 75b13-) 8. Our knowledge of the connexion of an attribute with a subject is essential only when ‘we know that connexion through the middle term in virtue of which it inheres (καθ᾿ὃ ὑπἀρχει), and as an inference from basic premises essential and ‘appropriate’ to the subject.’ The essential belonging of the middle to the minor has a necessary connexion with its belonging to the same genus of the major and minor: ‘If that middle term also belongs essentially to the minor, the middle must belong to the same genus as the major and minor terms (ἀνάγκη τὸ μέσον ἐν τῇ αὐτῇ συγγενείᾳ εἶναι). (PsA., A, 9, 76a4-9) 9. In an essential predication, the predicate is signified of a subject identical with itself or with a species of itself. Since only predicates which signify substance signify that the subject is identical with the predicate or with a species of the predicate, predicates signifying substance are essentially predicated and any other predicate is accidental or coincidental. Thus, while animal is essentially predicated of man because man is identical with a species of animal, white is accidentally predicated of man because man is neither identical with white nor a species of it. (PsA., A, 22, 83a24-32) Weidemann discusses the confusion between essential predications and statements of identity. He warns that the expression ‘(to be) just what a man is’ (analogous to the Greek phrase ‘(εἶναι) ὃπερ ἀνθρώπον) ought not to be confused with the expression ‘just what it is for a man to be,’ which renders the phrase τὸ ὃπερ ἀνθρώπῳ εἶναι’ (1007a22, 23, 27-28); a confusion Kirwan discusses. 10. ‘Demonstration proves the inherence of essential attributes in things.’ (PsA., A, 22, 84a11-12) 11. ‘Nothing which does not happen to belong to the genus is essentially the genus; e.g. a white man is not essentially a color.’ Thus, while justice falls within the genus, a just man does not. (To., Γ, 1, ^116a24-) 12. There is no syllogism of essence (ti esti). Nevertheless, we come to know ti esti through a demonstration. (93b15-20; cf. 93b25-28) D. Accidental 1. An accidental attribute cannot be predicated of a subject universally. Thus, we cannot say ‘Every man is musical.’ The reason is that ‘universal attributes belong to things in virtue of their nature.’ Therefore, accidental predicates are predicated only of the individuals. (Met., Δ, 1017b33-1018a2) 2. An accidental is a mere name. (Met., E, 1026b13-) 3. An accidental is obviously akin to non-being. (Met., E, 1026b21) 4. ‘That which is neither always nor for the most part we call accidental.’ (Met., E, 1026b27-33) 5. The matter (ὕλη) is the cause of the accidental because it is matter which is capable of being otherwise than as it for the most part is. (Met., E, 1027a13-16) In fact, there is cause or principle of the incidental of the same kind as there are of the essential because if there were, everything would be of necessity. (Met., K, 1065a6-8) The causes of accidental are unordered and indefinite. (Met., K, 1065a25-26) 6. Since all science is either of that which is always or of that which is for the most part, there is no science of the accidental. (Met., E, 1027a19-24; K, 1064b30-1065a6) Therefore, since an accident may also not inhere and, thus, it is impossible to prove its inherence as a necessary conclusion, there is no demonstrative knowledge of accidents. (PsA., A, 6, 75a18-23) 7. The accidental is not necessary but indeterminate. (Met., K, 1065a24-26) 8. The co-positing of a subject and a predicate which are accidental either to the same subject or to one another, whiteness and being musical for instance, does not form a unity. (OI, II, 11, 21a7-14) 9. Negative predicates, i.e. predicates including a ‘not,’ are accidental predicates. Thus, if good be an essential predicate of a subject, ‘not bad’ cannot be essential but is accidental. (OI., II, 14, 23b15-20) 10. Every attribute which does not belong to its subject in either of two senses of essential attribute (cf. PsA., A, 4, 73a34-b3), namely, belonging to their subjects as an element of its formula or their subjects belonging to them as an element of them, is an accidental attribute. (PsA., A, 4, 73b3-5) 11. Those attributes that are predicated of a subject other than themselves are accidental attributes. Thus, everything except substance is an accidental in this sense. (PsA., A, 4, 73b5-10) 12. A thing not consequentially connected with anything is accidental. For example, in ‘while he was walking it lightened,’ the lightening was not due to his walking but was a coincidence. (PsA., A, 4, 73b10-15) 13. Those attributes that are not within a genus are accidental attributes. (PsA., A, 6, 75a28-31) Therefore, the extreme and middle terms that are not drawn from the same genus are accidents. (PsA., A, 6, 75b10-12) Moreover, to apply an attribute to subjects in different genera afford knowledge of the attribute, only as inhering accidentally, not as belonging to its subject as such.’ (PsA., A, 9, 75b38-76a3) . (shrink)

The development of Christian mysticism is deeply bound to poetics. This examination first considers Platonic poetry, Hebrew creation, and Christian kenosis as sources of poetic mysticism, before turning to an elaboration of the role of rhythm, language, and the poetic imagination. The appraisal then considers the historical development of mystical poetry, beginning with early Christian reflection on the figurative and lyrical use of scriptural language to express a deep personal relationship with God. The development of vernacular mysticism, and its (...) adoption of this scriptural model, is then explored through a detailed consideration of four mystical poets (Dante, Jacopone, Hadewijch, and Angelus Silesius). The interaction of poetic form and spiritual content is elaborated throughout, with the aim of demonstrating how poetics allows the mystical writer to achieve a result for the reader otherwise not possible in discursive forms of communication. (shrink)

Until recently one begins to speak of the “experimental philosophy” in the thought of Nietzsche. This novel way of approaching the philosopher of Röcken is due specifically to the reflections of Andreas Urs Sommer, an eminent interpreter of Nietzsche. Sommer explains the “experimental philosophy” supported by paragraph 125 of The Gay Science and goes hand in hand with an important figure in that paragraph: the madman. This article aims to explain what “experimental philosophy” is and then describe that literary artifice, (...) besides being found in paragraph 125, can be found in other texts by Nietzsche. That is to say, we will stop to analyze some texts of Thus spoke Zarathustra, fundamentally in those that are the question of the solitude. Is it possible to conclude that "experimental philosophy" can be framed in the theme of Nietzsche's solitude? The use of “experimental philosophy” can show us, as far as possible, a novel way of approaching the thoughts of the German philosopher and away from the conventional interpretation that has marked the twentieth century so profoundly. Does the philosopher really express his philosophy to us? It is a question that we intend to answer in this work. (shrink)

जिनशासन प्रणेता आचार्य समन्तभद्र (लगभग दूसरी शती) ने इस ग्रंथ "स्तुतिविद्या" में, जिसका अपरनाम "जिनशतक" अथवा "जिनस्तुतिशतं" है, अत्यंत अलंकृत भाषा में चतुर्विंशतिस्तव किया है। यह गूढ़ ग्रंथ आचार्य समन्तभद्र के अपूर्व काव्य-कौशल, अद्भुत व्याकरण-पांडित्य और अद्वितीय शब्दाधिपत्य को सूचित करता है। जिनेन्द्र भगवान की स्तुति करने का कारण यही है कि उनके द्वारा प्रतिपादित मोक्षमार्ग की अमोघता और उससे अभिमत फल की सिद्धि को देखकर उसके प्रति हमारा अनुराग (भक्तिभाव) उत्तरोत्तर बढ़े जिससे हम भी उसी मार्ग की आराधना-साधना करते (...) हुए कर्म-शत्रुओं को जीतने में समर्थ हो सकें और निःश्रेयस (मोक्ष) पद को प्राप्त कर सकें। सच्ची सविवेक भक्ति ही मार्ग का अनुसरण करने में परम सहायक होती है और जिसकी स्तुति की जाती है उसके मार्ग का अनुसरण करना ही स्तुति को सार्थक करता है। सारांश यह है कि हम जिनेन्द्र भगवान की स्तुति अपने स्वयं के परिणामों को निर्मल बनाने के लिए करते हैं। स्तुति वास्तव में एक विद्या है। सम्यक स्तुति घने-कठोर घातिया-कर्म रूपी ईंधन को भस्म करने वाली समर्थ अग्नि है। ‘Stutividyā’ by Ācārya Samantabhadra (circa second century CE) is the adoration of the twenty-four Tīrthańkara, the Most Worshipful Supreme Beings. In his earlier masterpiece work ‘Svayambhūstotra’, Ācārya Samantabhadra had expressed his devotion to the twenty-four Tīrthańkara in a highly analytical manner, establishing the supremacy and inviolability of their Doctrine. ‘Stutividyā’, however, is the epitome of poetic dexterity; in its 116 verses, Ācārya Samantabhadra has used the most amazing figures-of-speech – alańkāra – that make the composition highly ornate, inviting and, at places, extremely difficult to comprehend. Such adroitness is possible only in the Sanskrit language; perhaps that is the reason some consider Sanskrit as the most scientific language in the world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Socratic Virtue: Making the Best of the Neither-Good-Nor-BadJ. Clerk ShawNaomi Reshotko. Socratic Virtue: Making the Best of the Neither-Good-Nor-Bad. Cambridge-New York: Cambridge University Press, 2006. Pp. xiv + 204. Cloth, $68.00.In this engaging and provocative book, Naomi Reshotko advances a naturalistic interpretation of Socratic philosophy, i.e., of those views expressed by Plato’s Socrates that best comport with Aristotle’s descriptions of Socrates. She contrasts her reading with those that (...) project foreign commitments onto the text, including: (i) moralism, or the separation of ethics from empirical science; (ii) two-dimensional semantics, or theories of meaning that distinguish the semantic contribution to a psychological state made by its subject’s conception of its objects from that made by its actual objects; and (iii) privileged access, or psychological theories that grant human beings incorrigibility concerning some aspect of their own psyches.Part I reviews and synthesizes views that the author shares with Terry Penner: that all desire is for one’s own real (not apparent) good, so that an agent’s belief about what is overall best for her invariably guides her actions; that all human virtue is identical to wisdom; and that virtue, so understood, guarantees the greatest possible satisfaction of the desire for one’s own real good, and so makes one live as well as possible.Part II places the distinction among the good, the bad, and the neither-good-nor-bad (NGNB) at the center of Socratic ethics. On Reshotko’s reading, the only goods are virtue and happiness, and the only bads vice and misery. She does not adequately explain why all actions are NGNB (16, 173), even though actions are individuated by their actual consequences (34–36), so that every action is either good or bad (98). Virtue’s goodness is due to its stable nomological (not conceptual or logical) connection to happiness. This makes virtue the only unconditional, other-generated good, while happiness is the only unconditional, self-generated good—its goodness does not depend on any nomological relation it enters into.Part III provides more detail about virtue and happiness. First, Reshotko explains that virtue is wisdom because it is the science of human happiness, and that this science is identical to every other science. Strictly speaking, nobody knows anything without knowing everything, although some people do grasp “some parts of knowledge” (160). Reshotko advocates this view as a solution to the closing puzzles of the Charmides. Socrates and Critias cannot figure out how temperance benefits, first because they assume that it is knowledge [End Page 132] of all things except good and bad, and then because they assume that it is knowledge of good and bad in isolation from other sciences (173a–175a). But if Socratic wisdom is the structured grasp of everything, then their puzzle is resolved. Second, Reshotko claims that happiness is a life maximally composed of pleasures. While she is sympathetic with the view that happiness is composed of modal pleasures (see G. Rudebusch, Socrates, Pleasure, and Value, Oxford 1999), she concludes that sensate pleasures can also be parts of happiness (185n7).The book’s major flaw is its limited engagement with textual evidence that seems to tell against the author’s readings and its limited coverage of alternative interpretations from the secondary literature. I mention three striking examples here.First, Reshotko argues that harming others is inconsistent with self-benefit because of the likelihood of reciprocal harm (65–71). She then notes passages where Socrates speaks as though harming others harms one’s soul simply by making it more unjust, which makes vice sound like a self-generated bad. Gorgias 472c–481b is particularly problematic in this respect, since Socrates claims there that doing injustice is less painful (but worse) than suffering it. Reshotko tries to make such passages conform with her initial explanation: harming others tends to entrench false beliefs that harming others is consistent with self-benefit, which leads to more harm of others and so more reciprocal harm (71–72, 174). This may be workable, but absent more extensive argument, it seems like an ad hoc maneuver.Second, Reshotko wants to avoid giving... (shrink)

Critics have argued that human-controlled avatar interactions fail to facilitate the kinds of expressivity and social understanding afforded by our physical bodies. We identify three claims meant to justify the supposed expressive limits of avatar interactions compared to our physical interactions. First, “The Limited Expressivity Claim”: avatars have a more limited expressive range than our physical bodies. Second, “The Inputted Expressivity Claim”: any expressive avatarial behaviour must be deliberately inputted by the user. Third, “The Decoding Claim”: users (...) must infer or figure out the expressive meaning of human-controlled avatars’ behaviour through cognitively onerous processes. With the aim of critically assessing all three claims, we analyze data collected through observations of and interviews with expert players of the avatar-based video game League of Legends. Focusing on Daniel Stern’s (2010) notion of vitality, we analyze the participants’ descriptions of seeing and interacting with other avatars during performance. Our analysis shows that the informants experience human-based avatarial interactions as qualitatively different than interactions with bots, that the informants see the movements of other players’ avatars as having different expressive styles, and that the informants actively use and manipulate this avatarial expressivity during performance. The results of our analysis, we argue, provide reasons for loosening or resisting the three claims concerning the limits of avatarial expressivity. (shrink)

La Divine Comédie est le récit poétique d'une vision, d'une expérience surnaturelle qui se fait toujours plus intense, et que le langage peine toujours davantage à traduire. La mission de Dante consiste à rapporter cette vision. La question que nous pose la Divine Comédie réside dans la différence entre l'intraduisible et l'indicible: y a-t-il un intraduisible dicible? Ou en d'autres termes : quelle est, au-delà du topos de l'indicible poétique, et au-delà de la figure rhétorique de la prétérition, la signification (...) conceptuelle de l'expression du "dire" dans la Divine Comédie? (shrink)

Expressivism’s central idea is that normative sentences bear the same relation to non-cognitive attitudes that ordinary descriptive sentences bear to beliefs: the expression relation. Allan Gibbard teIls us that “that words express judgments will be accepted by almost everyone” - the distinctive contribution of expressivism, his claim goes, is only a view about what kind of judgments words express. But not every account of the expression relation is equally suitable for the expressivist’s purposes. In fact, what I argue in this (...) paper, considering four possible accounts of expression, is that how suitable each account is for the expressivist’s purpose varies in proportion to how controversial it is. So Gibbard is wrong - if expression is to get expressivism off the ground, then it will be enormously controversial whether words do express judgments. And thus expressivism is committed to strong claims about the semantics of non-normative language. (shrink)

Hyperbole is traditionally understood as exaggeration. Instead, in this paper, we shall define it not just in terms of its form, but in terms of its effects and its purpose. Specifically, we characterize its form as a shift of magnitude along a scale of measurement. In terms of its effect, it uses this magnitude shift to make the target property more salient. The purpose of hyperbole is to express with colour and force that the target property is either greater or (...) lesser than expected or desired. This purpose is well suited to hyperbolic expression. This because hyperbole naturally draws a contrast between two points: how things are versus how they were expected to be. We also consider compound figures involving hyperbole. When it combines with other figures hyperbole operates by magnifying the specific effects of the figure it operates on. We shall see that sometimes hyperbole works as an input for irony; and at other times it builds on a metaphor to increase the effects of that metaphor. (shrink)

Dance receives relatively little attention in the history of philosophy. My strategy for connecting that history to dance consists in tracing a genealogy of its dance-relevant moments. In preparation, I perform a phenomenological analysis of my own eighteen years of dance experience, in order to generate a small cluster of central concepts or “Moves” for elucidating dance. At this genealogical-phenomenological intersection, I find what I term “positure” most helpfully treated in Plato, Aristotle and Nietzsche; “gesture” similarly in Condillac, Mead and (...) Kristeva; “grace” in Avicenna, Schiller and Dewey; and “resilience” in Fanon, (Judith) Butler and Deleuze. With these analyses in place, I apply the four Moves in analyzing various forms of dancing (including salsa dancing and the pollen dance of the honeybee) and coordinate them to outline a comprehensive philosophy of dance. This philosophy points to certain conditions for an ideally flourishing, dancing society. And these conditions create the possibility for a coalition of sympathetic discourses (including critical race theory, queer theory, disability studies and democratic theory) united in pursuit of political virtue. The development of a philosophy of dance offers a deeper understanding of the intellectual values of a practice often identified with bodily immediacy and therefore judged uninteresting. It also reinvigorates philosophy with the dynamism and bodily relevance of the practice of dancing. Most important, it demonstrates the meaningful intersection of aesthetics and political ethics, by exploring how aesthetic practices underlie and inspire human flourishing. (shrink)

I argue for the possibility of an extremely intimate connection between the emotional content of the music and the emotional state of the person who produces that music. Under certain specified conditions, the music may not just influence, but also partially constitute the musician’s emotional state.

Possible worlds are commonly seen as an interpretation of modal operators such as "possible" and "necessary". Here, we develop possible world semantics (PWS) which can be expressed in basic set theory and first-order logic, thus offering a reductionist account of modality. Specifically, worlds are understood as complete sets of statements and possible worlds are sets whose statements are consistent with a set of conceptual laws. We introduce the construction calculus (CC), a set of axioms and rules for truth, possibility, worldness (...) and consistency. We show that CC allows to prove fundamental theorems about necessity, possibility, impossibility and contigency, thus demonstrating prima-facie plausibility of PWS. Finally, we discuss the explanatory power of our approach and draw connections between our account and established philosophical conceptions of possible worlds. (shrink)

A number of authors, including me, have argued that the output of our most complex climate models, that is, of global climate models and Earth system models, should be assessed possibilistically. Worries about the viability of doing so have also been expressed. I examine the assessment of the output of relatively simple climate models in the context of discovery and point out that this assessment is of epistemic possibilities. At the same time, I show that the concept of epistemic (...) possibility used in the relevant studies does not fit available analyses of this concept. Moreover, I provide an alternative analysis that does fit the studies and broad climate modelling practices as well as meshes with my existing view that climate model assessment should typically be of real possibilities. On my analysis, to assert that a proposition is epistemically possible is to assert that it is not known to be false and is consistent with at least approximate knowledge of the basic way things are. I, finally, consider some of the implications of my discussion for available possibilistic views of climate model assessment and for worries about such views. I conclude that my view helps to address worries about such assessment and permits using the full range of climate models in it. (shrink)

What makes democracy valuable? One traditional answer holds that participating in democratic self-government amounts to a kind of autonomy: it enables citizens to be the authors of their political affairs. Many contemporary philosophers, however, are skeptical. We are autonomous, they argue, when important features of our lives are up to us, but in a democracy we merely have a say in a process of collective choice. In this paper, we defend the possibility of democratic autonomy, by advancing a conception of (...) it which is impervious to this objection. At the core of our account is the idea of joint authorship. You are a joint author of something when that thing expresses your joint intentions. Democracy may not make any one of us sole author of our political affairs, but it can make us their joint authors. It is in such joint authorship, we claim, that the intrinsic value of democratic self-government consists. (shrink)

What is artistic style? In the literature one answer to this question has proved influential: the view that artistic style is the expression of personality. In what follows we elaborate upon and evaluatively compare the two most plausible versions of this view with a new proposal—that style is the expression of the artist’s ideals for her art. We proceed by comparing the views’ answers to certain questions we think a theory of individual artistic style should address: Are there limits on (...) what range of features can figure in a style? Can flaws be stylistic? Are there limits on the range of art forms across which a given style can be exhibited? To what extent is a style a kind of unity, and why? What makes style an artistic achievement? Why do we care about style? By considering the different views' answers to these questions we argue that our proposal is a workable theory of individual style and suggest that it fares better on the whole than both versions of the influential and widely accepted view. (shrink)

The necessity of origin suggests that a person’s identity is determined by the particular pair of gametes from which the person originated. An implication is that speculative scenarios concerning how we might otherwise have been had our gametic origins been different are dismissed as being metaphysically impossible. Given, however, that many of these speculations are intelligible and commonplace in the discourses of competent speakers, it is overhasty to dismiss them as mistakes. This paper offers a way of understanding these speculations (...) that does not commit them to incoherence but aims to make the best sense of what they are expressing. Using the philosophical framework of two‐dimensional semantics, it proposes that the speculative scenarios are best analysed as epistemic possibilities, rather than as metaphysical possibilities. It then explores some implications of this analysis for the ethical challenges associated with the non‐identity problem. (shrink)

Emmanuel Levinas’s work seemingly places a great emphasis on language leading some commentators towards a Kantian reading of him where moral consideration would be based on the moral patient’s capacity for reason with language functioning as a proxy for this. Although this reading is possible, a closer look at Levinas’s descriptions of language reveal that its defining characteristic is not reason but the capacity to express beyond any thematized contents we would give to the Other. This expressivity (which Levinas calls (...) face) would confront me with their singularity, infinity, and interiority tying me to them in a relation of responsibility. And the “content” of such an expression is a vulnerability and exposure tied to their mortality which continually entreats me though I cannot take it away. It is by means of this bare expression of an exposure to death as the core of language that it will become possible for non-human mortal beings to have what Levinas calls language. This possibility, although not explicitly addressed by Levinas, is at least left open by his account of Bobby the dog as well as his agnosticism over a snake’s face. (shrink)

Time was perceived by ancient philosophy as a cosmological enigma. The search for truth beyond time determined Greek thought. A true definition, says Aristotle (384-322 BC), expresses “the what-it-is-to-be” (τὸ τί ἦν εἶναι) of a thing, it is an account of the essence, and essence is identity. The principle of non-contradiction was considered by Aristotle as the first principle of the inquiry into Being. As such, it cannot be demonstrated, since this would lead to an infinite regress. Instead, the noncontradiction (...) principle is the first axiom of ontology. But time seems to question this tautology. Aristotle discusses time in the Physics. He begins with the questions about time’s existence which stem from his contemporaries’ conceptions. (shrink)

Scientific research is constrained by limited resources, so it is imperative that it be conducted efficiently. This paper introduces the notion of epistemic expression, a kind of representation that expedites the solution of research problems. Epistemic expressions are representations that (i) contain information in a way that enables more reliable information to place the most stringent constraints on possible solutions and (ii) make new information readily extractible by biasing the search through that space. I illustrate these conditions using historical and (...) contemporary examples of biomolecular structure determination. Then, I argue that the notion of epistemic expression parts ways with pragmatic accounts of scientific representation and an understanding of models as artifacts, neither of which require models to accurately represent. Explicating epistemic expression thus fills a gap in our understanding of scientific practice, extending Morrison and Morgan's (1999) conception of models as investigative instruments. (shrink)

When embedding data are used to argue against semantic theory A and in favor of semantic theory B, it is important to ask whether A could make sense of those data. It is possible to ask that question on a case-by-case basis. But suppose we could show that A can make sense of all the embedding data which B can possibly make sense of. This would, on the one hand, undermine arguments in favor of B over A on the basis (...) of embedding data. And, provided that the converse does not hold—that is, that A can make sense of strictly more embedding data than B can—it would also show that there is a precise sense in which B is more constrained than A, yielding a pro tanto simplicity-based consideration in favor of B. In this paper I develop tools which allow us to make comparisons of this kind, which I call comparisons of potential expressive power. I motivate the development of these tools by way of exploration of the recent debate about epistemic modals. Prominent theories which have been developed in response to embedding data turn out to be strictly less expressive than the standard relational theory, a fact which necessitates a reorientation in how to think about the choice between these theories. (shrink)

Two expressive limitations of an infinitary higher-order modal language interpreted on models for higher-order contingentism – the thesis that it is contingent what propositions, properties and relations there are – are established: First, the inexpressibility of certain relations, which leads to the fact that certain model-theoretic existence conditions for relations cannot equivalently be reformulated in terms of being expressible in such a language. Second, the inexpressibility of certain modalized cardinality claims, which shows that in such a language, higher-order contingentists (...) cannot express what is communicated using various instances of talk of ‘possible things’, such as ‘there are uncountably many possible stars’. (shrink)

At the end of the fifth century B.C.E., the character of Odysseus was scorned by most of the Athenians: he illustrated the archetype of the demagogic, unscrupulous and ambitious politicians that had led Athens to its doom. Against this common doxa, the most important disciples of Socrates (Antisthenes, Plato, Xenophon) rehabilitate the hero and admire his temperance and his courage. But it is most surprising to see that, in spite of Odysseus' lies and deceit, these philosophers, who condemn steadfastly the (...) sophists' deceptions, praise his rhetorical ability, his polutropia. The word polutropia is ambiguous: for Antisthenes, it means either "diversity of styles and discourses" or "diversity of dispositions, characters, or souls". It is argued that the same distinction is implicitly at work in Plato's Hippias Minor, where Socrates defends Odysseus' polutropia against the pseudo "simplicity" of Hippias' favourite hero, Achilles. However, whereas Antisthenes tries to clarify these different meanings, Plato's Socrates exploits the ambiguity to confuse his interlocutor. Such a distinction sheds a new light on the Hippias Minor: Odysseus is polutropos in the first (positive) sense, while the simplicity of Achilles should be understood as a bad kind of polutropia. It provides an explanation for the first paradoxical thesis of the dialogue which many commentators do not admit as an expression of the true Socratic view, on the ground of its supposed immorality: that he who voluntary deceives is better than he who errs, for falsehood is, in one case, only in words, while in the other, it is falsehood in the soul itself. It is thus proposed that Odysseus' skill in adapting his logos to his hearers was probably a model for Socrates himself. The analogy between the hero and Socrates is especially clear in Plato's dialogues, which show the philosopher in an Odyssey for knowledge. (shrink)

Evidentials indicate a source of evidence for a content, and sometimes do more. Depending on the language, they also express the speaker's belief in that content or its possibility. This paper is about how to explain the expression of belief. It argues that semantic explanations are better than illocutionary explanations in two ways. First, a general argument is provided that a semantic explanation is preferable. Second, a case study is given to the evidentials of Cuzco Quechua to argue that a (...) semantic explanation is preferable to the illocutionary explanation that has been proposed in great detail by Faller (2002, 2012, 2014). The upshot is that illocutionary explanations of how belief is expressed are dispensable for at least some languages with grammaticalized evidentials. (shrink)

The purpose of this work is to address what notion of geometrical object and geometrical figure we have in different kinds of geometry: practical, pure, and applied. Also, we address the relation between geometrical objects and figures when this is possible, which is the case of pure and applied geometry. In practical geometry it turns out that there is no conception of geometrical object.

This paper attempts to demonstrate that in Emmanuel Levinas’ thinking, justice is the necessary opening – and dissolution- of the “I” which makes fecundity – procreation – possible, and that in that same measure makes possible that the Logos transforms into a “desire to say” and the world into a “among us”. At the same time it wants to demonstrate that this notion of justice is directly related to the ideas of expression and nudity. Due to which the “Other” imposes (...) itself in front of the “same” , as man, singular and vulnerable, and that in the same measure it is linked to the notion of the Face and its particular mode of manifestation. In this respect, we propose that justice. As long as necessary condition, can fund an ethically constituted world, where an “erotic order” mandates over logic orderings. (shrink)

Philosophers ask just whose expression, if anyone’s, we hear in lyric poetry. Walton provides a novel possibility: it’s the reader who “uses” the poem (just as a speech giver uses a speech) who makes the language expressive. But worries arise once we consider poems in particular social or political settings, those which require a strong self-other distinction, or those with expressions that should not be disassociated from the subjects whose experience they draw from. One way to meet this challenge (...) is to consider the poem expressive of a plural subject, which frees us from looking for a particular individual whose voice we hear in the work, whether she be fictional or actual. Some lyrics give voice to a group whose experience is attended to in the work. This may be done through a posited fictional speaker, but the ontology of the speaker is shown to be less important. Attending to a group whose concerns are voiced allows us to explain how poems can manage to address our-worldly concerns even when lacking actual persons whose expressions we encounter in the poems. (shrink)