The relationship between the phenomenology of imagination and the phenomenology of memory is an interestingly complicated one. On the one hand, there seem to be important similarities between the two, and there are even occasions in which we mistake an imagining for a memory or vice versa. On the other hand, there seem to be important differences between the two, and we can typically tell them apart. This paper explores various attempts to delineate a phenomenological marker differentiating imagination and memory, (...) with a special focus on two proposed markers that have generated considerable philosophical discussion: the feeling of pastness and the feeling of familiarity. As we will find, neither of them proves to be up to the task at hand. However, by way of a deeper exploration of the feeling of familiarity, we are able to tease out some important morals for efforts to differentiate imagination and memory on phenomenological grounds and, more generally, for efforts to engage in a descriptive phenomenological enterprise. (shrink)

In her re-analysis of the evidence presented in Klein and Nichols (2012) to support their argument that patient R.B. temporarily lost possessory custody of consciously apprehended objects (in this case, objects that normally would be non-inferentially taken as episodic memory), Professor Roache concludes Klein and Nichols's claims are untenable. I argue that Professor Roache is incorrect in her re-interpretation, and that this is due, in part, to lack of sufficient familiarity with psychological theory on memory as well as clinical (...) literature on felt loss of ownership of one’s intentional objects. (shrink)

Feeling confused can sometimes lead us to give up on the task, frustrated. What is less emphasized is that confusion may also promote happy (epistemic) endings to our inquiries. It has recently been argued that confusion motivates effortful investigative behaviors which can help us acquire hard-to-get epistemic goods (DiLeo et al., 2019; D’Mello & Graesser, 2012). While the motivational power of confusion and its benefits for learning has been uncovered in recent years, the exact nature of the phenomenon remains (...) obscure. In this paper we attempt to shed light on the nature and epistemic value of an experience we are all familiar with: the experience of being confused at an object, a statement, etc. We first review the psychological literature on confusion, where it is most often considered to be an epistemic emotion. We then propose a refined account of confusion, by drawing on the literature on metacognitive or noetic feelings, both in psychology and in the philosophy of mind. In particular, we claim that confusion centrally involves the experience of the limits of one’s cognitive capacities, because it results from a monitoring of our cognitive activities as we encounter a cognitive obstacle while processing a given content. Finally we show how our account may explain findings about the role of the experience of confusion in motivating deeper inquiry into complex problems and bringing about epistemic success in these cases. (shrink)

Habits figure in action‐explanations because of their distinctive force. But what is the force of habit, and how does it motivate us? In this paper, I argue that the force of habit is the feeling of familiarity one has with the familiar course of action, where this feeling reveals a distinctive reason for acting in the usual way. I do this by considering and rejecting a popular account of habit's force in terms of habit's apparent automaticity, by (...) arguing that one can do something out of habit and from deliberation, before going on to defend The Familiarity View. (shrink)

In line with familiar portrayals of Kant's ethics, interpreters of his philosophy of education focus essentially on its intellectual dimension: the notions of moral catechism, ethical gymnastics and ethical ascetics, to name but a few. By doing so, they usually emphasise Kant's negative stance towards the role of feelings in moral education. Yet there seem to be noteworthy exceptions: Kant writes that the inclinations to be honoured and loved are to be preserved as far as possible. This statement is not (...) only at odds with Kant's general claim that education should not encourage feelings, but more importantly, it encourages a feeling that is in many ways paradigmatically un-Kantian. How are we to understand the fact that of all feelings, the love of honour should be preserved? To answer this question, I begin by clarifying the reasons behind Kant's negative stance towards feelings in moral education. I then turn to his account of the feeling of love of honour. After distinguishing between its good and its bad forms, I consider two ways of making sense of the positive role Kant assigns to it. The first, modest reading will suggest that the feeling of love of honour is morally useful because it has two functions: an epistemic one, and a motivational one. The second, more ambitious reading will suggest that the feeling of love of honour enables the child to experience her inner worth as bearer of value. (shrink)

Philosophers and psychologists often distinguish episodic or personal memory from propositional or semantic memory. A vexed issue concerns the role, if any, of memory “impressions” or “seemings” within the latter. According to an important family of approaches, seemings play a fundamental epistemological role vis-à-vis propositional memory judgments: it is one’s memory seeming that Caesar was murdered, say, that justifies one’s judgment that he was murdered. Yet, it has been convincingly argued that these approaches lead to insurmountable problems and that memory (...) seemings are not wellsuited to play this justifying role. As a result, many contemporary accounts of propositional memory dispense with these seemings altogether. Is the idea that memory seemings play a key role in propositional memory really the result of bad theorizing? My aim is to shed light on this issue, which I will approach as follows. In Section 1, I contrast episodic memory with propositional memory so as to clarify the nature of the latter. According to the account I put forward, episodic memory consists in the preservation of acquaintance with objects and events, whereas propositional memory consists in the preservation of thought contents. In Section 2, I turn my attention to the contrast between propositional memory contents and propositional memory as an attitude. I argue that they play different roles. Memory contents satisfy a past awareness constraint and a causal constraint; the attitude of remembering explains why we are inclined to endorse these contents. This distinction leads me to explore the attitude of remembering, and I argue, in Section 3, that the most appealing account of this attitude is in terms of feelings of familiarity. In Section 4, I turn my attention to the epistemology of propositional memory and revisit the claim that propositional memory judgments are justifi ed by memory seemings. In so doing, I contend that the attitude of remembering plays an exclusively explanatory role and does not contribute to the epistemology of propositional memory judgments. I conclude by drawing a more general lesson regarding the respective roles of attitudes and contents. (shrink)

In this paper, I consider the role that epistemic familiarity plays in our empathetic perception and our feeling togetherness with others. To do this, I distinguish between what I have dubbed familiarity by acquaintance and familiarity by resemblance and explore their role in our empathetic experiences and various forms of feeling togetherness with others both offline and online. In particular, I resist the idea that we should caveat experiences of online empathy and online togetherness with (...) the requirement of already being familiar by acquaintance with the relevant person in the offline world. In contrast, familiarity by resemblance appears to play a crucial role in shaping our experiences of others, emphasising that what we experience as another’s expressive experience and how we experience that expressive experience is permeated by previous intersubjective encounters whether online or offline. (shrink)

Recent work in contemporary compatibilist theory displays considerable sophistication and subtlety when compared with the earlier theories of classical compatibilism. Two distinct lines of thought have proved especially influential and illuminating. The first developed around the general hypothesis that moral sentiments or reactive attitudes are fundamental for understanding the nature and conditions of moral responsibility. The other important development is found in recent compatibilist accounts of rational self-control or reason responsiveness. Strictly speaking, these two lines of thought have developed independent (...) of each other. However, in the past decade or so they have been fused together in several prominent statements of compatibilist theory. I will refer to theories that combine these two elements in this way as RS theories. RS theories face a number of familiar difficulties that relate to each of their two components. Beyond this, they also face a distinct set of problems concerning how these two main components relate or should be integrated. My concerns in this paper focus primarily on this set of problems. According to one version of RS compatibilism, the role of moral sentiments is limited to explaining what is required for holding an agent responsible. In contrast with this, the role of reason responsiveness is to explain what moral capacities are required for an agent to be responsible, one who is a legitimate or fair target of our moral sentiments. More specifically, according to this view, moral sense is not required for rational selfcontrol or reason responsiveness. There is, therefore, no requirement that the responsible agent has some capacity to feel moral sentiment. Contrary to this view, I argue that a responsible agent must be capable of holding herself and others responsible. Failing this, an agent’s powers of rational self-control will be both limited and impaired. In so far as holding responsible requires moral sense, it follows that being responsible also requires moral sense. (shrink)

We live in times where it is possible to control our emotions using biomedical means – for example by taking pills that make us feel better. This chapter discusses one worry about the biomedical enhancement of mood. It is a worry that seems to play an important role in more familiar objections to biomedical enhancement of mood, such as the objection that it would lead to inauthenticity. The worry is that the use of positive mood enhancers will corrupt emotional lives. (...) Ethical questions about the biomedical enhancement of mood are often really questions about our affective reasons. Negative emotions typically feel bad, positive ones typically feel good. Here our hedonic reasons come into direct competition with affective reasons. Those who entirely dismiss affective reasons, or at least think that negative affective reasons are extremely weak, are likely to see little problem with positive mood enhancers. (shrink)

It is often assumed that Fichte's aim in Part I of the System of Ethics is to provide a deduction of the moral law, the very thing that Kant – after years of unsuccessful attempts – deemed impossible. On this familiar reading, what Kant eventually viewed as an underivable 'fact' (Factum), the authority of the moral law, is what Fichte traces to its highest ground in what he calls the principle of the 'I'. However, scholars have largely overlooked a passage (...) in the System of Ethics where Fichte explicitly invokes Kant's doctrine of the fact of reason with approval, claiming that consciousness of the moral law grounds our belief in freedom (GA I/5:65). On the reading I defend, Fichte's invocation of the Factum is consistent with the structure of Part I when we distinguish (a) the feeling of moral compulsion from (b) the moral law itself. (shrink)

Freud’s discussion of uncanny [unheimlich] experiences focuses on their peculiar ambivalence. On his view, the uncanny is a paradoxical feeling of both familiarity and alienation. While Freud’s analysis of this paradoxical feeling does succeed in explaining it away, it does little to explain it. One might expect a psychoanalytical demystification of the real experience that is hidden behind the superstitious overtones of uncanny experiences. Instead, the uncanny is attributed rather anti- climactically to the combination of a previous (...) superstition (maintained unconsciously) and an entirely coincidental verification of that superstition. The implication is that there is no uncanny per se. There is no distinctive category of experience, the unique character of which tends to cause or encourage superstitious beliefs; rather, such beliefs are prerequisite to having the experience. In other words, the experience suits the belief, and not vice-versa. The uncanny is the fantasized verification of a repressed fantasy. It involves a breakdown of the reality principle and the projection of beliefs into the external world, rather than a peculiarity of feeling that can be linked intrinsically to a specific category of experience. I do not intend to reject this analysis in its entirety. The basic structure, repression and return, is sound. However, Freud’s analysis of the uncanny, which resolves uncanny ambivalence into the separate categories of consciousness and unconsciousness, merely reinstates the problematical opposition of das heimliche and das unheimliche, familiar and unfamiliar, within the mind rather than in the external world. The coincidence of the two feelings in uncanny experience cannot be explained without an intervening stage between repression and return. I will suggest that Freud’s characterization of uncanniness as the return, in superstition, of the repressed is a misplacement of the experience of uncanniness. The aesthetical feeling is the cause of, but not identical to, the projected superstitions and ideas which surround it. An explanation of the feeling of uncanniness must fall not on the side of the repressed, but on the side of consciousness. The import of my position is that the feeling of uncanniness refers, in a manner of speaking, to something “real,” rather than merely to infantile ideas projected upon the external world. Freud’s explanation makes the unconscious a kind of scapegoat to be blamed for imposing fundamentally irrational beliefs into our interpretation of present experience, in that way preserving a model of the conscious ego as autonomous, fundamentally attuned to reality and ultimately independent of the unconscious. I will argue, on the contrary, that the experience of the uncanny is not merely a falling back into irrational or infantile beliefs, but an experience of a deep disunity in personhood that rightly causes us to question our everyday confidence in the unity, independence, and rationality of our conscious sense of self. The ambivalence of the feeling has its source in an irresolvable ambivalence that can exist in consciousness, and not simply in an analytically resolvable psychical ambivalence between consciousness and the unconscious. (shrink)

In this essay, I want to explore the possibility that the success of narrative in stimulating empathy comes from the relation that narrative bears to emotion—where emotion is a kind of proto-narrative that possibly accounts for the structure and range of narratives themselves —and that our familiarity with emotions as micro-narratives results in the motivation of narrative. That is, the resolution of events occurs in terms of feeling rather than other forms of closure, since other forms of closure (...) represent literal endings as, quite simply, the cessation of events whereas emotion achieves its end by being felt or translated in empathetic terms and in ways that endure beyond the formality of the fictive event that ends the narrative. I will be using Kim Scott’s Benang: From the Heart (1999) and Peter Carey’s Jack Maggs (1997) to discuss narrative and emotions, or the role of emotion in motivating narrative events and the role of narrative in conveying and stirring emotion in the reader. (shrink)

In déjà vu, a novel experience feels strangely familiar. Here we propose that this phenomenology is best seen as consisting in an illusory feeling of identification of the gist of the current scene or event, rather than in the intensity of the fluency-based, metacognitive feeling of familiarity.

Recently, several theorists have proposed that we can perceive a range of high-level features, including natural kind features (e.g., being a lemur), artifactual features (e.g., being a mandolin), and the emotional features of others (e.g., being surprised). I clarify the claim that we perceive high-level features and suggest one overlooked reason this claim matters: it would dramatically expand the range of actions perception-based theories of action might explain. I then describe the influential phenomenal contrast method of arguing for high-level perception (...) and discuss some of the objections that have been raised against this strategy. Finally, I describe two emerging defenses of high-level perception, one of which appeals to a certain class of perceptual deficits and one of which appeals to adaptation effects. I sketch a challenge for the latter approach. (shrink)

This paper discuss the phenomenon of empathy in social robotics and is divided into three main parts. Initially, I analyse whether it is correct to use this concept to study and describe people’s reactions to robots. I present arguments in favour of the position that people actually do empathise with robots. I also consider what circumstances shape human empathy with these entities. I propose that two basic classes of such factors be distinguished: biological and socio-cognitive. In my opinion, one of (...) the most important among them is a sense of group membership with robots, as it modulates the empathic responses to representatives of our- and other- groups. The sense of group membership with robots may be co-shaped by socio-cognitive factors such as one’s experience, familiarity with the robot and its history, motivation, accepted ontology, stereotypes or language. Finally, I argue in favour of the formulation of a pragmatic and normative framework for manipulations in the level of empathy in human–robot interactions. (shrink)

Human beings can be said to naturally seek familiarity in their environment for survival purposes, and this can explain why the mere-exposure effect, where being merely exposed to external factors in our environment, can increase preference for these factors. Familiarity in this sense can thus be framed as important for affect and preference formation and considered built upon both the subjective process of fluency and the objects of experience being processed. The feeling of uncanniness is often considered (...) the opposite of familiarity, yet within its semantic vicinity. By considering the term ‘uncanny’ as having a double meaning linked to both familiarity and unfamiliarity, however, this paper will show how this ambiguity allows for a semantic relatedness of this concept to process fluency rather than familiarity. This connection will in turn be shown to have ramifications for affect through the proposal of a fourth model of process fluency: The Embodied Fluency Model. Through consideration of Mori’s shinkawan, Freud’s notion of the uncanny, and Heidegger’s connection between uncanniness and Angst, an exploration into conceiving how fluency and uncanniness share attributes that allow for a different view on affect is propounded. (shrink)

I argue that Merleau-Ponty is right to claim that some shift in an agent's perspective on the world is partly constitutive of their forming a habit, but that he is wrong about what this shift is because he wrongly conflates habit and skill. I defend an alternative: the perspectiival shift constitutive of habit-formation is that habitual courses of action come to be and seem familiar.

This book is an anthology with the following themes. Non-European Tradition: Bussanich interprets main themes of Hindu ethics, including its roots in ritual sacrifice, its relationship to religious duty, society, individual human well-being, and psychic liberation. To best assess the truth of Hindu ethics, he argues for dialogue with premodern Western thought. Pfister takes up the question of human nature as a case study in Chinese ethics. Is our nature inherently good (as Mengzi argued) or bad (Xunzi’s view)? Pfister ob- (...) serves their underlying agreement, that human beings are capable of becoming good, and makes precise the disagreement: whether we achieve goodness by cultivating autonomous feelings or by accepting external precepts. There are political consequences: whether government should aim to respect and em- power individual choices or to be a controlling authority. Early Greek Thinking: Collobert examines the bases of Homeric ethics in fame, prudence, and shame, and how these guide the deliberations of heroes. She observes how, by depending upon the poet’s words, the hero gains a quasi- immortality, although in truth there is no consolation for each person’s inevi- table death. Plato: Santas examines Socratic Method and ethics in Republic 1. There Socrates examines definitions of justice and tests them by comparison to the arts and sciences. Santas shows the similarities of Socrates’ method to John Rawls’ method of considered judgments in reflective equilibrium. McPherran interprets Plato’s religious dimension as like that of his teacher Socrates. McPherran shows how Plato appropriates, reshapes, and extends the religious conventions of his own time in the service of establishing the new enterprise of philosophy. Ac- cording to Taylor, Socrates believes that humans in general have the task of helping the gods by making their own souls as good as possible, and Socrates’ unique ability to cross-examine imposes on him the special task of helping others to become as good as possible. This conception of Socrates’ mission is Plato’s own, consisting in an extension of the traditional conception of piety as helping the gods. Brickhouse and Smith propose a new understanding of Socratic moral psychology—one that retains the standard view of Socrates as an intellectualist, but also recognizes roles in human agency for appetites and passions. They compare and contrast the Socratic view to the picture of moral psychology we get in other dialogues of Plato. Hardy also proposes a new, non-reductive understanding of Socratic eudaimonism—he argues that Socrates invokes a very rich and complex notion of the “Knowledge of the Good and Bad”, which is associated with the motivating forces of the virtues. Rudebusch defends Socrates’ argument that knowledge can never be impotent in the face of psychic passions. He considers the standard objections: that knowledge cannot weigh incom- mensurable human values, and that brute desire, all by itself, is capable of moving the soul to action. Aristotle: Anagnostopoulos interprets Aristotle on the nature and acquisition of virtue. Though virtue of character, aiming at human happiness, requires a complex awareness of multiple dimensions of one’s experience, it is not properly a cognitive capacity. Thus it requires habituation, not education, according to Aristotle, in order to align the unruly elements of the soul with reason’s knowledge of what promotes happiness. Shields explains Aristotle’s doctrine that goodness is meant in many ways as the doctrine that there are different analyses of goodness for different types of circumstance, just as for being. He finds Aristotle to argue for this conclusion, against Plato’s doctrine of the unity of the Good, by applying the tests for homonymy and as an immediate cons- equence of the doctrine of categories. Shields evaluates the issue as unresolved at present. Russell discusses Aristotle’s account of practical deliberation and its virtue, intelligence (phronesis). He relates the account to contemporary philo- sophical controversies surrounding Aristotle’s view that intelligence is neces- sary for moral virtue, including the objections that in some cases it is unnecessary or even impedes human goodness. Frede examines the advantages and disadvantages of Aristotle’s virtue ethics. She explains the general Greek con- ceptions of happiness and virtue, Aristotle’s conception of phronesis and compares the Aristotle’s ethics with modern accounts. Liske discusses the question of whether the Aristotelian account of virtue entails an ethical-psy- chological determinism. He argues that Aristotle’s understanding of hexis allows for free action and ethical responsibility : By making decisions for good actions we are able to stabilize our character (hexis). Hellenistic and Roman: Annas defends an account of stoic ethics, according to which the three parts of Stoicism—logic, physics, and ethics—are integrated as the parts of an egg, not as the parts of a building. Since by this analogy no one part is a foundation for the rest, pedagogical decisions may govern the choice of numerous, equally valid, presentations of Stoic ethics. Piering interprets the Cynic way of life as a distinctive philosophy. In their ethics, Cynics value neither pleasure nor tradition but personal liberty, which they achieve by self-suffi- ciency and display in speech that is frank to the point of insult. Plotinus and Neoplatonism: Gerson outlines the place of ordinary civic virtue as well as philosophically contemplative excellence in Neoplatonism. In doing so he attempts to show how one and the same good can be both action-guiding in human life and be the absolute simple One that grounds the explanation of everything in the universe. Delcomminette follows Plotinus’s path to the Good as the foundation of free will, first in the freedom of Intellect and then in the “more than freedom” of the One. Plotinus postulates these divinities as not outside but within each self, saving him from the contradiction of an external foundation for a truly free will. General Topics: Halbig discusses the thesis on the unity of virtues. He dis- tinguishes the thesis of the identity of virtues and the thesis of a reciprocity of virtues and argues that the various virtues form a unity (in terms of reciprocity) since virtues cannot bring about any bad action. Detel examines Plato’s and Aristotle’s conceptions of normativity : Plato and Aristotle (i) entertained hybrid theories of normativity by distinguishing functional, semantic and ethical normativity, (ii) located the ultimate source of normativity in standards of a good life, and thus (iii) took semantic normativity to be a derived form of normativity. Detel argues that hybrid theories of normativity are—from a mo- dern point of view—still promising. Ho ̈ffe defends the Ancient conception of an art of living against Modern objections. Whereas many Modern philosophers think that we have to replace Ancient eudaimonism by the idea of moral obligation (Pflicht), Ho ̈ffe argues that Eudaimonism and autonomy-based ethics can be reconciled and integrated into a comprehensive and promising theory of a good life, if we enrich the idea of autonomy by the central elements of Ancient eudaimonism. Some common themes: The topics in Chinese and Hindu ethics are perhaps more familiar to modern western sensibilities than Homeric and even Socratic. Anagnostopoulos, Brickhouse and Smith, Frede, Liske, Rudebusch, and Russell all consider in contrasting ways the role of moral character, apart from intellect, in ethics. Brickhouse / Smith, Hardy, and Rudebusch discuss the Socratic con- ception of moral knowledge. Brickhouse / Smith and Hardy retain the standard view of the so called Socratic Intellectualism. Shields and Gerson both consider the question whether there is a single genus of goodness, or if the term is a homonym. Bussanich, McPherran, Taylor, and Delcomminette all consider the relation between religion and ethics. Pfister, Piering, Delcomminette, and Liske all consider what sort of freedom is appropriate to human well-being. Halbig, Detel, and Ho ̈ffe propose interpretations of main themes of Ancient ethics. (shrink)

A sentimentalist theory of morality explains all moral evaluations as manifestations of certain emotions, ones that David Hume and Adam Smith, in their related but divergent accounts, call moral sentiments. The two theories have complementary successes and failures in capturing familiar features of the experience of making moral evaluations. Thinking someone courageous or dishonest need not involve having goals or feelings of desire, and Hume’s theory captures that well; but its account of how our moral evaluations are about or directed (...) toward people or actions is deficient. Smith’s theory readily explains how moral sentiments can be about things (and which things they are about), but at the cost of construing some central moral evaluations as goal-directed desires that are simply not like that. Present-day sentimentalists also face the challenge of combining these two desiderata. (shrink)

​In the wake of the extremely divisive 2016 presidential election, many US Americans are feeling deeply unsettled by the sense that the basic norms that govern life in our society are in a state of flux. How might we best describe and analyze the experience of living in a society that is so divided, a society whose very normative structure seems to be disintegrating? What problematic behaviors might arise in this situation? And how might we continue to work for (...) positive social change without further disrupting the normative order of our society? In this paper, I explore some insights into these issues that can be found in the work of Mexican phenomenologist Jorge Portilla, whose fascinating essays on cultural politics are just beginning to be translated into English. Portilla lived at a time in which his society’s normative structure was also in a state of flux. He argues that this state of normative disintegration generates a widely shared sense of zozobra—a profound anxiety that is not a psychological state but a state of existence, and that tends to provoke a number of defensive reactions that may be familiar to us today. I argue that Portilla's analysis of zozobra is a valuable resource for navigating the contemporary world.​. (shrink)

The no-miracles argument and the pessimistic induction are arguably the main considerations for and against scientific realism. Recently these arguments have been accused of embodying a familiar, seductive fallacy. In each case, we are tricked by a base rate fallacy, one much-discussed in the psychological literature. In this paper we consider this accusation and use it as an explanation for why the two most prominent `wholesale' arguments in the literature seem irresolvable. Framed probabilistically, we can see very clearly why realists (...) and anti-realists have been talking past one another. We then formulate a dilemma for advocates of either argument, answer potential objections to our criticism, discuss what remains (if anything) of these two major arguments, and then speculate about a future philosophy of science freed from these two arguments. In so doing, we connect the point about base rates to the wholesale/retail distinction; we believe it hints at an answer of how to distinguish profitable from unprofitable realism debates. In short, we offer a probabilistic analysis of the feeling of ennui afflicting contemporary philosophy of science. (shrink)

_ Source: _Page Count 22 Analysis of the concept of habit has been relatively neglected in the contemporary analytic literature. This paper is an attempt to rectify this lack. The strategy begins with a description of some paradigm cases of habit which are used to derive five features as the basis for an explicative definition. It is argued that habits are social, acquired through repetition, enduring, environmentally activated, and automatic. The enduring nature of habits is captured by their being dispositions (...) of a certain sort. This is a realist account of habits insofar as the dispositions put forward must fit into some recognizable underlying system – in the case of humans a biological system – to fill the role as set out by the definition. This role is wide-ranging; in addition to the familiar cases of habitual behavior, habitual activities also include thinking, perceiving, feeling, and willing. (shrink)

Disturbances to one's sense of self, the feeling that one has ‘lost a part of oneself’ or that one ‘no longer feels like oneself,’ are frequently recounted throughout the bereavement literature. Engaging Allan Køster's important contribution to this issue, this article reinforces his suggestion that, by rupturing the existential texture of self-familiarity, bereavement can result in experiences of estrangement that can be meaningfully understood according to the concept of self-alienation. Nevertheless, I suggest that whilst Køster's relational interpretation of (...) alienation as the withdrawal of heteronomy can be applied to the experience of world-collapse in bereavement, what sets bereavement apart from other limit situations is the fact that it involves an intersubjective relation between the living and the dead. In contrast to Køster, therefore, I suggest that the experience of self-alienation that is distinctive to bereavement results from the fact that the bereaved is exposed to, and co-opted by, the absolute alterity of death itself. (shrink)

Jus post Bellum is, like Jus ad Bellum and Jus in Bello, a part of just war theory. Jus post Bellum is distinguished from the other parts of just war theory by being primarily concerned with the principles necessary for securing a just and lasting peace after the end of a war. Traditionally, jus post bellum has focused primarily on three goals: [1] compensating those who have been the victims of unjust aggression, while respecting the rights of the aggressors, [2] (...) punishing and rehabilitating those guilty of war crimes and other violations of the principles of Jus ad Bellum and Jus in Bello and [3] developing measures that will prevent future war and violence (Orend 2000 and May 2012). In this chapter, I outline an account of political forgiveness and explain the role that political forgiveness can have in promoting the goals of jus post bellum. My conception of political forgiveness requires some unpacking. Let me begin with individual forgiveness, which I understand along familiar Butlerian lines as the renunciation of resentment (Butler, Sermon IX in McNaughton 2017: 75-83), though with a bit of a twist. More exactly, ● An individual, I, forgives J for doing F if and only if I renounces all her own warrant for resenting J for doing F. Resentment is a judgment-sensitive attitude, and, therefore, it tends to track judgments concerning its warrant (Scanlon 1998: 20 and Smith 2015). In cases of perfect forgiveness, I’s renunciation causes her to cease feeling resentment toward J for doing F, though, of course, less perfect cases are possible. I reject the idea that there is a sharp discontinuity between individual and political forgiveness, a position argued for by, e.g., Peter Digeser (1998 and 2001). By contrast, I understand political forgiveness as the renunciation of resentment by the relevant political body in question. With greater precision, ● A sovereign political body, P, forgives J for doing F if and only if P renounces all warrant that its citizens have for resenting, as part of their public lives, J for doing F. A little more explanation is in order. Sovereign political bodies, such as national governments, claim degrees of control over the lives of their citizens, in both their public and their private aspects, though the claims with respect to the former tend to be considerably more expansive than the claims with respect to the latter. I assume here that, at least in the case of legitimate governments, these claims of control are often valid. Such governments may reasonably renounce certain grounds for motivating action in the public sphere. For example, governments may renounce all warrant that its citizens have, as part of their public lives, for hating members of marginalized groups. In practice, this means that, while citizens might continue to act in their private lives out of hatred for members of these groups, their appeal to this hatred is seen by the state as irrelevant to matters of law and public policy as well as being wholly out-of-place in public discourse. Political forgiveness toward J for doing F, as I understand it, involves an analogous rejection of resentment, on the part of citizens in their public lives, toward J for doing F. I turn now to the matter of how political forgiveness supports securing a just and lasting peace between former belligerents. With respect to the first goal of jus post bellum, political forgiveness helps to balance compensation for victims and respect for the rights of defeated aggressors by countering the all-too-human tendency to overvalue harms done to oneself and to members of one’s group. As regards the second goal, political forgiveness plays a similar role but also provides a model for rehabilitation by exemplifying among the victorious the behavior to be emulated by the vanquished. Finally, political forgiveness promotes the third goal of jus post bellum by providing a space for nations to meet as moral equals rather than allowing one nation to have the moral high ground over the other. None of this, of course, means that political forgiveness should be unearned or that it should be confused with condonation (Kolnai 1973 and Pettigrove 2004). However, the question of what is required to put oneself in a position to be forgiven as part of jus post bellum is a matter that goes beyond the scope of this chapter. (shrink)

Actors, undercover investigators, and readers of fiction sometimes report “losing themselves” in the characters they imitate or read about. They speak of “taking on” or “assuming” the beliefs, thoughts, and feelings of someone else. I offer an account of this strange but familiar phenomenon—what I call imaginative transportation.

If, as argued in some simulationist accounts, empathy aims at grasping the phenomenal richness of the other’s experience and resonating with it, it is difficult to explain our empathy with emotions that we have never experienced ourselves. According to a long philosophical tradition, imagination is constrained by experience. We have to be acquainted with the qualitative feel of the other’s experience in order to imagine it. A critical view of simulationist accounts would claim that if we cannot imagine how the (...) other feels because we are not acquainted with it, empathy cannot take place. Contrary to such criticism, this paper takes a moderately optimistic view of the simulationist claim. It develops a model to explain how we imagine the other’s emotions by drawing on phenomenal concepts, affective memories, and imaginative scaffoldings. I argue that this model can explain how we empathize with the other’s emotions regardless of whether these are familiar or novel to us. However, in the latter case, the imagined phenomenal quality is not identical but probably only similar to the other’s emotion. This similarity suffices for us to speak about empathy. (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)

In this article I argue that the strong fascination that Wittgenstein has had for artists cannot be explained primarily by the content of his work, and in particular not by his sporadic observation on aesthetics, but rather by stylistic features of his work formal aspects of his writing. Edoardo Paolozzi’s testimony shows that artists often had a feeling of acquaintance or familiarity with the philosopher, which I think is due to stylistic features of his work, such as the (...) colloquial tone in which Wittgenstein shares his observation with the reader, but also the lack of long-winded arguments or explanations. In the concluding part I suggest that we can read Wittgenstein’s artworks of a specific kind: as philosophical works of art. (shrink)

Emotions are an everyday occurrence. Much work has been done into what the point of emotion is and what part emotions might play in our lives. The great impact emotions have on our lives means it’s not surprising that great philosophers have studied them over the centuries. Anger is an emotion that we encounter every day and most of us are very familiar with. Anger is a response to some ‘wrongfully’ inflicted damage to someone or something that one cares about. (...) When this happens, it is natural for us to feel the need for ‘payback. It is generally agreed by most philosophers that this wish for retribution is a key part of feeling anger. If there is no wish for retribution in your mind when you think you experience anger then perhaps you are experiencing grief or some other emotion. Nussbaum states that anger is a central threat to decent human interactions and posits that a necessary component of anger is the wish for retribution. She states that a wish for retribution can occur independently of anger but anger cannot occur independently of a wish for retribution. In this case – we would be feeling different emotion. This paper has two sections; In section One I will discuss in detail Nussbaum’s view, the two concepts of anger she presents: ‘Payback Anger’ and ‘Status Anger’. The former being anger with a retributive element and the latter being where one would react to an insult or wrong with anger in order to ‘put someone back in their place’ so to speak. This is followed by a brief word on why Nussbaum thinks anger might be beneficial in some circumstances. Section Two discusses cases of anger without the retributive element and how Nussbaum might respond to these cases. We will see how we can be angry at something within our circle of concern but simply want an end to the issue such as a war. This may not involve retribution but still generates anger. I discuss how we can be angry at a flatmate or family member but not want retribution. “Self-Retributive anger” comes up as another case where there does not seem to be retribution involved in anger towards the self. I also discuss here what retribution might consist of and how Nussbaum’s view is unclear on this. The conclusion will summarise the objections to Nussbaum’s view and the objections to that view culminating in a request for further empirical research to determine if we can establish the nature of the feeling of anger in humans. (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)

A familiar post-Kantian criticism contends that Kant enslaves sensibility under the yoke of practical reason. Friedrich Schiller advanced a version of this criticism to which Kant publicly responded. Recent commentators have emphasized the role that Kant’s reply assigns to the pleasure that accompanies successful moral action. In contrast, I argue that Kant’s reply relies primarily on the sublime feeling that arises when we merely contemplate the moral law. In fact, the pleasures emphasized by other recent commentators depend on this (...) sublime feeling. These facts illuminate Kant’s views regarding the relationship between morality, freedom, and the development of moral feelings. (shrink)

Albert Camus is most famous for his engagement with the absurd. Both in his philosophical and literary works his main focus was on the nature and normative consequences of this idea. However, Camus was also concerned with what he referred to as the “feeling of the absurd”. Philosophers have so far paid little attention to Camus’ thoughts about the feeling of the absurd. In this paper I provide a detailed analysis of this feeling. It turns out that (...) the feeling of the absurd is not, strictly speaking, a feeling. It is rather a conjunction of a mood (feeling of the absurd in the narrow sense) and of emotions that this mood tends to give rise to (appearances of the feeling of the absurd). Moreover, both moods and emotions qualify as absurd in virtue of their promoting the discovery of the absurd; that is, the discovery that humans search for meaning, but the world does not answer this search. (shrink)

In Vom Selbstgefühl (1910) (identical to Über die Typen des Selbstgefühls), Else Voigtländer undertakes an accurate analysis of a category of feelings named “feeling of self-worth” and its types. This entry presents Voigtländer's definition, characterization and taxonomy of the feeling of self-worth.

Reports of not feeling understood are frequent in testimonies of psychological trauma. I argue that these feelings are not a matter of a cognitive failure but rather an expression of the absence of a more pervasive background feeling of belonging. Contemporary accounts of we-intentionality promise but ultimately fall short in explaining this sense of belonging. Gerda Walther offers an alternative account of communal experiences. Her notion of “habitual unification” can explain the background feelings of belonging that are woven (...) through the individual’s everyday experience of being in a shared world. Having unified with another person, the world feels different. It is now experienced in light of a “we.” This is not only the case in actual, singular person-to-person encounters. Unification with others becomes habitual: it retreats into the background of the individual’s awareness, colouring their experience of the world. Thus sedimented, it forms a background sense of belonging to a shared world. Unification is enabled by experiencing others as being similar in a significant way, such as having the same experiences, values, or basic attitude: in Walther’s words, as being a “human, who also....” This, I shall argue, is impacted through traumatizing experiences. Trauma survivors struggle to experience others as “humans, who also...,” resulting in a failure of unification and thus impeding feelings of belonging. Trauma testimonies also suggest that actively seeking out recognition of similarities and shared aspects of experience may once again enable experiencing others as “humans, who also...,” thus enabling unification and re-establishing a sense of belonging. (shrink)

Many of the items that humans consume are produced in ways that involve serious harms to persons. Familiar examples include the harms involved in the extraction and trade of conflict minerals (e.g. coltan, diamonds), the acquisition and import of non- fair trade produce (e.g. coffee, chocolate, bananas, rice), and the manufacture of goods in sweatshops (e.g. clothing, sporting equipment). In addition, consumption of certain goods (significantly fossil fuels and the products of the agricultural industry) involves harm to the environment, to (...) future persons, and to current persons in low-lying and developing countries, by way of their impacts on climate change. When it comes to such large-scale harms, it's easy for the individual to feel helpless. Even if she sincerely wishes things were otherwise, she may wonder what she could possibly do to make them so. In this paper I briefly explore several promising avenues for generating duties in individuals to consume ethically, and develop one in particular: that an individual ought to signal her commitments to others, as a first step in collectivizing to act against unjust global labour practices. (shrink)

Philosophers generally agree that gratitude, the called-for response to benevolence, includes positive feelings. In this paper, I argue against this view. The grateful beneficiary will have certain feelings, but in some contexts, those feelings will be profoundly negative. Philosophers overlook this fact because they tend to consider only cases of gratitude in which the benefactor’s sacrifice is minimal, and in which the benefactor fares well after performing an act of benevolence. When we consider cases in which a benefactor suffers severely, (...) we see the feelings associated with gratitude can be negative, and even quite painful. I conclude with a discussion of the implications negative feelings of gratitude have for the normative question of when gratitude is owed, and for the descriptive claim in positive psychology that gratitude enhances wellbeing. (shrink)

Authenticity is often defined as the extent to which people feel that they know and express their true selves. Research in the psychological sciences suggests that people view true selves as more morally good than bad and that this “virtuous” true self may be a central component of authenticity. In fact, there may be reasons to suspect that authenticity serves as a cue that one’s behaviors are virtuous, and feelings of authenticity may help sustain virtuous actions. However, in previous research, (...) operationalizations of virtue may not clearly capture virtue as virtue theorists might recognize it. The possibility that feelings of authenticity keep people oriented toward virtuous activities is compatible with theorizing, but the precise ways that it might do so has not received direct conceptual or empirical scrutiny. We propose an interdisciplinary hypothesis of how feelings of authenticity could function to serve as a feedback mechanism for virtuous behavior. Feelings of authenticity could play a role in sustaining motivation to engage in virtuous activity insofar as the experience of subjective authenticity encourages one to approach that activity or environment in the future. Furthermore, virtuous behavior incorporates a few key elements that are predictive of experiencing subjective authenticity. We review emerging research that offers initial support for the idea that authenticity may guide sustained and virtuous civic action and develop a theoretical framework that positions authenticity as integral to sustained virtuous behavior. (shrink)

I argue that the feeling that one is the owner of his or her mental states is not an intrinsic property of those states. Rather, it consists in a contingent relation between consciousness and its intentional objects. As such, there are (a variety of) circumstances, varying in their interpretive clarity, in which this relation can come undone. When this happens, the content of consciousness still is apprehended, but the feeling that the content “belongs to me” no longer is (...) secured. I discuss the implications of a mechanism enabling personal ownership for understanding a variety of clinical syndromes as well normal mental function. (shrink)

A familiar feature of moral life is the distinctive anxiety that we feel in the face of a moral dilemma or moral conflict. Situations like these require us to take stands on controversial issues. But because we are unsure that we will make the correct decision, anxiety ensues. Despite the pervasiveness of this phenomenon, surprisingly little work has been done either to characterize this “ moral anxiety” or to explain the role that it plays in our moral lives. This paper (...) aims to address this deficiency by developing an empirically informed account of what moral anxiety is and what it does. (shrink)

Experiences of embodied remembering are familiar and diverse. We settle bodily into familiar chairs or find our way easily round familiar rooms. We inhabit our own kitchens or cars or workspaces effectively and comfortably, and feel disrupted when our habitual and accustomed objects or technologies change or break or are not available. Hearing a particular song can viscerally bring back either one conversation long ago, or just the urge to dance. Some people explicitly use their bodies to record, store, or (...) cue memories. Others can move skilfully, without stopping to think, in complex and changing environments thanks to the cumulative expertise accrued in their history of fighting fires, or dancing, or playing hockey. The forms of memory involved in these cases may be distinct, operating at different timescales and levels, and by way of different mechanisms and media, but they often cooperate in the many contexts of our practices of remembering. (shrink)

What is the feeling of religious longing and how, if at all, can religious longing justify religious beliefs? Starting with an analogy between religious longing and basic physical needs and an analogy between religious longing and musical longing, I argue that the feeling of religious longing is characterized by four features: its generality, its indeterminate transcendent object which by its nature is not capable of empirical verification or falsification, its mode of being infinitely interested in passion and its (...) ambiguity with regard to our own power and powerlessness. Religious longing can neither epistemically nor pragmatically justify religious beliefs. If we want to account for the rationality of religious beliefs motivated by religious longing, we have to consider passionate rationality as a third kind of rationality. We wholeheartedly take as true what we experience as a condition of the possibility of life. (shrink)

This chapter defends the thesis that feeling conviction is sufficient for belief: if you feel conviction that p, then you believe that p. I begin with a neutral characterization of belief in terms of its normative profile: belief is a state that is subject to certain distinctive norms of rationality. The main argument of the chapter is that feelings of conviction are beliefs because they are subject to the same norms of rationality that govern our beliefs. Functionalists often deny (...) that feelings of conviction constitute beliefs when they play dysfunctional causal roles, as in cases of mad belief or delusion or implicit bias, but this only serves to obscure the kind of irrationality involved in such cases. These are dysfunctional beliefs, rather than non-doxastic states, or "in-between" cases. (shrink)

If you’re familiar with Tolkien’s The Hobbit I don’t need to tell you that Mirkwood is a dangerous place. As bad as we might feel for Thorin and company as they try to navigate the forest and fall prey to its traps, we should feel worse for ourselves. Our world is also dangerous and difficult, but in a different way. Although it’s some comfort that the spiders of our world are smaller, it is easier to travel through Mirkwood than it (...) is to know what to believe. At least when it comes to navigating Mirkwood the directions are clear. (shrink)

The rediscovery of the silver-backed chevrotain, an endemic species to Vietnam, in 2019, after almost 30 years of being lost to science, is a remarkable outcome for the global conservation agenda. However, along with the happiness, there is a tremendous concern for the conservation of the species as eating wildmeat, including chevrotain, is deeply rooted in the socio-cultural values of Vietnamese. Meanwhile, conservation plans face multiple obstacles since the species has not been listed in the list of endangered, precious, and (...) rare wildlife prioritized for protection and is still classified by the IUCN as lacking data. Given the limited effectiveness of conservation measures, this essay discusses the determining roles of local actions, community cooperation, and humanistic values oriented toward eco-surplus culture in addressing the global biodiversity conservation agenda, specifically the conservation of the silver-backed chevrotain. Local actions and community cooperation for conservation can be actualized to achieve conservation goals through citizen and community sciences, integration of modern technologies (e.g., Internet, crowdfunding platforms, social media, AI, etc.), and the bonding capability of humanistic values that prioritize environmental healing. Communicating conservation information to the community, especially the children, has to stimulate their thinking and imagination about nature, develop their curiosity and desire to protect wildlife, and eventually build eco-surplus core values in their mindsets. To successfully awaken the humanistic values within the community and incorporate them into conservation endeavors, the conservation message with the name “mouse-deer”, “chevrotain”, or scientific name (Tragulus versicolor) is largely insufficient as they show an unfamiliar feeling. Therefore, we suggest calling the mouse-deer “cheo cheo”, a local name that can create familiarity and closeness, awaken the environmental conscience and humanistic values, and stimulate thinking and imagination. All these factors are essential for conservationists, scientists, and the government to support the community in building the eco-surplus culture. (shrink)

Feelings of belonging are integral in people’s choice of what career to pursue. Women and men are disproportionately represented across careers, starting with academic training. The present research focuses on two fields that are similar in their history and subject matter but feature inverse gender gaps—psychology (more women than men) and philosophy (more men than women)—to investigate how theorized explanations for academic gender gaps contribute to feelings of belonging. Specifically, we simultaneously model the relative contribution of theoretically relevant individual differences (...) (empathizing, systematizing, and intellectual combativeness) as well as life goals (prioritization of family, money, and status) to feelings of belonging and majoring in psychology or philosophy. We find that men report higher intellectual combativeness than women, and intellectual combativeness predicts feelings of belonging and majoring in philosophy over psychology. Although systematizing and empathizing are predictive of belonging and, in turn, majoring in psychology and philosophy, respectively, when other factors are taken into account, women and men do not differ in empathizing and systematizing. Women, more than men, report prioritizing having a family, wealth, and status in choosing a career, and these directly or indirectly feed into feelings of belonging and majoring in psychology, in contrast to prior theory. Together, these findings suggest that students’ perceptions of their own combativeness and the extent to which they desire money and status play essential roles in women’s feeling they belong in psychology and men’s feeling they belong in philosophy. (shrink)

A philosophical analysis of different kinds of memory used in the film Memento.

This paper shows the ways in which Kant’s notions of the feeling of life and the feeling of the promotion of life may be influenced by Epicurus’ theory of pleasure and the Stoic notion of oikeiôsis, respectively. Accordingly, getting a clear picture of Epicurus’ theory of pleasure and the Stoic notion of oikeiôsis will help us (i) understand why Kant introduces these notions in the third Critique and (ii) why he identifies aesthetic pleasure with the feeling of (...) the promotion of life. As I will demonstrate, the feeling of life allows us to be conscious of the harmonious interaction of our faculties with each other while the feeling of the promotion of life allows us to be aware of the harmonious relationship between our faculties and nature. Hence, the feeling of the promotion of life indicates the well-being of the subject in its relation to its environment. (shrink)

For agents like us, the feeling of effort is a very useful thing. It helps us sense how hard an action is, control its level of intensity, and decide whether to continue or stop performing it. While there has been progress in understanding the feeling of mental effort and the feeling of bodily effort, this has not translated into a unified account of the general feeling of effort. To advance in this direction, I defend the single- (...) class='Hi'>feeling view, which states that the feeling of effort is one and the same for both mental and bodily actions. This feeling represents the subjective costs, both mental and physical, of performing a given action. Cost-based approaches have recently become influential for the feeling of mental effort. Here I focus on arguing that our sense of bodily effort does not simply represent physiological processes, but rather represents the subjective costs of a bodily action. Through this paper I discuss the role of the feeling of effort (and affective states more broadly) in action guidance and the sense of agency. I also define efforts themselves in terms of the feeling of effort. (shrink)

The intuitive view that memories are characterized by a feeling of pastness, perceptions by a feeling of presence, while imagination lacks either faces challenges from two sides. Some researchers complain that the “feeling of pastness” is either unclear, irrelevant or isn’t a real feature. Others point out that there are cases of memory without the feeling of pastness, perception without presence, and other cross-cutting cases. Here we argue that the feeling of pastness is indeed a (...) real, useful feature, and although this feeling does not define memory ontologically, it is a characteristic marker which helps us easily categorise a mental state first-personally. We outline several cognitive features that underlie this experience, including the feeling of past accessibility, ergonomic significance, immersion, objectivity and mental strength. Our account is distinctly phenomenal, rather than doxastic, although our web of beliefs may contribute to this experience. (shrink)