In this paper, drawing on evidence internal to the Platonic dialogues (supplemented with some ancient testimonia), I answer the question, “How did Plato teach in the Academy?” My reconstruction of Plato’s pedagogy in the Academy is that there was a single person who read the dialogue aloud like a rhapsode (this is in contrast to the dramatic theatrical hypothesis, in which several speakers function as actors in the performance of a dialogue). After the rhapsodic reading, students were allowed to (...) ask that portions of the text to be re-read, to ask a question about the text, and were encouraged to enter into a broader conversation about the topic and themes brought out by the text. This later pedagogical method of interrogating and investigating a dialogue is of more importance than the mere reading of a dialogue. I contend that Plato’s experiences teaching were woven into some of the dialogues, and that Plato’s pedagogy reflects some of the ways that he taught in the Academy. I propose that excellent points made by students may have been written into revised forms of the dialogue. And not only good points, but also mistakes in reasoning may have been added into the dialogues. I suggest that the way certain dialogues are organized with “guest lecturers” and “tag-team” philosophical debates reflect Plato’s pedagogy in the Academy. Plato’s broadmindedness, his openness to various and opposing viewpoints, is also evident from both outside and inside of the dialogue. Lastly, drawing on the idea of Socratic mimēsis, I give a plausible curriculum for how Plato may have used the dialogues to teach them: he had his students “play” with them. Plato may have asked his students to enter into the roles of the characters in the dialogues to better understand them and the type of person they represent. Plato may have also asked students to take over from the position of the character in the dialogue and to suggest a better, truer account of things than what the characters said or did. (shrink)

This study presents a philosophy of attention that promotes authentic performance. As described here, attention is about training outgoing and ingoing attention skills, which can ultimately connect an individual to others and the world. This ability can help the individual remain focused and receptive to what happens while at the same time accepting their thoughts, feelings, and experiences. The ability to pay attention is crucial to performing and living authentically, regardless of the person's area of expertise. The (...) class='Hi'>philosophy of attention presented here is rooted in existential philosophy, flow psychology, mindfulness, and acceptance-based psychology. It aims to help individuals and organizations examine what they can do and how they can actualize their potential more freely and with greater clarity. This results in better performance and increased existential meaningfulness and joy, leading to a more dignified life. (shrink)

This article proposes that oral performance could be a philosophical activity in early China. The focus is on the Huainanzi, a densely rhymed philosophical treatise compiled by Liu An in the second century b.c.e. I show that the tome contains various sound-correlated poetic forms that are intended not only to enable textual performance but also, by means of aural mimesis, to encourage the intuitive understanding of its philosophical messages. Thus scholars of ancient poetry, philosophy, or intellectual history, (...) despite being habituated to reading silently and observing disciplinary boundaries, should be attentive to these sonic patterns in order to do justice to the poetic-cum-philosophical richness and originality of this text. More importantly, I argue that these poetic forms enable readers and audiences to experience, embody, and, above all, enact the Way through textual performance. Thanks to the sound patterns of the Huainanzi, the somatic processes of aural reading and philosophical praxis can occur simultaneously. Vocalization becomes an actionable and repeatable spiritual exercise, which facilitates the intuitive understanding and internalization of philosophical values. In other words, the perennial knowing–doing gap is heroically closed by the Huainanzi. / 淮南子的文本聲景：早期中國的詩歌、表演、哲學與實踐 / 王棕琦 / 本文論證早期中國的文本表演可以是一種具創造性的哲學活動，而非只是以聲音演繹書寫文本的朗讀活動。文中首先指出《淮南子》裏跟聲音有關的詩歌形式不但有助朗誦表演，更能讓讀者直觀感悟書中哲學思想而不落言筌。而 且，這些詩歌形式更讓讀者通過朗讀而實踐、內化書中所述之大道。可以說，《淮南子》對中國哲學的一大貢獻在於它將「知道」、「傳道」和「行道」三者合而為一。. (shrink)

This is a report on a philosophy performance that happened as part of the 2024 Long Night of Research in Austria. Maria Kronfeldner staged the content of her book “What’s left of Human Nature: A Post-Essentialist, Pluralist and Interactive Account of a Contested Concept,” (2018, MIT Press) by filling the wall in the gallery of CEU’s Library Café with pictures and text, performatively communicating the process of philosophical inquiry – the ordering of the material that one has found, (...) the creation of a coherent and complexly structured whole – to make philosophical research visible and graspable beyond the written text. The visual essay documents the event. (shrink)

Performativity plays a significant role avant la lettre in Classical German Philosophy. It is, among other things, a central component of original interpretations of the Absolute, the Subject, and Knowledge. Since the 2010s, there has been an increasing number of studies examining the performative in Kant, Fichte, Schelling, Hegel, Kierkegaard, Hölderlin, Novalis, Schliermacher, and Schlegel. This anthology picks up on this development. Through interdisciplinary contributions, performativity within Classical German Philosophy is explained and discussed, highlighting the hermeneutic and systematic (...) insights gained from performative interpretations. [In German: Performativität spielt avant la lettre in der Klassischen Deutschen Philosophie eine bedeutende Rolle. Sie ist u.a. ein zentraler Bestandteil originärer Interpretationen des Absoluten, des Subjekts oder auch des Wissens. Seit den 2010er Jahren mehren sich daher Untersuchungen, die dem Performativen bei Kant, Fichte, Schelling, Hegel, Kierkegaard, Hölderlin, Novalis, Schliermacher, und Schlegel. Dieser Sammelband greift diese Entwicklung auf. Anhand interdisziplinärer Beiträge wird Performativität innerhalb der Klassischen Deutschen Philosophie erläutert und diskutiert. Dabei wird der hermeneutische und systematische Ertrag performativer Interpretationen dargestellt.]. (shrink)

This paper addresses the question of the place for competition in philosophy by considering the example of the Philosothon, a popular school-based philosophy competition originating in Western Australia. Criticisms of this competition typically focus either on specific procedural problems, or else on the claim that the competitive spirit is inimical to collaborative philosophical inquiry. The former type of criticism is extrinsic to competitive philosophy per se, while the latter is intrinsic to it. Defenders of the Philosothon dismiss (...) both types of criticism by pointing to an allegedly ancient precedent, Socratic dialogue, as evidence that competition is not inimical to philosophy. If true, then procedural problems, where they can’t be eliminated or mitigated, can be accepted, on the basis that the Philosothon serves the greater good of promoting the practice of philosophy. My purpose in this paper is twofold. First, to explain both types of criticism based on a detailed description of the Philosothon’s rationale and procedures. Second, to challenge the promotional assertion used to dismiss the criticisms. Drawing on Plato scholarship, as well as research from social science, I suggest an alternative interpretation of the Philosothon, contrasting it with ancient philosophy and describing it instead in terms of ‘signalling’. (shrink)

In this essay, I argue that Søren Kierkegaard’s oeuvre can be seen as a theater of ideas. This argument is developed in three steps. First, I will briefly introduce a theoretical framework for addressing the theatrical dimension of Kierkegaard’s works. This framework is based on a distinction between“performative writing strategies” and “categories of performativity.” As a second step, I will focus on Repetition: A Venture in Experimenting Psychology, by Constantin Constantius, one of the best examples of Kierkegaard’s innovative way of (...) doing philosophy. This strange and elusive book introduces the difficult and counter-intuitive notion of repetition. Repetition is a category of performativity that aims to activate the subjectivity of the reader. This performative effect is achieved by confronting the reader with an “unresolved”existential problem that is not yet drawn into clarity but is staged in all its confusions and contradictions. Kierkegaard’s pseudonym Constantius relies here on a performative writing strategy that is animated by a dialectic of advance and withdrawal. In the last and third step, I will analyze Constantius’s own reflection on the performative dimension of his text. Constantius has left several clues behind, each of which suggests that he deliberately developed a performative writing strategy. (shrink)

Philosophers of music commonly distinguish performative from critical interpretations. I would like to suggest that the distinction between critical and performative interpretations is well captured by an analogy to legal critics and judges. This parallel draws attention to several features of performative interpretation that are typically overlooked, and deemphasizes epistemic problems with performative interpretations that I believe are typically blown out of proportion and ultimately fail to capture interesting features of performative interpretation. There is an important distinction to be made (...) between critical and performative interpretation, but its source lies in a difference between the authority of critical and performative interpretations. (shrink)

Deontic logic is standardly conceived as the logic of true statements about the existence of obligations and permissions. In his last writings on the subject, G. H. von Wright criticized this view of deontic logic, stressing the rationality of norm imposition as the proper foundation of deontic logic. The present paper is an attempt to advance such an account of deontic logic using the formal apparatus of update semantics and dynamic logic. That is, we first define norm systems and a (...) semantics of norm performatives as transformations of the norm system. Then a static modal logic for norm propositions is defined on that basis. In the course of this exposition we stress the performative nature of (i) free choice permission, (ii) the sealing legal principle and (iii) the social nature of permission. That is, (i) granting a disjunctive permission means granting permission for both disjuncts; (ii) non-prohibition does not entail permission, but the authority can declare that whatever he does not forbid is thereby permitted; and (iii) granting permission to one person means that all others are committed to not prevent the invocation of that permission. (shrink)

The term “performative” is used in at least two different senses. In the first sense, performatives are generatives, i.e. expressions by the use of which one creates new deontic states of affairs on the ground of extralinguistic conventions. In the second sense, performatives are operatives, i.e. expressions which contain verbal predicates and state their own utterances. In the article, both these types of expressions are compared to the class of imperatives which are characterized as expressions of the form “Let x (...) see to it that p” and typically express wishes. It is claimed that (1) only these imperatives are generatives which are uttered by deontic authorities, (2) no imperative is an imperative sensu stricto; (3) imperative operatives are used instead of “pure” imperatives in order to emphasize the force of resolution. (shrink)

Drama is a relatively unexplored tool in academic science education. This paper addresses in what way the use of drama may allow science students to deepen their understanding of recent developments in the emerging and controversial field of neuro-enhancement, by means of a case study approach. First, we emphasise the congruency between drama and science, notably the dramatic dimension of experimental research. Subsequently, we draw on educational literature to elaborate the potential of using drama as a teaching modality, specifically focusing (...) on the ethical and moral dimensions of future techno-scientific innovations. Our case study consisted of a drama experiment as a module in a philosophy course on human enhancement. Twenty-two students from various science disciplines performed multiple roles, as authors, actors, audience and reviewers. Qualitative data were collected on the educational process and student performance during the course, i.e. observations and video recordings of class discussions, group work and plays, interviews and questionnaires. Our drama experiment proved to be effective in enabling students to explore and relate to a future life world affected by enhancement technologies. It allowed them to deepen their awareness of social and ethical implications of neuro-technologies and of the different viewpoints people may have on this issue in academic, professional or everyday settings. Moreover, drama allowed them to develop a reflexive position of their own in the neuro-enhancement debate by enacting a moral dilemma in front of an audience. Our results confirm the potential of drama as a tool for exploring techno-scientific futures in science education. (shrink)

Some philosophers argue that we should be suspicious about shame. For example, Nussbaum endorses the view that shame is a largely irrational or unreasonable emotion rooted in infantile narcissism. This claim has also been used to support the view that we should largely abandon shaming as a social activity. If we are worried about the emotion of shame, so the thought goes, we should also worry about acts which encourage shame. I argue that this line of reasoning does not license (...) the leap from the critique of shame to the critique of shaming. This is because shaming does not always aim to inflict shame on its targets. Many acts of shaming (which I label ‘performative shaming’) should simply be understood as aiming to serve their characteristic function of shoring up social norms and standards. (shrink)

We reflect on the nature of corporate codes of conduct is this article. Based on John Austin’s speech act theory, four characteristics of a performative concept of corporate codes will be introduced: 1) the existential self-performative of the firm identity, 2) which is demanded by and responsive to their stakeholders; 3) Because corporate codes are structurally threatened by the possibility of failure, 4) embracing the code not only consists in actual corporate responsible behaviour in light of the code, but in (...) the incessant recapturing of the code in the struggle of firms against the possible incongruence between their ethical principles and their actual responsible behaviour. A performative concept of corporate codes helps to bridge classical dichotomies like individualist versus collectivist approaches of moral agency and restrictive versus empowering ethics, and opens a new perspective on the interaction between individual ethical behaviour and the corporate institutionalisation of codes. (shrink)

This thesis analyses Deleuze & Guattari’s notion of becoming through certain performative encounters in contemporary political art, and re-conceptualizes them as “art(s) of becoming”. Art(s) of becoming are actualizations of a non-representational –minoritarian– mode of becoming and creation as well as the political actions of fleeing quanta. The theoretical aim of the study is, on the one hand, to explain how Platonic Idealism is overturned by Deleuze’s reading of Nietzsche and Leibniz, and on the other hand, how Cartesian dualism of (...) mind and body is surpassed by following a Spinozistic theory of affects. In this respect, the dissertation has both theoretical and practical dimensions. Since art(s) of becoming are bodies without organs which constitute their own lines of flight through a process of minoration, the concepts of body, affect, becoming, and intensity are central to this study. For the same reason, this is an attempt to show the intersections of philosophical, political and aesthetic domains in Deleuze’s theory of sensation which is part of his general practice of philosophy, that is, a quest for establishing an ontology of immanence as opposed to identitarian metaphysics. (shrink)

I respond to a hypothetical critique of sport, drawing on primarily post-modernist sources, that would view the high performance athlete in particular as a product of the application of technical disciplines of power and that opposes sport and play as fundamentally antithetical. Through extensive discussion of possible definitions of play, and of performance, I argue that although much of the critique is valid it confuses a method of sport for the whole of it. Play is indeed a noncompellable (...) spontaneity, but one that involves the improvisational transformation of the technical skills of a sport within the context of a dynamic situation. Technique is a condition of heightened play; it does not produce it. This also means that the best play is not undisciplined. Play and sport can exist apart, but both are better combined. (shrink)

The aim is to examine the performative acts and gender constitution in the context of the Second British Invasion. Despite the pervasive character of patriarchy and the prevalence of sexual difference as an operative cultural distinction, gender was not passively scripted on the bodies of many British singers. The subversive performances did not exclude suffering and marginalization but simultaneously undermined compulsory coherence.

A traditional problem with the performative hypothesis is that it cannot assign proper truth-conditions to a declarative sentence. This paper shows that the problem is solved by adopting a multidimensional semantics on which sentences have more than just truth-conditions. This is good news for those who want to at least partially revive the hypothesis. The solution also brings into focus a lesson about what issues to consider when drawing the semantics/pragmatics boundary.

I want to know whether Chan masters and students depicted in classical Chan transmission literature can be interpreted as asking open (or what I will call “genuine”) questions. My task is significant because asking genuine questions appears to be a decisive factor in ascertaining whether these figures represent models for dialogue—the kind of dialogue championed in democratic society and valued by promoters of interreligious exchange. My study also contributes to a more comprehensive understanding of early Chan not only by detailing (...) contrasts between contemporary interests and classical Chan, but more importantly by paying greater attention to the role language and rhetoric play in classical Chan. What roles do questions play in Chan encounter dialogues, and are any of the questions genuine? Is there anything about the conventions of the genre that keeps readers from interpreting some questions in this way? To address these topics, I will proceed as follows. First, on a global level and for critical-historical context, I survey Chan transmission literature of the Song dynasty in which encounter dialogues appear, and their role in developments of Chan/Zen traditions. Second, I zoom in on structural elements of encounter dialogues in particular as a genre. Third, aligning with the trajectory of performative analyses of Chan literature called for by Sharf and Faure, I turn to develop and criticize a performative model of questions from resources in recent analytic and continental philosophy of language and I apply that model to some questions in encounter dialogue literature. (shrink)

This paper analyzes the ethics of performance-enhancing drugs in professional baseball from the perspective of ethical theories: Kantianism, libertarianism, and utilitarianism. It argues that none of these theories can explain why performance-enhancing drugs should be prohibited. The paper argues that virtue ethics is the best moral framework for understanding the ethical problem of performance-enhancing drugs and why their use should be prohibited.

This paper provides an account of improvisational artistry in live dance performance that construes the contribution of the dance performer as a kind of agency. Andy Clark’s theory of the embodied and extended mind is used in order to consider how this account is supported by research on how a thinking-while-doing person navigates the world. I claim here that while a dance performer’s improvisational artistry does include embodied and extended features that occur outside of the brain and nervous system (...) that this can be construed as “agency” rather than “thought.” Further I claim that trained and individual style accounts for how this agency acquires its artistic nature. This account thus contributes to the philosophy of improvisation in dance performance in a way that includes motor as well as cognized intentions. (shrink)

In Sect. 2, I will introduce what religious robots are and present examples of such robots. Then, in Sect. 3, I will discuss my project with a NAO robot at the Katholikentag. In Sect. 4, I will discuss anthropological and ethical questions related to religious robots. Thus, I will outline the direction in which research on religious robots can go, where the challenges lie, and highlight two key advantages. Finally, in Sect. 5, I conclude with an outlook for future research (...) on religious robots. - Puzio, Anna: A NAO Robot Performing Religious Practices. In: ET-Studies 15/1 (2024), pp. 129-140. DOI: 10.2143/ETS.15.1.3293070. (shrink)

In this paper I suggest that we look to improvisation in order to understand artistic creativity. Indeed, instead of being anti-artistic in nature, due to its supposed unpreparedness, inaccuracy, and repetitive monotony, improvisation in art exemplifies and 'fuels' artistic creativity as such. I elucidate the relationship between improvisation and artistic creativity in four steps. I discuss the concept of creativity in general (I) and in reference to art (II). Then I focus on the properties and the phenomenology of improvisation (III). (...) Finally, I explain why improvisation can be understood as an exemplifying instance of art creativity (IV). (shrink)

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

Expert skill in music performance involves an apparent paradox. On stage, expert musicians are required accurately to retrieve information that has been encoded over hours of practice. Yet they must also remain open to the demands of the ever-changing situational contingencies with which they are faced during performance. To further explore this apparent paradox and the way in which it is negotiated by expert musicians, this article profiles theories presented by Roger Chaffin, Hubert Dreyfus and Tony and Helga (...) Noice. For Chaffin, expert skill in music performance relies solely upon overarching mental representations, while, for Dreyfus, such representations are needed only by novices, while experts rely on a more embodied form of coping. Between Chaffin and Dreyfus sit the Noices, who argue that both overarching cognitive structures and embodied processes underlie expert skill. We then present the Applying Intelligence to the Reflexes (AIR) approach?a differently nuanced model of expert skill aligned with the integrative spirit of the Noices? research. The AIR approach suggests that musicians negotiate the apparent paradox of expert skill via a mindedness that allows flexibility of attention during music performance. We offer data from recent doctoral research conducted by the first author of this article to demonstrate at a practical level the usefulness of the AIR approach when attempting to understand the complexities of expert skill in music performance. (shrink)

Philosophy is a reflective activity. So perhaps it is unsurprising that many philosophers have claimed that reflection plays an important role in shaping and even improving our philosophical thinking. This hypothesis seems plausible given that training in philosophy has correlated with better performance on tests of reflection and reflective reasoning has correlated with demonstrably better judgments in a variety of domains. This article reviews the hypothesized roles of reflection in philosophical thinking as well as the empirical evidence (...) for these roles. This reveals that although there are fairly reliable links between reflection and philosophical judgment among both laypeople and philosophers, the role of reflection in philosophical thinking may nonetheless depend in part on other factors, some of which have yet to be determined. So progress in research on reflection in philosophy may require further innovation in experimental methods and psychometric validation of philosophical measures. (shrink)

Models not only represent but may also influence their targets in important ways. While models’ abilities to influence outcomes has been studied in the context of economic models, often under the label ‘performativity’, we argue that this phenomenon also pertains to epidemiological models, such as those used for forecasting the trajectory of the Covid-19 pandemic. After identifying three ways in which a model by the Covid-19 Response Team at Imperial College London may have influenced scientific advice, policy, and individual responses, (...) we consider the implications of epidemiological models’ performative capacities. We argue, first, that performativity may impair models’ ability to successfully predict the course of an epidemic; but second, that it may provide an additional sense in which these models can be successful, namely by changing the course of an epidemic. (shrink)

The emerging field of the philosophy of dance, as suggested by Aili Bresnahan, increasingly recognizes the problem that (especially pre‐modern) dance has historically focused on bodily perfection, which privileges abled bodies as those that can best make and perform dance as art. One might expect that the philosophy of dance, given the critical and analytical powers of philosophy, might be helpful in illuminating and suggesting ameliorations for this tendency in dance. But this is particularly a difficult task (...) since the analytic philosophy of dance is too young to have achieved a comprehensive treatment of dance per se, let alone to update such a treatment in line with the demands of social justice. As a step in that direction, the present article (a) summarizes dance theorists on disabled dance (as opposed to the dance of the temporarily able‐bodied, or TAB) and then applies (b) the philosophy of art and dance to disability, (c) the philosophy of disability to dance, (d) interdisciplinary disability theory to dance, and (e) my own Figuration philosophy of dance to disability, as inspired in part by John Dewey. (shrink)

Bad philosophy is responsible for the climate and nature crises, and other global problems too that threaten our future. That sounds mad, but it is true. A philosophy of science, or of theatre or life is a view about what are, or ought to be, the aims and methods of science, theatre or life. It is in this entirely legitimate sense of “philosophy” that bad philosophy is responsible for the crises we face. First, and in a (...) blatantly obvious way, those institutions, organizations, corporations, businesses, endeavours, and activities of humanity that cause the crises and global problems we face, do so because of the aims they pursue (profit perhaps, or power, or heat and light for homes), and the methods adopted in pursuit of those aims – the philosophy in other words, built into the institution, organization, business, human activities, or whatever it may be. It is the philosophy of these institutions, organizations and activities that we need to change to put a stop to, or at least lessen the severity of, the crises we face, the global problems that confront us, above all the climate and nature crises. One institution has an especially crucial role in this respect: our universities. They are dominated in a multitude of ways by a particularly disastrous philosophy, a philosophy of inquiry which may be called knowledge-inquiry. This holds that the basic aim of the university is to acquire and apply knowledge. First, knowledge is to be acquired; once acquired, it can be applied to help solve social problems. But this philosophy of knowledge-inquiry is an intellectual disaster. As a result, universities are, in devastating and almost entirely unrecognized ways, humanitarian disasters too. Judged from the standpoint of helping to promote human welfare, the university shaped by the philosophy of knowledge-inquiry violates THREE of the four most elementary rules of rational problem solving conceivable in a wholesale, structural fashion, and it is this gross, wholesale, structural irrationality of the university, unnoticed by all but a few scientists and scholars, that is in part responsible for the creation of our grave global problems, and our current incapacity to learn how to solve them. The pursuit of knowledge, conducted in universities, within the framework of knowledge-inquiry over the decades and centuries, has produced much of great benefit to humanity. It has made the modern world possible. It has led to modern power production, modern industry and armaments, modern agriculture, modern hygiene and medicine, modern travel and communications, and the internet. But these very successes have also created many of our most serious current global problems: the climate crisis; the destruction of natural habitats, the catastrophic loss of wild life, and impending mass extinction of species (the nature crisis); the lethal character of modern war; the impact on the natural world of the rapid growth of the human population; the menace posed by nuclear weapons; pollution of earth, sea and air; threats to democracy caused in part by the internet and social media. All these grave global problems have been made possible by modern science and technology, pursued largely in universities within the framework of knowledge-inquiry. Nevertheless, it is not science and technology as such that are the problem, but science pursued in a way that is dissociated from a more fundamental task of the university to help humanity resolve conflicts and problems of living in increasingly cooperatively rational ways, so that progress may be made to a better world. Science and technology, pursued within the framework of knowledge-inquiry, create for some of us the power to act, but not the power to act wisely – not the power to learn how to resolve conflicts and problems of living in increasingly cooperatively rational ways. For that, we need our institutions of learning, above all our universities, to take as their primary task to help humanity learn how to do it. In order to do that, the philosophy of inquiry put into practice by universities needs to be dramatically transformed. We urgently need to bring about a revolution in the overall aims and methods of academic inquiry – a revolution in the philosophy of the university, all around the world, wherever possible, so that the basic aim becomes to seek and promote wisdom, construed to be the capacity, active endeavour, and perhaps desire, to realize what is of value in life, for oneself and others, wisdom in this sense including knowledge, understanding and technological know-how, but much else besides, methods being dramatically modified too so as to help achieve the new academic aim. The basic task of the university would be, not to solve problems of knowledge, but rather to help people in the social world beyond the university to resolve conflicts and problems of living so that what is of value in life may be realized by everyone, insofar as that is possible. The pursuit of knowledge would be vital, but not intellectually fundamental. The intellectual and institutional revolution we so urgently need in our universities would affect every discipline and aspect of the university; it would dramatically affect both research and education, and the whole way the university is related to the rest of the social world. The revolution, from knowledge-inquiry to wisdom-inquiry would dramatically enhance the intellectual integrity and rationality of natural science, social inquiry, the humanities and technology, the character of these disciplines and the relationships they have with one another. University education throughout the university would be dramatically improved. And academic inquiry as a whole would do what, on the whole, it fails to do at present: it would help humanity resolve conflicts and problems of living in increasingly cooperatively rational and, as a result, increasingly successful ways, progress at last being made to a genuinely good, civilized world – a world in which there is peace, justice, liberal democracy, individual freedom, education, reasonable equality, sustainable prosperity and worthwhile opportunities in life, all of these for everyone, insofar as this is possible. Why, it may be asked, has academic philosophy not noticed that we urgently need to transform the current bad philosophy of inquiry of knowledge-inquiry into the far more intellectually rigorous and humanly valuable philosophy of wisdom-inquiry, so that we can begin to do what so far we have failed to do so lamentably: learn how to avoid impending disasters, and even make progress to a better world, something that seems at present almost unthinkable given the horrors of war, poverty, political enslavement of the 20th century, and the horrors of this century so far too? The answer is that academic philosophy is in a particularly pitiful state, as philosophers themselves, are just beginning to realize and lament. That is why academic philosophers are blind to the intellectual and humanitarian disaster of the bad philosophy that dominates universities today, and inconceivable to them to them that they might have, as a disciplinary task, to ensure academic inquiry implements a good philosophy of inquiry, and advocate and argue for change if it does not. Once upon a time, in Europe at least, philosophy was an intellectual power in the world. In the 17th century it created modern science which massively increased and improved our knowledge and understanding of the world, which in turn led to the Enlightenment, the industrial revolution, and the modern world. Philosophy was once so intellectually powerful and influential that it changed the course of history. But philosophy also made in the past three disastrous intellectual blunders: the post-Cartesian blunder, the post-Newtonian blunder, and the Enlightenment blunder. Never acknowledged and corrected by subsequent philosophy right down to the present, these unrecognized intellectual blunders rendered academic philosophy the esoteric, pathetic, and powerless discipline it is today, so that throughout the last century and, so far, throughout this one, academic philosophy has remained blind to the intellectual disaster of knowledge-inquiry, and thus failed entirely to take up its proper disciplinary task of warning fellow academics of the structural irrationality of the philosophy that prevails in the university, and of proposing what steps need to be taken to put things right. Instead of performing such an urgently needed philosophical task, so-called analytic philosophy was reduced to analysing the meaning of words. Since then, there has been hardly any discernible improvement, even if analysis of concepts no longer dominates the scene. Bad academic philosophy is indeed responsible for intellectual and humanitarian failures of the university. What the three past intellectual blunders of philosophy are, why their persistence so dramatically reduces academic philosophy to a triviality, and why, furthermore, this results in the failure of scientists and scholars to see what is so blatantly bad about the philosophy prevailing in universities around the world – the failure to see what so urgently needs to be done to put right what has been wrong for so long: all this is made clear in this book. A new kind of philosophy emerges during the course of the argument, critical fundamentalism, which has as its task to keep alive imaginative and critical – that is rational – thinking about our fundamental problem: How can our human world, the world we experience and live in – the world of living things, people, consciousness, free will, meaning and value – how can all of this exist and best flourish embedded as it is in the physical universe? That problem encompasses all others of life, science and thought. Critical fundamentalism tries to improve answers to aspects of this problem; but it also seeks to encourage everyone to think about the problem, from time to time, and think about how it interacts, in both directions, with more urgent particular and specialized problems of life and thought. Critical fundamentalism sets out to help improve bad philosophy wherever it is to be found: in social, political, commercial, legal, financial, and international life; and especially in academia, in institutions of learning, so that they become devoted to enhancing the capacity of people to learn how to achieve what is of genuine value in this brief life of a few decades if we are fortunate. Critical fundamentalism does everything it can to bring about the revolution in our universities we so urgently need. If taken up by mainstream philosophy, it might really have an impact, and begin to transform universities for the better, in both intellectual and humanitarian terms, and thus, enable humanity to learn how, after the grim failures and horrors of the last century and this one, to make progress to a better world. -/- . (shrink)

To find the neural substrates of consciousness, researchers compare subjects’ neural activity when they are aware of stimuli against neural activity when they are not aware. Ideally, to guarantee that the neural substrates of consciousness—and nothing but the neural substrates of consciousness—are isolated, the only difference between these two contrast conditions should be conscious awareness. Nevertheless, in practice, it is quite challenging to eliminate confounds and irrelevant differences between conscious and unconscious conditions. In particular, there is an often-neglected confound that (...) is crucial to eliminate from neuroimaging studies: task performance. Unless subjects’ task performance is matched (and hence perceptual signal processing is matched), researchers risk finding the neural correlates of perception, rather than conscious perception. Here, we discuss the theoretical motivations for the performance matching framework and review empirical demonstrations of, and theoretical inferences derived from, obtaining differences in consciousness while controlling for task performance. We summarize signal detection theoretic modeling frameworks that explain how it is that we can derive performance-matched differences in consciousness without the effect being trivially driven by differences in criterion setting, and also provide principles for designing experimental paradigms that yield performance-matched differences in awareness. Finally, we address potential technical and theoretical issues that stem from matching performance across conditions of awareness, and we introduce the notion of “triangulation” for designing comprehensive experimental sets that can better reveal the neural substrates of consciousness. (shrink)

The success of the early music movement has long raised questions about performing historical works: Should musicians perform on period instruments and try to reconstruct the original style? If a historically “authentic” performance is impossible or undesirable, what should be the goal of the early music movement? I turn to Gadamer to answer these questions by constructing the outlines of a hermeneutics of early music performance. In the first half of the paper, I examine Gadamer’s critique of historical (...) reconstruction and argue that this critique sheds light on mistaken tendencies and misunderstandings within the early music movement, but it does not discredit the movement as such. In the second half of the paper, I attempt to show how Gadamer’s dialogical account of historical consciousness provides a framework for understanding what historically informed performance is seeking to accomplish, as well as its advantage over a Nietzschean approach. (shrink)

Cet article a pour but d’étudier les perspectives que l’approche performative de la preuve fournit, afin de répondre à deux questions classiques liées à l’interprétation de l’argument cartésien : Cogito ergo sum. La première question est la suivante : quel type de contrainte logique ou non-logique ergo exprime-t-il dans la formulation de cet argument? La seconde question est celle-ci : quel type d’existence est manifesté par l’argument Cogito, ou Cogito ergo quis est ?

This dissertation examines the relationship that exists between two distinct and seemingly incompatible bodies of scholarship within the field of contemporary philosophy of technology. The first, as argued by postmodern pragmatist Barry Allen, posits that our tools and what we make with them are epistemically important; disputing the idea that knowledge is strictly sentential or propositional, he claims instead that knowledge is the product of a performance that is both superlative and artefactual, rendering technology importantly world-constituting. The second, (...) as argued by Heidegger and his inheritors, is that technology is ontologically problematic; rather than technology being evidence of performative knowledge, it is instead existentially threatening by virtue of the fact that it changes the tenor of our relationship with the world-as-given. Despite the fact that these claims seem prima facie incompatible, I argue that they may be successfully reconciled by introducing a third body of scholarship: the philosophy of photography. For it is the case, I argue, that although we, qua human beings, occupy lifeworlds that are necessarily constituted by technology, technology also induces a kind of phenomenological scepticism: a concern that mediated action precludes us from the possibility of authentic experience. Arguing in favour of the sentiment that photographs serve as a kind of phenomenal anchor—a kind of machine for living—I claim that photographic images provide a panacea to this existential concern: despite being epistemically problematic, it is this selfsame epistemic “specialness” of photographs that forces us to phenomenologically recommit, if only temporarily, to the world in a serious way. Consequently, it is my belief that an analysis of our artefacts and the way they function is fundamentally incomplete without an analysis of the epistemic and ontological problems introduced of the photographic image; as I will demonstrate, the photographic image casts an extremely long shadow over the philosophy of technology. (shrink)

In this paper, we aim to show that a study of Gilbert Ryle’s work has much to contribute to the current debate between intellectualism and anti-intellectualism with respect to skill and know-how. According to Ryle, knowing how and skill are distinctive from and do not reduce to knowing that. What is often overlooked is that for Ryle this point is connected to the idea that the distinction between skill and mere habit is a category distinction, or a distinction in form. (...) Criticizing the reading of Ryle presented by Jason Stanley, we argue that once the formal nature of Ryle’s investigation is recognized it becomes clear that his dispositional account is not an instance of reductionist behaviorism, and that his regress argument has a broader target than Stanley appears to recognize. (shrink)

Similarity and difference, patterns of variation, consistency and coherence: these are the reference points of the philosopher. Understanding experience, exploring ideas through particular instantiations, novel and innovative thinking: these are the reference points of the artist. However, at certain points in the proceedings of our Symposium titled, Next to Nothing: Art as Performance, this characterisation of philosopher and artist respectively might have been construed the other way around. The commentator/philosophers referenced their philosophical interests through the particular examples/instantiations created by (...) the artist and in virtue of which they were then able to engage with novel and innovative thinking. From the artists’ presentations, on the other hand, emerged a series of contrasts within which philosophical and artistic ideas resonated. This interface of philosopher-artist bore witness to the fact that just as art approaches philosophy in providing its own analysis, philosophy approaches art in being a co-creator of art’s meaning. In what follows, we discuss the conception of philosophy-art that emerged from the Symposium, and the methodological minimalism which we employed in order to achieve it. We conclude by drawing out an implication of the Symposium’s achievement which is that a counterpoint to Institutional theories of art may well be the point from which future directions will take hold, if philosophy-art gains traction. (shrink)

The purpose of this paper is to reconstruct Frege’s argument against the relativity of truth contained in his posthumous writing Logic from 1897. Two points are made. The first is that the argument is a performative version of the common objection that truth relativism is incoherent: it is designed to show that the assertion of the relativity of truth involves a performative incoherence, because the absoluteness of truth is a success condition for making assertions. From a modern point of view, (...) the central premise of the argument, that the successful making of assertions depends on the absoluteness of truth, is highly doubtful. The second point is that this premise can be made plausible within the framework of Frege’s conception of truth and assertion: it can be derived from his thesis that, in order to put something forward as true, we do not need the word ‘true’, but only the assertoric force. (shrink)

How should we theorize about the social world? How can we integrate theories, models and approaches from seemingly incompatible disciplines? Does theory affect social reality? This state-of-the-art collection addresses contemporary methodological questions and interdisciplinary developments in the philosophy of social science. Facilitating a mutually enriching dialogue, chapters by leading social scientists are followed by critical evaluations from philosophers of social science. This exchange showcases recent major theoretical and methodological breakthroughs and challenges in the social sciences, as well as fruitful (...) ways in which the analytic tools developed in philosophy of science can be applied to understand these advancements. The volume covers a diverse range of principles, methods, innovations and applications, including scientific and methodological pluralism, performativity of theories, causal inferences and applications of social science to policy and business. Taking a practice-orientated and interactive approach, it offers a new philosophy of social science grounded in and relevant to the emerging social science practice. (shrink)

The aims of this paper are fourfold. The first aim is to characterize two distinct forms of circumstantial moral luck and illustrate how they are implicitly recognized in pre-theoretical moral thought. The second aim is to identify a significant difference between the ways in which these two kinds of circumstantial luck are morally relevant. The third aim is to show how the acceptance of circumstantial moral luck relates to the acceptance of resultant moral luck. The fourth aim is to defuse (...) a legitimate concern about accepting the existence of circumstantial moral luck, namely the fact that its existence implies substantial moral risks. (shrink)

The exploration of laughter’s philosophical significance within the realm of performing arts, particularly the French classical theatre of the seventeenth century, reveals a profound connection to the comedic genre. This literary form, characterized by its gentle yet satirical nature, aims to critique and amend the behavioral and societal flaws of individuals. It often portrays a protagonist whose moral attributes and actions defy societal norms, depicted on stage in an exaggerated manner, amplified and interwoven with theatrical techniques such as verbal wit, (...) comedic behavior, and the humorous repetition of scenarios. Through this lens, comedic dialogue not only elicits laughter but also conveys an ethical message, emerging from the critique of society’s distasteful customs and pervasive misconceptions. The comic and humorous approach offers a fresh, conciliatory perspective on life, contrasting the somber, oppressive reality presented in tragedy, thus serving as a potent vehicle for engaging diverse social groups. This study briefly touches upon the history and evolution of the laughter element, or the comedic genre, within French literature of the sixteenth and seventeenth centuries. It delves into the critical issue and examines the techniques and performances that induce laughter in The Miser, extending the discussion to encompass the philosophy of laughter. (shrink)

This essay is concerned with two interrelated questions. First, a broad question: in what sense is Skepticism a philosophy− or in what sense is it “philosophy” (as we will see, these are not identical questions)? Second, a narrow one: how should we understand the process whereby ataraxia (freedom from disturbance) emerges out of epochē (suspension of judgment)? The first question arises because Skepticism is often portrayed as anti-philosophy. This depiction, I contend, surreptitiously turns a Skeptical method into (...) a so-called Skeptical doctrine which is then either condemned for being self-refuting or salvaged as a plausible (albeit odd) epistemological theory. Instead, philosophy, for the Skeptics, is a matter of practice. Skepticism is not so much a philosophy that has a worldview to proclaim as it is a philosophy that invites us to perform something. (shrink)

In recognizing the wide range of sensuous perception and at the same time the originary capacity of aesthetic experience, Mikel Dufrenne has shown us the rich capabilities of phenomenology. It is in that spirit that this essay explores musical performance. Music is a multiple art. Its many traditions, forms, genres, and styles, its large variety of instruments and sounds, and its diverse uses and occasions make it difficult to speak of music as a single art form. There are, nonetheless, (...) certain common characteristics that all musics share in the ordering of successive sounds and silences in movement, pattern, and studied length. And, of course, these sounds and silences must be devised and generated, usually by a person but increasingly by other means, especially electronic. Finally, music has its contexts, the particular occasions when it is produced and heard. Perhaps there is indeed a generic musical art, a common ground where all these disparities come together. (shrink)

By observing the mediating role of Pomarańczowa Alternatywa [Orange Alternative], the Polish artistic-activist formation of the 80s and 90s, this paper aims to determine the properties, values and ideals that make a piece of art a public act that can engage people from different social groups in play, and can allow them to reveal their self-determining agency in light of social change. Within the system of varying degrees of social permission, art should allow for the transition from the realm of (...) the “unofficial” to the realm of the “forbidden,” and should facilitate a transformation from the realm of thought to the realm of action. Art introduces an element of play into the sphere of collective behavior, and is a bridge over dichotomous social and political forces. (shrink)

Our private perception of listening to an individualized playlist during a jog is very different from the interaction we might experience at a live concert. We do realize that music is not necessarily a performing art, such as dancing or theater, while our demands regarding musical performances are conflicting: We expect perfect sound quality and the thrill of the immediate. We want the artist to overwhelm us with her virtuosity and we want her to struggle, just like a human. We (...) want to engage with the musical expression and rely on visual and physical cues. Considering that the ears of today's listeners are used to technologically mediated music, in this paper I explore the unique qualities of musical live performances and examine if our conception allows for new mechatronic inventions, in particular robotic musicians, to participate in this art form. Some of Godlovitch's main thoughts expounded in his work on "musical performance" [11] serve as a reference and starting point for this investigation. His concept of `personalism', which deprives computer-/program-based musical performances from expressive potential and creative accomplishment is an issue that I want to challenge by pointing out new approaches arising from a reective discourse on technology, embodiment and expression. The enquiry conducted illustrates, how in reasoning about machine performers and algorithmic realization of music, we also examine the perceptual, physical and social aspects of human musicianship, reconceptualizing our understanding of a musical live performance. (shrink)

This article addresses the inherently relational nature of musical agency, drawing upon interdisciplinary research. It argues that music does not exist in isolation but within social and emotional contexts shaped by a network of relationships among musicians. These interactions create a collaborative space that transcends mere technical execution, fostering a collective experience enriched by shared sensitivity and emotional engagement. Consequently, musical practice, whether compositional or performative, entails a moral responsibility, particularly challenging the perspectives of Levinas; Bauman; and Wilde, who traditionally (...) separated art from ethics. As outlined in Nielsen and Cobussen’s work “music contributes to a better understanding of one’s place within the world, and thus, to an ethical sensibility”, emphasizing how musical practice cultivates ethical awareness through its relational nature. Music is thus conceived as a moral endeavor, where care extends not only to the music itself but also to the individuals involved in its creation and performance. Moreover, this moral responsibility extends to future generations, as musical tradition is conceived as a temporal bridge linking the past, the present, and the future. The tradition is composed of individuals actively engaged in the practices that shape the tradition or traditions. Musicians bear an intergenerational responsibility toward those who will inherit and reinterpret current practices—a responsibility not grounded in direct reciprocity, but in what Randall describes as “conceptual ties”. The continuity of musical tradition and its aesthetic value depend on the care and responsibility each generation shows toward both the participants and the evolving cultural products of this process. Thus, the discussion elucidates the ethical dimensions of musical agency and practice, particularly in Western classical music, and highlights how our obligations to future generations are intrinsic to the practice itself, thereby contributing to broader debates on intergenerational care ethics. (shrink)

Western philosophy has been defined through the exclusion of non-Western forms of thought as non-philo-sophical. In this paper, I place the notion of what is “properly” philosophy into question by contrasting the essence/appearance paradigm governing Western metaphysics and its deconstructive critics with the more fluid, dynamic, and participatory forms of encountering and performatively enacting the world that are articulated in Chinese thinking and made apparent in Chinese painting. In this hermeneutical contrast, Western and Chinese thinking themselves are interpeted (...) as co-relational rather than as discrete, mutually indifferent or ethnocentrically nativist traditions. (shrink)

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

Boethius first identifies Philosophy in the 'Consolation' as his 'medica', his “healer” or “physician.” Over the course of the dialogue Philosophy exercises her medical art systematically. In the second book Philosophy first gives Boethius “gentler remedies” that are preparatory for the “sharper medicines” that she administers later. This article shows that, philosophically speaking, Philosophy’s “gentler remedies” amount to persuading Boethius toward Stoicism, which functions as an anesthetic for the more invasive philosophical surgery that she performs afterwards. (...) Seeing this, however, requires understanding how Philosophy draws out Boethius’s spiritedness in the first book and how in the second book she sublimates it into an intellectual and volitional apathy toward the things of fortune, i.e., into a Stoic attitude toward that which is other. Significantly, though, the Stoicism to which Philosophy leads Boethius is of a mitigated sort, inasmuch as friendship is not included among the things of fortune to which Boethius is anesthesized, an exception that opens up Boethius to genuine wonder and, consequently, to genuine philosophizing. (shrink)

Western Philosophy’s modern period has been very much shaped by a representationalism according to which “concepts” (earlier: “ideas”) assembled into “propositions” constitute the fundamental unit of meaning, thought, belief— and even, in the hands of 20th century philosophers such as G.E.M. Anscombe and Jaegwon Kim— action, conceived as performed under a description. What exactly a proposition consists in ontologically is not easy to explain in a manner consonant with prevailing scientific naturalism. But it is clearly a disembodied entity, some (...) kind of abstract object. But in human behaviour, much depends on not just what is done but how it is done (and this ‘how’ will possess a beginning, middle, and end denied to abstract objects). The ‘how’ may be understood as gesture, and Maddalena’s book takes a first pass across how a philosophy that takes this, rather than disembodied meanings, as its foundation might organise itself. The result is a fascinating wealth of germinal ideas, not all of which I have space to discuss here. (shrink)