As an important view in the epistemology of perception, dogmatism proposes that for any experience, if it has a distinctive kind of phenomenal character, then it thereby provides us with immediate justification for beliefs about the external world. This paper rejects dogmatism by looking into the epistemology of imagining. In particular, this paper first appeals to some empirical studies on perceptual experiences and imaginings to show that it is possible for imaginings to have the distinctive phenomenal character dogmatists (...) have in mind. Then this paper argues that some of these imaginings fail to provide us with immediate justification for beliefs about the external world at least partly due to their inappropriate etiology. Such imaginings constitute counterexamples to dogmatism. (shrink)

Does phenomenal force, the distinctive phenomenology attributed to perceptual experience, really form an integral part of the latter? If not, what implications does it have for perceptual justification? In this paper, I first argue for a metacognitive account, according to which phenomenal force constitutes a separate, metacognitive state. This account opens up a previously unexplored path for challenging phenomenal conservatism or dogmatism, which has been a prominent theory of perceptual justification over the past two decades. (...) Moreover, I investigate several alternative possibilities in which phenomenal force might still be deemed as significant, but ultimately demonstrate that its epistemic role remains marginal at best. (shrink)

According to phenomenal conservatism or dogmatism, perceptual experiences can give us immediate justification for beliefs about the external world in virtue of having a distinctive kind of phenomenal character—namely phenomenal force. I present three cases to show that phenomenal force is neither pervasive among nor exclusive to perceptual experiences. The plausibility of such cases calls out for explanation. I argue that contrary to a long-held assumption, phenomenal force is a separate, non-perceptual state (...) generated by some metacognitive mechanisms that monitor one’s first-order mental processes and states. This new account advances our understanding of the nature of phenomenal force. (shrink)

Contra both phenomenalists and anti-phenomenalists, I defend the following thesis in this paper: the epistemic power of perceptual experience is grounded in its presentational property that is (i) uniquely possessed by the experience in the good case and (ii) essentially a phenomenal property. In §2, I set the ground for my argument by elaborating on the phenomenalist account of presentational phenomenology. In §3, I argue (against phenomenalism) for the first part of the phenomenal presentation thesis: (i) perceptual experience’s (...) epistemic power is grounded in instances of a presentational property possessed by perceptual experience in the good, but not in the bad case. In §4, I argue (against anti-phenomenalists) for the second part of the phenomenal presentation thesis: (ii) presentational property is essentially a phenomenal property. In §5, I address some potential objections to the phenomenal presentation thesis. §6 concludes. (shrink)

Phenomenal transparency was once widely believed to be necessary for cognitive extension. Recently, this claim has come under attack, with a new consensus coalescing around the idea that transparency is neither necessary for internal nor extended cognitive processes. We take these recent critiques as an opportunity to refine the concept of transparency relevant for cognitive extension. In particular, we highlight that transparency concerns an agent’s employment of a resource – and that such employment is compatible with an agent consciously (...) apprehending (or attending to) a resource. This means it is possible for an object to be transparent and opaque to an agent, even at a single moment in time. Once we understand transparency in this way, the detractors’ claims lose their bite, and existing arguments for transparency’s necessity for cognitive extension return to apply with full force. (shrink)

Proponents of the extended mind have suggested that phenomenal transparency may be important to the way we evaluate putative cases of cognitive extension. In particular, it has been suggested that in order for a bio-external resource to count as part of the machinery of the mind, it must qualify as a form of transparent equipment or transparent technology. The present paper challenges this claim. It also challenges the idea that phenomenological properties can be used to settle disputes regarding the (...) constitutional status of bio-external resources in episodes of extended cognizing. Rather than regard phenomenal transparency as a criterion for cognitive extension, we suggest that transparency is a feature of situations that support the ascription of certain cognitive/mental dispositional properties to both ourselves and others. By directing attention to the forces and factors that motivate disposition ascriptions, we arrive at a clearer picture of the role of transparency in arguments for extended cognition and the extended mind. As it turns out, transparency is neither necessary nor sufficient for cognitive extension, but this does not mean that it is entirely irrelevant to our understanding of the circumstances in which episodes of extended cognizing are apt to arise. (shrink)

The phenomenal concept strategy (PCS) is widely regarded as the most promising physicalist defence against the so-called epistemic arguments—the anti-physicalist arguments that establish an ontological gap between physical and phenomenal facts on the basis of the occurrence of epistemic gaps in our descriptions of these facts. The PCS tries to undercut the force of the epistemic arguments by attributing the occurrence of the epistemic gaps to the special character of phenomenal concepts—the concepts by means of which (...) we think about our phenomenal experiences. In this essay, the author examines David Chalmers' master argument against the PCS and the objections raised against this argument by Peter Carruthers, Bénédicte Veillet and Katalin Balog in defending the PCS. While the author finds these objections to be successful defences of the PCS, the author shares Balog's belief that in this regard, the debate between the physicalists and anti-physicalists is a stalemate. (shrink)

Doxasticism about our awareness of normative (i.e. justifying) reasons – the view that we can recognise reasons for forming attitudes or performing actions only by means of normative judgements or beliefs – is incompatible with the following triad of claims: -/- (1) Being motivated (i.e. forming attitudes or performing actions for a motive) requires responding to and, hence, recognising a relevant reason. -/- (2) Infants are capable of being motivated. -/- (3) Infants are incapable of normative judgement or belief. -/- (...) It should be clear that (3) is true, given that infants lack the required reflective and conceptual capacities. So doxasticists have to reject either (1) or (2) (or both). But this forced choice may be understood as a dilemma for doxasticism. On the hand, doxasticists may adopt a Kantian approach and reject (2), precisely because they think that motivation presupposes the doxastic recognition of reasons, and because infants lack the capacity to doxastically recognise reasons. But this choice seems to wrongly reduce the responses of infants to mere reflexes or instinctive reactions. On the other hand, doxasticists may choose a Humean route and deny (1) by espousing a purely causal or teleological account of motivation. But this would mean detrimentally ignoring the normative nature of (some instances of) motivation. -/- One elegant way of avoiding this dilemma is to give up doxasticism and instead endorse experientialism – the view that we enjoy some experiential access to reasons, which is independent of, and perhaps more fundamental than, our capacity to form normative judgements and beliefs. In this talk, I would like to provide an argument for the existence of such a non-doxastic form of access to reasons. More specifically, I aim to defend the claim that our basic awareness of reasons is phenomenal in nature. What this means is that it forms part of our access from the inside to those of our mental episodes that provide us with access to reasons. In other words, when we introspectively attend to reason-giving mental episodes and what they are about, we have the impression of the presence of a reason for us. My defence of this experientialist alternative to doxasticism will primarily focus on perceptual reasons for first-order beliefs about the external world. (shrink)

According to the phenomenal conservatives, beliefs are justified by non-doxastic states we might speak of as ‘appearances’ or ‘seemings’. Those who defend the view say that there is something self-defeating about believing that phenomenal conservatism is mistaken. They also claim that the view captures an important internalist insight about justification. I shall argue that phenomenal conservatism is indefensible. The considerations that seem to support the view commit the phenomenal conservatives to condoning morally abhorrent behavior. They can (...) deny that their view forces them to condone morally abhorrent behavior, but then they undercut the defenses of their own view. (shrink)

Perceptions guide our actions and provide us with evidence of the world around us. Illusions and hallucinations can mislead us: they may prompt as to act in ways that do not mesh with the world around us and they may lead us to form false beliefs about that world. The capacity view provides an account of evidence that does justice to these two facts. It shows in virtue of what illusions and hallucinations mislead us and prompt us to act. Moreover, (...) it shows in virtue of what we are in a better epistemic position when we perceive than when we hallucination. In this paper, I develop the capacity view, that is, the view that perceptual experience has epistemic force in virtue of the epistemic and metaphysical primacy of the perceptual capacities employed in perception. By grounding the epistemic force of experience in facts about the metaphysical structure of experience, the capacity view is not only an externalist view, but moreover a naturalistic view of the epistemology of perceptual experience. So it is an externalist and naturalistic alternative to reliabilism. I discuss the repercussions of this view for the justification of beliefs and the epistemic transparency of mental states, as well as, familiar problem cases. (shrink)

This paper defends and develops the capacity view against insightful critiques from Matt McGrath, Adam Pautz, and Ram Neta. In response to Matt McGrath, I show why capacities are essential and cannot simply be replaced with representational content. I argue moreover, that the asymmetry between the employment of perceptual capacities in the good and the bad case is sufficient to account for the epistemic force of perceptual states yielded by the employment of such capacities. In response to Adam Pautz, (...) I show why a perceiver’s belief is better justified than the belief of someone who suffers a subjectively indistinguishable hallucination. I show, moreover, why the capacity view is compatible with standard Bayesian principles and how it accounts for degrees of justification. In response to Ram Neta, I discuss the relationship between evidence and rational confidence, as well as the notion of evidence in light of an externalism about perceptual content. (shrink)

Huckleberry Finn believes that by helping Miss Watson’s slave Jim escape to freedom, he is doing something wrong. But Huck does it anyway—and many want to give him moral credit for this choice. If Huck is to be worthy of such moral esteem, however, it seems there must be some implicit way of appreciating and responding to considerations as moral reasons that does not involve explicitly believing that those considerations are moral reasons. This chapter argues that an agent like Huck (...) can implicitly appreciate a consideration as a moral reason to φ by presenting it under the light of a particular phenomenologically-mediated mode of presentation: one that presents that consideration via the light of a felt directive force “pointing” towards φ-ing—lending weight to it, or soliciting it—in a particular authoritative way. Thus, I suggest, Huck may be understood on analogy with a young jazz piano virtuoso. As she may appreciate that the G-seventh chord having been played just so constitutes an aesthetic reason for her to ease into the C-major-seventh chord just so by virtue of experiencing the former as pointing or directing her to the latter, so also, I propose, Huck may appreciate the considerations speaking in favor of helping Jim as moral reasons to help Jim by virtue of experiencing them as pointing or directing him to help Jim. The chapter also examines and rejects four alternative proposals for how to account for implicit reasons-appreciation: first, a de re account of appreciation and then three additional accounts of appreciation derived from major theories of mental representation (inferentialist, causal tracking, and functionalist theories). (shrink)

Projectivism is the thesis that we project at least some subjective aspects of perception into what we experience as the world outside ourselves. It is familiar from various phantom pains, afterimages, and hallucinations. Strong Projectivism asserts that all perceptual experiences involve and only involve direct awareness of projected elements. Strong Projectivism is an unpopular and I argue underappreciated variety of intentionalism (or representationalism). It straightforwardly explains the transparency of experience (section 2) and phenomena qualia theorists offer to avoid intentionalism such (...) as blurry vision and spectrum inversion (section 3). Finally, projectivism illuminates residual qualia-friendly cases involving imagination and emotion (section 4). Ultimately, instances of non-projected, non-intentional aspects of experience are hard to identify. Thus, the notion of phenomenal presence drawn from projectivism does justice to a great many of the forces at play in debates surrounding qualia and intentionalism. We should bound toward Strong Projectivism. (shrink)

The so-called transparency of experience (TE) is the intuition that, in introspecting one’s own experience, one is only aware of certain properties (like colors, shapes, etc.) as features of (apparently) mind-independent objects. TE is quite popular among philosophers of mind and has traditionally been used to motivate Representationalism, i.e., the view that phenomenal character is in some strong way dependent on intentionality. However, more recently, others have appealed to TE to go the opposite way and support the phenomenal (...) intentionality view (PIV), according to which intentionality is in some strong way dependent on phenomenal character. If this line of argument succeeds, then not only TE does not speak in favor of Representationalism, but it actually speaks against it, contrary to the philosophical common-sense of the last two decades. Moreover, the representationalist project of naturalizing phenomenal character turns out to be seriously undermined on the same intuitive grounds that were supposed to make it plausible. In this paper, I reconstruct and discuss the line of argument from TE to PIV and argue that our introspective intuitions (TE) do not push us in the direction of PIV. On the contrary, the line of argument from TE to PIV is (at best) simply too weak to force us to conclude that intentionality depends on phenomenal character in the sense required for PIV to be true. (shrink)

A commonly-discussed feature of perceptual experience is that it has ‘assertoric’ or ‘phenomenal’ force. We will start by discussing various descriptions of the assertoricity of perceptual experience. We will then adopt a minimal characterization of assertoricity: a perceptual experience has assertoric force just in case it inclines the perceiver to believe its content. Adducing cases that show that visual experience is not always assertoric, we will argue that what renders these visual experiences non-assertoric is that they are (...) penetrated by belief-like imaginings. Lastly, we will explain why it is that when belief-like imaginings—as opposed to beliefs (and other cognitive states)—penetrate visual experience, they render visual experiences non-assertoric. (shrink)

I respond to Chalmers’ (2006, 2010) objection to the Phenomenal Concept Strategy (PCS) by showing that his objection is faced with a dilemma that ultimately undercuts its force. Chalmers argues that no version of PCS can posit psychological features that are both physically explicable and capable of explaining our epistemic situation. In response, I show that what Chalmers calls ‘our epistemic situation’ admits either of a phenomenal or of a topic-neutral characterization, neither of which supports Chalmers’ objection. (...) On the one hand, if our epistemic situation is characterized phenomenally, then Chalmers’ demand that PCS should explain our epistemic situation is misplaced. PCS can explain our epistemic situation only if there is a reductive explanation of consciousness. But according to PCS, no reductive explanation of consciousness can be given. On the other hand, if our epistemic situation is characterized topic-neutrally, then PCS is not only physically explicable, but it also explains our epistemic situation. Either way, PCS is safe. (shrink)

Body dissatisfaction has long been considered an integral component of and driving force behind anorexia nervosa. In this paper, I characterise body dissatisfaction in terms of problematic beliefs about body size and the value of thinness. I suggest two methods for understanding these beliefs. Regarding body size beliefs, I suggest focusing on certain forms of misleading phenomenal evidence that sufferers of anorexia nervosa are exposed to. Regarding beliefs about the value of thinness, I suggest focusing on the benefits (...) of such beliefs. (shrink)

A general definition of consciousness is: ‘consciousness is a mental aspect of a system or a process, which is a conscious experience, a conscious function, or both depending on the context’, where the term context refers to metaphysical views, constraints, specific aims, and so on. One of the aspects of visual consciousness is the visual subjective experience (SE) or the first person experience that occurs/emerges in the visual neural-network of thalamocortical system (which includes dorsal and ventral visual pathways and frontal (...) cortex) during dynamic interactions among widely distributed neuronal groups. In this article, however, consciousness and SE are interchangeably used unless noted. Consciousness can be either access (reportable) or phenomenal consciousness. For access consciousness, the interactions are between feed forward stimulus dependent signals and fronto-parietal feedback attentional signals. The necessary ingredients for access (reportable) consciousness are (i) wakefulness, (ii) reentrant interactions among neural populations, (iii) fronto-parietal and thalamic-reticular-nucleus attentional signals that modulate consciousness, (iv) working memory that retains information for consciousness, (v) stimulus at or above threshold level, and (vi) neural-network proto-experiences (PEs) that are superposed SEs embedded in a neural-network. Attention and the ability to report are not necessary for phenomenal consciousness. The neural source for the arousal system is the ascending reticular activating system in the brain stem, which brings the thalamocortical neural networks to wakeful state as a baseline for consciousness to occur. Reentrant interactions among neural populations bind stimulus attributes (such as location and features) and entail consciousness. Attention could be the results of reentry and competitive interactions, and modulates the stimulus related feed forward signal and consciousness. The ‘sources’ of attention may be thalamic reticular nucleus for bottom-up or frontal cortex for top-down direction. The ‘target’ of visual attention is ‘V4/V8/VO’ for Red-Green (R-G) channel. The neural correlates of the psychophysical entity R-G channel appear to be ‘V4/V8/VO’-neural-network (retina → LGN ↔ V1 ↔ V2 ↔ ‘V4/V8/VO’, and areas for attention, memory, and wakefulness). The psychophysical Red-Green Channel, its neurophysiological correlates V4/V8/VO-neural-network, and related experience (such as redness) are integrated. The dual-aspect-dual-mode PE-SE framework (Vimal, J Integr Neurosci 7:49–73, 2008) was used to address the explanatory gap problem of materialism. Neural-network and related SEs are the results of the co-evolution and co-development of the material aspect (mass, charge, spin, force, quanta, and space-time) and the mental aspect of fundamental particles (strings or elementary particles (fermions and bosons)). Their mental aspects are considered as the carriers of superposed multiple possible experiences (SEs/PEs) in unexpressed form. These possibilities are actualized when neural-networks are formed via neural Darwinism, and a specific SE is selected by a matching process when the necessary ingredients of consciousness/SE are satisfied. A simple experimental design is suggested to address the necessary and sufficient attributes of consciousness. (shrink)

This dynamical interpretation of the continuum is based on a threefold perspective. First, detailed differentiation of all standard realms of Leibnizian Weltanschauung – (R real), (P phenomenal), (I ideal). Second, analysis of the scope of the Law of Continuity famously formulated by Leibniz and mapping it onto this (RPI) structure. Third, finding the precise place of dynamics and force in this (RPI) continuum.

Artificial Intelligence is at a turning point, with a substantial increase in projects aiming to implement sophisticated forms of human intelligence in machines. This research attempts to model specific forms of intelligence through brute-force search heuristics and also reproduce features of human perception and cognition, including emotions. Such goals have implications for artificial consciousness, with some arguing that it will be achievable once we overcome short-term engineering challenges. We believe, however, that phenomenal consciousness cannot be implemented in machines. (...) This becomes clear when considering emotions and examining the dissociation between consciousness and attention in humans. While we may be able to program ethical behavior based on rules and machine learning, we will never be able to reproduce emotions or empathy by programming such control systems—these will be merely simulations. Arguments in favor of this claim include considerations about evolution, the neuropsychological aspects of emotions, and the dissociation between attention and consciousness found in humans. Ultimately, we are far from achieving artificial consciousness. (shrink)

The Perky experiments are taken to demonstrate the phenomenal similarity between perception and visualization. Robert Hopkins argues that this interpretation should be resisted because it ignores an important feature of the experiments, namely, that they involve picture perception, rather than ordinary seeing. My aim is to point out that the force of this argument depends on one’s views on picture perception. On what I take to be the most mainstream account of picture perception, Hopkins’s argument does not work. (...) But even if we accept Hopkins’s own account, we have good reasons to believe that his conclusion does not follow. (shrink)

I defend the thesis that most or all perceptual experiences are infused with imaginative contributions. While the idea is not new, it has few supporters. I begin by developing a framework for the underlying debate. Central to that framework is the claim that a perceptual experience is infused with imagination if and only if there are self-generated contributions to that experience that have ampliative effect on its phenomenal and directed elements. Self-generated ingredients to experience are produced by the subject (...) as opposed to being received from the world. Some form of stored content is an obvious starting point. Ampliative effects are aspects of perceptual experience that outstrip the content the senses get from the world. This conceptual framework is applied to three case studies: object-sameness and object-kind recognition (section 2), memory colour (section 3), and perceptual constancy and amodal completion (section 4). If the three cases and my overall analysis are accepted (a substantive if), then we have a forceful inductive argument for perception being infused with imagination. (shrink)

Richard Shusterman suggested that Maurice Merleau-Ponty neglected “‘lived somaesthetic reflection,’ that is, concrete but representational and reflective body consciousness.” While unsure about this assessment of Merleau-Ponty, lived somaesthetic reflection, or what the late Sam Mallin called “body phenomenology”—understood as a meditation on the body reflecting on both itself and the world—is my starting point. Another is John Dewey’s bodily theory of perception, augmented somewhat by Merleau-Ponty. -/- With these starting points, I spent roughly 20 hours with St. Benedict Restores Life (...) to a Young Monk (c. 1360), a work of tempera and gold leaf on panel, by Giovanni Del Biondo, active in Italy from 1356 to 1398, on display in the Art Gallery of Ontario’s permanent collection. Following Dewey’s suggestion that “[t]he eye ... is only the channel through which a total response takes place,” meaning that motor, emotional, intellectual and non-visual perceptual capacities become active when we encounter paintings, I describe how the work engaged a range of bodily modalities; and how reflecting on these, in turn, supplied phenomenal articulations of life negating, preserving and enhancing forces important in the culture that produced it, and famously discussed by Friedrich Nietzsche. By virtue of the approach adopted, I also demonstrate Dewey’s belief that intimate engagement with art entails a total coordination of one’s capacities around the artwork, while simultaneously reinforcing Merleau-Ponty’s ideas about perception and how we can find phenomenal articulations of concepts such as the Nietzschean ones just mentioned. While focusing on Del Biondo’s painting, my main purpose is to engage in body phenomenology practices, and to show, in the words of Shusterman, how “[w]e might sharpen our appreciation of art through more attention to our somaesthetic feelings involved in perceiving art” and indeed the world. (shrink)

Delineating the framework for a fundamental model of long-range coherence in biological systems is said to rely on principles beyond parameters addressed by current physical science. Just as phenomena of quantum mechanics lay beyond tools of classical Newtonian mechanics we must now enter a 3rd regime of unified field, UF mechanics. In this paper we present a battery of nine empirical protocols for manipulating long-range coherence in complex self-organized living systems (SOLS) in a manner surmounting the Copenhagen Interpretation of quantum (...) uncertainty (space-quantization) thereby allowing empirical access to underlying coherent biophysical principles driving self-organization. Interestingly, while the UF is not indicative of a 5th fundamental force in the usual phenomenal sense of quantal transfer during field interactions; it does however provide an inherent ‘force of coherence’ in an energyless ontological sense by a process called ‘topological switching’ of higher dimensional (HD) brane dynamics. It is this putative inherent property that produces long-range coherence and leads to the possibility of its direct experimental mediation. (shrink)

Your belief that Obama is a Democrat would not be the belief that it is if it did not represent Obama, nor would the pain in your ankle be the state that it is if, say, it felt like an itch. Accordingly, it is tempting to hold that phenomenal and representational properties are essential to the mental states that have them. But, as several theorists have forcefully argued (including Kripke (1980) and Burge (1979, 1982)) this attractive idea is seemingly (...) in tension with another equally attractive thesis, namely, the token-identity thesis; the thesis according to which every mental state token is identical with some or other token physical state. In this paper, we show that these seemingly incontrovertible essentialist intuitions are in fact compatible with “token physicalism” regarding the mental. Given a suitably plentitudinous ontology of objects, we argue that there are physical things with which our token mental states can be identified. This is preferable to existing views that give up the essentiality claims or simply reject the token-identity thesis. (shrink)

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)

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)

How does one know the phenomenal character of one’s own experience? I aim to present and defend a new view of the epistemology of qualia that addresses this issue. My view results from a reworking of Dretske’s displaced perception model. The guiding line is the key Wittgensteinian insight of his Private Language Argument, namely the claim that no inner perception of qualia can justify our corresponding qualia-beliefs. My reworking of the original model starts with the rejection of Dretske’s representationalism, (...) as well as any other metaphysical views about the ultimate nature of qualia. The reworking of the displaced perception model I am proposing is supposed to be compatible with any available meta- physical view on qualia. The second step consists of rejecting the epistemological misgivings of the original model, namely the view that knowing qualia requires “connecting beliefs” along with “meta-representations.” Yet, Dretske’s crucial mistake has been to force knowledge of qualia into the “belief-box.” As a matter of fact, there is only one belief involved in intro- specting qualia, namely the qualia-belief itself. The third final step is this. Assuming the key Wittgensteinian insight, I argue that introspection of qualia is a process that is both epis- temically reliable and automatic. It is reliable because it dispenses with justification of any beliefs whatsoever. Moreover, it is automatic because it also dispenses with reflexive con- necting beliefs. For example, it takes nonconceptual awareness of the color blue as an input and automatically yields the belief that phenomenal blue is the conscious character of my experience of the sky as an output just by employing the concept BLUE. (shrink)

How does one know the phenomenal character of one’s own experience? I aim to present and defend a new view of the epistemology of qualia that addresses this issue. My view results from a reworking of Dretske’s displaced perception model. The guiding line is the key Wittgensteinian insight of his Private Language Argument, namely the claim that no inner perception of qualia can justify our corresponding qualia beliefs. My reworking of the original model starts with the rejection of Dretske’s (...) representationalism, as well as any other metaphysical views about the ultimate nature of qualia. The reworking of the displaced perception model I am proposing is supposed to be compatible with any available metaphysical view on qualia. The second step consists of rejecting the epistemological misgivings of the original model, namely the view that knowing qualia requires “connecting beliefs” along with “meta-representations.” Yet, Dretske’s crucial mistake has been to force knowledge of qualia into the “belief-box.” As a matter of fact, there is only one belief involved in introspecting qualia, namely the qualia-belief itself. The third final step is this. Assuming the key Wittgensteinian insight, I argue that introspection of qualia is a process that is both epis- temically reliable and automatic. It is reliable because it dispenses with justification of any beliefs whatsoever. Moreover, it is automatic because it also dispenses with reflexive connecting beliefs. For example, it takes nonconceptual awareness of the color blue as an input and automatically yields the belief that phenomenal blue is the conscious character of my experience of the sky as an output just by employing the concept BLUE. (shrink)

I begin by considering a question that has driven much scholarship on transcendental idealism: are appearances numerically identical to the things in themselves that appear, or numerically distinct? I point out that much of the debate on this question has assumed that this is equivalent to the question of whether they are the same objects, but go on to provide textual, historical, and philosophical evidence that “object” (Gegenstand) and “thing” (Ding) have different meanings for Kant. A thing is a locus (...) of intensively gradable causal force, reality. I argue that appearances and things in themselves are not identical as objects, because the very concept of object-identity is tied, for Kant, to the concept of an intellect that would cognize the numerical identity of the objects in question. Because no intellect can be both discursive and intellectual, no intellect could cognize the numerical identity of objects across the phenomenal/noumenal divide, and thus the claim that they are identical has no content. However, the very same things, the same reality, can be given to our sensible intellects, and to divine intuitive intellect, as two non-overlapping domains of objects. Identity readers are thus shown to be right about the same thing relation, while non-identity readers are vindicated on the numerical identity of objects. (shrink)

Jakob Ohlhorst | : This paper introduces the concept of tragic self-deception. Taking the basic notion that self-deception is motivated belief against better evidence, I argue that there are extreme cases of self-deception even when the contrary evidence is compelling. These I call cases of tragic self-deception. Such strong evidence could be argued to exclude the possibility of self-deception; it would be a delusion instead. To sidestep this conclusion, I introduce the Wittgensteinian concept of certainties or hinges: acceptances that are (...) beyond evidential justification. One particular type of certainties—iHinges, which are adopted for motivational reasons—explain the phenomenon of tragic self-deception: they warrant the subject’s dismissal of the evidence without loss of rationality from the subject’s point of view. Subsequently, I deal with some objections that can be raised against this account of self-deception. | : Cet article présente le concept d’auto-illusion tragique. En prenant la notion de base selon laquelle l’auto-illusion consiste en une croyance motivée à l’encontre de meilleures preuves, je soutiens qu’il existe des cas extrêmes d’auto-illusion qui persistent même face à des preuves contradictoires incontestables. J’appelle ces cas : auto-illusion tragique. On pourrait soutenir que des preuves d’une telle force excluent la possibilité d’auto-illusion et qu’il s’agirait plutôt de délire. Afin d’éviter cette conclusion, j’introduis le concept wittgensteinien de certitudes ou de propositions charnières : des admissions qui se situent au-delà d’une justification de nature probante. Un type de certitudes en particulier – iHinges, qui sont adoptées pour des raisons d’ordre motivationnel – rend compte du phénomène d’auto-illusion tragique. Ces certitudes justifient que le sujet rejette la preuve sans que cela implique, de son propre point de vue, une perte de rationalité. Subséquemment, je traite de certaines objections qui peuvent être soulevées contre cette explication de l’auto-illusion. (shrink)

The article explains my third argument for panpsychism, based on disolving all properties, including dispositional physical properties like mass, energy, and force, into phenomenal properties. I thus reject a dual-property version of panpsychism. I seek to show, contrary to Paul Churchland, that the general panpsychist hypothesis has some explanatory value, and makes a cosmology consisting in comparative psychology possible. The mental life even of so-called physical particles in physics is hypothesized to help explain their behavior.

Even if we grant that the concept of force has an important place in Schopenhauer’s view of natural sciences and that we definitely should avoid treating Schopenhauer’s theory of the will as a scientific hypothesis, it still does not follow that dynamic concepts would not be of utmost importance for metaphysics as Schopenhauer conceives it. A careful analysis that takes into account the context provided by early modern thinkers reveals that Schopenhauer’s system is based on an elaborate theory in (...) which the concepts of force and striving play a key role, and that this underpins a line of thought essentially dynamistic in character both with regard to phenomenal and noumenal realms. Understanding Schopenhauer’s twofold dynamism and its conceptual architecture allows us not only to gain insight into the nature of his metaphysical enterprise by designating its place within the context of this book, but also to obtain a better grasp of his view of the relationship between the noumenal and phenomenal realms. I also suggest a reading of Schopenhauer’s doctrine of the phenomenal world in which it is interpreted as a dynamic field of matter. (shrink)

This paper is founded on a close reading of Kant’s Opus Postumum in order both to explore the essential motivation that drove Kant to write a last comprehensive magnum opus and, by doing so, to show the essential link between his aesthetics and the idea of Übergang, the title of this last work. For this work contains not only his dynamical theory of matter defining motion as preliminary to the notions of space and time, and the advanced version of his (...) philosophy of natural science, but also his arguments for the phenomenal validity of the metaphysical foundations, his teachings on the aesthetic human faculties of judgment and Anschauung, and the discernment of the transcendental philosophy from Platonic idealism carrying it to a cosmological level, i.e. Kant’s insertion of the concept of cosmotheoros. Since the process of transition is an aesthetic process based on human senses, intuitions and judgments, the argument will follow that in order to explicate Übergang, we need to reconcile cosmology, as the oldest branch of philosophy dealing with the interactions between the cosmic forces and the ways they affect human life, with aesthetics, as the youngest branch of philosophy dealing with how we sense, intuit and judge the form and motion of matter. Therefore, in the last analysis, Übergang becomes rather a cosmologic-aesthetic principle similar to the Heraclitean logos. Another building block of the paper is the fruitful comparison between the Kantian sublime and Nietzschean Dionysian, which are going to be construed as the aesthetic theories on human understanding representing the transition from nature to art. For they are not only conceptual – aesthetic but also dynamic – cosmological theories due to their reference both to nature and to human nature. (shrink)

A step towards constructing an ethics of international activism is proposed by formulating a series of constraints on what would constitute morally permissible agency in the context that involves delivering services abroad, directly or indirectly. Perhaps surprisingly, in this effort the author makes use of the concept of ‘force multiplier’. This idea and its official applications have explanatory importance in considering the correlation between the post-Cold War phenomenal growth in the number of international non-governmental organizations and the emergence (...) of the US as the sole, unchallenged superpower. Four moral constraints useful for morally assessing international activism are formulated and defended. The final outcome is an argument in favor of an overarching duty for any activist-minded Westerner to go local, while developing nations are urged to closely regulate, even criminalize, activities by international activists and ‘human rights organizations’ on their territory when not in solidarity or in support of local movements. The position defended, urging the normative primacy of local over international activism, also finds support in Immanuel Kant’s Third Definitive Article for A Perpetual Peace. (shrink)

Any philosophy of science ought to have something to say about the nature of mathematics, especially an account like constructive empiricism in which mathematical concepts like model and isomorphism play a central role. This thesis is a contribution to the larger project of formulating a constructive empiricist account of mathematics. The philosophy of mathematics developed is fictionalist, with an anti-realist metaphysics. In the thesis, van Fraassen's constructive empiricism is defended and various accounts of mathematics are considered and rejected. Constructive empiricism (...) cannot be realist about abstract objects; it must reject even the realism advocated by otherwise ontologically restrained and epistemologically empiricist indispensability theorists. Indispensability arguments rely on the kind of inference to the best explanation the rejection of which is definitive of constructive empiricism. On the other hand, formalist and logicist anti-realist positions are also shown to be untenable. It is argued that a constructive empiricist philosophy of mathematics must be fictionalist. Borrowing and developing elements from both Philip Kitcher's constructive naturalism and Kendall Walton's theory of fiction, the account of mathematics advanced treats mathematics as a collection of stories told about an ideal agent and mathematical objects as fictions. The account explains what true portions of mathematics are about and why mathematics is useful, even while it is a story about an ideal agent operating in an ideal world; it connects theory and practice in mathematics with human experience of the phenomenal world. At the same time, the make-believe and game-playing aspects of the theory show how we can make sense of mathematics as fiction, as stories, without either undermining that explanation or being forced to accept abstract mathematical objects into our ontology. All of this occurs within the framework that constructive empiricism itself provides the epistemological limitations it mandates, the semantic view of theories, and an emphasis on the pragmatic dimension of our theories, our explanations, and of our relation to the language we use. (shrink)

Tschumi believes that the quality of architecture depends on the theoretical factor it contains. Such a view led to the creation of architecture that would achieve visibility and comprehensibility only after its interpretation. On his way to creating such an architecture he took on a purely philosophical reflection on the basic building block of architecture, which is space. In 1975, he wrote an essay entitled Questions of Space, in which he included several dozen questions about the nature of space. The (...) questions he formulated could be regarded as analogous to the situation in the philosophy of the time, in which the interest in questioning the most obvious forms of understanding the world and intellectual categories increased. The research on space is an area common to many fields of natural sciences, humanities and artistic creation, but it also deals with other problems, such as issues of experience. The concept of space-time continuum proposed by Hermann Minkowski drew attention to the identity of time and space with the events taking place. Probably regardless of the postulates of physicists commenting on Einstein’s discoveries, also in philosophy it increased the importance of the concept of the event which became dominant in Heidegger’s latest work Contributions of Philosophy. Of the event. Furthermore, Tschumi’s reflections on space entered into relation with the problem of experience, which aroused the interest of a group of French philosophers trying to assimilate Georges Bataille’s concept of “inner experience”. Both Tschumi and Derrida referred to Bataille because his views could be used not only to modify the concept of the subject, but also to change the understanding of what constitutes the area of architecture. The discussion on experience has led to the recognition that the subject is not sovereign, but actually a form of what is on their outside. Such insights make it possible to treat the area of the Parc de La Villette as existing mainly when it is organised by its users. The decisive features of the Park are its assumptions, according to which it is a variety of active void that leads to agreeing new social relations with it. The park does not force to participate in already existing moral or political communities, but tries to move into an unknown future in which the scope of free functioning of individuals will be increased. Doubts about the principles of functioning of the individual self and its discovery as a whole composed of non-coherent parts, as well as its dependence on its own depth full of disordered forces, influenced the understanding of architecture as a set of contradictions whose source is a fundamental void anticipating the empty phenomenal space. The use of this phenomenal void in architecture, as well as the rejection of the whole and unity, had a specific political purpose and drew its inspiration from political analyses. In the Parc de La Villette, metaphysics and politics were brought closer together because the philosophy of void was used to create new conditions for community action. It can be argued that the source of this philosophy was the perception of errors in existing societies dependent on the shortcomings of traditional metaphysics. Spacing (espacement) was one of the key terms in Derrida’s philosophy, which was also combined with the concepts of différance and chôra. The study of the nature of space, especially its transition from the level of pure possibility to the level of sensual phenomenon, also contributes to understanding how well designed space can have an impact on its audience. This explanation is based on Tschumi’s assumption that the space of the Parc de La Villette contradicts the integrating approaches and instead exposes contradictions, but it does so in a way that combines incompatible properties into a single piece of architecture. The specificity of such integration is similar to the invention of a musical phrase, which is an ideological message: moral and political. Such a thesis may raise doubts, however, if both the clearly adopted assumptions and those deduced from the work allow for their ↪Quart Nr 2(52)/2019 logically ordered presentation then to a limited extent it may be assumed that the work has achieved a connection between a specific philosophy of space and its practical application. Derrida combined the problem of spatiality with the problem of transcendental imagination in Kant’s philosophy, who in the first version of Critique of Pure Reason assumed that pure imagination precedes the appearance of time and space, even in their transcendental forms. The imagination in such a situation can be described as a factor activating time and space, which indicates what function is played by movement in this activity. This leads us to recognize that the ultra originary source of pure forms of sensual intuition is movement, which in early Greek philosophy was identified with void and its lack of resistance to phenomena occurring in it. Derrida’s philosophy in search of a certain super-transcendental source of time and space pointed to différance which, like void or the chôra, does not have material features or even any other form of being. Différance is the primary cause of the disruption of motionlessness and the introduction of activity into motionless time and space, thus its activity can be described as spacing (espacement). Derrida’s discoveries in this respect are not entirely original, because Hegel already pointed out when examining the present that it is primarily a differential relation (differente Beziehung), which, being seemingly neutral, influences the present with supernatural force and makes it unidentifiable with itself. Differente Beziehung must similarly influence the originary space, negating its initial character by multiplying its divisions and expanding its boundaries. Différance acts by revealing contradictions wherever there is apparent undifferentiation. Tschumi, composing the Parc de La Villette as a variety of void and a set of incompatible layers, followed the rules of différance or the chôra: he made void visible together with its saturation with contradictions. If space can be considered to be the result of the activity of difference, such activity has a certain regularity, which influences the behaviour of its observers. Differences or contradictions fall into a certain rhythm, which can be considered a manifestation of transcendent order. The problem is that what can be considered the source of such order, namely the logos or God, is partly disorder and error. According to descriptions contained in Timaeus, the world is a combination of forces that drive to order with forces of erroneous necessity that resounds in every order and forces it to return to disorder. Derrida denied the possibility of understanding différance as a theological value, even if it were a negative or apophatic theology, but no categorical denial could be perfect. The assumption that différance or the chôra are not endowed with any substance properties cannot deny their activity, and thus a certain force. Already since Democritus, philosophy has multiplied the names of such a force and the contradictory variety of its manifestations, never forgetting also the necessity for reason to withdraw from the possibility of giving its correct characteristics. Such a withdrawal may be interpreted as an expression of respect and, in certain situations, as a cult of the force that precedes reasonableness. The Parc de La Villette, which is an artistic divagation about the contradictions and forces behind them, can be considered as a place of their sublimation, and therefore as a variation of the temple of what differs from order and disorder. (shrink)

Stoic philosophers had to face the accusation of incoherence, self-contradiction and Paradoxes since ancient times. Plutarch in his Moralia writes against them; Cicero devotes a separate work on stoic paradoxes. Even in contemporary Literature there are still discussions on the possibility of such an incoherence and existence of paradoxes in the stoic theory. At first glance, stoic Cosmology gives the impression to both accept a kind of Determinism, and at the same time it undoubtedly argues for the moral agent’s freedom (...) of the Will. In pre-stoic or even other contemporary to Stoicism Philosophical Traditions, the definitions that these two terms/concepts are given, fairly accuse as incoherent any Theory that does not set them as “contraries”. Under these types of accusations, the stoic Cosmology and Theory of the Freedom of the Will is often to be included. This phenomenal self-contradiction inside the Principles of Stoicism becomes even more obvious in Epictetus, a philosopher of the Late Stoa. He is interested in practical ethics, thus the phenomenal contradiction gets more lucid. This would have augmented the criticism of the Stoic philosophy for incoherence, if Epictetus had not made his main philosophical aim/target : the clarification of how an agent’s Will can be Free inside a Universe ruled by Fate/Destiny ; namely, a Universe merely Determined by Nature’s/God’s Will. Epictetus’ originality appears in the way he interrelates the concept of Freedom of the Will with the concept of Destiny and Determinism, in order to accomplish their simultaneous co-existence. This approach guards him against being easily accused for incoherence and self-contradiction. Through the unique way he understands and defines the Moral Agency, which is the agent’s internal state/condition/disposition, he steers towards an integrated, accomplished, strong and coherent line of argument. This sturdy declaration is able to support the weight of the Consent to a Free Will, and thus a certain kind Freedom of the moral agent. The excellence of this line of argument is that it can bear also the burden of the Consent to the phenomenally contrary concept of Determinism and Destiny. The elements used to the construction of this argument, which is stretched throughout the whole epictetean corpus can be summarised to a few key concepts, which are: the things which are in our power and the things which are not in our power, the concept of Freedom. These concepts work towards his philosophical targeting, because of the special definition he gives them. Axiomatically Epictetus states that in order for man to be free, it is necessary to be liberated from what the body forces him to do. Desires, passions and beliefs are considered as elements which are external to the moral agent. The moral agent “shrinks” into the Will. Thus man has the capability to free himself from anything external to his Will and therefore to harmonise his own Will to the Will of Nature/God; namely, to will what Nature/God wills and thus never conflict to the external facts. Consequently, Epictetus’ solution, is to include in the category of τά οὐκ ἐφ' ἡμῖν anything that he defines as external to the prohairesis: the desires, beliefs, passions and in general anything the body entails, the external facts. Thus the prohairesis, remains unhindered and it is completely depended on man’s power ; as characteristically Epictetus writes, “not even Zeus himself can overpower” the prohairesis. -/- Dissertation for the MSc Ancient Philosophy (2008-2009) at The University of Edinburgh, supervised by Inna Kupreeva. (shrink)

The paper addresses the nature of seemings in light of their role in inquiry. Seemings are mental states or events with propositional content that have a specific phenomenology often referred to as “felt truth”. In epistemology, seemings are mainly discussed as possible (non-inferential) justifications for belief. Yet, epistemology has recently taken a zetetic turn, that is, a turn toward the study of inquiry. I will argue that the role of seemings in epistemology should be re-assessed from the perspective of inquiry (...) and deliberation. Seemings may fall short of justifying beliefs, but there is an important role for seemings in the zetetic realm, which may also explain why seemings lack direct justificatory force for beliefs. Seemings, so I will suggest, can provide normative reasons for performing certain zetetic tasks, but they cannot provide normative reasons for making up one’s mind about the inquired question. In this sense, the zetetic role of seemings can be described as guiding rational inquiry. I will suggest that a modified version of the so-called Taking Evidence View about the nature of seemings is best fitted to accommodate their zetetic role. Yet, contra existing versions of the Taking Evidence View, my modified account acknowledges that seemings are genuine experiences (of one’s evidential standing during inquiry) that are accompanied by the characteristic phenomenology of what is called a “feeling of truth”. By doing so, my modified version of the Taking Evidence View incorporates the (as I take it) most important feature of the rival Experience View of seemings. (shrink)

This book is founded on a close reading of Kant’s Opus Postumum in order both to explore the essential motivation that drove Kant to write a last comprehensive magnum opus and, by doing so, to show the essential link between his aesthetics and the idea of Übergang, the title of this last work. For this work contains not only his dynamical theory of matter defining motion as preliminary to the notions of space and time, and the advanced version of his (...) philosophy of natural science, but also his arguments for the phenomenal validity of the metaphysical foundations, his teachings on the aesthetic human faculties of judgment and Anschauung, and the discernment of the transcendental philosophy from Platonic idealism carrying it to a cosmological level, i.e. Kant’s insertion of the concept of cosmotheoros. Since the process of transition is an aesthetic process based on human senses, intuitions and judgments, the argument will follow that in order to explicate Übergang, we need to reconcile cosmology, as the oldest branch of philosophy dealing with the interactions between the cosmic forces and the ways they affect human life, with aesthetics, as the youngest branch of philosophy dealing with how we sense, intuit and judge the form and motion of matter. Therefore, in the last analysis, Übergang becomes rather a cosmologic-aesthetic principle similar to the Heraclitean logos. Another building block of the book is the fruitful comparison between the Kantian sublime and Nietzschean Dionysian, which are going to be construed as the aesthetic theories on human understanding representing the transition from nature to art. For they are not only conceptual – aesthetic but also dynamic – cosmological theories due to their reference both to nature and to human nature. Finally, Cosmological Aesthetics employs the principles of transition and motion to analyze Van Gogh’s Starry Night in an excursus. (shrink)

Que doit-on comprendre lorsqu’on nous dit « Mets-toi à sa place ! » Sans aucun doute, il s’agit d’empathie ou de sympathie. Mais ce genre de phénomène peut-il être une action ? C’est la thèse que nous nous proposons de défendre. Pour cela, nous présenterons quatre arguments montrant que la sympathie a une direction de causalité esprit-monde mais aussi qu’elle implique un effort. Puis, nous définirons l’effort en termes de forces et finirons par proposer une théorie substantielle de l’effort sympathique, (...) ce dernier ayant reçu peu d’attention dans la littérature en général. En tant qu'action, sympathiser consisterait alors à volontairement provoquer un changement d’état affectif en soi, et ceci en ressentant une émotion analogue à celle d’une autre personne à la suite d’une projection dans sa situation et, à l’issu d’un effort, à l’adoption son point de vue. (shrink)

Some patients with a lesion to the striate cortex (V1), when assessed through forced-choice paradigms, are able to detect stimuli presented in the blind field, despite reporting a complete lack of visual experience. This phenomenon, known as blindsight, strongly implicates V1 in visual awareness. However, the view that V1 is indispensable for conscious visual perception is challenged by a recent finding that the blindsight subject GY can be aware of visual qualia in his blind field, implying that V1may not be (...) critical under all circumstances. This apparent contradiction raises the following question: if V1 is not always necessary for phenomenal awareness, why do V1 lesions have such a detrimental effect on conscious perception? It is suggested here that this contradiction can be resolved by considering the impact of V1 lesions on the functioning of the whole visual cortex. (shrink)

Many believe that a suitably programmed computer could act for its own goals and experience feelings. I challenge this view and argue that agency, mental causation and qualia are all founded in the unique, homeostatic nature of living matter. The theory was formulated for coherence with the concept of an agent, neuroscientific data and laws of physics. By this method, I infer that a successful action is homeostatic for its agent and can be caused by a feeling - which does (...) not motivate as a force, but as a control signal. From brain research and the locality principle of physics, I surmise that qualia are a fundamental, biological form of energy generated in specialized neurons. Subjectivity is explained as thermodynamically necessary on the supposition that, by converting action potentials to feelings, the neural cells avert damage from the electrochemical pulses. In exchange for this entropic benefit, phenomenal energy is spent as and where it is produced - which precludes the objective observation of qualia. (shrink)

Two of the most fundamental distinctions in metaphysics are (1) that between reality (or things in themselves) and appearance, the R/A distinction, and (2) that between entities that are fundamental (or real, etcetera) and entities that are ontologically or existentially dependent, the F/D distinction. While these appear to be two very different distinctions, in Buddhist metaphysics they are combined, raising questions about how they are related. In this paper I argue that plausible versions of the R/A distinction are essentially a (...) special kind of F/D distinction, and conversely, that many F/D distinctions imply an R/A distinction. Nevertheless, while this does suggest that the F/D distinction is more basic than the R/A distinction, it does not favor a particular understanding of the F/D distinction. There are many kinds of existential or ontological dependence that cannot be meaningfully combined into a single notion, and reality does not force us to accept any specific kind of dependence as more fundamental. Consequently, what we consider to be ‘real’, ‘fundamental’, or ‘really existing’ is not entirely given by reality, but partially up to us. (shrink)

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

The Shadow of God in the Philosopher’s Garden. The Parc de La Villette in Paris in the context of the philosophy of chôra I Bernard Tschumi’s project of the Parc de La Villette could have won the competition and was implemented thanks to the political atmosphere that accompanied the victory of the left-wing candidate in the French presidential elections in 1981. François Mitterand’s revision of the political programme and the replacement of radical reforms with the construction of prestigious architectural objects (...) and urban assumptions in the French capital gave Tschumi a unique opportunity to realise ideas that polemicised with traditional forms of social life, questioned the basic principles of architecture and included architectural work in the philosophical disputes over the issues of metaphysics. Tschumi’s theoretical assumptions put forward during the design of the Parc de La Villette highlighted the questions of conflict between the main components of the project and suggested that the intensification of differences was analogous to Jacques Derrida’s creation of the concept of différance. It was this philosopher who in a special commentary to Derrida’s project also introduced the concept of maintenant, which aimed at demonstrating that the architect’s polemical inclinations remain in a hidden balance with his inclinations to affirmation of architectural principles. During the discussion between Derrida and Peter Eisenman, who was to take part in the design of the Parisian park, the concept of the chôra was also put forward, which in the course of the debate led to an additional confusion of architectural and philosophical problems. II In the period from the Antiquity to the Renaissance, the dialogue Timaeus was the most frequently commented work of Plato. At present, the most frequently discussed is the issue of the chôra included in it, which aroused fascination among philosophers, researchers of rhetoric, religion, feminism, but also architecture. The work on the chôra also influenced the development of the interpretation of the Parc de La Villette, among which the topics related to the beginning and the change were highlighted. In early uses of the word chôra in Greek, as in Homer’s 18th Book of Iliad, it meant both dancing and a place to dance. On this occasion, it can be seen that it is not possible to determine which phenomenon took precedence in the creation of the name. It cannot be denied, however, that the word concerned a specific movement, as if circular and returning to an indefinable beginning. Despite gaining more and more general meanings, the word chôra has retained its connection with the dance of people on the threshing floor, the dance of bees (choros meliton) or the dance of stars (choros astron). In Timaeus, the chôra is a space filled with movement with an effect similar to shaking the sieve to husk the grain: it separates similar elements from the dissimilar ones. The juxtaposition of the Parc de La Villette and the chôra already at this stage leads to the suggestion that the park was treated by the architect as a place of dynamic changes leading to the establishment of new social solutions. In his statements, the architect confirmed that the park was to be a space of new politics and ethics. The book by Julia Kristeva La Révolution du langage poétique contributed to the spread of the belief that works of art can play a role as factors of political revolution. In this work, the author put forward the thesis that the chôra is a kind of space, the character of which has a destructive influence on attempts to conclude language games. The chôra gives beginning to words, but at the same time, by leaving a trace of this beginning it forces us to renew their meanings. The chôra understood in this way, turns out to be an irremovable beginning, to which one has to return all the time. Kristeva found manifestations of the chôra’s activity in avant-garde French poetry, to which she attributed the role of a mediator between criticism of metaphysics and aspirations for social change. The chôra, violating the language, introduces some voids into it, as if traces of the abyss, which direct the consciousness towards understanding the necessity of political changes. The Parc de La Villette was to pursue similar objectives in the city space. In his essays, Tschumi considered the problems of creating spaces that would give rise to a radical democracy. The proposed rebellious spaces should have the characteristics of a void, in which contradictory forces would occur as forms of pure activity. The means of achieving this goal was to concentrate contradictions and make them visible. The Parc de La Villette was supposed to collect differences as indelible and at the same time by showing them it was supposed to raise awareness of the social world as a conglomerate of differences. Saturation of the space of the park with subversive values results from the character of this space suppressed in the consciousness, as well as from the social diversity which has not been taken into account so far. The main contradictions contained in space relate to the division that exists between its presentation as a mental problem and a sensual one. The park was the deliberate creation of a place that transcends such a division and creates a separate space for negotiation between architectural theories and its practical applications. The purpose of the park was to become a place of future events, which would not hide their conflicting character coming from diversity of both space and society. The method of composition usually aimed at achieving a harmonious whole has been replaced by Tschumi with a system of juxtaposition of non-coherent elements or those resulting from variations and transformations. Tschumi did not seek direct influence on politics in the Parc de La Villette, but made room for thinking about the possibilities of the future. He introduced problems rather than showed solutions to them. The task of the park was to put the principles of architecture into a kind of vibration that would inspire users to participate in the new community. III Tschumi believes that the quality of architecture depends on the theoretical factor it contains. Such a view led to the creation of architecture that would achieve visibility and comprehensibility only after its interpretation. On his way to creating such an architecture he took on a purely philosophical reflection on the basic building block of architecture, which is space. In 1975, he wrote an essay entitled Questions of Space, in which he included several dozen questions about the nature of space. The questions he formulated could be regarded as analogous to the situation in the philosophy of the time, in which the interest in questioning the most obvious forms of understanding the world and intellectual categories increased. The research on space is an area common to many fields of natural sciences, humanities and artistic creation, but it also deals with other problems, such as issues of experience. The concept of space-time continuum proposed by Hermann Minkowski drew attention to the identity of time and space with the events taking place. Probably regardless of the postulates of physicists commenting on Albert Einstein’s discoveries, also in philosophy it increased the importance of the concept of the event which became dominant in Martin Heidegger’s latest work Contributions of Philosophy: Of the event. Furthermore, Tschumi’s reflections on space entered into relation with the problem of experience, which aroused the interest of a group of French philosophers trying to assimilate Georges Bataille’s concept of “inner experience”. Both Tschumi and Derrida referred to Bataille because his views could be used not only to modify the concept of the subject, but also to change the understanding of what constitutes the area of architecture. The discussion on experience has led to the recognition that the subject is not sovereign, but actually a form of what is on their outside. Such insights make it possible to treat the area of the Parc de La Villette as existing mainly when it is organised by its users. The decisive features of the park are its assumptions, according to which it is a variety of active void that leads to agreeing new social relations with it. The park does not force to participate in already existing moral or political communities, but tries to move into an unknown future in which the scope of free functioning of individuals will be increased. Doubts about the principles of functioning of the individual self and its discovery as a whole composed of non-coherent parts, as well as its dependence on its own depth full of disordered forces, influenced the understanding of architecture as a set of contradictions whose source is a fundamental void anticipating the empty phenomenal space. The use of this phenomenal void in architecture, as well as the rejection of the whole and unity, had a specific political purpose and drew its inspiration from political analyses. In the Parc de La Villette, metaphysics and politics were brought closer together because the philosophy of void was used to create new conditions for community action. It can be argued that the source of this philosophy was the perception of errors in existing societies dependent on the shortcomings of traditional metaphysics. Spacing (espacement) was one of the key terms in Derrida’s philosophy, which was also combined with the concepts of différance and chôra. The study of the nature of space, especially its transition from the level of pure possibility to the level of sensual phenomenon, also contributes to understanding how well designed space can have an impact on its audience. This explanation is based on Tschumi’s assumption that the space of the Parc de La Villette contradicts the integrating approaches and instead exposes contradictions, but it does so in a way that combines incompatible properties into a single piece of architecture. The specificity of such integration is similar to the invention of a musical phrase, which is an ideological message: moral and political. Such a thesis may raise doubts, however, if both the clearly adopted assumptions and those deduced from the work allow for their logically ordered presentation then to a limited extent it may be assumed that the work has achieved a connection between a specific philosophy of space and its practical application. Derrida combined the problem of spatiality with the problem of transcendental imagination in the philosophy of Immanuel Kant, who in the first version of Critique of Pure Reason assumed that pure imagination precedes the appearance of time and space, even in their transcendental forms. The imagination in such a situation can be described as a factor activating time and space, which indicates what function is played by movement in this activity. This leads us to recognize that the ultra originary source of pure forms of sensual intuition is movement, which in early Greek philosophy was identified with void and its lack of resistance to phenomena occurring in it. Derrida’s philosophy in search of a certain super-transcendental source of time and space pointed to différance which, like void or the chôra, does not have material features or even any other form of being. Différance is the primary cause of the disruption of motionlessness and the introduction of activity into motionless time and space, thus its activity can be described as spacing (espacement). Derrida’s discoveries in this respect are not entirely original, because Georg Wilhelm Friedrich Hegel already pointed out when examining the present that it is primarily a differential relation (differente Beziehung), which, being seemingly neutral, influences the present with supernatural force and makes it unidentifiable with itself. Differente Beziehung must similarly influence the originary space, negating its initial character by multiplying its divisions and expanding its boundaries. Différance acts by revealing contradictions wherever there is apparent undifferentiation. Tschumi, composing the Parc de La Villette as a variety of void and a set of incompatible layers, followed the rules of différance or the chôra: he made void visible together with its saturation with contradictions. If space can be considered to be the result of the activity of difference, such activity has a certain regularity, which influences the behaviour of its observers. Differences or contradictions fall into a certain rhythm, which can be considered a manifestation of transcendent order. The problem is that what can be considered the source of such order, namely the logos or God, is partly disorder and error. According to descriptions contained in Timaeus, the world is a combination of forces that drive to order with forces of erroneous necessity that resounds in every order and forces it to return to disorder. Derrida denied the possibility of understanding différance as a theological value, even if it were a negative or apophatic theology, but no categorical denial could be perfect. The assumption that différance or the chôra are not endowed with any substance properties cannot deny their activity, and thus a certain force. Already since Democritus, philosophy has multiplied the names of such a force and the contradictory variety of its manifestations, never forgetting also the necessity for reason to withdraw from the possibility of giving its correct characteristics. Such a withdrawal may be interpreted as an expression of respect and, in certain situations, as a cult of the force that precedes reasonableness. The Parc de La Villette, which is an artistic divagation about the contradictions and forces behind them, can be considered as a place of their sublimation, and therefore as a variation of the temple of what differs from order and disorder. IV In the texts that presented the theoretical assumptions of the Parc de La Villette, Tschumi used a large number of terms that contradicted not only the traditional principles of composing architecture, but also negated the rules of social order and the foundations of Western metaphysics. Tschumi’s statements, which are a continuation of his leftist political fascinations from the May 1968 revolution, as well as his interest in the philosophy of French poststructuralism and his collaboration with Derrida, prove that terms such as “disruption”, “dissociation”, “disfunction”, “disjunction” and “dispersion” not only referred to architectural problems but also applied to political criticism and the deepest foundations of thinking itself. His collaboration with Derrida manifested itself primarily in the publication La Case Vide: La Villette 1985, in which the architect’s design drawings and texts explaining his concepts related to the Parc de La Villette were accompanied by an extensive essay by Derrida, which included theoretical problems taken up by Tschumi in a philosophical context. Architectural and philosophical issues were also combined during seven discussion meetings organised by Eisenman, invited by Tschumi to collaborate on the design of the Parc de La Villette. Eisenman, who, like Tschumi, invited Derrida to participate in the design of the park and also led to the publication of Chora L Works: Jacques Derrida and Peter Eisenman, in which his ideas were confronted with Derrida’s philosophical text. In this case, Derrida’s essay was not a direct commentary on the architect’s concepts, but rather a reflection on the question of the chôra presented by Plato in Timaeus. During the discussion and in his essay, Derrida pointed out that the chôra is a component of the created world, yet it does not belong to it, but precedes it. The originality of the chôra is so radical that she also precedes all the factors of creating the world, including ideas and the Demiurge. Thus athesis appeared in the metaphysics of the West that the chôra is a form of active abyss, in relation to which all beings are secondary, both those perfect (as ideas or God) and those created, such as the world, things, people or language. This leads to the conclusion that the chôra does not exist, because all existence is a derivative of the chôra. Nor could the chôra be described, since it is a form of developing a space that is preceded by a lack of space characteristic of the chôra. Derrida intended the chôra to be an instance with an exceptional degree of transcendentalism, an anti-metaphysical instance, but also an a-theological one. However, this attempt failed, both in the field of secular philosophy and in the field of theology. Derrida’s characteristics of the chôra to strengthen its transcendentalism and negation of metaphysics had to be expressed in a language that immediately produces new concepts and a new metaphysics that reproduces the categories of the beginning, the origin or the foundation known from earlier philosophical traditions. All forms of criticism of metaphysics are also inspired by negative, apophatic and mystical theology. The undermining of many concepts of permanent meaning and the introduction of new concepts of unstable meaning, characteristic of the philosophy of deconstruction, had many features of originality, but it was directed towards problems whose solutions repeat, with the use of new vocabulary, the findings known in culture since Democritus. Thus, if apophatic philosophy can be regarded as deconstruction avant la lettre, then deconstruction itself in its late versions began to take on the features of a new religion. The exchange of inspiration between theology and deconstruction was manifested in a series of scientific conferences and publications in which Derrida’s philosophical concepts were interpreted within the scope of religious thought. Theological threads began to be found in such concepts of deconstruction as différance or the chôra, while at the same time Derrida himself undertook in his philosophy to study problems such as the Other (L’Autre) or the Impossible (Impossible), which belonged to newer theological traditions. As a consequence of the new problems, the deconstruction became closer to the features of a new religion. Philosophy, at least from Kant’s time, has tried to create a system that would take over from religion the tasks of setting moral and political goals. Similarly, Derrida has directed his interest towards the problems of democracy and ethics, which would enable their renewal. Attempts to create a new religion (cleared of old metaphors), a new community or a new democracy bring problems and threats which may be no less troublesome than the previous systems. All promises of freedom carry with them threats, the greater the more they strive for perfection. The renewal of existential orders, sometimes carried out by means of violent changes, is a certain repetitive feature of human cultures. Deep changes, however, do not protect against the return of both old gods and old demons. Tschumi and Derrida were shaped in their youth by the atmosphere of leftist rebellion against the moral and political limitations of ossified communities and the imperfections of democracy. The ethical theme distinguishes many of their works, including the Parc de La Villette. The opposition to the metaphysical traditions of philosophy and architecture contained in this park was prompted by specific political situations and resulted from bringing political issues to the level of philosophical considerations. Achievements made at the level of pure concepts were then subject to elevation, to a kind of sacralization, which made them religious concepts. The deconstruction reached for the status of the new religion especially when it found its followers and began to generate moral obligations. In the new situation, terms such as the chôra, l’Autre or the Impossible were absolutized and in relation to them a cult and attitude of adoration emerged. The Parc de La Villtette then gained new post-secular meanings, which allow it to be assigned the function of a Temple of Otherness (L’Autre) and Impossible. V In the traditional sense, a work of art creates an illustration of the outside world, or of a certain text or doctrine. Sometimes it is considered that such an illustration is not literal, but is an interpretation of what is visible, or an interpretation of a certain literary or ideological message. It can also be assumed that a work of art creates its own visual world, a separate story or a separate philosophical statement. Parc de La Villette represents the last of these possibilities: it is a philosophical statement that develops the premises derived from poststructuralist philosophies and the philosophy of deconstruction. The uniqueness of its being status, however, is that it does so not only at the level of the theoretical assumptions, but also through its functioning as an active philosophical work. This means that a park is a happening philosophy. Its activity, however, does not refer only to the present tense, but is also an attempt to penetrate the future, all otherness and impossibility. This kind of activity assumes that the work, in a sense, does not yet fully exist, but is also still produced in the processes of its interpretation. The theoretical foundations of the park included texts by Tschumi, in which he questioned traditional ways of creating a work of architecture, postulating in return the use of a long series of negations, which were comparable to the crisis of metaphysics characteristic of contemporary philosophy. It is therefore no coincidence that the publication containing Tschumi’s theoretical text on Parc de La Villette was accompanied by an essay by Derrida developing some of the architect’s concepts. The next step in integrating philosophy into the process of park design was a series of discussions between Eisenman and Derrida, who completely moved the creation of the park into the world of thoughts, without accentuating the need for their realization in the material reality. The main topic of these discussions was the problem of the chôra, which was taken up by later commentators and used to interpret the park as a work in which the philosophy of the beginning is manifested relating to issues of politics, morality and religion. The park was therefore interpreted as a space of invention within the scope of creating new rules of functioning of the community and democracy. Thinking about the political future may, however, exceed the horizon of ordinary expectations. Although philosophical thought is always connected with contemporary problems and metaphysics sometimes intertwines with current politics, yet at the same time the customs of philosophy also include crossing horizons and thinking about absolute otherness and impossibility. Initially, the chôra, différance, absolute otherness (tout autre) and the Impossible were concepts of pure philosophy of atheistic character, but with the further development of the discussion, more and more theological motifs began to emerge. One of the reasons for this phenomenon was the fact that radical negations of all being, which were contemplated in contemporary philosophy (by Heidegger and Derrida, among others), had previously been manifested in negative and apophatic theologies (by Master Eckhart, among others).Also the category of the “Other”, taken from Emmanuel Levinas, was clearly connected with the thought about God. A further reason for connecting the chôra with the theological thought was the interest in the philosophy of deconstruction expressed by some theologians. John Caputo in particular managed to persuade Derrida to participate in discussions on the current status of religion. In the late period of Derrida’s writing, further statements on religious topics appeared. All these reasons led to posing a question about the identity of the chôra and God. Although there were no satisfactory conclusions on this issue, the discussion was also important to create an interpretation of the park as a place of worship. The chôra, representing, according to Plato, the preoriginal emptiness is the place of every beginning, but it turns out that it is not neutral to the being created in it. The chôra deposits itself in every being as an irremovable beginning that interferes with its stability. The chôra, therefore, forces us into a palintropical movement, but it also turns out to be a pure compulsion, an erring necessity and a fundamental force from which, in the human perception, motifs useful to the individual and to the community are extracted. All definitions of this force, including its anthropomorphisation, are formulated in such a way that they allow for building private and collective morality upon them. Such definitions are changed depending on variable political situations. It is difficult to determine whether in the processes of changes in the formulation of “God’s names” any essential value is retained, which is not subject to change. The current definitions of the chôra (God?), which can be found, for example, in the philosophy of Caputo, stress that she is a combination of various and contradictory forces. This characteristic inherits much of Plato’s concept, reminds us of Master Eckhart’s views on Gottheit and, at the same time, is not unfamiliar to Tschumi, whose essays were an apologia of contradictions. The current concept of chôra, transferred into the sphere of politics, is the praise of social diversity and the protection of the difference from the forces of order. In the Parc de La Villette, the future community and democracy were elevated as a system of safe existence of individuals in all their singularity. The park is a temple of a future community in which individual beings have nothing in common. (shrink)

A widespread (and often tacit) assumption is that fear is an anticipatory emotion and, as such, inherently future-oriented. Prima facie, such an assumption is threatened by cases where we seem to be afraid of things in the past: if it is possible to fear the past, then fear entertains no special relation with the future—or so some have argued. This seems to force us to choose between an account of fear as an anticipatory emotion (supported by pre-theoretical intuitions as (...) well as empirical research in psychology) and admitting cases of past-oriented fear. In this paper, we argue for a proposal that dissolves this dilemma. Our claim is: with the right account in place, the future-orientation of fear can be made compatible with, and is actually explanatory of, cases where we are genuinely afraid of something in the past. So, there is no need to choose: fear is still future-oriented, even when we are genuinely afraid of things in the past. The key is a correct understanding of what fear’s temporal orientation amounts to, and the framework we offer here provides us with such an understanding. (shrink)

Phenomenal conservatism holds, roughly, that if it seems to S that P, then S has evidence for P. I argue for two main conclusions. The first is that phenomenal conservatism is better suited than is proper functionalism to explain how a particular type of religious belief formation can lead to non-inferentially justified religious beliefs. The second is that phenomenal conservatism makes evidence so easy to obtain that the truth of evidentialism would not be a significant obstacle to (...) justified religious belief. A natural objection to phenomenal conservatism is that it makes evidence too easy to obtain, but I argue this objection is mistaken. (shrink)

Externalist theories of justification create the possibility of cases in which everything appears to one relevantly similar with respect to two propositions, yet one proposition is justified while the other is not. Internalists find this difficult to accept, because it seems irrational in such a case to affirm one proposition and not the other. The underlying internalist intuition supports a specific internalist theory, Phenomenal Conservatism, on which epistemic justification is conferred by appearances.

In this chapter, I argue for the thesis that phenomenal consciousness is the basis of epistemic justification. More precisely, I argue for the thesis of phenomenal mentalism, according to which epistemic facts about which doxastic attitudes one has justification to hold are determined by non-epistemic facts about one’s phenomenally individuated mental states. I begin by providing intuitive motivations for phenomenal mentalism and then proceed to sketch a more theoretical line of argument according to which phenomenal mentalism (...) provides the best explanation of the independently motivated thesis of access internalism. The result is a theory of epistemic justification that brings intuition and theory into reflective equilibrium. (shrink)