I will make the following two main claims: (4) a. Under syntactically specifiable conditions superlatives take sentential scope. b. Sentential scope superlatives are necessarily indefinite.

This paper seeks to illustrate the advantages of not treating phonological words as distinguished building blocks in compositional semantics. Following Bobaljik 2012, we derive the relative readings of amount superlatives in two steps, [[[d-many] comparative] superlative]. The existence of two comparative constructions is revealed, involving more vs. the more. Each builds a different superlative construction, explaining the conflicting intuitions about superlatives in the literature, as well as puzzles relating to the definite article in superlatives.

“A Phenomenology of Seeing and Affect in a Polarized Climate,” focuses on the polarized political climate that reflects racial and class differences in the wake of the Trump election. She explores how to see differently about those with whom one disagrees—that is in this specific scenario for Lee, the Trump supporters, including Asian American members of her own family. Understanding Maurice Merleau-Ponty’s exploration of the interstice between the visible and the invisible, if human beings are to see otherwise, we need (...) to disrupt the ready association between the visible and the invisible. Here, she explores the function of affect for the possibility of this break. The phenomenological understanding of emotion does not necessarily empower emotion with any sort of superlative force, especially over reason. But a subject’s emotion chiasmatically reflects the world and vice versa. The caustic and strong emotions felt by people about this presidency reflects the entrenched political climate in our society and chiasmatically the entrenched political climate embroils people in strong emotions that make it difficult to see those with whom we disagree as people we can trust and consider reasonable. To break out of this standoff, to see differently about Trump supporters, one needs to feel differently about them as well. (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)

Galileo’s Error is a superlative work of public philosophy, particularly as a way of introducing modern academic panpsychism to a broader audience. In this commentary, I reflect on an issue that is prominent, though often with different background concerns, in both academic and popular discourse: what it means to be ‘scientific’ or ‘unscientific’. Panpsychism is not itself a scientific hypothesis, but neither is it (as critics sometimes claim) in conflict with science. Indeed, Goff argues, and I agree, that panpsychism (...) is an eminently scientific worldview, in the sense of a way of viewing reality that accords with and embraces what science reveals. But what exactly it means to ‘accord with and embrace’ science is disputed; this paper tries to untangle some of the threads. (shrink)

As one of the seminal theorists further developing François Laruelle’s politically-poised “non-standard philosophy,” Katerina Kolozova’s approach to animality and feminism is part of a particular post-humanist Marxist continuum (which includes Rosi Braidotti, Luce Irigaray, Donna Haraway and N. Katherine Hayles). Nonetheless, Kolozova distinguishes herself from this lineage by adhering to Laruelle’s method, liquidating philosophy of its anthropomorphic nexus. Thus, Kolozova also belongs to a more recently inaugurated and nascent tradition, working in tandem with post-Laruellean philosophers of media, technology, aesthetics and (...) feminist critique, such as Bogna Konior, Yvette Granata, Jonathan Fardy and John Ó Maoilearca. Within this variegated assemblage, Kolozova’s most recent project, Capitalism’s Holocaust of Animals(2019), saliently reconciles and radicalizes Haraway’s epochal dyad of the “inhuman”—a bifurcation riven by technology on one node and the animal on the other—by a resolution of superlative unity. This methodology, adhering to Laruelle’s system of“synthesis-without-synthesizing” attempts to dissolve the spectral chimeras that have haunted philosophy’s metaphysical heredity, proffering a generic identity. (shrink)

From my ongoing "Metalogical Plato" project. The aim of the diagram is to make reasonably intuitive how the Socratic elenchos (the logic of refutation applied to candidate formulations of virtues or ruling knowledges) looks and works as a whole structure. This is my starting point in the project, in part because of its great familiarity and arguable claim to being the inauguration of western philosophy; getting this point less wrong would have broad and deep consequences, including for philosophy’s self-understanding. -/- (...) (i.) is the first pass at elenchos in which the Socratic interlocutor does not reflect on knowledge being the crux of the problem. (ii.) is the second, rarer, reflective pass in which they are, making the investigation explicitly about knowledge. Its centrality in the Charmides makes that neglected dialogue of superlative importance. This structure is also the gateway through which the discussion/dialectic crosses into the Agathology (discussion of the form of the good) at Republic 505. -/- The problem of elenchos, then, grasped as a whole structure, is that it seems that knowledge can neither satisfactorily be included in nor excluded from its own scope. The development of the ti esti (“what is ---?”) question leads to the introduction of knowledge into its own scope (i. implicitly, as goodness contrasted with blind rule-following ii. explicitly qua knowledge) while the development of the dual peri tinos (“----about what?) question leads to K’s elimination from its own scope. The introductions are motivated to avoid contradiction, but produce regress; the eliminations are motivated to avoid regress, but produce contradiction. In scholarship, and in the history of philosophy, the ti esti question is universally recognized, to the point of being identified with philosophy’s origin and essence; the peri tinos question is neglected textually and never recognized as the equal dual to the ti esti. This, I claim, has blocked the development of a nontrivial logical appreciation of what Plato's Socrates is up to. (One rather disastrous effect of this neglect is taking Aristotle as the beginning of the development of logic, rather than, correctly, for the beginning of logic’s fatal separation from mathematics and dialectic.) -/- Further, because of this monopticism of the ti esti, the function of consistency in the elenchos has not been understood, even with respect to the ti esti. The ti esti is actually in search of completeness, given a norm of consistency; the peri tinos is in search of consistency, given a norm of completeness. Only appreciating the two questions as dual allows space in the structure to clarify these different orientations relative to consistency. (And, dually, to completeness, whose function in the elenchos is generally entirely missed by scholars and relegated to discussions of eros; it's not out of place there, of course, but its significance is secured here.) Recognizing the duality of the ti esti and peri tinos questions is thus the royal road, in the Socratic-Platonic context, to catching sight of what we post-Cantorians can recognize as the metalogical duality of consistency and completeness. (The salutary disruptive effects of this Plato-Cantor proximity have, of course, been traced in complementary ways by Badiou.) -/- Note that the diagram is supposed to provide a relatively accessible orientation, not to stand on its own, and certainly not to be the last word on any subject. An important qualification (telegraphed in the previous paragraph) is that what elenchos shows is not finally circular or paradoxical, though the problem first presents as such (stubbornly, obdurately, as "difficult" Plato's Socrates always says with characteristic understatement). What is depicted here is meant, at a first pass, to be the shape of that first presentation, the form of the problem of elenchos, rather than of its solution. It's not an accident that this problem strongly resembles "Russell's paradox" (not Russell's not a paradox.) Problem is to solution as RP is to the diagonal theorems. (shrink)

This paper examines the relationship between violence and the domination of speech in Spinoza’s political thought. Spinoza describes the cost of such violence to the State, to the collective epistemic resources, and to the members of the polity that domination aims to script and silence. Spinoza shows how obedience to a dominating power requires pretense and deception. The pressure to pretend is the linchpin of an account of how oppression severely degrades the conditions for meaningful communication, and thus the possibilities (...) for thinking and acting in common. Because it belongs to human nature to desire to share our thoughts with others, Spinoza believes that most people experience efforts to control our communication to be acutely intolerable. As a result, such unbearable violence threatens the political order that deploys it. I conclude with some speculative remarks about why, in the Theological-Political Treatise, Spinoza consistently deploys the superlative form of the adjective violentus in reference to the domination of thought and speech rather than to other modes of political violence. (shrink)

Many have argued that if God exists then he must necessarily create the best possible world , which entails that the bpw necessarily exists, and is therefore the only possible world. But without any scope for comparison, the superlative term ‘best’ is clearly inappropriate and so the bpw cannot be the bpw at all! As such, it must be impossible for God to create it. Hence if God exists then he must of necessity make something that is impossible to (...) create! Because of its conclusion, I call this the repugnant argument. I consider a number of possible responses to this argument. (shrink)

In Thomas More’s Utopia, the character of Raphael Hythloday bestows upon the islanders of Utopia a library of Greek authors that includes Herodotus (alongside more traditional political thinkers such as Plato, Aristotle, and Thucydides). Herodotus’ inclusion on the Utopian reading list invites the question of whether his Histories is in any sense a work in utopian political theory. Although Herodotus is sometimes excluded from the canon of the Histories of political thought because of his lack of interest in political constitutions, (...) I argue: That Herodotus (like More) should be categorized as a political thinker because of his focus on political and social customs rather than constitutional arrangements. That Herodotus (similar to More) uses the otherness of political and social customs in distant societies as an opportunity to theorize and evaluate political institutions. And that Herodotus (like More) is a utopian political thinker in his evaluation of superlatively good political institutions and his embrace of incremental political reform. (shrink)

Formal semantic analyses often take words to be minimal building blocks for the purposes of compositionality. But various recent theories of morphology and syntax have converged on the view that there is no demarcation line corresponding to the word level. The same conclusion has emerged from the compositional semantics of superlatives. In the spirit of extending compositionality below the word level, this paper explores how a small set of particles (Japanese KA and MO, Chinese DOU, and Hungarian VALA/VAGY, MIND, and (...) IS) form quantifier words and serve as connectives, additive and scalar particles, question markers, and existential verbs. The main question is whether the meanings of these particles across the varied environments are highly regular, or they are lexicalized with a variety of different meanings that bear a family resemblance. This paper does not reach definitive conclusions, but it raises analytical possibilities using Boolean semantics and the semantics of alternatives. It also draws attention to systematic similarities and some differences between MO and DOU that have not been studied in the literature. (shrink)

The audience occupies a very vita! and significant position within the ambience of the arts in general and theatre in particular. It remains one of the outstanding prerequisites for a complete efficacious and potent theatre experience. Its absence renders the entire activity a no event. Thus its standing within artistic and theatrical parameters is that of uniqueness and indispensability. Effiong Johnson posits that "Not considering the audience in the scheme of the performance is unpardonably a blind stupor which can lead (...) to one predictable outcome: regret!" (215). There can never be a theatre experience or event without the audience. It is considered to be the better half of the event. Their presence, cheers and signs of appreciation encourage performers to break a leg and put up a superlative performance. Nwamuo notes further that audiences beat the drums which spur performers to a frenzy (Inaugural Lecture, 15). William Byrnes adds that no matter how lofty the aesthetic aims of an organization, especially arts outfits, without the regular support of an audience, patrons or members, enough money will not come in to keep the enterprise alive (255). Audiences have existed in the theatre over centuries and have continued to exert influence in different spheres, especially the performance. Dennis Sporregivesusan insight into this by pointing out that: The audience of the 19th century played a significant part in determining what took the stage. Royal patronage was gone and box office receipts were needed to pay the bills,... The Industrial Revolution had created larger urban populations and expanded public education to a degree.... To appeal to this diverse audience, theatre managers had to program for the popular as well as the sophisticated taste if they wanted to make money (409). (shrink)

Omnicide: Mania, Fatality and Future-in-Delirium (2019) finds Iranian-American philosopher and comparative literature theorist Jason Bahbak Mohaghegh carving the figure of the diffracted neo-Bedouin wanderer, whose mania we tail through the book’s haunted pages. The book’s namesake, “omnicide,” refers to the complete and total erasure of the Earth--the term has most recently been generally applied in ecological contexts, most markedly in regards to the Anthropocene and futurology. However, it is the explicitly poetic and literary intersection between mania and the grotesque that (...) Mohaghegh inches us towards, lifting omnicide from its proscriptive use in the Western philosophical/sociological tradition and goading it towards an unfamiliar cryptic terrain. Surveying ten contemporary Middle Eastern poets and fiction writers, including Sadeq Hedayat (Iran), Réda Bensmaia (Algeria), Samuel Adonis (Syria), Joyce Mansour (Egypt), Forugh Farrokhzad (Iran), Ibrahim al-Koni (Libya), Ahmad Shamlu (Iran), Ghada Samman (Lebanon), Mahmoud Darwish (Palestine) and Hassim Blasim (Iraq), Mohaghegh parses curious stanzas and plucks spectral paragraphs from myriad texts so as to navigate the largely occluded and excised narratives of the contemporary Middle Eastern philosophical-literary canon. Not only does Mohaghegh acuminate the multifaceted question of mania and its variegated networks, chambers, byways and sunken burrows--so as to juxtapose two different world literatures (East and West)--but Mohaghegh also illuminates this oeuvre to affront the Western psychoanalytic treatment of mania as an exclusionary vessel. Thus, despite Mohaghegh avoiding any explicit references to Western philosophers and scientists, both the codified dictum of the medical decree and the hyper-genealogical superlative tradition of Georges Canguilhem, Michel Foucault and their contemporaries rankle Omnicide’s annals. (shrink)