Abstract: Kant follows a substantial tradition by defining judgment so that it must involve a relation of concepts, which raises the question of why he thinks that single-term existential judgments should still qualify as judgments. There is a ready explanation if Kant is somehow anticipating a Fregean second-order account of existence, an interpretation that is already widely held for separate reasons. This paper examines Kant's early (1763) critique of Wolffian accounts of existence, finding that it provides the key (...) idea in his mature model of existential judgment, which is in fact sharply opposed to the Fregean strategy. By relating this to Kant's theory of judgment in general—in particular, to his claim for an isomorphism between the assertoric function of judgment and the category of existence—a preliminary case is made that absolute positing, far from being a marginal special case, accomplishes the primary function of judgment. This argument shows the importance of distinguishing between contexts in which Kant is treating judgment as a vehicle for inference (e.g. pure general logic) and contexts in which he is treating it, more robustly, as the cognition of an object. (shrink)

What is simultaneous with an event is what can interact with it; events have duration; therefore, any given event has distant events simultaneous with it, even according to Special Relativity. Consequently, the extension of our pre-relativistic judgments of distant simultaneity are largely preserved.

Kant describes the understanding as a faculty of spontaneity. What this means is that our capacity to judge what is true is responsible for its own exercises, which is to say that we issue our judgments for ourselves. To issue our judgments for ourselves is to be self-conscious – i.e., conscious of the grounds upon which we judge. To grasp the spontaneity of the understanding, then, we must grasp the self-consciousness of the understanding. I argue that what Kant (...) requires for explaining spontaneity is a conception of judgment as an intrinsic self-consciousness of the total unity of possible knowledge. This excludes what have been called ‘relative’ accounts of the spontaneity of the understanding, according to which our judgments are issued through a capacity fixed by external conditions. If so, then Kant conceives of understanding as entirely active. Or, to put it another way, he conceives of this capacity as absolutely spontaneous. (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)

That art historians have felt it necessary to emulate this effort to express personal input can be explained by our need to gain credibility in that aspect of our work that is indistinguishable in method from other historical research: the reconstruction, through documents and artifacts, of past events, conditions, and attitudes. Most of us simply ignore the ambivalence of our position; I cannot recall having heard or read discussions of it, but it is bound to creep out from under the (...) rug. If a student asks me why I think Rembrandt and Picasso are good artists—which most students are too well trained to do—and if I answer that judgments of value are not discussed by historians, I am within my rights, like a witness at a congressional hearing claiming the protection of the Fifth Amendment. But I ought to be found in contempt of the classroom. And if I try to answer seriously, I ought not begin by saying that I chose Rembrandt because he has been acknowledged by generations to have been a great artist but rather because I find more to think, feel, and speak about in his works than in those of, for example, Nicolaes Maes, and because I believe that the student stands to gain more by looking at them. I want the student to have the most rewarding experiences, and, as a result, perhaps to learn to make value discriminations of his own—even ones different from mine and from the so-called consensus of history—and ultimately to explain the grounds on which he makes them. This means having to know and to explain what I think is "rewarding." James S. Ackerman, professor of fine arts at Harvard University, is the author of, among other works, The Architecture of Michelangelo, Art and Archaeology, The Cortile del Belvedere, and Palladio. He is currently writing on Renaissance art, science, and naturalism and making a film on Andrea Palladio and his influence in America. "Transactions in Architectural Design," his previous contribution to Critical Inquiry, appeared in the Winter 1974 issue. (shrink)

In this paper, we will question Heisenberg’s claim that the unpredictability of the experimental findings of quantum physics also affects the self-evident attitude about the universal and necessary nature of the principle of causality. We will try to answer the aforementioned problem by confronting Heisenberg’s criticism of Kant’s position on the universal and necessary/absolute nature of the principle of causality with Kant’s distinction between perceptual and experiential judgments. The distinction between perceptual and experiential judgments reveals that even (...) in Heisenberg’s experimental results that indicate the smallest degree of expectation, predictability, or uniformity of natural events, universal and necessary conditions of knowledge to which Heisenberg denies absolute value still preexist. (shrink)

In the Critique of the Power of Judgment, Kant diagnoses an antinomy of taste: either determinate concepts exhaust judgments of taste or they do not. That is to say, judgments of taste are either objective and public or subjective and private. On the objectivity thesis, aesthetic value is predicable of objects. But determining the concepts that would make a judgment of taste objective is a vexing matter. Who can say which concepts these would be? To what authority does (...) one appeal? On the subjectivity thesis, aesthetic value is not predicable of objects. But this threatens judgments of taste with a sort of relativism. Can we not firmly assert the aesthetic value of any object? Have we no authority to make criticisms of taste? Following John McDowell’s “Aesthetic Value, Objectivity and the Fabric of the World”, I will hold that aesthetic value is neither objective nor subjective, but rather intersubjective. But, contra McDowell, I will argue that the validity that intersubjective aesthetic value bestows on judgments of taste must assume an indeterminate absolute conception of reality, of the world as it is in itself. Only such a conceptual resource can in turn make intelligible the notion of a shared or common sense according to which a judgment of taste can be universally valid, that is, valid for all subjects. Finally, I will consider an objection to common sense in matters of taste. (shrink)

According to Quentin Meillassoux, one of the principal aims of speculative philosophy “must be the immanent inscription of values in being.” In this regard, the return to speculation in contemporary philosophy is in many ways a deeply ethical project. This “inscription of values” can only be successful, however, if it can somehow assert an absolute ethical value without, on the one hand, resorting to the kind of dogmatism laid to rest by the Kantian critique; or, on the other, by (...) falling into some form of ethical relativism incapable of grounding universal ethical judgments. Unfortunately, too many of these attempts have failed. The aim of this paper is twofold: firstly, to explore the structure and failures of two such attempts through an analysis of the ethical projects of Alain Badiou and Quentin Meillassoux, respectively; and then, secondly, to show how both of these thinkers, and the project of speculative ethics in general, could benefit by turning to the work of F.W.J. Schelling on the concept of good and evil as absolute ethical values. (shrink)

The purpose of this paper is to examine some contentions advanced by B. A. O. Williams in his books Descartes: The Project of Pure Enquiry and Ethics and the Limits of Philosophy . In particular I shall be concerned with the claims he makes about the nature of ethics—namely that it cannot be ‘objective’ or ‘realistic’ and that we may not hope for rational convergence in ethical judgments. My claims will be that Williams's case on these matters is importantly (...) unclear and incomplete and that we lack cogent reasons to accept the conclusions he offers us. But a good deal of scene-setting is necessary before we can pose the questions I wish to address. (shrink)

Patients’ beliefs about the effectiveness of their treatments are key to the success of any intervention. However, since these beliefs are usually formed by sequentially accumulating evidence in the form of the covariation between the treatment use and the symptoms, it is not always easy to detect when a treatment is actually working. In Experiments 1 and 2, we presented participants with a contingency learning task in which a fictitious treatment was actually effective to reduce the symptoms of fictitious patients. (...) However, the base-rate of the symptoms was manipulated so that, for half of participants, the symptoms were very frequent before the treatment, whereas for the rest of participants, the symptoms were less frequently observed. Although the treatment was equally effective in all cases according to the objective contingency between the treatment and healings, the participants’ beliefs on the effectiveness of the treatment were influenced by the base-rate of the symptoms, so that those who observed frequent symptoms before the treatment tended to produce lower judgments of effectiveness. Experiment 3 showed that participants were probably basing their judgments on an estimate of effectiveness relative to the symptom base-rate, rather than on contingency in absolute terms. Data, materials, and R scripts to reproduce the figures are publicly available at the Open Science Framework. (shrink)

Bradley thought that there is a connexion between the theory of reality and the theory of truth. The theory of reality to which he subscribed, Monism, rules out a correspondence theory of truth, he thought, since it denies the existence of a plurality of facts, or things, in virtue of correspondence to which a judgment could be true. But though he rejects the correspondence theory he insists on the independence of truth from belief, wish and hope. For him the test (...) of truth is coherence, which has two aspects, system and comprehensiveness. However, he does not think that this test yields ?absolute? truth. This, he maintains, for at least three different reasons, is unobtainable. Judgments can only be partially true. However, since there are degrees of truth, some judgments are closer to the truth than others, even though none are, or could be, unconditionally true. (shrink)

ABSTRACTThe present research tested the notion that emotion expression and context perception are bidirectionally related. Specifically, in two studies focusing on moral violations and positive moral deviations respectively, we presented participants with short vignettes describing behaviours that were either moral, polite or unusual together with a picture of the emotional reaction of a person who supposedly had been a witness to the event. Participants rated both the emotional reactions observed and their own moral appraisal of the situation described. In both (...) studies, we found that situational context influenced how emotional reactions to this context were rated and in turn, the emotional expression shown in reaction to a situation influenced the appraisal of the situation. That is, neither the moral events nor the emotion expressions were judged in an absolute fashion. Rather, the perception of one also depended on the other. (shrink)

In this essay, I consider the relationship between the rights to privacy and security and argue that, in a sense to be made somewhat more precise below, that threats to the right to security outweighs comparable threats to privacy. My argument begins with an assessment of ordinary case judgments and an explanation of the important moral distinction between intrinsic value (i.e., value as an end) and instrumental value (i.e., value as a means), arguing that each approach assigns more moral (...) value, other things being equal, to security interests than to privacy interests. I then consider the issue from with a number of mainstream approaches to normative theories of state legitimacy, including social contract theories (new and old), utilitarian theories, Scanlon's contractualism, and various communitarian theories assign security rights a higher place on the moral hierarchy than privacy rights. I then conclude that, under ordinary intuitions and each of these theories, security interests trump (or outweigh) privacy interests when the two come into “direct” conflict – although I make no attempt to give an algorithm or theory for answering the important question of when these interests come into direct conflict and how to weigh them when, say, minor interests in security conflict with major interests in privacy. (shrink)

In his presidential address (American Philosophical Association, Western Division), William Frankena sets himself against the relativist and irrationalist drift of our time in asserting that ?It is of the essence of a normative judgment to claim that it is justified, rational or valid?, and that fully informed men of reason will ultimately agree about value questions. Applauding the return to reason, this note finds a need for further clarification on the definition of normative terms, the justification of normative judgments, (...) the basis of obligation to be rational, and on the promise of agreement among men of reason in axiology. (shrink)

Across eight experiments (N = 2310), we studied whether people would prioritize rescuing individuals who may be thought to contribute more to society. We found that participants were generally dismissive of general rules that prioritize more socially beneficial individuals, such as doctors instead of unemployed people. By contrast, participants were more supportive of one-off decisions to save the life of a more socially beneficial individual, even when such cases were the same as those covered by the rule. This generality effect (...) occurred robustly even when controlling for various factors. It occurred when the decision-maker was the same in both cases, when the pairs of people differing in the extent of their indirect social utility was varied, when the scenarios were varied, when the participant samples came from different countries, and when the general rule only covered cases that are exactly the same as the situation described in the one-off condition. The effect occurred even when the general rule was introduced via a concrete precedent case. Participants' tendency to be more supportive of the one-off proposal than the general rule was significantly reduced when they evaluated the two proposals jointly as opposed to separately. Finally, the effect also occurred in sacrificial moral dilemmas, a general phenomenon occurring in multiple moral contexts. We discuss possible explanations of the effect, including concerns about negative consequences of the rule and a deontological aversion against making difficult trade-off decisions unless they are absolutely necessary. (shrink)

In this paper, I reply to Seungbae Park’s (2020) critique of the view I defend in Chapter 6 of The Relativity of Theory: Key Positions and Arguments in the Contemporary Scientific Realism/Antirealism Debate (Cham: Springer, 2020), namely, Relative Realism. Relative Realism is the view that, of a set of competing scientific theories, the more predictively successful theory is comparatively true. Comparative truth is a relation between competing theories. So, to say that T1 is comparatively true is to say that T1 (...) is closer to the truth than its competitors, T2, T3, ..., Tn. Park offers two arguments against Relative Realism. The first is an argument by analogy to NBA players, which is supposed to show that, contrary to what the relative realist argues, absolute judgments about the (approximate) truth and (predictive) success of competing theories are rationally justified. The second is what Park calls “The Argument from Double Spaces,” which is supposed to show that, contrary to what the relative realist argues, relative judgments about the (comparative) truth of competing theories are not rationally justified. I argue that Park’s arguments fail to do what he wants them to do. (shrink)

Philosophers of criminal punishment widely agree that criminal punishment should be “proportional” to the “seriousness” of the offense. But this apparent consensus is only superficial, masking significant dissensus below the surface. Proposed proportionality principles differ on several distinct dimensions, including: regarding which offense or offender properties determine offense “seriousness” and thus constitute a proportionality relatum; regarding whether punishment is objectionably disproportionate only when excessively severe, or also when excessively lenient; and regarding whether the principle can deliver absolute judgments, (...) or only comparative ones. This essay proposes that these differences cannot be successfully adjudicated, and one candidate proportionality principle preferred over its rivals, in the abstract; a proportionality principle only makes sense as an integrated part of a more complete justificatory theory of criminal punishment. It then sketches a proportionality principle that best fits the responsibility-constrained pluralist theories of criminal punishment that currently predominate. The proportionality principle it favors provides that punishments should not be disproportionately severe, in noncomparative terms, relative to an agent’s culpability in relation to their wrongdoing. (shrink)

In her analysis the author comes to the conclusion, that Wittgenstein's conception of ethics in the end of 1920s was marked by: 1. an ambiguous and confusing explanation of the term "ethics"; 2. continuously putting stress on fact/value diffe_rence as well as on the ethical being beyond the expression; 3. introducing the difference between the relative and the absolute use of the words "good" and "right", "value" and differentiating between relative and absolute value judgments; 4. claiming the (...) first person discourse as the only possible ethical discourse, The shift in Wittgenstein's views of ethics consists in that 1. Wittgenstein started to use the word "ethics" in its traditional meaning; 2. in his discussions of ethics he deals with moral problems of everyday life; 3. he makes his views on the absolute judgments´ being beyond expression more accurate; 4. he takes ethics as an theoretical system; 5. he sees ethics not as one doctrine, but rather as a whole consisting of several theoretical systems; 6. the influence of language game on ethical system becomes visible. Nevertheless, considering ethics in its traditional meaning did not depress his understanding of ethics as something higher, transcendent and God related. (shrink)

According to Fichte, neither antithesis nor synthesis is possible without an absolute thesis, or what he called a thetic judgment. The only examples Fichte offers are ‘I am I’ and ‘self is free’. These judgments are absolute judgments, whereby the subject is neither equated with nor opposed to anything, but simply posited absolutely or as identical to itself. Thetic judgments presuppose no ground of conjunction or distinction, yet formally they seem to assert the identity of (...) the subject and the predicate. If this is so, there must be a third thing by reference to which the two are related. Or, in Fichte’s words, thetic judgements presuppose the requirement for a ground. In the proposition ‘I am I’ the ground of the relation is not present but must be sought as a task. The whole activity of the self is to find this basis. For example, in the proposition ‘self is free’ there is no ground of conjunction or distinction for relating these two concepts, but there is the requirement that the concepts be related. What the Wissenschaftslehre discloses is that these concepts can only be combined in the Idea of a self whose consciousness is determined by nothing outside itself. (shrink)

Comparative or limited-field assessments of aesthetic merit can often be fairly easily defended. This paper is concerned with the more difficult problem of supporting absolute judgments of merit about art. Most people think they have an answer to this problem and express or presuppose it when they say, “Modern art is junk,” or “The gigantic stature of Mondrian is more easily recognized when one is able to examine more than a hundred works by him in a single show,” (...) or “I know everything about art but I don’t know what to like.”. (shrink)

An absolute decline in US life expectancy in low education whites has alarmed policy makers and attracted media attention. Depending on which studies are correct, low education white women have lost between 3 and 5 years of lifespan; men, between 6 months and 3 years. Although absolute declines in life expectancy are relatively rare, some commentators see the public alarm as reflecting a racist concern for white lives over black ones. How ought we ethically to evaluate this lifespan (...) contraction in low education whites? Should we care, or is it racist to care? Does it constitute an injustice or reflect justice being done? I argue that the lifespan contraction in low education whites violates key normative criteria used to make determinations of health justice, and that these judgments do not vitiate concerns about racism. I conclude with reflections on US population health policy and building an inclusive health equity movement. (shrink)

In this paper, I argue, first, that Hegel defended a version of the analytic/synthetic distinction—that, indeed, his version of the distinction deserves to be called Kantian. For both Kant and Hegel, the analytic/synthetic distinction can be explained in terms of the discursive character of cognition: insofar as our cognition is discursive, its most basic form can be articulated in terms of a genus/species tree. The structure of that tree elucidates the distinction between analytic and synthetic judgments. Second, I argue (...) that Hegel has an interesting and so far unexplored argument for the analytic/synthetic distinction: Hegel argues that the systematic relationship between concepts expressed in a genus/species tree can only be expressed through synthetic judgments. Third and finally, I explore some of the implications that the arguments in the first two parts of the essay have for understanding the way in which Hegel differs from Kant. I argue that Hegel accepts Kant's point that discursive cognition cannot be used to cognize the absolute. However, Hegel thinks that we can, nevertheless, cognize the absolute. I explore the character of this non-discursive cognition and argue that we can understand Hegel's glosses on this form of cognition—as simultaneously analytic and synthetic and as having a circular structure—through contrasting it with his account of discursive cognition. As a consequence, I argue that we must give up on attempts to understand ‘the dialectical method’ and ‘speculative cognition’ on the model of discursive cognition. (shrink)

Kraut and other neo-Aristotelians have argued that there is no such thing as absolute goodness. They admit only good in a kind, e.g. a good sculptor, and good for something, e.g. good for fish. What is the view of Aristotle? Mostly limiting myself to the Nicomachean Ethics, I argue that Aristotle is committed to things being absolutely good and also to a metaphysics of absolute goodness where there is a maximally best good that is the cause of the (...) goodness of all other things in virtue of being their end. I begin by suggesting that the notion of good as an end, which is present in the first lines of the NE, is not obviously accounted for by good in a kind or good for something. I then give evidence that good in a kind and good for something can explain neither certain distinctions drawn between virtues nor the determinacy ascribed to what is good “in itself.” I argue contra Gotthelf that because several important arguments in the Nicomachean Ethics rely on comparative judgments of absolute value—e.g. “Man is the best of all animals”—Aristotle is committed to the existence of both absolute goodness and an absolutely best being. I focus on one passage, Aristotle’s division of goods in NE I 12, which presupposes this metaphysical picture. (shrink)

A theory of higher-order vagueness for partially-defined, context-sensitive predicates like is blue is offered. According to the theory, the predicate is determinately blue means roughly is an object o such that the claim that o is blue is a necessary consequence of the rules of the language plus the underlying non-linguistic facts in the world. Because the question of which rules count as rules of the language is itself vague, the predicate is determinately blue is both vague and partial in (...) a sense analogous (though not completely identical) to the sense in which is blue is vague and partial. However, higher-order vagueness stops there. Although the anti-extension of is determinately blue differs from that of is blue, further iterations of determinately have no semantic effect. The paper closes with a discussion of the need to posit sharp and precise lines dividing the range of potential application of a vague predicate into semantically distinct categories. It is argued that this is less of a problem for the present theory than for many others, because the categories into which the range is divided by the present theory -- like the category of counting as blue because the rules of the language offer speakers no discretion, as opposed to the category of counting as blue because speakers have invoked an absolute minimum of discretion in adjusting the contextually sensitive boundaries of the predicate -- are not those that the linguistic competence of ordinary speakers equips them to make highly accurate and reliable judgments about. (shrink)

In this chapter, I consider the unity of self-consciousness and objectivity. Starting from the notion that the objective character and the self-conscious character of thought seem in tension, I discuss Sebastian Rödl’s Self-Consciousness and Objectivity and his thesis that this tension is merely apparent. This resolution suggests an immediate route to absolute idealism. I recall two Hegelian objections against such an immediate route. Against this background, it transpires that the dissolution of the apparent opposition of objectivity and self-consciousness can (...) only be a preliminary step, opening our eyes to an actual opposition animating the pursuit of knowledge: the opposition of knowledge of nature and self-knowledge. This actual opposition cannot be removed as merely apparent and instead has to be sublated through articulation of its speculative unity. I consider two paradigms for the exposition of such a speculative unity: Kant’s account of judgments of beauty, and Hegel’s account of the speculative unity of life and self-consciousness. I close by contrasting these two approaches with Rödl’s characterization, which strikes me as one-sided. Absolute idealism, properly understood, requires us to develop the speculative unity of knowledge of nature and self-knowledge from both sides, showing us that knowledge of nature is self-knowledge, but equally: that self-knowledge requires knowledge of ourselves as nature. (shrink)

The author argues that the core of Hume’s Academic skepticism lies in his commitment to an external world and objective causal powers that are cognitively opaque to human understanding. Three central topics of Hume’s theory of the understanding are discussed —the existence of absolute space, the existence of a world external to our senses, and the existence of objective causal powers. In each case, Hume draws a Pyrrhonian opposition between judgments based on his “Copy Principle” and the “fictions” (...) or “illusions” formed through association of ideas. While he suspends judgment concerning the existence of absolute space, he argues that the association-based beliefs in an external world and objective causal powers are necessary for human life and indispensible in science. In adopting such beliefs about external reality, while at the same time denying their intelligibility, Hume was following ancient Academic skepticism. (shrink)

The history of the phrase absolute music has been studied by many theorists of music and music historians, while historians of philosophy proved to be rather reluctant to such syncretic concept. However, absolute music is exactly the case of non-philosophical appropriation of a philosophical category, which fits theoretical framework of the studies in intellectual history. Initial exploration on the synthesis of history of philosophy and musicology and music history has shown that the conceptual field of intellectual history enables (...) the transition from abstract ideas to concrete social history of thought. It is proved that "absolute music" is not an authentic concept of music culture of the nineteenth century, but rather a good invention of new musical hermeneutics, which defined a period in the development of music and paradigm of concepts that characterized autonomy of musical form. The subject of historical and philosophical studies of the phrase "absolute music" lies in transformation of a philosophical term into a unit of aesthetic discourse, and later its reincarnation in the concept of musical historiosophy. Both philosophical and musicological approaches to the history of absolute music are based on the assumption that only theoretically relevant assertions and judgments appeal to the hermeneutic reconstruction and generalization, whereas political and social references of the discourse of absolute music can be left aside. So futher research shall focus on possibilities of how to reach the concrete social background of that form of thinking which employs the idiom absolute music. (shrink)