Midwest Studies In Philosophy, Volume 44, Issue 1, Page 143-160, December 2019.

An Introduction to the Philosophy of Art is a clear and compact survey of philosophical theories of the nature and value of art, including in its scope literature, painting, sculpture, music, dance, architecture, movies, conceptual art and performance art. This second edition incorporates significant new research on topics including pictorial depiction, musical expression, conceptual art, Hegel, and art and society. Drawing on classical and contemporary philosophy, literary theory and art criticism, Richard Eldridge explores the representational, formal and expressive dimensions (...) of art. He argues that the aesthetic and semantic density of the work, in inviting imaginative exploration, makes works of art cognitively, morally and socially important. This importance is further elaborated in discussions of artistic beauty, originality, imagination and criticism. His accessible study will be invaluable to students of philosophy of art and aesthetics. (shrink)

Music is fundamental to human existence, a cultural universal among all humans for all times. It is embedded in our evolution, encoded in our DNA, which is to say, essential to our survival. Academics in a variety of disciplines have considered this idea to devise explanations that Richard Manning, a lifelong journalist, finds hollow, arcane, incomplete, ivory-towered, and just plain wrong. He approaches the question from a wholly different angle, using his own guitar and banjo as instruments of discovery. (...) In the process, he finds himself dancing in celebration of music rough and rowdy. American roots music is not a product of an elite leisure class, as some academics contend, but of explosive creativity among slaves, hillbillies, fieldhands, drunks, slackers, and hucksters. Yet these people-poor, working people-built the foundations of jazz, gospel, blues, bluegrass, rock 'n' roll, and country music, an unparalleled burst of invention. This is the counterfactual to the academics' story. This is what tells us music is essential, but by pulling this thread, Manning takes us down a long, strange path, following music to deeper understandings of racism, slavery, inequality, meditation, addiction, the science of our brains, and ultimately to an enticing glimpse of pure religion. Use this book to follow where his guitar leads. Ultimately it sings the American body, electric. (shrink)

In remote regions of the eastern Andaman, into the 1990s, a remarkable rapport with nature's forces was occurring.1 Most strikingly expressed during adolescence, it emerged spontaneously from a local type of consciousness. Both the capability and the underlying consciousness were conceived within a pervasive milieu of lushly sensual infant nurture.2 So dependable was the pattern of affection, it spawned a tactile language long before onset of speech. Speech, learning and sociality then followed in the eros‐driven paradigm already set. So did (...) a rare rapport with nature's forces.With nothing in the culture to discourage it, eros was not walled‐off as children grew. It remained firmly at the root of consciousness on through teens. To be a child out in those seas was to move spontaneously and digressively out into life pursuing sundry passion pulses. When erotic power escalated during adolescence, rapport with natural forces dramatically increased. Spectacular gambolings with nature began bursting forth—sometimes astonishingly complex rhythmic ones. No clouds of moody adolescent angst discouraged spontaneity; no flattening of affect suppressed adolescent verve; no emotional dissimulation confounded purpose. Adolescence was a time for a blossoming of affect, for melding deeply and dynamically with habitat. It was a time to profoundly dance with nature's forces.Possessing a protean character, love lies more fluidly within the human frame than language. Following its own inner protocols, love seems able to evade the stable kinds of labeling required for logical inquiry. In exotic cultures it is hard to see at all. In the eastern Andaman, its workings were initially invisible to Western eyes. It was necessary to firm up subliminal awarenesses before the workings out of eros could even be detected there. Though difficult to deal with scientifically, love plays such a profound role in the affairs of humankind that it begs experimental types of scrutiny.A fracturing of love into Bacchanalian and Sublime occurred during the early Greek foundations of Western culture. Out of that schism Western ethos grew. The ethos molded the Western type of consciousness. In the eastern Andaman, eros was not cleaved at all. It shaped a type of psyche not countenanced by the West since its prehistory. (shrink)

How are we to understand, define, and critically evaluate the function, origin, and types of art and establish criteria for describing a work as "superior?" While such esthetic questions are unchanging, the answers vary markedly from decade to decade and even year to year, depending upon the prevailing opinion of critics, artists, and the public. Esthetics Contemporary has been revised and updated to include fourteen new selections from many of the most respected authorities on literature, dance, the visual arts, theatre, (...) music, cinema, and architecture. Kostelanetz captures the rich diversity of our changing views of art while at the same time discloses its variegated influence on the contemporary art scene. Esthetics withers if compelled to remain within the stultifying confines of rigid theories. The experiential dimension of esthetic requires that it change if trends and breakthroughs in the arts are to be appreciated fully. Esthetics can ill afford to ignore the fluid reality of creative forces - that intimate and interpenetrating relationship between the esthetic theory of a particular period and the arts that dominate. Featured in this volume are discussions of the future of music, minimalist tendencies in dance, conceptual art, theatre esthetics, de-architecturalization, art as internal technology, the esthetics of the avant-garde, modernism and postmodernism, photography and esthetics, video art, radio drama, affirmation of space-time forces, criticism of imaginative writing, a structural-informational approach to cinema, phenomenal art, and much more. The first edition of Esthetics Contemporary distinguished itself as a pioneering volume that gave new meaning and clearer understanding to the often misunderstood world of contemporary art. This revised edition with its many new selections will continue that fine tradition into the next decade and beyond. (shrink)

During the second half of the nineteenth century, visitors to Shaker villages were numerous and various, quite various. In 1865, a New York Times reporter offered these observations: "Not a smile illumines the hard, wrinkled features of male or female Shaker. The youngsters … must enjoy the gymnastics [the Shakers' dancing], but their enjoyment has little opportunity for display. Solemn old heads frown down the slightest demonstration of nature,, and so the boys' faces are almost as expressionless as their own". (...) Just two years later, another observer visiting the same New Lebanon community, with presumably most of the same inhabitants, perceived something quite different: "The people... (shrink)

In Spence v. Washington, the Supreme Court devised a two-part test for determining whether a nonverbal action is expressive conduct protected by the First Amendment. According to the Spence test, a nonverbal action is expressive if and only if: (1) it is intended to communicate a particularized message; and (2) in the circumstances in which the action is performed, the likelihood is great that the message will be understood by observers. -/- In subsequent cases, however, the Court has made clear (...) that the category of "expressive conduct" embraces a much wider variety of nonverbal behaviors than a literal reading of the Spence test would suggest. It includes, for example, such behaviors as composing instrumental music, creating nonrepresentational visual artworks, penning nonsense verse, and dancing in the nude for the entertainment of others. -/- Drawing on the work of Paul Grice, one of the twentieth century's most influential philosophers of language, this Comment develops a two-part expressive conduct test that captures the expressive character of this wider variety of behaviors. It shows that the Gricean test displays striking consistency with the Supreme Court's particularized judgments about which sorts of nonverbal conduct are expressive and which sorts are not. (shrink)

In responding to five symposium articles that discuss my book Thinking through the Body and my theories of somaesthetics and pragmatism, this essay elaborates two central methodological orientations that guide my philosophical research. The first is transactional experiential inquiry in which inquiry can develop new directions, aims, methods, and standards through the dynamic experiences acquired in the course of the inquiry’s pursuit and in which its transactional experiences involve research that transcends familiar disciplinary limits and conventions. The second principle involves (...) mitigating problematic dualisms by a strategy of inclusive disjunction. I deploy these principles in replying to the five commentaries. Besides clarifying issues in somaesthetics, my reply focuses on such topics as everyday aesthetics, eroticism, architecture, dance, Chinese philosophy, meliorism, and pragmatism. (shrink)

This article revisits a famous staple of the Vergilian tradition, Servius's heavily contested scholion on the actress Volumnia Cytheris's theatrical rendition of Vergil's sixth Eclogue. By shifting the focus of inquiry from the strictly historical question ‘ did it happen?’ it cuts through, identifies and disentangles a nexus of prejudices which have led to the devaluing of Servius's information. The sidelining or dismissal of this piece of evidence, I argue, has more to teach us about our own culturally entrenched and (...) discipline-inherited assumptions than about what could have happened in late Republican Rome. Scrutiny of the evidence on the stage re-mediation of high poetry suggests it is entirely plausible that Cytheris would have performed a theatricalized version of Vergil's masterpiece. Indeed at the very heart of the story lies the convergence between élite poetry and the world of professional stage artists. Moreover, Cytheris's possible performance of a repertoire that coincides with the mythological core of pantomime dancing in its artistic maturity opens pivotal questions concerning what Plutarch aptly calls the “full association and mutual entanglement” between the arts of poetry and dance. Taking Servius seriously gives us the impetus to explore more decisively dimensions of Roman life that have been messily sidelined as a result of the systematic privileging of “texts” in our surveys of Roman intellectual landscapes over the centuries. Even if Servius's extract turned out to be no more than a “myth”, an “anecdote”, as such narratives go, this is an incredibly helpful one, provided we are willing to press it into the service of larger inquiries regarding the “circulation” of cultural energy between élite and popular culture. (shrink)

Derived from Heidegger's interpretation of attractive force with a high volume of inspired beauty care and a master not only the followers. And in order to maintain this special, he followed the great classical psychologists: Ferdinand learning. He also won in the traditional school psychology professor at the certificate, but his real motive is not subject to the ancient hope臘Heidegger was carried out by the interpretation of the full amount of impact force. Nevertheless, Heidegger's classic is still up to the (...) United States: "true management and methods" to maintain significant influence over. Up to the United States as a major interpreter of Heidegger's thinking, and faithful friend. In about two more people, I turned to introduce three other in Heidegger, Gadamer's major research on the influence of the philosopher: Park Latin chart, sub-km Aristotle and Hegel. First we look at the future Park Latin chart, I think the focus on conversation and dialogue up to the United States and the "dialectic dialogue" concept. The relative importance of making it true, so true that people with reasonable doubt and dialogue. Although there are many plans to pull up to the United States Park effect, but I make up as two points and a U.S. interlocutor's talent and try to prove. I have given up by the United States with three coming from Aristotle's concept of sub-km: wise , mimetic and tragedy. Wise is to predict the results of practical wisdom for the rational, he does not see a formula-based learning, as can be, but based on life experience. That mimic the Department of Aristotle in the sub-km only copy, and is reasonable in real life, the ultimate communicator. Finally, the tragedy is not the only sub-km Aristotle considers the six parts of the structure, but compassion and fear the experience of change in the audience angle of view, it is up to the United States in view of the viewer's experience of understanding and application, is a kind of tragedy action meaningful participation and experience. Beneficiary of up to U.S. history in Hegel's awareness of personal, Hegel's dialectic, as well as their knowledge to the arts is the current acceptance of the senses. He does not agree with Hegel referred to the "art of the past things," Hegel explains how this point. Shortly we will be able to see the remarkable work of art as a nervous balcony. Let me give you a visit in Heidelberg, Heidegger's experience in the United States up to the lecture, he objected to clarify and to hide his own dialectic and Hegel's dialectic with links, because at the end of Hegel's philosophy of total abstraction knowledge. In the second part of this lecture, I turned to the analysis of Gadamer's thesis on the art of "the relevance of the United States," and Heidegger in this direction is the famous "Art works of origin> thesis compared. In the late writings, Heidegger shows that there is not his main independent and self-study will be presented in the art of the earth and the world as a tension. In Gadamer's thesis in art, he follows Heidegger in the hope臘by establishing the art of human culture, learn the origin of works of art ontology analysis. He discussed all the cultural roots of the game , the difference between symbolic meaning and religious ceremonies. But he formed an art theory of the problem to analyze, it also clarifies the classical art and contemporary abstract art. In these three elements: the game, symbols and festivals, art up to the United States to find a structure is more deep cultural roots. As in the early hope臘ceremony, dance performances and tragedy. Gadamer's encounter with the magnetic force of Heidegger's interpretations made him cautious not to become simply a follower of the great master. To maintain his independence, he studied with Paul Friedländer, the great classical philologist. He attained certification in classical philology to teach in the secondary schools, but his true motive was to be able to resist the powerful interpretations of Greek philosophy put forward by Heidegger. Nevertheless, Heidegger remained a major leavening influence on Gadamer's classic, Truth and Method, and Gadamer became a major interpreter of Heidegger's thought, and a constant friend. After a few comparisons between them, I turn to three major philosophers other than Heidegger who contributed concepts to Gadamer's masterwork: Plato, Aristotle, and Hegel. Regarding Plato, I point to the emphasis in Gadamer on dialogue and conversation and the concept of eumeneis elenchoi, the respect the opponent that recognizes that he could be right, so they join together in dialogue in quest of the truth. Although there are many other debts to Plato in Gadamer, I point to these two and testify to Gadamer's gifts as a conversationalist and debater. I single out three concepts of Aristotle that Gadamer used: phronesis, mimesis, and tragedy. Phronesis is the practical wisdom that goes beyond calculative reason. It is based not on formulas that can be learned but on experience of life . Mimesis in Aristotle is not just copying, but on a recognition that ultimately conveyed truth about life. Finally, tragedy for Aristotle is not just a structure with six parts but an experience of pity and terror that transformed the perspective of the viewer. This was important in the hermeneutics of Gadamer that looked at the viewer's experience of recognition and application, a participatory experience of the meaning of the action of the tragedy. Gadamer is indebted to Hegel for the historical character of consciousness, the Hegelian dialectic, and the recognition that that art is a sensuous representation of the real. He did not agree with Hegel that art was a thing of the past, and also explained what Hegel meant by this: we no longer saw art as a disclosure of the divine. I mention an experience I had of Heidegger's visit to Heidelberg, where he spoke after Gadamer's lecture rejecting his effort to connect his dialect of clearing and concealing with Hegelian dialectic, because Hegel's philosophy always ended in absolute knowledge. For the second major part of the lecture, I turn to an analysis of Gadamer's essay on art, The Relevance of the Beautiful , comparable in a way to Heidegger's famous lectures on The Origin of the Work of Art . In the latter work, Heidegger declares his independence of his masterwork and presents art in terms of the tension between earth and world. In Gadamer's essay on art, he goes beyond the Heideggerian emphasis on the ontology of the artwork by seeking to establish the anthropological roots of art in Greek culture. He discusses the roots of all culture in play, the significance of the symbol, and the meaning of religious festivals. But he begins with an analysis of the problem of formulating a theory of art that does justice both to classical art and contemporary nonrepresentational art. In all three elements, play, symbol, and festival, Gadamer finds a foundation for art in the deep roots of our culture as found in the ritual, dance, and tragic plays of ancient Greece. (shrink)

Medieval theologians may not have agonized over how many angels can dance on the head of a pin—though the question does arise in the anonymous mystical dialogue Schwester Katrei—but on other matters angels provoked them to endless speculation. How many are there? Perhaps 34,720,000,000, but that was not the only calculation. Without bodies, how do they speak or sing? Do they have names, or even personal identities? How and why and when did some of them rebel? How do they flit (...) back and forth between praising God in heaven and tending to people on earth? The Bible says much about angels, but they remain abstract and good to speculate about. They are ranked in a hierarchy of orders, but the theologians have different ways of organizing them. James Collins used to say that angels, rational beings like us, show what we would be without our bodies. Even disembodied, however, we would be less mysterious to ourselves than angels are. Saints, being less abstract than angels, lend themselves far more to storytelling—which is precisely what Weinberger does when he shifts from angels to saints. Having guided the reader through issue after speculative issue in the field of angelology, he tells story after story from the treasure trove of hagiography. Are there no issues to be explored? Might the reader be interested in the tug-of-war between action and contemplation, or the role of conversion and penitence, or the gender dynamics of sainthood, or for that matter the tendency of saints to wrestle with demons, bidden or unbidden? Saints are paradoxically both imitable and utterly beyond imitation: they feed the hungry, but they also (some of them) levitate, or starve themselves to death, or produce fire from their fingertips. Unlike angels, they are firmly grounded in history, which means they change over time: modern saints differ from ancient ones, at least in context. Weinberger gives ample material for reflection about saints—at one point, a catalog of ten Hyacinths and a Hyacintha. In approaching the angels, he gives questions with multiple answers; in dealing with saints, he gives answers and leaves it for us to ask the right questions. (shrink)

Savage et al. include groove and dance among musical features which enhance social bonds and group coherence. I discuss groove as grounded in structure and performance, and relate musical performance to play in nonhuman animals and humans. The interplay of individuals' contributions with group action is proposed as the common link between music and play as contributors to social bonding.

Because of Professor Cooley's prosecutorial review, I want to make clear at the outset that my rejoinder is not a codefendant's answer to a plaintiff's replication. Instead, I first attempt to provide an ?immanent? analysis of Cooley's indictment, in the sense of dealing with what dwells within his reasoning. A specific philosophical definition of ?immanent? reads: taking place within the mind of the subject, but having no effect outside (this does not apply to me as an outsider). I intend to (...) battle with Cooley up close?no ?dancing??my defense against his offense. In the second part, the focus will be on what I think is missing from Cooley's attempt to discredit McLaren and Farahmandpur's book. His decision or failure to deal with what Marx and the most effective Marxists have written, and how some of this provided analyses that could be and/or was acted upon, may be more serious than his beating up on the book's authors. (shrink)

We designed an experiment to explore the learning effectiveness of three different ways of practicing dance movements. To our surprise we found that partial modeling, called marking in the dance world, is a better method than practicing the complete phrase, called practicing full-out; and both marking and full-out are better methods than practicing by repeated mental simulation. We suggest that marking is a form of practicing a dance phrase aspect-by-aspect. Our results also suggest that prior work on learning by observation (...) and learning by mental practice may not scale up to complex movements. (shrink)

This chapter is particularly concerned with the status of history, dance history especially, within Dance Studies. It asks what has befallen the more recent status of history, once an epistemological support at a critical stage in Dance Studies’s early development, now that Dance Studies is better established, relatively speaking, within the academy. Is history so much scaffolding which, having fulfilled its purpose in enabling the disciplinary plant to take root, is to be dismantled and, if not actually discarded, at least (...) demoted? Three factors will be identified and proposed as having particular significance in this connection, imbuing this chapter with a tri-partite structure. The first concerns the already noted strong imprint of Cultural Studies on Dance Studies and the possible bearing of this imprint on dance history’s status within Dance Studies. For the particular manner in which Dance Studies has construed Cultural Studies may, this chapter will suggest, have impacted upon dance history’s standing within communities of dance scholarship. The second factor has to do with the implications, for dance history, of a particular critique based in a branch of dance scholarship, that perceives phenomenology, which it deems a good fit for dance inquiry, as inherently antithetical to history. In particular, this critique takes the work of Michel Foucault - which it identifies closely with, and as, historical practice - as incompatible with dance enquiry. Incompatibility is staked on the twin grounds of Foucault’s break with, and supposed resulting and enduring antipathy towards, phenomenology; and his perceived embrace of history which is, itself, also understood to result from such a break. In effect, then, this critique questions the very suitability, for dance research, of approaches based in history-focussed inquiry. The ability to call this critique into question, in the ways that the present discussion, in seeking to rehabilitate Foucault, and so history, needs to demonstrate, constitutes the third factor. This final factor makes two particular, further demands of this chapter. Namely that the interrelated questions of Foucault, phenomenology, and dance; and of the position which phenomenology has itself adopted in relation to history, be re-visited and re-evaluated to the extent that space reasonably allows. Fortunately, these interrelated questions are ones which have - relatively recently - preoccupied scholarship on Foucault, and on phenomenology, respectively. This preoccupation may in and of itself be one possible indicator that there is indeed more at stake, and so to consider, regarding both questions, than the lines drawn by the aforementioned critique might suggest. (shrink)

Dance is proposed as the most representative of somaesthetic arts in Thinking Through the Body: Essays in Somaesthetics and other writings of Richard Shusterman. Shuster- man offers a useful, but incomplete approach to somaesthetics of dance. In the examples provided, dance appears as subordinate to another art form or as a means to achieving bodily excellence. Missing, for example, are accounts of the role of dance as an independent art form, how somaesthetics would address differences in varying approaches to (...) dance, and attention to the viewer’s somaesthetic dance experience. Three strategies for developing new directions for dance somaesthetics are offered here: identify a fuller range of applications of somaesthetics to dance as an independent art form ; develop somaesthetics for a wider range of theatre dance ; and relate somaesthetics to more general features of dance necessary for understanding the roles of the choreographer/dancer and the viewer. (shrink)

I propose a solution to the paradox of the kalela dance, as presented by Richard Werbner, based on a variety of liberalism I once identified.

In lieu of an abstract, here is a brief excerpt of the content:Somaesthetics, Education, and the Art of DancePeter J. Arnold (bio)This essay has two related purposes. The first is to explicate what dance as an art form should minimally comprise if it is to be taught as a distinctive aspect of education in the school curriculum. The second and main purpose is to argue that dance, if taught in accordance with what is outlined, is not only an efficacious means (...) in the development, understanding and promotion of somaesthetics, a new term in aesthetic theory, but an example of itsvery embodiment. Put differently it will be upheld that the practice of danceis not only an excellent vehicle in the promotion of somaesthetics but a paradigm case of what it is.But what is somaesthetics? Briefly put, in common with the thinking of some noted philosophers in the past, it can be said that somaesthetics is as much concerned with the idea of being a person and living well as with the development of rational thought and the development of the intellect. It emphasizes, in particular, that the soma in the form of its physical skills, senses and pleasures plays no less a part in the living of a full life than conceptual understanding and the imaginative use of language.1 Richard Shusterman, upholding these sentiments, refers to somaesthetics asthe critical and meliorating study of the experience and use of one's body as a locus of sensory aesthetic appreciation and creative self-fashioning. It is....devoted to the knowledge, discourses, practices, and bodily disciplines that structure such somatic care or can improve it.2Although such values and concerns are known to many educationists, they are rarely acted upon or taught in a deliberate or systematic way. Even within the realms of dance and sport more could be done than is done somaesthetically to educate in the interests of what it is to be a whole person. [End Page 48]Before embarking on the task of exemplifying dance as a form of somaesthetics, it will be helpful first to say a little about education and the idea of dance as a valued human practice; and second, to say something about the aesthetic in relation to art.Education and the Art of Dance as a Valued Human PracticeWhat is clear about the idea of dance as an art form is that it is more than the human body making rhythmical and patterned movements in space. It can be more accurately described as a coherent and complex range of actions in which intentions are physically expressed in terms of a meaningful performance that is artistic in nature and not merely aesthetic in appeal.It is my view that these elements of what constitutes dance best come together and are most readily grasped when it is seen as a valued form of human practice. Following Alistair MacIntyre, I take the term "practice" to meanany coherent and complex form of socially established co-operative human activity through which goods internal to that activity are realized in the course of trying to achieve those standards of excellence which are appropriate to, and partially definitive of, that form of activity, with the result that human powers to achieve excellence and human conceptions of the ends and goods involved are systematically extended.3The idea of the arts as forms of practice is helpful in at least two important ways. First, it draws attention to the fact that an art, like medicine, the law, or sport, is a distinctive form of life with its own standards, values, and procedures. Second, it recognizes, in keeping with the idea of education, thatthe internal goods of an activity, like the art of dance, will enlighten and enlarge the powers of the participant. MacIntyre undoubtedly recognizes the connection between the idea of a practice and the concept of education when he observes the proper end of education isto help to discover activities whose ends are not outside themselves — The critical ability which ought to be the fruit of education serves nothing directly except itself, no one except those who exercise it — above all the task of education is to teach the value of activity for its own... (shrink)

(text in Dutch) Mediated by the so-called Dream-organ ('Traumorgan') which opera composer Richard Wagner mentions in his writings, the author engages in a fictitious dialogue with Wagner. Their dialogue focuses on a few topics related to the conference theme 'Conflict and compassion' that were of concern to Wagner in his days and which have undergone some serious changes since his death. The author discusses with Wagner the 'death of tragedy', sexuality and desire after the sexual revolution, the attractivity of (...) musical genres like film and dance music, and the role of travel. (shrink)

Since Socrates, and through Descartes to the present day, the problems of self-knowledge have been central to philosophy's understanding of itself. Today the idea of ''first-person authority''--the claim of a distinctive relation each person has toward his or her own mental life--has been challenged from a number of directions, to the point where many doubt the person bears any distinctive relation to his or her own mental life, let alone a privileged one. In Authority and Estrangement, Richard Moran argues (...) for a reconception of the first-person and its claims. Indeed, he writes, a more thorough repudiation of the idea of privileged inner observation leads to a deeper appreciation of the systematic differences between self-knowledge and the knowledge of others, differences that are both irreducible and constitutive of the very concept and life of the person.Masterfully blending philosophy of mind and moral psychology, Moran develops a view of self-knowledge that concentrates on the self as agent rather than spectator. He argues that while each person does speak for his own thought and feeling with a distinctive authority, that very authority is tied just as much to the disprivileging of the first-person, to its specific possibilities of alienation. Drawing on certain themes from Wittgenstein, Sartre, and others, the book explores the extent to which what we say about ourselves is a matter of discovery or of creation, the difficulties and limitations in being ''objective'' toward ourselves, and the conflicting demands of realism about oneself and responsibility for oneself. What emerges is a strikingly original and psychologically nuanced exploration of the contrasting ideals of relations to oneself and relations to others. (shrink)

Since Socrates, and through Descartes to the present day, the problems of self-knowledge have been central to philosophy's understanding of itself. Today the idea of ''first-person authority''--the claim of a distinctive relation each person has toward his or her own mental life--has been challenged from a number of directions, to the point where many doubt the person bears any distinctive relation to his or her own mental life, let alone a privileged one. In Authority and Estrangement, Richard Moran argues (...) for a reconception of the first-person and its claims. Indeed, he writes, a more thorough repudiation of the idea of privileged inner observation leads to a deeper appreciation of the systematic differences between self-knowledge and the knowledge of others, differences that are both irreducible and constitutive of the very concept and life of the person. Masterfully blending philosophy of mind and moral psychology, Moran develops a view of self-knowledge that concentrates on the self as agent rather than spectator. He argues that while each person does speak for his own thought and feeling with a distinctive authority, that very authority is tied just as much to the disprivileging of the first-person, to its specific possibilities of alienation. Drawing on certain themes from Wittgenstein, Sartre, and others, the book explores the extent to which what we say about ourselves is a matter of discovery or of creation, the difficulties and limitations in being ''objective'' toward ourselves, and the conflicting demands of realism about oneself and responsibility for oneself. What emerges is a strikingly original and psychologically nuanced exploration of the contrasting ideals of relations to oneself and relations to others. (shrink)

Richard Pettigrew offers an extended investigation into a particular way of justifying the rational principles that govern our credences. The main principles that he justifies are the central tenets of Bayesian epistemology, though many other related principles are discussed along the way. Pettigrew looks to decision theory in order to ground his argument. He treats an agent's credences as if they were a choice she makes between different options, gives an account of the purely epistemic utility enjoyed by different (...) sets of credences, and then appeals to the principles of decision theory to show that, when epistemic utility is measured in this way, the credences that violate the principles listed above are ruled out as irrational. The account of epistemic utility set out here is the veritist's: the sole fundamental source of epistemic utility for credences is their accuracy. Thus, Pettigrew conducts an investigation in the version of epistemic utility theory known as accuracy-first epistemology. (shrink)

The body is a rich object for aesthetic inquiry. We aesthetically assess both our own bodies and those of others, and our felt bodily experiences have aesthetic qualities. The body features centrally in aesthetic experiences of visual art, theatre, dance and sports. It is also deeply intertwined with one's identity and sense of self. Artistic and media representations shape how we see and engage with bodies, with consequences both personal and political. This volume contains sixteen original essays by contributors in (...) philosophy, sociology, dance, disability theory, critical race studies, feminist theory, medicine, and law. They explore bodily beauty, sexual attractiveness, the role of images in power relations, the distinct aesthetics of disabled bodies, the construction of national identity, the creation of compassion through bodily presence, the role of bodily style in moral comportment, and the somatic aesthetics of racialized police violence. -/- Contents: Maria del Guadalupe Davidson, "Black Silhouettes on White Walls: Kara Walker’s Magic Lantern"; A. W. Eaton, "Taste in Bodies and Fat Oppression"; C. Winter Han, "From 'Little Brown Brothers' to 'Queer Asian Wives': Constructing the Asian Male Body"; Deborah L. Rhode, "Appearance as a Feminist Issue"; Shirley Anne Tate, "A Tale of Two Olympians—Beauty, 'Race,' Nation"; Glenn Parsons, "The Merrickites"; Stephen Davies, "And Everything Nice"; Tobin Siebers, "In/Visible: Disability on the Stage"; Jill Sigman, "Live, Body-Based Performance: An Account from the Field"; Barbara Gail Montero, "Aesthetic Effortlessness"; Peg Brand Weiser and Edward B. Weiser, "Misleading Aesthetic Norms of Beauty: Perceptual Sexism in Elite Women's Sports"; Yuriko Saito, "Body Aesthetics and the Cultivation of Moral Virtues"; George Yancy, "White Embodied Gazing, the Black Body as Disgust, and the Aesthetics of Un-Suturing"; Richard Shusterman, "Somaesthetics and the Fine Art of Eating"; Ann J. Cahill, "Sexual Desire, Inequality, and the Possibility of Transformation"; Sheila Lintott and Sherri Irvin, "Sex Objects and Sexy Subjects: A Feminist Reclamation of Sexiness" -/- . (shrink)

One of our most brilliant evolutionary biologists, Richard Lewontin has also been a leading critic of those--scientists and non-scientists alike--who would misuse the science to which he has contributed so much. In The Triple Helix, Lewontin the scientist and Lewontin the critic come together to provide a concise, accessible account of what his work has taught him about biology and about its relevance to human affairs. In the process, he exposes some of the common and troubling misconceptions that misdirect (...) and stall our understanding of biology and evolution.The central message of this book is that we will never fully understand living things if we continue to think of genes, organisms, and environments as separate entities, each with its distinct role to play in the history and operation of organic processes. Here Lewontin shows that an organism is a unique consequence of both genes and environment, of both internal and external features. Rejecting the notion that genes determine the organism, which then adapts to the environment, he explains that organisms, influenced in their development by their circumstances, in turn create, modify, and choose the environment in which they live.The Triple Helix is vintage Lewontin: brilliant, eloquent, passionate, and deeply critical. But it is neither a manifesto for a radical new methodology nor a brief for a new theory. It is instead a primer on the complexity of biological processes, a reminder to all of us that living things are never as simple as they may seem. (shrink)

Effective altruism sounds so innocuous—who could possibly be opposed to doing good more effectively? Yet it has inspired significant backlash in recent years. This paper addresses some common misconceptions and argues that the core “beneficentric” ideas of effective altruism are both excellent and widely neglected. Reasonable people may disagree on details of implementation, but all should share the basic goals or values underlying effective altruism.

In her recent, provocative essay “What Is the Point of Equality?”, Elizabeth Anderson argues against a common ideal of egalitarian justice that she calls “ luck egalitarianism” and in favor of an approach she calls “democratic equality.”1 According to the luck egalitarian, the aim of justice as equality is to eliminate so far as is possible the impact on people’s lives of bad luck that falls on them through no fault or choice of their own. In the ideal luck egalitarian (...) society, there are no inequalities in people’s life prospects except those that arise through processes of voluntary choice or faulty conduct, for which the agents involved can reasonably be held responsible. Anderson asserts that the adherents of luck egalitarianism, which can be elaborated in many different ways, include John Roemer, Erik Rakowski, Thomas Nagel, Ronald Dworkin, Gerald Cohen, Richard Arneson, and Philippe Van Parijs.2 In contrast, according to the democratic equality conception, justice as equality requires an end to oppressive social relationships. In the ideal society of democratic equality, the social conditions of everyone’s freedom are secured, each stands to every other in a relationship of fundamental equality, including equal respect, and all have real freedom to participate in democratic self-government. (shrink)

Increasing attention is paid in the social sciences and management studies to the constitution and claims of different theories, perspectives, and "paradigms." This book is one of the most respected and robust analyses of these issues. For this new paperback edition Richard Whitley--a leading figure in European business education--has written a new introduction which addresses the particular epistemological issues of business management studies.

Distinguished philosopher Richard Wollheim's rich and thought-provoking account of the emotions considers what emotions are, how they arise in our lives, and how standard and "moral" emotions differ.

Few philosophers have left a legacy like that of Gottfried Wilhelm Leibniz. He has been credited not only with inventing the differential calculus, but also with anticipating the basic ideas of modern logic, information science, and fractal geometry. He made important contributions to such diverse fields as jurisprudence, geology and etymology, while sketching designs for calculating machines, wind pumps, and submarines. But the common presentation of his philosophy as a kind of unworldly idealism is at odds with all this bustling (...) practical activity. In this book Richard. T. W. Arthur offers a fresh reading of Leibniz’s philosophy, clearly situating it in its scientific, political and theological contexts. He argues that Leibniz aimed to provide an improved foundation for the mechanical philosophy based on a new kind of universal language. His contributions to natural philosophy are an integral part of this programme, which his metaphysics, dynamics and organic philosophy were designed to support. Rather than denying that substances really exist in space and time, as the idealist reading proposes, Leibniz sought to provide a deeper understanding of substance and body, and a correct understanding of space as an order of situations and time as an order of successive things. This lively and approachable book will appeal to students of philosophy, as well as anyone seeking a stimulating introduction to Leibniz's thought and its continuing relevance. (shrink)

The discussion of good and evil must not be confined to the sterile lecture halls of academics but related instead to ordinary human feelings, needs, and desires, says noted philosopher Richard Taylor. Efforts to understand morality by exploring human reason will always fail because we are creatures of desire as well. All morality arises from our intense and inescapable longing. The distinction between good and evil is always clouded by rationalists who convert the real problems of ethics into complex (...) philosophical puzzles. In the first part of Good and Evil, Taylor looks for a more meaningful conception by reexamining and rejecting the whole rationalistic tradition that dominates philosophical ethics. The second part provides an empirical explanation of good and evil, noting that one does not have to look too far to find prime examples of the failure of fixed moral rules. Including important commentary on Joseph Fletcher's groundbreaking situation ethics, and Aristotle's virtues (e.g., magnanimity and pride), Taylor rounds out the book by developing a philosophy of aspiration--personal worth as an ethical ideal--to replace the morality of duty. He offers a modified form of situation ethics to fit the contemporary problems we face. (shrink)

This much acclaimed book has emerged as neo-pragmatism's most significant contribution to contemporary aesthetics. By articulating a deeply embodied notion of aesthetic experience and the art of living, and by providing a compellingly rigorous defense of popular art—crowned by a pioneer study of hip hop—Richard Shusterman reorients aesthetics towards a fresher, more relevant, and socially progressive agenda. The second edition contains an introduction where Shusterman responds to his critics, and it concludes with an added chapter that formulates his novel (...) notion of somaesthetics. (shrink)

By a thorough study of the Posterior Analytics and related Aristotelian texts, Richard McKirahan reconstructs Aristotle's theory of episteme--science. The Posterior Analytics contains the first extensive treatment of the nature and structure of science in the history of philosophy, and McKirahan's aim is to interpret it sympathetically, following the lead of the text, rather than imposing contemporary frameworks on it. In addition to treating the theory as a whole, the author uses textual and philological as well as philosophical material (...) to interpret many important but difficult individual passages. A number of issues left obscure by the Aristotelian material are settled by reference to Euclid's geometrical practice in the Elements. To justify this use of Euclid, McKirahan makes a comparative analysis of fundamental features of Euclidian geometry with the corresponding elements of Aristotle's theory. Emerging from that discussion is a more precise and more complex picture of the relation between Aristotle's theory and Greek mathematics--a picture of mutual, rather than one-way, dependence. Originally published in 1992. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

There is too much that we do not know about COVID-19. The longer we take to find it out, the more lives will be lost. In this paper, we will defend a principle of risk parity: if it is permissible to expose some members of society (e.g. health workers or the economically vulnerable) to a certain level of ex ante risk in order to minimize overall harm from the virus, then it is permissible to expose fully informed volunteers to a (...) comparable level of risk in the context of promising research into the virus. We apply this principle to three examples of risky research: skipping animal trials for promising treatments, human challenge trials to speed up vaccine development, and low-dose controlled infection or “variolation.” We conclude that if volunteers, fully informed about the risks, are willing to help fight the pandemic by aiding promising research, there are strong moral reasons to gratefully accept their help. To refuse it would implicitly subject others to still graver risks. (shrink)

Jacques Derrida, one of the most influential, controversial and complex thinkers of our time, has come to be at the centre of many political debates. This is the first book to consider the political implications of Derrida's deconstruction. It is a timely response both to Derrida's own recent shift towards thinking about the political, and to the political focus of contemparary Continental philosophy. Richard Beardsworth's study, Derrida and the Political , locates a way of thinking about deconstruction using the (...) tools of political philosophy. Richard Beardsworth has provided students of philosophy, politics and critical theory with a thought-provoking, upper level introduction to Derrida'a work as a political theorist. (shrink)

In his new introduction, "Note on a Missing Text," Richard Wolin uses the absence from this edition of an interview with Jacques Derrida as a springboard for ...

continent. 1.3 (2011): 149-155. The world is teeming. Anything can happen. John Cage, “Silence” 1 Autonomy means that although something is part of something else, or related to it in some way, it has its own “law” or “tendency” (Greek, nomos ). In their book on life sciences, Medawar and Medawar state, “Organs and tissues…are composed of cells which…have a high measure of autonomy.”2 Autonomy also has ethical and political valences. De Grazia writes, “In Kant's enormously influential moral philosophy, autonomy (...) , or freedom from the causal determinism of nature, became prominent in justifying the human use of animals.”3 One of the oldest uses of autonomy in English is a description of the French civil war from the late sixteenth century: “Others of the…rebellion entred in counsell, whether they ought to admit the King vpon reasonable conditions, specially hauing their autonomy.”4 Life, and in particular human life, and in particular human politics, is well served by the usages of autonomy . What about the rest of reality, however? Should it be thought of, if it's even considered real and mind-independent, as pure stuff for the manipulation or decorative tastes of truly autonomous beings? We tend to think of things such as paperweights and iPhones as mere tools of human design and human use. To use them is to cause them to exist as fully and properly as they can. But according to Martin Heidegger, when a tool such as a paperweight is used, it disappears, or withdraws ( Entzug ). We are preoccupied with copying the page that the paperweight is holding down. We are concerned with an essay deadline, and the paperweight simply disappears into this general project. If the paperweight slips, or if the iPhone freezes, we might notice it. All of a sudden it becomes vorhanden (present-at-hand) rather than zuhanden (ready-to-hand).5 Yet Heidegger is unable to draw a meaningful distinction between what happens to a paperweight when it slips from the book I'm copying from and what happens to the paperweight when it presses on the still resilient pages of the thick paperback itself. Further still and related to this point, even when I am using the paperweight as part of some general task, I am not using the entirety of the paperweight as such. My project itself selects a thin slice of paperweight-being for the purposes of holding down a book. Even when it is zuhanden the paperweight is withdrawn. Graham Harman is the architect of this way of thinking.6 Harman discovered a gigantic coral reef of withdrawn entities beneath the Heideggerian submarine of Da-sein, which itself is operating at an ontological depth way below the choppy surface of philosophy, beset by the winds of epistemology, and infested with the sharks of materialism, idealism, empiricism and most of the other isms that have defined what is and what isn't for the last several hundred years. At a moment when the term ontology was left alone like a piece of well chewed old chewing gum that no one wants to have anything to do with, object-oriented ontology (OOO) has put it back on the table. The coral reef isn't going anywhere and once you have discovered it, you can't un-discover it. And it seems to be teeming with strange facts. The first fact is that the entities in the reef—we call them “objects” somewhat provocatively—constitute all there is: from doughnuts to dogfish to the Dog Star to Dobermans to Snoop Dogg. People, plastic clothes pegs, piranhas and particles are all objects. And they are all pretty much the same, at this depth. There is not much of a distinction between life and non-life (as there isn't in contemporary life science). And there is not much of a distinction between intelligence and non-intelligence (as there is in contemporary artificial intelligence theory). A lot of these distinctions are made by humans, for humans (anthropocentrism). And the concept autonomy has come into play in policing such distinctions. In this essay I shall to try to liberate autonomy for the sake of nonhumans. I shall do so by parsing carefully the title, which is taken from Hakim Bey's work The Temporary Autonomous Zone .8 First we shall explore the term autonomous . Then we shall explore what the full meaning of zone is. Finally, we shall investigate what temporary means. Each of these terms is of great value. An object withdraws from access. This means that its very own parts can't access it. Since an object's parts can't fully express the object, the object is not reducible to its parts. OOO is anti-reductionist. But OOO is also anti-holist. An object can't be reduced to its “whole” either, “reduced upwards” as it were. The whole is not greater than the sum of its parts. So we have a strange irreductionist situation in which an object is reducible neither to its parts nor to its whole. A coral reef is made of coral, fish, seaweed, plankton and so on. But one of these things on its own doesn't embody part of a reef. Yet the reef just is an assemblage of these particular parts. You can't find a coral reef in a parking lot. In this way, the vibrant realness of a reef is kept safe both from its parts and from its whole. Moreover, the reef is safe from being mistaken for a parking lot. Objects can't be reduced to tiny Lego bricks such as atoms that can be reused in other things. Nor can be reduced upwards into instantiations of a global process. A coral reef is an expression of the biosphere or of evolution, yes; but so is this sentence, and we ought to be able to distinguish between coral reefs and sentences in English. The preceding facts go under the heading of undermining . Any attempt to undermine an object—in thought, or with a gun, or with heat, or with the ravages of time or global warming—will not get at the withdrawn essence of the object. By essence is meant something very different from essentialism . This is because essentialism depends upon some aspect of an object that OOO holds to be a mere appearance of that object, an appearance-for some object. This reduction to appearance holds even if that object for which the appearance occurs is the object itself! Even a coral reef can't grasp its essential coral reefness. In essentialism, a superficial appearance is taken for the essence of a thing, or of things in general. In thinking essentialism we may be able to discern another way of avoiding OOO. This is what Harman has christened overmining .? The overminer decides that some things are more real than others: say for example human perception. Then the overminer decides that other things are only granted realness status by somehow coming into the purview of the more real entity. When I measure a photon, when I see a coral reef, it becomes what it is. But when I measure a photon, I never measure the actual photon. Indeed, since at the quantum scale to measure means “to hit with a photon or an electron beam” (or whatever), measurement, perception ( aisthesis ), and doing become the same. What I “see” are deflections, tracks in a diffusion cloud chamber or interference patterns. Far from underwriting a world of pure illusion where the mind is king, quantum theory is one of the very first truly rigorous realisms, thinking its objects as irreducibly resistant to full comprehension, by anything.9 So far we have made objects safe from being swallowed up by larger objects and broken down into smaller objects—undermining. And so far we have made objects safe from being mere projections or reflections of some supervenient entity—overmining. That's quite a degree of autonomy. Everything in the coral reef, from the fish to a single coral lifeform to a tiny plankton, is autonomous. But so is the coral reef itself. So are the heads of the coral, a community of tiny polyps. So is each individual head. Each object is like one of Leibniz's monads, in that each one contains a potentially infinite regress of other objects; and around each object, there is a potentially infinite progress of objects, as numerous multiverse theories are now also arguing. But the infinity, the uncountability, is more radical than Leibniz, since there is nothing stopping a group of objects from being an object, just as a coral reef is something like a society of corals. Each object is “a little world made cunningly” (John Donne).10 We are indeed approaching something like the political valance of autonomy . The existence of an object is irreducibly a matter of coexistence. Objects contain other objects, and are contained “in” other objects. Let us, however, explore further the ramifications of the autonomy of objects. We will see that this mereological approach (based on the study of parts) only gets at part of the astonishing autonomy of things. Yet there are some more things to be said about mereology before we move on. Consider the fact that since objects can't be undermined or overmined, it means that there is strictly no bottom object . There is no object to which all other objects can be reduced, so that we can say everything we want to say about them, hypothetically at least, based on the behavior of the bottom object. The idea that we could is roughly E.O Wilson's theory of consilience .11 Likewise, there is no object from which all things can be produced, no top object . Objects are not emanations from some primordial One or from a prime mover. There might be a god, or gods. Suppose there were. In an OOO universe even a god would not know the essential ins and outs of a piece of coral. Unlike even some forms of atheism, the existence of god (or nonexistence) doesn't matter very much for OOO. If you really want to be an atheist, you might consider giving OOO a spin. If there is no top object and no bottom object, neither is there a middle object . That is, there is no such thing as a space, or time, “in” which objects float. There is no environment distinct from objects. There is no Nature (I capitalize the word to reinforce a sense of its deceptive artificiality). There is no world, if by world we mean a kind of “rope” that connects things together.12 All such connections must be emergent properties of objects themselves. And this of course is well in line with post-Einsteinian physics, in which spacetime just is the product of objects, and which may even be an emergent property of a certain scale of object larger than 10?¹?cm).13 Objects don't sit in a box of space or time. It's the other way around: space and time emanate from objects. How does this happen? OOO tries to produce an explanation from objects themselves. Indeed, the ideal situation would be to rely on just one single object. Otherwise we are stuck with a reality in which objects require other entities to function, which would result in some kind of undermining or overmining. We shall see that we have all the fuel we need “inside” one object to have time and space, and even causality. We shall discover that rather than being some kind of machinery or operating system that underlies objects, causality itself is a phenomenon that floats ontologically “in front of” them. In so doing, we will move from the notion of autonomy and begin approaching a full exploration of the notion of zone , which was promised at the outset of this essay. Since an object is withdrawn, even “from itself,” it is a self-contradictory being. It is itself and not-itself, or in a slightly more expanded version, there is a rift between essence and appearance within an object (as well as “between” them). This rift can't be the same as the clichéd split between substance and accidents , which is the default ontology. On this view, things are like somewhat boring cupcakes with somewhat less boring sugar sprinkles on them of different colors and shapes. But on the OOO view, what is called substance is just another limited slice of an object, a way of apprehending something that is ontologically fathoms deeper. What is called substance and what is called accidence are just on the side of what this essay calls appearance. The rift (Greek, chorismos ) between essence and appearance means that an object presents us with something like what in logic is known as the Liar: some version of the sentence “This sentence is false.” The sentence is true, which means that it is a lie, which means that it is false. Or the sentence is false, which means that it is telling the truth, which means that it is true. Now logic since Aristotle has tried desperately to quarantine such beasts in small backwaters and side streets so that they don't act too provocatively.14 But if OOO holds, then at least one very significant thing in the universe is both itself and not-itself: the object. An object is p ? ¬p. To cope with this fact, we shall need some kind of paraconsistent or even fully dialetheic logic, one that is not allergic to dialetheias (double-truthed things). Yet if we accept that objects are dialetheic, p ? ¬p, we can derive all kinds of things easily from objects. Consider the fact of motion. If objects only occupy one location “in” space at any “one” time, then Zeno's paradoxes will apply to trying to think how an object moves. Yet motion seems like a basic, simple fact of our world. Either everything is just an illusion and nothing really moves at all (Parmenides). Or objects are here and not-here “at the same time.”15 This latter possibility provides the basic setup for all the motion we could wish for. Objects are not “in” time and space. Rather, they “time” (a verb) and “space.” They produce time and space. It would be better to think these verbs as intransitive rather than transitive, in the manner of dance or revolt . They emanate from objects, yet they are not the object. “How can we know the dancer from the dance?” (Yeats).16 The point being, that for there to be a question, there must be a distinction—or there must not be (p ? ¬p).17 It becomes impossible to tell: “What constitutes pretense is that, in the end, you don't know whether it's pretense or not.”18 In this notion of the emergence of time and space from an object we can begin to understand the term zone . Zone can mean belt , something that winds around something else. We talk of temperate zones and war zones. A zone is a place where a certain action is taking place: the zone winds around, it radiates heat, bullets fly, armies are defeated. To speak of an autonomous zone is to speak of a place that a certain political act has carved out of some other entity. Cynically, Tibet is called TAR, the Tibetan Autonomous Region, for this very reason. In this phrase, Region tries to emulate zone : it sounds as if the place has its own rules, but of course, it is very much under the control of China. What action is taking place? “[N]ot something that just is what it is, here and now, without mystery, but something like a quest…a tone on its way calling forth echoes and responses…water seeking its liquidity in the sunlight rippling across the cypresses in the back of the garden.”19 If as suggested earlier there is no functional difference between substance and accidence; if there is no difference between perceiving and doing; if there is no real difference between sentience and non-sentience—then causality itself is a strange, ultimately nonlocal aesthetic phenomenon. A phenomenon, moreover, that emanates from objects themselves, wavering in front of them like the astonishingly beautiful real illusion conjured in this quotation of Alphonso Lingis. Lingis's sentence does what it says, casting a compelling, mysterious spell, the spell of causality, like a demonic force field. A real illusion: if we knew it was an illusion, if it were just an illusion, it would cease to waver. It would not be an illusion at all. We would be in the real of noncontradiction. Since it is like an illusion, we can never be sure: “What constitutes pretense…” A zone is what Lingis calls a level . A zone is not entirely a matter of “free will”: this concept has already beaten down most objects into abject submission. Objects are far more threateningly autonomous, and sensually autonomous, than the Kantian version of autonomy cited in the first paragraph of this essay. A zone is not studiously decided upon by an earnest committee before it goes into action. One of its predominant features is that it is already happening . We find ourselves in it, all of a sudden, in the late afternoon as the shadows lengthen around a city square, giving rise to an uncanny sensation of having been here before. Objects emit zones. Wherever I find myself a zone is already happening, an autonomous zone. It is the nonautonomous zones that are impositions on what is already the case. Or rather, these zones are autonomous zones that exclude and police. They are brittle. Every object is autonomous, but some objects try to maintain themselves through rigidity and brittleness, like (and such as) a police state. Paradoxically, the more rigidly one tries to exclude contradiction, the more virulent become the dialetheias that are possible. I can get around “This sentence is false” by imagining that there are metalanguages that explain what counts as a sentence. Then I can decide that this isn't a real sentence. This is basically Alfred Tarski's strategy, since he invented the notion of metalanguage specifically to cope with dialetheias.20 For example we might claim that sentences such as “This sentence is false” are neither true nor false. But then you can imagine a strengthened version of the Liar such as: “This sentence is not true”; or “This sentence is neither true nor false.” And we can go on adding to the strengthened Liar if the counter-attack tries to build immunity by specifying some fourth thing that a sentence can be besides true, false, and neither true nor false: “This sentence is false, or neither true nor false, or the fourth thing.” And so on.21 It seems as if language becomes more brittle the more it tries to police the Liars of this world. Why? I believe that this increasing brittleness is a symptom of a deep fact about reality. What is this deep fact? Simply that there are objects, that these objects are withdrawn, and that they are walking contradictions. This means indeed that (as Lacan put it) “there is no metalanguage,” since a metalanguage would function as a “middle object” that gave coherency and evenness to the others.22 Since there is no metalanguage, there is no rising above the disturbing illusory play of causality. This may even have political implications: no global critique is therefore possible, and attempts to smooth out or totalize are doomed to fail. To think the zone is to think the notion of temporary , which we shall now begin to discuss in greater detail. The zone is not in time: rather it “times.” But because a zone is an emanation of an object, it is based on a wavering fragility, since objects are p ? ¬p. When an object is born, that means that it has broken free of some other object. An object can be born because it and other objects are fragile. If not, no movement would be possible. Objects contain the seeds of their own destruction, a dialetheic sentence that says something like “This sentence cannot be proved.” Kurt Gödel argues that every true system of propositions contains at least one sentence that the system cannot prove. In order to be true, the system must have a minimum incoherence. To be real, it has to be fragile. Imagine a record player. Now imagine a record called I Cannot Be Played on This Record Player . When you play it on this record player, it produces sympathetic vibrations that cause the record player to shudder apart. No matter how many defense mechanisms you build in, there will always be the possibility of at least one record that destroys the record player.23 That is what being physical is. An object is inherently fragile because it is both itself and not-itself. When the rift between appearance and essence collapses, that is called destruction, ending, death. When an object breaks, several new objects are born. An opera singer sings a loud note in tune with the resonant frequency of a wine glass. (See the movie included below.) The singing is a zone, an autonomous level of intensity, opening a rift between appearance and essence. The glass ripples—for a moment it is nakedly a glass and a not-glass—almost as if it were having an orgasm, a little death. It is caught in the rift of the singing. Then its structure can't handle the coherence of the sound waves, and it breaks. It is incoherence and inconsistency that is the mark of existence, not consistency and noncontradiction. When things break or die, they become coherent. Essence disappears into appearance. I become the memories of friends. A glass becomes a dancing wave. Instantly, there are glass fragments, new temporary autonomous zones. The fragments have broken free from the glass. They are no longer its parts, but emanate their own time and space, becoming perhaps accidental weapons as they bury themselves in my flesh. Thus Hakim Bey's instructions on creating temporary autonomous zones oscillate disturbingly between performance art and politics, circus clowning and revolution. To play with the aesthetic is to play with causality, to rip from the sensual ether emanating from things new regions, new zones. Anarchist politics is the creation of fresh objects in a reality without a top or a bottom object, or for that matter a middle object: Everything in nature is perfectly real including consciousness, there's absolutely nothing to worry about. Not only have the chains of the Law been broken, they never existed; demons never guarded the stars, the Empire never got started, Eros never grew a beard. … There is no becoming, no revolution, no struggle, no path; already you're the monarch of your own skin—your inviolable freedom waits to be completed only by the love of other monarchs: a politics of dream, urgent as the blueness of sky.24 Bey imagines that this is because chaos is a primordial “undifferentiated oneness-of-being.” A Parmenides or a Spinoza or a Laruelle would read this a certain way. Individual objects, or decisions to talk about this rather than that, are just maggot-like things crawling around on the surface of the giant cheese of oneness.25 Yet he also describes chaos as “Primordial uncarved block, sole worshipful monster, inert & spontaneous, more ultraviolet than any mythology.” This image is of an inconsistent object, not of an undifferentiated field. An object, indeed, that can be distinguished from other things. If not, then the first part of The Temporary Autonomous Zone , subtitled “The Broadsheets of Ontological Anarchism,” is a kind of onto-theology. Onto-theology proclaims that some things are more real than others. Bey, however, is writing poetically, and thus ambiguously. We are at liberty to read “undifferentiated oneness-of-being” as something like the irreducibility of a thing to its parts and so forth (undermining and overmining). This certainly seems closer to the language in the following paragraph: “There is no becoming … already you're the monarch of your own skin.”26 On this view, there is no difference between art and politics: “When ugliness, poor design & stupid waste are forced upon you, turn Luddite, throw your shoe in the works, retaliate.” Since Romanticism this has been the war cry of the vanguard artist.27 To say to is to fall prey to the tired axioms of the avant-garde, and we think we know how the game goes. But OOO is not simply a way to advocate “new and improved” versions of this shock-the-bourgeoisie boredom. Bey's text is certainly full enough of that. Rather, since causality as such is aesthetic, and since nonhumans are not that different from humans, the new approach would be to form aesthetic–causal alliances with nonhumans. These alliances would have to resist becoming brittle, whether that brittleness is right wing (authoritarianism) or left wing (the endless maze of critique). No “ism,” especially not the ultimate forms, nihilism and cynicism, is in any sense effective at this point. All forms of brittleness are based on the mistaken assumption that there is a metalanguage and that therefore “Anything you can do, I can do meta.” I will not be listing any approaches here, as Bey does. Such lists and manifestos belong to the vanguardism that no longer works. Why? Not because of some marvelous revolution in human consciousness, but because nonhumans have so successfully impinged upon human social, psychic and aesthetic space. It is the time after the end of the world. That happened in 1945, when a thin layer of radioactive materials was deposited in Earth's crust. Geology now calls it this era the Anthropocene . Ironically, this period, named after humans, is the moment at which even the most thick headed of us make decisive contact with nonhumans, from mercury in our blood to manta rays to magnesium. Richard Dawkins, Pat Robertson and Lady Gaga all have to deal with global warming and mass extinction, somehow. We now live in an Age of Asymmetry marked by a skewed, spiraling relationship between vast knowledge and vast nonhuman things—both become vaster and vaster because of one another and for the same reasons.28 This means that coming up with the perfect attitude or the perfect aesthetic prescription just won't work any more. Even the most hardened anthropocentrist now has to pay through the nose for basic food supplies, and has to use more sunscreen. Whether he knows it or acknowledges it, he is already acting with regard towards nonhumans. There is nothing special to think, no special critique that will get rid of the stains of coexistence. The problem won't fit into the well-established modern boxes, which is why the “mystical,” “spiritual” quality of Bey's prose is welcome. Of course, when I put it this way, you may immediately close off and decide that I am talking about perfect attitudes after all, or something outside of politics, or other ways that the radical left marshals to police its thinking of the nonhuman. Because that is what is really at stake in all this: the nonhuman in its coexistence with the human—bosons, gods, clouds, spirits, lifeforms, experiences, the sunlight rippling across the cypresses. Bey begins to get at this in a Latour litany in the second part of The Temporary Autonomous Zone , “The Assassins”: Pomegranate, mulberry, persimmon, the erotic melancholy of cypresses, membrane-pink shirazi roses, braziers of meccan aloes & benzoin, stiff shafts of ottoman tulips, carpets spread like make-believe gardens on actual lawns—a pavilion set with a mosaic of calligrammes—a willow, a stream with watercress—a fountain crystalled underneath with geometry— the metaphysical scandal of bathing odalisques, of wet brown cupbearers hide-&-seeking in the foliage—“water, greenery, beautiful faces.”29 This will be conveniently dismissed as orientalism. If we're never allowed to escape the crumbling prison of modernity for fear of imperialism there is truly no hope. In a similar way, the fear of anthropocentrism and anthropomorphism is very often staged from a place that just is anthropocentrism .30 Critique turns into ressentiment . An object radiates a zone that is aesthetic and therefore causal. Because objects “time” they are temporary. Not because they exist “in” time that eventually gets the better of them. Their very existence implies the possibility of their non-existence. Since objects are not consistent, they can cease to exist. But nothing, no one, will ever be able to insert a blade between appearance and existence, even thought there is a rift there. Now that's what I call autonomy. NOTES 1. John Cage, Silence: Lectures and Writings (Middletown, CT: Wesleyan University Press, 1973), 96. 2. P. B. Medawar and J. S. Medawar, The Life Science: Current Ideas in Biology (London: Wildwood House, 1977), 8. 3. David DeGrazia, Animal Rights: A Very Short Introduction (Oxford: Oxford University Press, 2002), 5. 4. Antony Colynet, A True History of the Civil Warres in France (London, 1591), 480. 5. Martin Heidegger, Being and Time , tr. Joan Stambaugh (Albany, N.Y: State University of New York Press, 1996) 62–71. 6. Graham Harman, Tool-Being: Heidegger and the Metaphysics of Objects (Peru, IL: Open Court, 2002). 7. Hakim Bey, The Temporary Autonomous Zone (Brooklyn: Autonomedia, 1991). 8. Graham Harman, The Quadruple Object (Ripley: Zero Books, 2011), 7–18. 9. This is not the place to get into an argument about quantum theory, but I have argued that quanta also do not endorse a world that I can't speak about because it is only real when measured. This world is that of the reigning Standard Model proposed by Niels Bohr and challenged by De Broglie and Bohm (and now the cosmologist Valentini, among others). See Timothy Morton, “Here Comes Everything: The Promise of Object-Oriented Ontology,” Qui Parle 19.2 (Spring–Summer, 2011), 163–190. 10. John Donne, Holy Sonnets 15, in The Major Works: Including Songs and Sonnets and Sermons , ed. John Carey (Oxford: Oxford University Press, 2009). 11. Edward O. Wilson, Consilience: The Unity of Knowledge (New York: Knopf, 1998). 12. Martin Heidegger, What Is a Thing? (Washington: Regnery, 1968), 243. 13. Albert Einstein, Relativity: The Special and the General Theory (London: Penguin, 2006); Petr Horava, “Quantum Gravity at a Lifshitz Point,” arXiv:0901.3775v2 [hep-th]. 14. Graham Priest, In Contradiction (Oxford University Press, 2006), passim: the most notable recent quarantine officers have been Tarski, Russell, and Frege. 15. Priest, In Contradiction , 172–181. 16. William Butler Yeats, “Among School Children,” Collected Poems , ed. Richard J. Finneran (New York: Scribner, 1996). 17. Paul de Man, “Semiology and Rhetoric,” Diacritics 3.3 (Autumn, 1973), 27–33 (30). 18. Jacques Lacan, Le seminaire, Livre III: Les psychoses (Paris: Editions de Seuil, 1981), 48. See Slavoj Zizek, The Parallax View (Cambridge, Mass.: MIT Press, 2006), 206. 19. Alphonso Lingis, The Imperative (Bloomington: Indiana University Press, 1998), 29. 20. Priest, In Contradiction , 9–27. 21. See Graham Priest and Francesco Berto, “ Dialetheism ,” The Stanford Encyclopedia of Philosophy (Summer 2010 Edition), ed. Edward N. Zalta. 22. Jacques Lacan, Écrits: A Selection , tr. Alan Sheridan (London: Tavistock, 1977), 311. 23. The analogy can be found at length in Douglas Hofstadter, “Contracrostipunctus,” Gödel, Escher, Bach: An Eternal Golden Braid (New York: Basic Books, 1999), 75–81. 24. Bey, “ Chaos: The Broadsheets of Ontological Anarchism ,” Temporary Autonomous Zone . 25. This is closest to the language of François Laruelle in Philosophies of Difference: A Critical Introduction to Non-Philosophy (New York: Continuum, 2011) 179. 26. Bey, “ Chaos: The Broadsheets of Ontological Anarchism ,” Temporary Autonomous Zone . 27. Peter Bürger, Theory of the Avant Garde (Minneapolis: University of Minnesota Press, 1984). 28. For further discussion see Timothy Morton, “From Modernity to the Anthropocene: Ecology and Art in the Age of Asymmetry,” The International Social Science Journal 209 (forthcoming). 29. Bey, “ The Assassins ,” Temporary Autonomous Zone . 30. Timothy Morton, The Ecological Thought (Cambridge, Mass.: Harvard University Press, 2010), 75–76. (shrink)

Jacques Derrida, one of the most influential, controversial and complex thinkers of our time, has come to be at the centre of many political debates. This is the first book to consider the political implications of Derrida's deconstruction. It is a timely response both to Derrida's own recent shift towards thinking about the political, and to the political focus of contemparary Continental philosophy. Richard Beardsworth's study, _Derrida and the Political_, locates a way of thinking about deconstruction using the tools (...) of political philosophy. Richard Beardsworth has provided students of philosophy, politics and critical theory with a thought-provoking, upper level introduction to Derrida'a work as a political theorist. (shrink)

In two retrospective essays titled "Ten Years After" and "Twenty-Five Years After," Rorty shows how his book was shaped by the time in which it was written and ...

Taking Aristide Zolberg and Long Litt Woon's now classic article, "Why Islam is Like Spanish," as its point of departure, this paper elaborates on the social boundary concepts introduced there and argues that these ideas offer new insight into the processes leading to fundamental ethno-racial change. The boundary concepts allow us to move beyond the static, one-directional concept of assimilation inherited from a previous era. They also help us to understand the conditions under which a majority group may tolerate the (...) large-scale assimilation of minorities. These revised understandings alert us to the potential for boundary change that is entailed in coming demographic shifts, in particular the departure of the baby boom from the labor market in the U.S. (shrink)