Auf den ersten Blick könnten die Welten, die in diesem Buch aufeinandertreffen, kaum gegensätzlicher sein. Anselm Kiefer, einer der bedeutendsten und international erfolgreichsten Künstler der Gegenwart, beschäftigt sich in seinem Werk mit den wesentlichen Fragen der Gesellschaft. Seine Bilder sind geheimnisvolle Chiffren zur Entschlüsselung der Welt und ihrer immer neuen Rätsel, sie offenbaren Überlagerungen, Durchdringungen, Verschmelzungen. Peter Handke nannte ihn »einen stillen Wilden..., auf dem Sprung, eine Art neuen Alphabets der Malerei zu entwerfen«. Ihm gegenüber Mathias Döpfner, Vorstandsvorsitzender der (...) Axel Springer AG, ursprünglich jedoch Germanist, Musikwissenschaftler, Journalist. Aus dem Kontrast entsteht ein fesselnder, erhellender Dialog über Kunst und Politik, Natur und Mythos, Kultur und Geschichte, Theologie und Ökonomie, Philosophie und Literatur. (shrink)

Special commendation from the Hans-und-Lea-Grundig Prize by the Rosa-Luxemburg-Foundation 2015 - - I - - How do we perceive the world and pictures? The book is based around the hypothesis that we initially perceive the world as well as pictures by feelings and that there is a direct connection between the two. By debating fascination and horror, such as can be triggered by Anselm Kiefer´s Deutschlandbilder, the author discusses their consequences and conclusions for our cultural self-perception. The author develops (...) a comprehensive theory on image and culture which is new in this field of research and also includes the special status of the art. (shrink)

Anselm Kiefer's project is it to evoke, and to distance, the mythifications of the national ‐past in order to make certain German artistic traditions fruitful once more. It is argued that he has succeeded in doing so with work creating a tension between the fascination for a taboo vision, denying identification through artistic means. Expressionist materiality, the figurative mode, woodcut, lyrical inscriptions, sculpture, bookmaking, original materials have been used in specific ways so as to create open‐ended works, confronting the (...) viewer with his/her conflicting feelings and allowing them to finalize the work. However, where an overbearing scepticism of modernity causes Kiefer to turn to myth for answers, he is prone to collapsing history with timeless truths, confounding artistic production and organicist creation, thus abolishing the boundaries of the work together with the possibility of dialogic exchange. (shrink)

Il saggio propone un confronto tra l’ultima filosofia di Walter Benjamin e l’opera di Anselm Kiefer. Sullo sfondo della questione del rapporto tra passato, memoria e identità, che in entrambi assume una forma drammatica, tale confronto riguarda in particolare l’opera di Kiefer, Der Engel der Geschichte. Mohn und Gedächtnis (L’Angelo della storia: papavero e memoria; piombo, vetro, fili metallici e papaveri, 1989, The Israel Museum, Jerusalem) e l’Angelus Novus di PaulKlee, al centro delle Tesi sul concetto di storia, vero (...) e proprio testamento filosofico di Benjamin. Il confronto tra l’arte di Kiefer e la filosofia di Benjamin si sviluppa sul filo del contrappunto anziché della consonanza. Il tentativo è quello di mostrare come opera d’arte e testo filosofico possono dialogare, in quanto espressione di posizioni e linguaggi differenti e autonomi. Il terreno problematico comune, nel nostro caso, è quello offerto dalle catastrofi della memoria e dall’amnesia del presente. (shrink)

ABSTRACTHow can violence as evil be represented in art and what do works of art evoke in the viewer? Two closely related questions on the representation of violence as evil are discussed. The first is whether there is an ethical limit to the representation of evil, that is, the issue posed with respect to the possibility of Holocaust art. Works by Anselm Kiefer are compared to Holocaust art in the exhibition Mirroring Evil: Nazi Imagery /Recent Art. The second question (...) concerns the difference between art and life with respect to the representation of evil. Bin Laden’s live image of 9/11 is compared to Richter’s painting September. The former is life as a reality show; Bin Laden’s image can petrify the viewer. The latter is art, and Richter’s style of blurred realism distances the viewer from the event so that he can arrive at a moral and political position regarding terrorism. (shrink)

The aim of this paper is to begin to respond to the question of how to engage the presence of catastrophic climate change as a locus of philosophical thought. What has to be thought is the end of the world. Central to that project is Heidegger’s “The Origin of the Work of Art,” and in particular, Heidegger’s thinking of the earth/world relation, both in itself and in terms of the limits it encounters. Heidegger’s use of “examples” of artwork, as well (...) as works by Nicolas Poussin and Anselm Kiefer, are deployed in order to begin to understand the role of art in thinking the end of the world. (shrink)

The Seven Heavenly Palaces were created by Anselm Kiefer to inaugurate the HangarBicocca in Milan in 2004, and, after an intervention on the site in 2008, were transferred, preserved and repaired, finally relocated differently for a new and definitive exhibition, with some paintings, in 2015. Erected around prefabricated containers, these monumental ruins in reinforced concrete, are in fact assembled, reconstructed and restored ruins, nonarchitectural and metaphorical buildings with a mass of complementary materials considered an integral part of the work (...) and credited as produced by the artist in person. According to what preunderstandings and values the operation of conservation and operation has been established and carried out ? According to which idea of the ontological, perceptual and semantic identity of the work of art the aesthetic experience of this high problematic site-specific installation has been reconfigured ? (shrink)

For Anselm Kiefer, his painting shows that, that something exists “shows that there is also nothingness.” The moment of visibility is also the moment of our exposure in/with/through nothing (in a gerundive sense) elemental in the happening of the visible. Painting bears ways of exposing the becoming of the visible and ultimately of consciousness, both sensible and intellectual, in/through/with emptying and nothing, i.e., in the happening of the seer and the seen, in that coming into being of existing, we (...) are exposed to the insight that “there is also nothingness.” The paper offers a series of transpositions, a series of ways of experiencing visibility and vision found in looking at specific images and paintings. The transpositions expose us to blindness, emptying, gaps, and loss in the happening of the visible, which, in displacing the certainty of rational subjective seeing/consciousness, lead to the quickening of vision and the visible anew. (shrink)

Written over the course of two months in early 2008, Art as "Night" is a series of essays in part inspired by a January 2007 visit to the Velázquez exhibition at the National Gallery of Art, London, with subsequent forays into related themes and art-historical judgments for and against theories of meta-painting. Art as "Night" proposes a type of a-historical dark knowledge crossing painting since Velázquez, but reaching back to the Renaissance, especially Titian and Caravaggio. As a form of formalism, (...) this "night" is also closely allied with forms of intellection that come to reside in art as pure visual agency or material knowledge while invoking moral agency, a function of art more or less bracketed in modern art for ethical and/or political agency. Not a theory of meta-painting, Art as "Night" restores coordinates arguably lost in painting since the separation of natural and moral philosophy in the Baroque era. It is with Velázquez that we see a turning point, an emphasis on the specific resources of painting as a form of speculative intellect, while it is with contemporary works by Gerhard Richter and Anselm Kiefer that we see the return of the same after the collapse of modernism, and after subsequent postmodern maneuvers to make art discursive yet without the austerities of the formal means present in Art as Art. Art as "Night" argues for a nondiscursive form of intellection fully embodied in the work of art – and, foremost, painting. A synoptic and intentionally elusive and allusive survey of painting, through the collapse of the art market in late 2007, Art as "Night" suggests by way of this critique of an elective "night" crossing painting that the art world is an endlessly deferred version of pleroma , a fully synthetic world given to an exploration and appropriation of the given through classical mimesis and epistemology and its complete incorporation and transfiguration in a theory of knowledge and art as pure speculative agency. In effect, Art as "Night" is an incarnational theory of art as absolute knowledge. (shrink)

Aesthetic value empiricism claims that the aesthetic value of an object is grounded in the value of a certain kind of experience of it. The most popular version of value empiricism, and a dominant view in contemporary philosophical aesthetics more generally, is aesthetic hedonism. Hedonism restricts the grounds of aesthetic value to the pleasure enjoyed in the right kind of experience. But hedonism does not enjoy any clear advantage over a more permissive alternative version of value empiricism. This alternative is (...) aesthetic liberalism. On this view, an object’s aesthetic value is fully grounded in any value—not just the hedonic value—of a correct and complete experience of its sensory features. To demonstrate the advantages of liberalism over hedonism, I apply both views to analyze the aesthetic value of the Spring Temple Buddha and Anselm Kiefer’s Seraphim. I detail four advantages of liberalism over hedonism, and I conclude by defending liberalism from two kinds of objection. (shrink)

A painting by Anselm Kiefer provides the starting point for the problem to be addressed in this essay. In Sulamith we encounter a haunting image of a cavernous brick room, its ceiling blackened from some earlier fire. Except for seven flames visible in the distant reaches of the room, no light is showing. The windows have been covered over by fragments of woodcuts, stapled to the surface, and the flaming torches lining the walls of this memorial space have been (...) obscured by other fragments. Everywhere there is the feeling of emptiness, enclosure, and mourning. Inscribed in the upper left corner a word appears. In addition to the staples, which the artist has made no effort to hide, a careful scan reveals several bits of straw attached to the surface. How are we to interpret this painting, which is more like a complex text than a vehicle of immediate visual meaning? (shrink)

Fascination and horror are two key experiences that are present particularly in the early work of Anselm Kiefer. Particularly in Germany these have prompted surprisingly strong reactions. Why is it, that his work dealing with the National Socialism has been received so ambivalently? The answer to this question, the text attempts, is based on the analysis of the pictures’ conditions of impact, their „Wirkkraft“. It can be shown that the process of perception can be understood as forming the basis (...) of a decision. This becomes apparent in the picture’s effects and people’s varying reactions to them, depending on their cultural background. Disclosing this connection makes recognizable the force of the pictures, thus opening a path to questioning it. Moreover, this disclosure leads to a description of the phenomenon as a specifically post-modern. (shrink)

Art, Mimesis and the Avant-Garde explores the relationship between art and philosophy. Andrew Benjamin argues for a reworking of the task of philosophy in terms of the centrality of ontology. It is in relation to this centrality, understood through the differences between modes of being, that art, mimesis, and the avant-garde come to be presented. A fundamental part of this book is the original interpretations of important contemporary painters and their themes: Lucian Freud's self-portraits, Francis Bacon 's use of mirrors, (...) R. B. Kitaj and Jewish identity, Anselm Kiefer and iconoclasm. Apart from painting, Benjamin considers architecture, literature, and the philosophical writings of Walter Benjamin and Descartes in elaborating the various aspects of ontological difference. Benjamin develops the theory of the avant-garde as a philosophical category rather than a historical marker, thus bringing the worlds of contemporary art criticism and contemporary philosophy closer together. (shrink)

I think in images. Poems help me to do this.1 In the Beginning was a major exhibition of Anselm Kiefer’s work at the Bundeskunsthalle in Bonn in 2012. The exhibition included, among other works, several large-scale lead book sculptures, and featured Bavel Balal Mabul,2 an installation filling an entire room and bringing together many of Kiefer’s key themes: mythology, memory, and history; apocalypse, regeneration, and transformation. It shows the tower of Babel in the shape of a spiral staircase-like structure, (...) spanning from floor to ceiling. Tumbling down the metal stairs are picture rolls that gather at the bottom of the tower like the wastage on the cutting room floor of.. (shrink)

In the absence of shared beliefs and even common interests, it should not be surprising that so much of the well-intentioned art acquired for public spaces has failed—failed as art and as art for a civic site. The conventional wisdom of simply choosing “the best artist” and then turning him or her loose to create a work within time and budget guidelines lost much credibility with the drama of Richard Serra’s Tilted Arc commission: the process of selection, erection, litigation, rejection, (...) and removal of the sculpture from the Federal Building plaza in New York City. The new conventional wisdom? The jury, not the artist, was ultimately responsible. For Serra did precisely the kind of work for which he is respected worldwide but in a context and for a specific public whose requirements, in their view, were not met but even abrogated by what Serra had done so well: made a Serra.The issues raised by this particular controversy as well as by the very different response now accorded the once-controversial Vietnam Veterans Memorial by Maya Lin, together with firsthand frustration with the selection process for public commissions, were some of the specific reasons for organizing the day-long symposium held 16 September 1989 in First Chicago Center under the auspices of Sculpture Chicago, a biennial exhibition and educational series. John Hallmark Neff, director of the First National Bank of Chicago’s art program, is a former director of the Museum of Contemporary Art, Chicago. He is the author of Anselm Kiefer: Brüch und Einung , and he is currently working on a book on Max Neuhaus and a catalogue essay for the forthcoming Agnes Denes retrospective exhibition. (shrink)

Christine Buci-Glucksmann’s__ _The Madness of Vision_ is one of the most influential studies in phenomenological aesthetics of the baroque. Integrating the work of Merleau-Ponty with Lacanian psychoanalysis, Renaissance studies in optics, and twentieth-century mathematics, the author asserts the materiality of the body and world in her aesthetic theory. All vision is embodied vision, with the body and the emotions continually at play on the visual field. Thus vision, once considered a clear, uniform, and totalizing way of understanding the material world, (...) actually dazzles and distorts the perception of reality. In each of the nine essays that form _The Madness of Vision_ Buci-Glucksmann develops her theoretical argument via a study of a major painting, sculpture, or influential visual image—Arabic script, Bettini’s “The Eye of Cardinal Colonna,” Bernini’s _Saint Teresa_ and his 1661 fireworks display to celebrate the birth of the French dauphin, Caravaggio’s _Judith Beheading Holofernes,_ the Paris arcades, and Arnulf Rainer’s selfportrait, among others—and deftly crosses historical, national, and artistic boundaries to address Gracián’s_ El Criticón_; Monteverdi’s opera _Orfeo; _the poetry of Hafiz, John Donne, and Baudelaire; as well as baroque architecture and Anselm Kiefer’s Holocaust paintings. In doing so, Buci-Glucksmann makes the case for the pervasive influence of the baroque throughout history and the continuing importance of the baroque in contemporary arts. (shrink)

Christine Buci-Glucksmann’s__ _The Madness of Vision_ is one of the most influential studies in phenomenological aesthetics of the baroque. Integrating the work of Merleau-Ponty with Lacanian psychoanalysis, Renaissance studies in optics, and twentieth-century mathematics, the author asserts the materiality of the body and world in her aesthetic theory. All vision is embodied vision, with the body and the emotions continually at play on the visual field. Thus vision, once considered a clear, uniform, and totalizing way of understanding the material world, (...) actually dazzles and distorts the perception of reality. In each of the nine essays that form _The Madness of Vision_ Buci-Glucksmann develops her theoretical argument via a study of a major painting, sculpture, or influential visual image—Arabic script, Bettini’s “The Eye of Cardinal Colonna,” Bernini’s _Saint Teresa_ and his 1661 fireworks display to celebrate the birth of the French dauphin, Caravaggio’s _Judith Beheading Holofernes,_ the Paris arcades, and Arnulf Rainer’s selfportrait, among others—and deftly crosses historical, national, and artistic boundaries to address Gracián’s_ El Criticón_; Monteverdi’s opera _Orfeo; _the poetry of Hafiz, John Donne, and Baudelaire; as well as baroque architecture and Anselm Kiefer’s Holocaust paintings. In doing so, Buci-Glucksmann makes the case for the pervasive influence of the baroque throughout history and the continuing importance of the baroque in contemporary arts. (shrink)

Ruins, their evocations and enigmas, have been a source of fascination since the advent of civilization. Both coordinating and distressing the relations of space and time, ruins are unparalleled catalysts of cultural analysis, as both history and adumbration. Ruins, and the concept of ruin on which they ‘rest’ and through which they decay, can be regarded in space, as strata, in time, as sedimenta, and in dynamic terms, as lamina. This essay works down through each focusing on the forceof ruin (...) occurring between them. The essay itself is a lamination: Anselm Kiefer's exploration of ruins as artefacts, in recent works such as ‘Falling Star’, shown at Paris’ Grand Palais in the summer of 2007 as the first installation in its Monumenta series, plays across many dimensions of ruins’ themes; Derrida's exploration of the very idea of ruin – not ruins but ruin, as artefacture – conceptualizing ruins’ liminal nature, at the very limit of phenomenology, in Mémoires d'aveuglesand elsewhere; the ruin-caught-in-motion of the virtually unknown French-Italian painter ‘Monsù Desiderio’; and the linguistic ruin of Samuel Beckett's ‘D'un ouvrage abandonné’ and ‘Sans’. Each contributes to the others as ruins and ruin accumulate. Finally, ruin's decay passes into and through a passe partout into the uninhabitable. (shrink)

Christine Buci-Glucksmann’s The Madness of Vision is one of the most influential studies in phenomenological aesthetics of the baroque. Integrating the work of Merleau-Ponty with Lacanian psychoanalysis, Renaissance studies in optics, and twentieth-century mathematics, the author asserts the materiality of the body and world in her aesthetic theory. All vision is embodied vision, with the body and the emotions continually at play on the visual field. Thus vision, once considered a clear, uniform, and totalizing way of understanding the material world, (...) actually dazzles and distorts the perception of reality. In each of the nine essays that form The Madness of Vision Buci-Glucksmann develops her theoretical argument via a study of a major painting, sculpture, or influential visual image—Arabic script, Bettini’s “The Eye of Cardinal Colonna,” Bernini’s Saint Teresa and his 1661 fireworks display to celebrate the birth of the French dauphin, Caravaggio’s Judith Beheading Holofernes, the Paris arcades, and Arnulf Rainer’s selfportrait, among others—and deftly crosses historical, national, and artistic boundaries to address Gracián’s El Criticón; Monteverdi’s opera Orfeo; the poetry of Hafiz, John Donne, and Baudelaire; as well as baroque architecture and Anselm Kiefer’s Holocaust paintings. In doing so, Buci-Glucksmann makes the case for the pervasive influence of the baroque throughout history and the continuing importance of the baroque in contemporary arts. (shrink)

Do cultural artifacts admit of only one single admissible interpretation? Or do they admit of several admissible interpretations? If so, do such multiple interpretations arise only in connection with the material world? And what is the relation between such ideals of interpretation and the ontology of their objects? in his searching book, Krausz explores and develops varieties of realism, constructivism, and constructive realism. Finally, Krausz extends the notions of singularism and mutliplism to directional life paths and projects. In the course (...) of his treatment Krausz considers such diverse examples as the paintings of Anselm Kiefer, Cristo's Wrapped Reichstag, Indian burial rites, Hindu and Buddhist soteriologies, as well as middle sized objects and sub-atomic particles. And he considers contributions of such thinkers as John Searle, Nelson Goodman, Rom Harre, Bernard Harrison and Patricial Hanna, Fritz Wallner, Hilary Putnam, Chhanda Gupta, Joseph Margolis, David Norton, and Martha Nussbaum. (shrink)

Special commendation from the Hans-und-Lea-Grundig Prize by the Rosa-Luxemburg-Foundation 2015 -- I -- Do have pictures an impact on future? Yes, say theories of embodiment by making perceptual foundations in place of representational arrangements responsible for it. -- I -- Wirken sich Bildern auf die Zukunft aus? Ja sagen Verkörperungstheorien und machen dafür weniger Repräsentationsmodelle als Wahrnehmungsweisen verantwortlich.

An annotated translation, by a distinguished translator and scholar of medieval philosophy, of the complete treatises of Anselm of Canterbury, with selected letters and prayers. A bibliography and index will be included.

v. 1. Monologion. Proslogion. Debate with Gaunilo. Meditation on human redemption.

After Aquinas, Anselm is the most significant medieval thinker. Utterly convinced of the truth of the Christian religion, he was none the less determined to try to make sense of his Christian faith, and the result is a rigorous engagement with problems of logic which remain relevant for philosophers and theologians even today. This translation provides the first opportunity to read all of Anselm's most important works in one volume.

In the Proslogion, St. Anselm presents a philosophical argument for the existence of God. Anselm's proof, known since the time of Kant as the ontological argument for the existence of God, has played an important role in the history of philosophy and has been incorporated in various forms into the systems of Descartes, Leibniz, Hegel, and others. Included in this edition of the Proslogion are Gaunilo's "A Reply on Behalf of the Fool" and St. Anselm's "The Author's (...) Reply to Gaunilo." All three works are in the original Latin with English translation on facing pages. Professor Charlesworth's introduction provides a helpful discussion of the context of the Proslogion in the theological tradition and in Anselm's own thought and writing. (shrink)

An approach to implementing variational Bayesian inference in biological systems is considered, under which the thermodynamic free energy of a system directly encodes its variational free energy. In the case of the brain, this assumption places constraints on the neuronal encoding of generative and recognition densities, in particular requiring a stochastic population code. The resulting relationship between thermodynamic and variational free energies is prefigured in mind–brain identity theses in philosophy and in the Gestalt hypothesis of psychophysical isomorphism.

Nicht zufällig beginnt das theologische Nachdenken über Gut und Böse bis heute immer wieder mit den ersten Kapiteln der Genesis. Sie sind bewusst als Anfang der Tora konzipiert und wollen selbst vom Anfang erzählen - vom Anfang der Menschheit und darin auch vom Anfang des Guten und Bösen. Texte, die so im Fokus stehen, werden bekanntlich oft theologisch überfrachtet mit Interessen und Vorurteilen. Diese Untersuchung möchte die biblischen Texte von dogmatischem Ballast befreien und deren ureigenen Beitrag zu der immer noch (...) brisanten Frage nach Gut und Böse zur Sprache bringen. (shrink)

Vom 30. Mai bis 1. Juni 1963 fand an der Cornell-Universität eine kleine Tagung zur Natur der Zeit statt, ausgerichtet von den aus Wien stammenden Astrophysikern Hermann Bondi und Thomas Gold. Kurt Gödel war nicht anwesend. Dabei hatte der berühmte Mathematiker etwa 15 Jahre zuvor Arbeiten veröffentlicht, die ganz wesentlich und weitreichend mit dem Begriff der Zeit zu tun hatten.

From 30 May to 1 June Cornell University hosted a small conference on the nature of time, organised by the originally Viennese astro-physicists Hermann Bondi and Thomas Gold. Kurt Gödel did not attend, although roughly 15 years earlier the famous mathematician had made a significant contribution to this field.

We challenge Bruineberg et al's view that Markov blankets are illicitly reified when used to describe organismic boundaries. We do this both on general methodological grounds, where we appeal to a form of structural realism derived from Bayesian cognitive science to dissolve the problem, and by rebutting specific arguments in the target article.

Prominent philosophers have argued that contradictions contain either too much or too little information to be useful. We dispute this with what we call the “Paradox of the Two Firefighters.” Suppose you are awakened in your hotel room by a fire alarm. You open the door. You see three possible ways out: left, right, straight ahead. You see two firefighters. One says there is exactly one safe route and it is to your left. The other says there is exactly one (...) safe route and it is to your right. While the two firemen are giving you contradictory information, they are also both giving you the perhaps useful information that there is a safe way out and it is not straight ahead. We give two analyses. The first uses the “Opinion Tetrahedron,” introduced by Dunn as a generalization of Audun Jøsang’s “Opinion Triangle.” The Opinion Tetrahedron in effect embeds the values of the “Belnap-Dunn 4-valued Logic” into a context of subjective probability generalized to allow for degrees of belief, disbelief, and two kinds of uncertainty—that in which the reasoner has too little information and that in which the reasoner has too much information. Jøsang had only a single value for uncertainty. We also present an alternative solution, again based on subjective probability but of a more standard type. This solution builds upon “linear opinion pooling.” Kiefer had already developed apparatus for assessing risk using expert opinion, and this influences the second solution. Finally, we discuss how these solutions might apply to “Big Data” and the World Wide Web. (shrink)

In this paper, we consider how certain longstanding philosophical questions about mental representation may be answered on the assumption that cognitive and perceptual systems implement hierarchical generative models, such as those discussed within the prediction error minimization framework. We build on existing treatments of representation via structural resemblance, such as those in Gładziejewski :559–582, 2016) and Gładziejewski and Miłkowski, to argue for a representationalist interpretation of the PEM framework. We further motivate the proposed approach to content by arguing that it (...) is consistent with approaches implicit in theories of unsupervised learning in neural networks. In the course of this discussion, we argue that the structural representation proposal, properly understood, has more in common with functional-role than with causal/informational or teleosemantic theories. In the remainder of the paper, we describe the PEM framework for approximate Bayesian inference in some detail, and discuss how structural representations might arise within the proposed Bayesian hierarchies. After explicating the notion of variational inference, we define a subjectively accessible measure of misrepresentation for hierarchical Bayesian networks by appeal to the Kullbach–Leibler divergence between posterior generative and approximate recognition densities, and discuss a related measure of objective misrepresentation in terms of correspondence with the facts. (shrink)

Thomas Williams' edition offers an Introduction well suited for use in an introductory philosophy course, as well as his own preeminent translation of the text.

For Philippa Foot, the essence of morality consists in acting on the reasons on which, qua human being, one ought to act; and this ought is one of “natural normativity”—the same ought that also occurs in statements about what a plant or an animal, qua exhibiting a certain form of life, “ought” to be like in various respects, or how its organs “ought” to function. Of this conception Foot avails herself in order to refute the moral sceptic—an undertaking that raises (...) various critical questions, in particular: 1) Is it the naturally normative ought that also occurs in a practical judgement of the form “I ought to F”? If so, how are we to account for what Foot calls the “practicality” of such a judgement? If not, what kind of intelligible step could an agent take, in order to get from a theoretical statement of natural normativity to a practical judgement that ceteris paribus issues in action? 2) Can we understand the validity of every moral requirement in terms of natural normativity, i.e. of a teleological necessity of individuals’ acting well? 3) If we can, will this understanding rely on premises sufficiently certain to justify morality in a sense suggested by Foot’s anti-sceptical considerations?—I argue that “Natural Goodness” does not satisfactorily answer these questions, and conclude by sketching an account of practical moral knowledge that does not seem to provoke them. (shrink)