Departing from the fact that László Moholy-Nagy’s Von Material zu Architektur (1929), had been an important source of inspiration for Alvar Aalto, this article examines the affinities between László Moholy-Nagy and Alvar Aalto’s intellectual positions. The article places emphasis on two particular ideas: how Aalto and Moholy-Nagy conceived the connection of biology with standardization and technology and its relationship to light and perception. Special attention is paid to the notions of “flexible standardisation” and rationalisation (...) in Aalto’s thought, as well as to his belief that nature and standardization should be conceived are closely interconnected. In regard to their shared intellectual development, the article sheds light on the first encounters of the two men including: their meeting at the second Congrès International de l’Architecture Moderne (CIAM) in 1929; the June 1931 Finish meeting of Aino Marsio-Aalto, Alvar Aalto, Moholy-Nagy and Ellen Frank; the June 1931 exchanges between Aalto and Moholy-Nagy during the inner circle CIAM meeting in Berlin; and the common stay of the Aaltos and Moholy-Nagy in London in 1933 are discussed. Particular emphasis is placed on Aalto’s “The Reconstruction of Europe is the Key Problem for the Architecture of Our Time”, in which he argued that standardization in architecture should draw upon biological models. (shrink)

ArgumentI propose that both Moholy-Nagy's suggestions that products of applied, particularly scientific, photography be employed as exemplars for art photography, and his practice of integrating such applied photographs with art photographs in his publications and exhibitions, laid the groundwork for an aestheticization of scientific photography within the twentieth-century artistic avant-garde. This photographic “New Vision,” formulated in the 1920s, also effected a kind of “scientization” of art photography. Rather than Positivist mechanism, however, I argue that the science at play (...) was “biocentrism,” the early twentieth-century worldview that can be described as Naturromantik updated by biologism. His key inspiration in this regard was one of the most important figures of biocentrism, the biologist and popular scientific writer Raoul Heinrich Francé, and his conception of Biotechnik [bionics], in which he proposed that all human technologies are based in natural technologies.The biological, pure and simple, taken as the guide.– Moholy-Nagy. (shrink)

In Focus: Laszlo Moholy-Nagy reproduces almost fifty of the artist's photographs, with commentaries on each by katherine Ware, an Assistant Curator in the Musuem's Department of Photographs. Included as well is an edited transcript of a colloquim on Moholy-Nagy's work, with comments by Thomas Barrow, Jeannine Fiedler, Charles Hagen, Hattula Moholy-Nagy, Weston Naef, Leland Rice, and Katherine Ware. A chronology of significant events in the artist's life is also provided.

Three volumes from the Getty Museum's popular In Focus series are packaged together here, offering a handsome set of books on these important photographers: André Kertész, László Moholy-Nagy, and Man Ray. All born in Europe, each photographer journeyed to the United States and made important contributions to the medium. The volume on Kertész presents the Getty Museum's holdings of his work from his Budapest, Paris, and New York periods, while the images in the book on Bauhaus teacher (...) class='Hi'>Moholy-Nagy include his pioneering photomontages and camera-less "photograms." The Man Ray volume presents his inventive photographs taken in New York, Paris, and Los Angeles, including portraits and nudes, and his experimental work with Rayographs and solarization. Each volume in the In Focus series contains approximately fifty photographs, with commentaries, an introduction, a chronology, and a transcription of a colloquium on the photographer's life and work. (shrink)

What is photography? Is it primarily a source of knowledge about the world or an art? Many have said the former, because it records the world automatically, others the latter because it embodies human subjectivity. Can it photography be both or must we choose? In On Photography: A Philosophical Inquiry Diarmuid Costello examines these fascinating questions and more. In so doing he introduces some of the fundamental topics and debates about the nature of photography, with the help of photographic images (...) from Paul Strand, Lee Friedlander, James Welling, Jeff Wall, and Gerhard Richter, among others. Tracing the roots of thinking about photography from its discovery, through Nineteenth Century debates about its standing as art, to Twentieth Century Modernism and post-War cultural criticism, Costello identifies the emergence of a powerful "orthodox" view of photography. The features that make photographs compelling documents are precisely those that put pressure on its standing as art; though they provide a wealth of empirical information, they cannot have the unifying vision we look for in art. He draws on the reflections of photographers and theorists, including Paul Strand, Edward Weston, Laszlo Moholy-Nagy, Siegfried Kracauer, Andre Bazin and Stanley Cavell to illustrate this fundamental tension. The view comes to fruition in the work of Roger Scruton and Kendall Walton. Whether pure photography is capable of representing fictions, or always presents a transparent window onto the real world becomes the key question. Recently, the orthodox view has come under increasing pressure from a new generation of philosophers who reject the contrast between machine and hand made images that underwrites it. He concludes by examining photographic agency in a digital age. Written in a clear and engaging style, On Photography: A Philosophical Inquiry is essential reading for anyone interested in the philosophy of photography, aesthetics, art, and visual studies. (shrink)

What is photography? Is it primarily a source of knowledge about the world or an art? Many have said the former, because it records the world automatically, others the latter because it embodies human subjectivity. Can it photography be both or must we choose? In _On Photography: A Philosophical Inquiry_ Diarmuid Costello examines these fascinating questions and more. In so doing he introduces some of the fundamental topics and debates about the nature of photography, with the help of photographic images (...) from Paul Strand, Lee Friedlander, James Welling, Jeff Wall, and Gerhard Richter, among others. Tracing the roots of thinking about photography from its discovery, through nineteenth-century debates about its standing as art, to twentieth-century Modernism and post-War cultural criticism, Costello identifies the emergence of a powerful "orthodox" view of photography. The features that make photographs compelling documents are precisely those that put pressure on its standing as art; though they provide a wealth of empirical information, they cannot have the unifying vision we look for in art. He draws on the reflections of photographers and theorists, including Paul Strand, Edward Weston, Laszlo Moholy-Nagy, Siegfried Kracauer, Andre Bazin and Stanley Cavell to illustrate this fundamental tension. The view comes to fruition in the work of Roger Scruton and Kendall Walton. Whether pure photography is capable of representing fictions, or always presents a transparent window onto the real world becomes the key question. Recently, the orthodox view has come under increasing pressure from a new generation of philosophers who reject the contrast between machine and hand made images that underwrites it. He concludes by examining photographic agency in a digital age. Written in a clear and engaging style, _On Photography: A Philosophical Inquiry_ is essential reading for anyone interested in the philosophy of photography, aesthetics, art, and visual studies. (shrink)

"Eva Besnyö was not only an exceptionally gifted photographer but was also politically active during her lifetime: she acquired her photographic skills in the studio of József Pécsi in Budapest, became aware of the aesthetics of modern photography in the early 1930s in Berlin and became a respected master photographer in Amsterdam. Eva Besnyö's life and work were not only influenced by Modernism the arts but also by the dramatic political movements and events of 20th century Europe such as Fascism, (...) National Socialism, immigration and persecution. By the time the Hungarian-Jewish photographer arrived Berlin in 1930, she had made the two most momentous decisions of life: to make photography her profession and to leave Fascist Hungary forever. Modern art was a passion for her. She produced true masterpieces with her Rolleiflex during her expeditions around Berlin. When Besnyö immigrated to Amsterdam in 1932, she was one of the outstanding representatives of "New Photography" together with László Moholy-Nagy and Erwin Blumenfeld: her portraits, architectural views and landscapes have retained their intensity to this day. She worked as a photographer until the 1980s, and among her other roles as a chronicler of the "Dolle Mina" feminist movement. In the 1990s she won prestigious awards Germany and The Netherlands for her outstanding body of work."--Publisher's website. (shrink)

Often presented as a new form of materialism, theories of media have been repeatedly fascinated by the idea of dematerialization—more precisely, by a vision of the history of technical media as a process teleologically oriented toward a future characterized by the overcoming of the weight, the opaqueness, and the resistance of materiality and by the advent of new, pervasive forms of instantaneous communication. Light, be it natural or artificial, has often played a key role in this historical narrative. With its (...) diffused presence, limitless plasticity, ultimate speed, ambiguous status between infinitely small particles and electromagnetic waves, and crucial role in the transmission of images and signals, light has often raised the question of the materiality of media itself, pointing to the possibility of immediacy—of an immediate, instantaneous, immaterial transmission. In this article I analyze the presence of this idea of dematerialization as the end point of media history in the writings of László Moholy-Nagy and Marshall McLuhan, whose thinking about media is centered on the assumption that light is the most fundamental medium, one that leads the entire range of technical media to gradually dematerialize and merge within the environment or even dissolve into the atmosphere. (shrink)

Gustave Caillebotte not only depicted the 19th-century Paris of Haussmann, but also painted landscapes, still lifes, portraits and interiors. Today, he has taken his place as one of the most outstanding French Impressionists. His avant-garde approach to perspective and composition anticipated pictorial forms of 20th-century photography. The work of Caillebotte added a new dimension to French Impressionist painting. His radical and modern designs with a photographic quality inspired a new kind of perception and anticipated the dynamism and abstraction of photography (...) which was in the process of being developed. Selected photographs by André Kertész, Wols and László Moholy-Nagy, among others, demonstrate a strong affinity with the work of Caillebotte. (shrink)

This article proposes to reconceptualize the Hungarian photographer, artist and educator László Moholy-Nagy’s (1895–1946) inter-war call for a ‘new vision’ in order to grasp how artists presently experiment with photography and adjacent new technologies to explore the environmental, ecological and elemental dimension of media themselves. For Moholy-Nagy, photography represented a new way of seeing and experiencing the increasingly industrialized and automated world and a means of expanding our sensory perception. Drawing on recent scholarship of elemental media (...) theory, I adapt Moholy-Nagy’s interest in the materiality of photography and the atmospheric and medial dimensions of light itself to an environmentally attuned notion of ‘new visions’. Exemplified with discussion of recent works by Emilija Škarnulytė, Lesia Vasylchenko and Istvan Virag, I show how a number of contemporary artists likewise scrutinize photography’s (understood in an expanded way) material basis and atmospheric qualities to explore new forms of image-making, including CGI and synthetic aperture radar images, fitted to reflect the accelerated automation and ecological precarity that mark the early twenty-first century. (shrink)

Key writings by artists and theorists chart the shifting relationship between film and photography and how the rise of cinema forced photography to make a virtue of its stillness. The cinematic has been a springboard for the work of many influential artists, including Victor Burgin, Philip-Lorca diCorcia, Stan Douglas, Nan Goldin, Douglas Gordon, Cindy Sherman, and Jeff Wall, among others. Much recent cinema, meanwhile, is rich with references to contemporary photography. Video art has taken a photographic turn into pensive slowness; (...) photography now has at its disposal the budgets and scale of cinema. This addition to Whitechapel's Documents of Contemporary Art series surveys the rich history of creative interaction between the moving and the still photograph, tracing their ever-changing relationship since early modernism. Still photography—cinema's ghostly parent—was eclipsed by the medium of film, but also set free. The rise of cinema obliged photography to make a virtue of its own stillness. Film, on the other hand, envied the simplicity, the lightness, and the precision of photography. Russian Constructivist filmmakers considered avant-garde cinema as a sequence of graphic "shots"; their Bauhaus, Constructivist and Futurist photographer contemporaries assembled photographs into a form of cinema on the page. In response to the rise of popular cinema, Henri Cartier-Bresson exalted the "decisive moment" of the still photograph. In the 1950s, reportage photography began to explore the possibility of snatching filmic fragments. Since the 1960s, conceptual and postconceptual artists have explored the narrative enigmas of the found film still. The Cinematic assembles key writings by artists and theorists from the 1920s on—including László Moholy-Nagy, Pier Paolo Pasolini, Victor Burgin, Jeff Wall, and Catherine David—documenting the photography-film dialogue that has enriched both media. (shrink)

Marshall McLuhan understood television as a tactile medium. This understanding implied what Bruno Latour might call a ‘symmetrical’ conception of tactility. According to McLuhan, not only human actors are endowed with the sense of touch. In addition, TV, digital computers and other ‘electric media’ use light beams and similar scanning techniques for ceaselessly ‘caressing the contours’ of their surroundings. This notion of tactility was crucially shaped by the holistic aesthetics of the early Bauhaus. To get at the specific features of (...) the TV image, McLuhan relied on the writings of László Moholy-Nagy and Sigfried Giedion, in particular their use of photography for capturing and highlighting the ‘texture’ of surfaces. However, he hardly reflected the social and political factors that, in the age of electric media, contribute to the ‘symmetricization’ of touch. (shrink)

"The article presents an in-depth analysis of Benjamin’s use of the German term Medium, in order to show how his entire media theory may be interpreted as centered on the interaction between the historically changing realm of the technical and material Apparate, and what he calls in the artwork essay the »Medium of perception«: the spatially extended environment, the atmosphere, the milieu, the Umwelt in which sensory experience occurs. This notion of »Medium of perception« is then located within the long, (...) post-Aristotelian tradition of the media diaphana, whose traces can be found in the 1920s and 1930s in the writings of authors such as Béla Balázs, Fritz Heider, and László Moholy-Nagy. Der Artikel präsentiert eine eingehende Analyse von Benjamins Gebrauch des deutschen Begriffs »Medium«, um zu zeigen, dass seine gesamte Medientheorie fokussiert ist auf die Interaktion zwischen dem historisch veränderlichen Bereich der technischen und materiellen Apparate einerseits und dem, was er in dem Kunstwerkaufsatz das »Medium der Wahrnehmung« nennt: die räumlich ausgedehnte Umgebung, die Atmosphäre, das Milieu, die Umwelt, in der sinnliche Wahrnehmung erfolgt. Dieser Begriff des »Mediums der Wahrnehmung« wird dann innerhalb der langen, nacharistotelischen Tradition der media diaphana verortet, deren Spuren in den 1920er und 1930er Jahren in den Schriften von Autoren wie Béla Balázs, Fritz Heider und László Moholy-Nagy zu finden sind.". (shrink)

From the earliest silver-chloride calotypes of inventor of photography William Henry Fox-Talbot to developments in digital photography and the tiny but surprisingly capable cameras that are a component of every smartphone today, photography has changed dramatically over the past 150 years. As technology has advanced, so too has photography as a living, dynamic art form, as evidenced by the innovative techniques and compositions of contemporary photographic artists. Drawing on a diverse collection of historical and contemporary photographs held by Bank Austria (...) and on display at the Museum der Moderne Salzburg, Focus on Photography provides a rich visual record of the history of photography. The photographs reproduced here date from the 1840s to the 1970s and include works by Julia Margaret Cameron, Lewis Carroll, André Kertész, Josef Sudek, Eadweard Muybridge, Alexander Rodchenko, Lászlo Moholy-Nagy, Man Ray, Henri Cartier-Bresson, Diane Arbus, and Arnulf Rainer, among others, and range from landscapes and portraits to cutting-edge modern compositions. Together, they offer readers a series of invaluable reference points for thinking about of the important trends and developments throughout the history of photography. A stunning, kaleidoscopic portfolio featuring nearly two centuries of photographic art with representation from among many major movements and figures, Focus on Photography will be welcomed by all with an interest in this powerful medium. (shrink)

Throughout the twentieth and twenty-first centuries, artists and scholars have pursued connections between modern art movements and scientific exploration and expertise. Particularly in discussions of Cubism and Futurism, artists and historians have employed the terms ‘fourth dimension’, ‘simultaneity’, and ‘space-time’ in their artistic theories. Select scholars have connected the use of these terms with Albert Einstein’s theories of relativity. This paper presents brief notes on this perceived intersection between Western science and art during the early to mid-twentieth century. It focuses (...) on the Bauhaus master Laszlo Moholy-Nagy, for whom ideas of “space-time” offered new and dynamic possibilities for art and perception. Rather than solely trying to interpret or represent Einstein’s theories in art, Moholy-Nagy considered the artistic implications of a theory that challenged the notion of absolute time and space. His writing on technology and the use of projected light to produce spatial modulation greatly impacted subsequent generations of artists. Moholy-Nagy also viewed greater collaboration within the disciplines of science and art as necessary. He argued that in order to best respond to the twentieth century a new generation of artists must be equipped with both technical and scientific expertise. (shrink)

This chapter enters into a debate with the analytic theory of action, especially the version developed by Donald Davidson, who makes it clear that the upsurge of a desire to perform a specific action is a natural event that is causally responsible for the action in question. The narrative interpretation of selfhood was initiated by Hannah Arendt. Selfhood is certainly assured on a passive and affective plane. Edmund Husserl maintains that in the passive sphere, a self is constituted preceding active (...) reflection. As Paul Ricœur clearly determines, the complicity with reality entails a ‘decentred self’ that is strictly opposed to the self-centred, self-controlled, and self-assured ego of modern philosophy. Emmanuel Levinas never accepted Wittgenstein's constraint on philosophy to remain silent with regard to the ‘unsayable’. (shrink)

Canada’s Truth and Reconciliation Commission (TRC) is tasked with facing the hundred-year history of Indian Residential Schools. The South African Truth and Reconciliation Commission is frequently invoked in relation to the Canadian TRC, perhaps because this is one of the few TRCs worldwide that Canadians know. Whilst the South African TRC is mainly applauded as an international success, I argue that loose analogizing is often more emotive than concise. Whilst much indeed can be drawn from the South African experience, it (...) is important to specify the Canada–South Africa analogy. In this article, I do so by focussing on the institutional approach to truth and how this relates to issues of settler/White denial. The South African experience teaches that narrow approaches to truth collude with superficial views of reconciliation that deny continuities of violence. Consequently, I argue that Indigenous–settler reconciliation requires a broad truth that locates residential schools on a continuum of violence, linking extraordinary abuses with structural injustices and historic colonization with lived relationships. (shrink)

Penrose’s Spin Geometry Theorem is extended further, from SU(2) and E(3) (Euclidean) to E(1, 3) (Poincaré) invariant elementary quantum mechanical systems. The Lorentzian spatial distance between any two non-parallel timelike straight lines of Minkowski space, considered to be the centre-of-mass world lines of E(1, 3)-invariant elementary classical mechanical systems with positive rest mass, is expressed in terms of E(1, 3)-invariant basic observables, viz. the 4-momentum and the angular momentum of the systems. An analogous expression for E(1, 3)-invariant elementary quantum mechanical (...) systems in terms of the basic quantum observables in an abstract, algebraic formulation of quantum mechanics is given, and it is shown that, in the classical limit, it reproduces the Lorentzian spatial distance between the timelike straight lines of Minkowski space with asymptotically vanishing uncertainty. Thus, the metric structure of Minkowski space can be recovered from quantum mechanics in the classical limit using only the observables of abstract quantum mechanical systems. (shrink)

The 1924 Church reform, through which the Romanian Orthodox Church decided to adopt the Revised Julian Calendar, led to dissent movements, mostly comprised of peasants, especially in the villages of Moldavia and Bessarabia. Considering the calendar change a heresy, these groups soon developed into religious communities that came to be known as Old Calendarists, or “stylists,” followers of “the old-style calendar.” Led by defrocked priests and monks who rejected the reform, the groups very quickly became the target of the secret (...) police and the Gendarmerie. What also drew the attention of the authorities and the Orthodox Church was that women, especially the younger ones, seemed to play important roles within the communities, not only in terms of membership, but also in preserving and spreading the Old Calendarists’ beliefs and religious ideas. As many members of the communities were being arrested, and their churches were destroyed, these women also suffered imprisonment, monastic incarceration, or were forced to hide from the authorities in caves or huts that they built in the woods. Though subjected to various forms of persecution, which continued through the communist period, the majority of them held strong to their beliefs and contributed to the forging of a religious identity. Using archival documents, in the forms of letters, postcards, photos, and declarations as primary sources, and drawing on interviews conducted with contemporary nuns and members of the Old Calendarist communities, the present article explores the personal stories of young Old Calendarist women. Building upon the work of Anca Șincan, this article challenges the notion that transmission of religion was the exclusive prerogative of older women. (shrink)

I will sketch a possible way of empirical/operational definition of space and time tags of physical events, without logical or operational circularities and with a minimal number of conventional elements. As it turns out, the task is not trivial; and the analysis of the problem leads to a few surprising conclusions.

This essay presents an argument, which it calls the Bias Argument, with the dismaying conclusion that (almost) everyone should significantly reduce her confidence in (too many) philosophical beliefs. More precisely, the argument attempts to show that the most precious philosophical beliefs are biased, as the pervasive and permanent disagreement among the leading experts in philosophy cannot be explained by the differences between their evidence bases and competences. After a short introduction, the premises of the Bias Argument are spelled out in (...) the first part. The second part explains why the objections to the Bias Argument are not compelling. Even though the essay does not adopt the conclusion of the Bias Argument, partly because it seems to be self-defeating, the authors know no plausible way to refute its premises. Thus, the primary aim of the essay is to clarify why the aporetic situation of the Bias Argument arises. (shrink)

The evidential problem of evil involves a rarely discussed challenge, namely the challenge of defending theism against the hypothesis of a morally indifferent creator. Our argument uses a Bayesian framework and it starts by showing that if the only alternative to classical theism is naturalistic atheism, then fine-tuning can render theism virtually certain, even in the face of evil. But if the alternatives include the hypothesis of a morally indifferent creator, theism is defeated even if the fine-tuning premise is accepted. (...) The resulting version of the evidential problem is unsolvable using the tools that are currently deployed by theists against evil. (shrink)

Explores the truth of human existence and human consciousness, presenting a view of our lives as an infinite existence in spacetime and beyond spacetime to resolve the paradoxes of our commonly held scientific conceptions of the nature of the cosmos and show a way toward a sustainable global civilization.

By means of the Rollback Argument, this paper argues that metaphysically robust probabilities are incompatible with a kind of control which can ensure that free actions are not a matter of chance. Our main objection to those (typically agent-causal) theories which both attribute a kind of control to agents that eliminates the role of chance concerning free actions and ascribe probabilities to options of decisions is that metaphysically robust probabilities should be posited only if they can have a metaphysical explanatory (...) role but probabilities can explain anything only if chance has a role. First, we reconstruct the Rollback Argument. Second, we criticize the standard ways of reconciling non-chancy control with metaphysically robust probabilities. Finally, we respond to those worries that are related to the thought experiment of the Rollback Argument. (shrink)

In my paper, I spell out which types of libertarian theories can be refuted by Libet-style experiments and which cannot. I claim that, on the one hand, some forms of deliberative libertarianism and restrictive libertarianism cannot even in principle be denied on the basis of these experiments; and on the other hand, standard libertarianism, along with some versions of restrictive and deliberative libertarianism, can in principle be refuted by these experiments. However, any form of restrictive libertarianism can be refuted in (...) the future only if researchers perform new and “untraditional” Libet-style experiments. This is because “traditional” Libet-style experiments investigate decisions in Buridan-type situations. But these decisions are irrelevant with regard to free will, according to the restrictivists. -/- In the first section, I clarify some terminological issues in order to set the stage for a precise analysis. In the second, I attempt to show what the main reason is for thinking that Libet-style experiments seem to be problematic for libertarian theories. Although showing that actions are unconsciously initiated does not pose a real challenge for the elaborated philosophical theories of free will, Libet-style experiments may be problematic for most libertarian theories because, pace Roskies and Nahmias, libertarians have good reasons for saying that local determinism and free will are incompatible. In the third section, I argue that because some versions of deliberative libertarianism do not claim that decisions about actions are the center of freedom-relevant indeterminism, Libet-style experiments are unable to refute them after all. In the fourth, I attempt to show why standard centered libertarianism according to which there are no relevant metaphysical differences between different types of conscious decisions is in principle vulnerable to Libet-style experiments to a greater extent. Fifth, I point out the reasons why restrictivist centered libertarianism is less vulnerable to these experiments. Still, I argue that moderate-restrictivism can in principle be denied by Libet-style experiments if these experiments are modified in an important respect. However, proponents of hard-restrictivism should not worry about the possible results of these experiments because these theories restrict the set of free decisions to such a great extent that they cannot be subjected to a proper empirical test. (shrink)

The interpretations of sustainability are varied. In most cases, the focus is on reinterpretations and transformations of human attitudes towards the natural environment and certain (unacceptable) social practices and conditions, i.e. the task would be to shape these spheres of human existence in the interests of sustainability. However, the creation and widespread use of the Internet is fundamentally changing human life that is no longer confined to the natural and social spheres. Web life, as a third sphere of human existence (...) created by the universal use of the Internet, is also a component of human condition, both in itself and through its interactions with the natural and social spheres. It is essential to take this into account: the sustainability of these “three spheres” should be addressed together. The continuous construction of web life can be decisive for the sustainability of the whole human existence. (shrink)

The relationship between humans and non-human animals has received considerable attention recently. Animal advocates insist that non-human animals must be included in the moral community. Consequently, eating meat is, at least in most cases, morally bad. In an article entitled “In Defense of Eating Meat”, Hsiao argued that for the membership in the moral community, the “root capacity for rational agency” is necessary. As non-human animals lack this capacity, so the argument runs, they do not belong to the moral community. (...) Consequently, harming non-human animals for human nutrition can be justified. In this short comment I would like to highlight some of the most important errors of the above argument, primarily from the perspective of a biologist. I conclude that assuming the existence of a mysterious “root capacity for rational agency” is a biological nonsense. It cannot be verified, and it only obscures reality. In my opinion, the greatest problem with Hsiao’s argument is that it tries to defend anthropocentrism, a view that has presumably been the very cause of the spoiled non-human–human relationships. Perhaps adopting a vegan lifestyle is a better solution than quieting one’s conscience. (shrink)

It is an increasingly popular view among philosophers that moral responsibility can, in principle, be attributed to unconscious autonomous agents. This trend is already remarkable in itself, but it is even more interesting that most proponents of this view provide more or less the same argument to support their position. I argue that as it stands, the Extension Argument, as I call it, is not sufficient to establish the thesis that unconscious autonomous agents can be morally responsible. I attempt to (...) show that the Extension Argument should overcome especially strong ethical considerations; moreover, its epistemological grounds are not too solid, partly because the justifications of its premises are in conflict. (shrink)

1. Meghatározások a vallásról -- 2. A politika elmélete.