W. Norris Clarke, S. J.; A Curious Blindspot in the Anglo-American Tradition of Antitheistic Argument, The Monist, Volume 54, Issue 2, 1 April 1970, Pages 181–2.

Metaphysicians go on busily doing metaphysical thinking all over the world, and apparently with a modicum of self-assurance that they are not talking nonsense or pursuing an illusory will-of-the-wisp. Yet other philosophers of empirical, analytical, phenomenological, or other turns of mind seem to have more and more difficulty in understanding just how metaphysicians give meaning and positive content to the vast abstract concepts by which they seek to describe and explain the entire spectrum of reality extending far beyond present or (...) perhaps even possible human experience. Since there is no way of gaining direct insight into dimensions of reality beyond human experience, and since in order to be applied to the whole range of reality these concepts must abstract from purely human experience, it is hard for them to see—and it is a serious problem in itself—how these all-embracing terms can be anything more than empty, formal, verbal symbols or conceptual constructions, with no positive existential content describing reality itself across its whole spectrum. Even the metaphysician himself, though when left alone he may have a sure sense of how to do metaphysical thinking fruitfully, when questioned to explain and justify what he is doing, and is convinced is worth doing, can feel embarrassed and struck dumb as to how to articulate and justify the principles behind the procedures he is following. (shrink)

W. Norris Clarke's metaphysics of the universe as a journey rests on six major positions: the unrestricted dynamism of the mind, the primacy of the act of existence, the participation structure of reality, and the person, considered as both the starting point of philosophy and the source of the categories needed for a flexible contemporary metaphysics. Reflecting on his conscious life and the universe around him, the finite person mounts by a two-fold path to its Infinite source, who, though (...) immutable in His natural being, is mutable in the intentional being of His personal knowledge and love. The personal God is the efficient cause from whom the universe comes and the final cause to whom it returns.Less optimistic than Norris Clarke, John Caputo wonders about his metaphysics of the person. In a hermeneutical interpretation of the human face, the person through whom Being "sounds" discloses an ambiguous Being that both reveals and conceals itself. Far from grounding a casual ascent to God, hermeneutical phenomenology allows us no more than the right to interpret the world and its transcendent source through our own free decision.Although impressed by Norris Clarke's attempt to introduce mutability into God, Lewis Ford still finds Clarke's Thomistic God unacceptable. As a Whiteheadian, he proposes in place of Thomas' God, whose perfection consists in static unity, a God whose perfection consists in a never-ending process of unification. John Smith argues against the traditional dichotomy made between the ontological and cosmological arguments. Rather than opposed methods of proving God's existence, they should be taken as complementary journeys to the divine presence which discloses itself, although diversely, in the soul and in the world. There are parallels between Smith's historical study of two arguments and Clarke's two-fold path to God. Yet Smith is critical of Thomas' cosmological journey to God and does not share Clarke's confidence in its validity. Significant studies in their own right, the three essays as a group challenge Clarke's whole metaphysics of the universe as a journey. Meeting the challenge, Clarke clarifies and refines his own thought.An account of Clarke's philosophy by Gerald A. McCool, S.J. preceds this unified and stimulating philosophical discussion. (shrink)

In this paper I argue against the usual interpretation of\nMeinong's argument for nonexistent objects, an\ninterpretation according to which Meinong imported\nnonexistent objects like "the golden mountain" to account\ndirectly for the truth of statements like the golden\nmountain is golden'. I claim instead (using evidence from\nMeinong's "On Assumptions") that his argument really\ninvolves an ineliminable appeal to the notion of pretense.\nThis appeal nearly convinced Meinong at one stage that he\ncould do without nonexistent objects. The reason, I argue,\nwhy he nonetheless embraced an ontology of nonexistents (...) has\nto do with the phenomenology of representation, and not\nwith semantics. (shrink)

Environmental Sound Artists: In Their Own Words is an incisive and imaginative look at the international environmental sound art movement, which emerged in the late 1960s. The term environmental sound art is generally applied to the work of sound artists who incorporate processes in which the artist actively engages with the environment. While the field of environmental sound art is diverse and includes a variety of approaches, the art form diverges from traditional contemporary music by the conscious and strategic integration (...) of environmental impulses and natural processes. This book presents a current perspective on the environmental sound art movement through a collection of personal writings by important environmental sound artists. Dismayed by the limitations and gradual breakdown of contemporary compositional strategies, environmental sound artists have sought alternate venues, genres, technologies, and delivery methods for their creative expression. Environmental sound art is especially relevant because it addresses political, social, economic, scientific, and aesthetic issues. As a result, it has attracted the participation of artists internationally. Awareness and concern for the environment has connected and unified artists across the globe and has achieved a solidarity and clarity of purpose that is singularly unique and optimistic. The environmental sound art movement is borderless and thriving. (shrink)