Critical Edition of Henricus Bate’s translation of Ibn Ezra’s Book of the World, which deals with the astrological prediction and interpretation of political events and with weathe...

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 61.4 (2000) 635-655 [Access article in PDF] The Mystery of Truth: Louis-Claude de Saint-Martin's Enlightened Mysticism David Bates "... what truth! and what error!" --Goethe on Saint-Martin 1It is hardly surprising that Louis-Claude de Saint-Martin (1743-1803), the philosophe inconnu of late Enlightenment Europe, remains almost completely unknown outside of the marginalized and exotic disciplines of esoterism, theosophy, and mysticism. Although influential in certain (...) circles, Saint-Martin failed to penetrate the mainstream of Enlightenment thought, and what influence he did have in philosophy was largely felt outside of this period altogether, revealing itself in figures such as Maistre, 2 Lamartine, 3 and German Romantics like Franz von Baader. 4 In his own lifetime Saint-Martin was met with incredulity by the forces of rationalism. Voltaire was given a copy of Saint-Martin's 1775 text Des erreurs et de la vérité by a friend of d'Alembert. Voltaire later commented to the mathematician, "I don't believe anyone has ever printed anything more absurd, [End Page 635] more obscure, more crazy, and more stupid." 5 In the Tableau de Paris, Mercier described Saint-Martin and his martinist followers as a sect which turned its back on the paths opened up by sound physics, chemistry, and all natural history in order "to run headlong into an invisible world only they perceived." Saint-Martin taught that the objects we see around us are only "fantastic and deceptive images" and that the truth lies precisely where we cannot see it, Mercier explained. "Physical experiences," the cornerstone of the dominant sensationalist doctrine, were for the martinists only "errors," an "eternal source of folly and deception," wrote Mercier. 6 One review of Saint-Martin's works described their effect as analogous to that of a "pyramid covered in hieroglyphs, erected by an unknown man in a public square," in other words, completely mystifying. 7 The revolutionary Barnave would link martinism with all the other "metaphysical follies," which were, he believed, the result of an overly speculative tendency in eighteenth-century thought. 8For his part Saint-Martin rejected what he considered to be the anti-spiritual tendency of Enlightenment thought. Responding (as a mature student) to the professor Garat, one of the idéologue followers of Condillac, at the École normale in 1795, Saint-Martin wrote: I always admire how you protect youself from materialism by endorsing... the teachings of Condillac. Although I read little, I have just gone through (very quickly, it is true) his Essai sur les origines des connaissances humaines and his Traité des sensations. Whether I have poorly grasped it, or I haven't your secret, I have come across almost no passages which do not repel me; and, I can say, have not encountered one which attracts me. His statue, for example... seems to be a mockery of nature... For me, each of the author's ideas appears to be an attack against man, a veritable homicide. 9Mystic thought, it seems, must oppose Enlightenment. At best, mysticism during the period of Enlightenment will be seen as its "underside" 10 or as the [End Page 636] preparation for coming anti-Enlightenment Romantic doctrines. 11 Indeed, the end of the Enlightenment in France saw a marked interest in esoteric thought and a mystic sensibility. 12 However, the attempt to link mysticism and Enlightenment has almost always been a critical attempt to discover the "superstitious" core of eighteenth-century rationalist thought. In this perspective the study of mystic thought in its own terms can only have antiquarian value, for the mystic approach to truth is, it is claimed, always in the form of a secret, revealed knowledge that can never withstand disciplined analysis. Saint-Martin finds his way into history as either a footnote in large books on Romantic thinking, or as the protaganist in largely incomprehensible ones examining esoteric thought. 13Here, I do not want to claim that Saint-Martin should be "included" in the Enlightenment, but a sympathetic reading of this complex... (shrink)

Originally published in 1529, the Declamation on the Preeminence and Nobility of the Female Sex argues that women are more than equal to men in all things that really matter, including the public spheres from which they had long been excluded. Rather than directly refuting prevailing wisdom, Agrippa uses women's superiority as a rhetorical device and overturns the misogynistic interpretations of the female body in Greek medicine, in the Bible, in Roman and canon law, in theology and moral philosophy, and (...) in politics. He raised the question of why women were excluded and provided answers based not on sex but on social conditioning, education, and the prejudices of their more powerful oppressors. His declamation, disseminated through the printing press, illustrated the power of that new medium, soon to be used to generate a larger reformation of religion. (shrink)

Glitch composition is a meta-discursive practice: rather than writing new music inspired by older recordings, it constructs new music inspired by the technological conditions and limitations in which those recordings emerged. For those listeners who aren’t particularly interested in technology theories, such music is particularly alienating—an in-joke that one doesn’t get. When glitch becomes pop, it loses its theoretical savvy, replacing the “synth pad” in a contemporary pop song. Glitch’s subversion of the bad value judgment placed on damaged media is (...) only a partial one—as scratched CDs (whether they be glitch ones or not) remain economically worthless commodities. (shrink)

Complex responsive processes theory is utilised in an original way to critique leadership myths and explore the alternative, deeper meanings of educational transformation. The theory opens up new forms of understanding about how ordinary practitioners negotiate the meanings of 'improvement' in their everyday practice. It is in the gap between the emergence of these local interactions and the predetermined designs of policy-makers that educational transformation can be lost or found.--.

Aeschylus’ Oresteia supports Aristotle’s claim about the naturalness of the city and the city’s role in shaping justice for humans. In the Oresteia, Aeschylus shows how the city’s justice is the only way to control the wrath of the Furies. Aeschylus shows that the city and its justice tames the Furies and provides for the only way by which the husband-wife relation, which is not a blood tie but provides the basis for which the family is even possible, can be (...) preserved and be secure from the passions the Furies release in their quest for revenge. The Furies and their desire for vengeance for the violation of the blood bond, threaten to undermine the very basis on which the family is founded: the husband-wife bond. Thus Aeschylus gives support and aids Aristotle’s position that the husband-wife bond is a political bond and rests within the realm of the city and the political. (shrink)

Artikelen over het grensgebied tussen psychologie, recht en moraal vanuit een rechtspsychologisch en behavioristisch uitgangspunt, waarbij de auteur zich onder meer baseert op het gedachtegoed van de Amerikaanse psycholoog Skinner.

We fear that the growing threat of violent attack has upset the balance between existential concepts of political power, which emphasize security, and traditional notions of constitutional limits meant to protect civil liberties. We worry that constitutional states cannot, during a time of war, terror, and extreme crisis, maintain legality and preserve civil rights and freedoms. David Williams Bates allays these concerns by revisiting the theoretical origins of the modern constitutional state, which, he argues, recognized and made room for tensions (...) among law, war, and the social order. We traditionally associate the Enlightenment with the taming of absolutist sovereign power through the establishment of a legal state based on the rights of individuals. In his critical rereading, Bates shows instead that Enlightenment thinkers conceived of political autonomy in a systematic, theoretical way. Focusing on the nature of foundational violence, war, and existential crises, eighteenth-century thinkers understood law and constitutional order not as constraints on political power but as the logical implication of that primordial force. Returning to the origin stories that informed the beginnings of political community, Bates reclaims the idea of law, warfare, and the social order as intertwining elements subject to complex historical development. Following an analysis of seminal works by seventeenth-century natural-law theorists, Bates reviews the major canonical thinkers of constitutional theory (Locke, Montesquieu, and Rousseau) from the perspective of existential security and sovereign power. Countering Carl Schmitt's influential notion of the autonomy of the political, Bates demonstrates that Enlightenment thinkers understood the autonomous political sphere as a space of law protecting individuals according to their political status, not as mere members of a historically contingent social order. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 61.4 (2000) 577-593 [Access article in PDF] Machina Ex Deo: William Harvey and the Meaning of Instrument Don Bates Introduction Since our clocks do consistently disclose each hour of the day and night--do they not seem to partake of another body (beyond the elements), and that more divine? But if, under the dominion and management of [our human] Art, such splendid things are (...) daily achieved beyond the powers of the objects themselves,... And if, in serving men they carry out such things as are to be marvelled at, what I ask, may we expect from them when they be instruments in the hand of God? These words come near the end of William Harvey's De generatione animalium. 1 As he does often in this work, he is arguing that it is possible for a material object to behave supra vires elementorum, i.e., in a manner that exceeds what can be explained merely from the qualities of the elements from which it is made. In fact, just before this, he argues that human craftsmanship enables the elements of air and water to make ships sail in opposite directions, fire to do one sort of thing in the kitchen, another in the shops of metal-workers, including the production of iron, which in its turn peacefully tills the soil or besieges the town in war. So if even human Art is capable of making something as wonderful as a clock out of the elements, how much more might God be able to do with them? [End Page 577]Not only is it entirely conceivable that the (divinely) artful manipulation of these same elements can account for the wonders of God's nature--such as the generation of a chick out of an egg--there is also no need to infer the existence of additional entities such as faculties, qualities, agents, and the like. All that is needed is the concept of "instrument." Today such things as his appeal to a clock, his reference to "art," and the word "instrument" itself, are liable to arouse in our minds a fairly mechanical sort of image. Therefore, we need to put this idea in its intellectual context, by looking at where Harvey's notion of instrument is coming from.First, our much more mechanical world view was just coming into being as Harvey (1578-1657) wrote these words. Although the philosophy of his younger contemporary, René Descartes (1596-1650) was not yet in full bloom (he died a year before Harvey's book appeared), Cartesianism was certainly on the explanatory horizon, 2 as was the work of another contemporary and contributor to the "new philosophy," Pierre Gassendi (1592-1655). 3 And, of course, Harvey had certainly known Francis Bacon (1561-1626). 4 Nevertheless, Harvey was a devout Aristotelian who was adamantly opposed to the efforts of these contemporaries to replace Aristotle. 5 Moreover, it was from the Aristotelian tradition, not from the new mechanics, that Harvey had derived the concept of instrument.If, broadly speaking, the "new philosophy" was about a universe that was built like a clock, then the "old" natural philosophies, whether dominated by Platonism, Aristotelianism, Christian theology, or some combination, were about a universe that was socially constructed. 6 Not only was man at the center, to a large extent the workings of the universe were envisioned in terms of social experience. The regularity, predictability, harmony, and wonder of natural phenomena seemed best explained in the language of reason, moral values, motives, responsibilities, hierarchies, laws (in the social sense), and the like, explanatory resources that, in the late ancient and medieval intellectual cultures of Europe, far outweighed either those that appealed to the passively material and the mechanical, or to the random and the chance.But very central to that social model of nature was the concept of instrument, which gave to it something of a mechanical twist. To see how this was so, we need to go back temporarily to the works of Aristotle, the influence of... (shrink)

Psychologische, rechtstheoretische en sociobiologische benadering van altruïstisch gedrag als grondslag van de menselijke samenleving.

Resumen En el presente estudio se aborda la descripción de la semántica de los marcadores evidenciales por lo visto y se ve que en el marco de la teoría de la relevancia (TR). Tomando como punto de partida el análisis que Albelda, M. (2018). ¿Atenuación del compromiso del hablante?: El caso de los evidenciales por lo visto y se ve que. Rilce, 34.3, 1179–1214. traza de ambos evidenciales en un corpus oral, se realizó un estudio tanto cuantitativo como cualitativo de (...) los patrones y el rango de interpretaciones de cada expresión en una muestra de géneros escritos formales procedentes del Corpus de Referencia del Español Actual (CREA). Los resultados cuantitativos mostraron algunas diferencias con respecto a los obtenidos por Albelda, M. (2018). ¿Atenuación del compromiso del hablante?: El caso de los evidenciales por lo visto y se ve que. Rilce, 34.3, 1179–1214: por lo visto es principalmente inferencial y, en menor medida, reportativo en la escritura formal. En contraste con los géneros orales, tiende a introducir inferencias genéricas, y en ocasiones también precede conjeturas. Se alinea con el parámetro de la objetividad, permitiendo al emisor mostrar una menor implicación hacia la evidencia, así como un mayor compromiso epistémico hacia la fiabilidad de la información. Se ve que, por el contrario, es generalmente un marcador inferencial, tanto en géneros escritos como orales. Se emplea, principalmente, para encabezar inferencias conjeturales. Con se ve que, el emisor muestra una mayor implicación y subjetivización, y un menor compromiso epistémico hacia la evidencia que se introduce en el discurso. Los diferentes patrones de comportamiento discursivo exhibidos por ambos evidenciales pueden explicarse en el marco de la teoría argumentativa del razonamiento (Mercier, H. y Sperber, D. (2011). Why do humans reason? Arguments for an Argumentative Theory. Behavioral and Brain Sciences, 34.2, 57–74; Mercier H. y Sperber, D. (2017). The Enigma of Reason. Cambridge, Mass.: Harvard University Press.). Por lo visto y se ve que tienden a introducir, respectivamente, conclusiones intuitivas y reflexivas que deben ser verificadas y aceptadas por la audiencia. Se ve que apunta, generalmente, a la activación de los mecanismos cognitivos de vigilancia epistémica y lectura de la mente, mientras que por lo visto tiende a desencadenar los procesos de vigilancia epistémica y de razonamiento. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 43.1 (2005) 83-105 [Access article in PDF] Does Malebranche Need Efficacious Ideas? The Cognitive Faculties, the Ontological Status of Ideas, and Human Attention Susan Peppers-Bates But whatever effort of mind I make, I cannot find an idea of force, efficacy, of power, save in the will of the infinitely perfect Being. Malebranche, Elucidation 15 One of the signatures of 17th century rationalists is (...) their replacement of the Scholastics's dependence on the deliverances of the senses with a dependence on the deliverances of the intellect as the key to gaining knowledge.1 Correct use of the intellect leading to freedom from the passions and to certain knowledge figures prominently in the works of Spinoza and Leibniz. Descartes's Meditations uses skeptical doubt to withdraw the mind from the senses, and his reliance on the meditative genre not only reveals to his readers the intellect as a distinct source of knowledge, but also trains them to use properly their will or faculty of judgment. Commentators have argued persuasively that overthrowing the sense-based epistemology and metaphysics of the Aristotelians depended on "discovering" the primacy of one's intellect over the senses, and using the deliverances of the mind to establish solid foundations for a new metaphysics and epistemology.2 Indeed, [End Page 83] outlining the proper use of the mind's faculties arguably lay at the basis of the Cartesian program in particular. This importance can be seen in Arnauld and Nicole's influential Port-Royal Logic, which aimed at training its readers in the proper use of the intellect.3Few would question Nicolas Malebranche's inclusion in the rationalist tradition.4 For while Malebranche famously takes ideas out of the Cartesian mind and transports them to God's—thus privileging the divine over the natural light—he shares Descartes's belief that our intellect, not our senses, holds the key to metaphysical truths such as the essence of matter, the mind-body distinction, and the existence of God.5 Yet, recently, Nicholas Jolley has contended that Malebranche's later commitment to "efficacious ideas" undermines his earlier belief in the power of the cognitive faculties: he believes that Malebranche abandons his view that the mind makes "real use" of the intellect to know intelligible objects.6 Jolley's position builds upon Alquié and Robinet's claims that around 1694-95 Malebranche moved from a vision "in" God to a vision "by" God. Now God's ideas act on and modify the soul with both sensations and intellectual concepts, rather than the human intellect contemplating ideas in the Divine Reason.7Alquié and Robinet argue that Malebranche, pushed by the battles with Arnauld and Régis over the status of ideas, introduced the language of "efficacious" ideas to explain how the union of the human and the divine mind is supposed to work.8 Robinet in particular suggests that in cashing out the metaphor of God enlightening human minds, Malebranche moved from a static "ontologist" view of idea-objects in God to an active "illuminationist" view whereby divine ideas cause(intellectual [End Page 84] and sensory) perception by modifying the soul.9 Once one accepts this view of the place and function of efficacious ideas in Malebranche's metaphysics, it seems natural to accept Jolley's declaration that the only way for the mind to apprehend ideas in God is if those ideas "act directly on the mind; [if] they thereby cause cognitive states to arise in a substance which is devoid of all genuine cognitive capacities of its own."10 Indeed, Jolley suggests that Malebranche ultimately made the soul passive in all its states, including its volitional ones.11In this paper, I argue that a strong interpretation of efficacious ideas, whereby they appear to become true causal agents, must be rejected precisely because it pushes us into an incorrect reading of Malebranche's theory of the divine and human faculties. Making ideas true causal agents within God privileges divine reason at the... (shrink)

Reasoning by analogy in chemical history: fallacies and guidelines. In chemistry (and natural science in general) reasoning in terms of analogy may be of great practical values as well as of theoretical significance. At the same time, however, the use of analogy is risky and the results are uncertain. In alchemy and iatrochemistry analogies between the living and the non-living nature have been carried too far. At the end of the 19th century an analogy was drawn between chemical phenomena and (...) the Darwinian theory of evolution. Another example of an overexaggerated analogy can be found in Lavoisier’s theory of acids, where oxygen was considered to be the general principle of acidity. Reasoning by analogy is mostly based on an inner conviction. It leads to provisional predictions in such cases where the required facts are not or incompletely at our disposal. (shrink)

Malebranche's metaphysics and the problem of human freedom -- God, order, and general volitions -- Arnauld and Malebranche on the power of the human intellect -- The cognitive faculties and the divine ideas -- Malebranche on free will and imminent causation.

Despite ideals of philosophical objectivity, who speaks is as important as what is said, and those who fall outside the Eurocentric male norm often are not heard or invited to participate in theorizing. New work chronicling and challenging the creation of white supremacist ideology in philosophy is needed greatly. In this important book, Another Mind-Body Problem: A History of Racial Non-Being, John Harfouch reveals the hermeneutical injustice that obscures how professional philosophers understand the mind-body problem today and how the terms (...) of that problem were created in the early modern period. Unlike the puzzle of causal relations between the mind and body canonized by white philosophers... (shrink)

In this paper I will argue that a false assumption drives the attraction of philosophers to a divine command theory of morality. Specifically, I suggest the idea that anything not created by God is independent of God is a misconception. The idea misleads us into thinking that our only choice in offering a theistic ground for morality is between making God bow to a standard independent of his will or God creating morality in revealing his will. Yet what is God (...) is hardly independent of him, and in coupling a perfect being theology with the doctrine of divine simplicity we discover that God’s “reason” is God. Accordingly, obeying the truths of goodness that we humans speak of as contained in the divine wisdom hardly impugns the divine sovereignty. By modifying divine command ethics to give primacy to God’s love or justice, thinkers such as Robert M. Adams, Philip L. Quinn, and Edward J. Wierenga admit the repugnance of this picture in spite of their verbal allegiance to divine command ethics. Accordingly, they implicitly concede that basing morality on God’s sheer power should not be the preferred option for the Christian theist. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 60-63 [Access article in PDF] Response to Bennett Reimer, "Once More with Feeling: Reconciling Discrepant Accounts of Musical Affect" Constantijn Koopman University of Nijmegen and Royal Conservatory of the Hague, The Netherlands Bennett Reimer has pointed out the crucial distinction between intrinsic and extrinsic meaning or, in his terminology, between inherent and delineated meaning. He has eloquently described how feeling in music (...) can be both of the inherent type and of the delineated type and has argued that both types of meaning can coexist. There is no point in denying the validity of either of them; rather the challenge is to develop a view which allows us to combine both perspectives of musical meaning into a unified musical practice.As far as I am concerned, Reimer has succeeded in his reconciliatory approach. Therefore, rather than providing criticism, I would like further to elaborate on the subject. First, I shall examine the difference between the two types of meaning Reimer has illustrated in his examples: feeling as a part of inherent meaning and feeling as portrayed or represented. Then, I shall briefly discuss the problem of articulating these two types of meaning and its educational implications.When reflecting on inherent and delineated meaning, I find that the dichotomy [End Page 60] goes beyond the opposition between intrinsic and extrinsic. We are also dealing with different versions of the concept of meaning; different meanings of 'meaning' so to speak. In the case of feelings, actions, or objects portrayed in music we have a rather unproblematic use of the meaning concept-meaning as reference. Music functions as a meaning bearer that directs our attention to something beyond itself. Musical structure is used to represent something that exists independently of music. With Charles S. Peirce, we might say that it serves the function of an "icon." The iconic sign has a form which is similar to the thing it denotes.1 Similarity may have the form of direct resemblance but it may also may be based on analogy. I guess that both kinds of portrayal were present in the Chinese swamp battle piece. Battle sounds can easily be imitated by musical instruments and violent movement and feelings can be represented by analogous tonal movement.With inherent meaning, things are different. Feelings are not pointed to and represented by musical structure; instead they are experienced by the person who engages in music. This is in line, I suppose, with Reimer's exposition; not only does he say that feeling is contained and expressed in sounds but also that feeling is undergone by the performer and the listener. What precisely is the place of inherent feeling in music? Feelings are not contained in the sense that they require an act of decoding so that by interpreting the musical structure we can decipher its affective contents. Nor is it appropriate simply to declare that musical feelings are caused by musical perception. Such an explanation suggests that feelings are a secondary phenomenon in music, a sort of byproduct of musical cognition; first the music is conceived in a cognitive act, then feelings are released. But in fact feeling is much more directly and actively involved in musical experience; it is vital to the constitution of the musical object. For example, to appreciate the specific character and import of themes and motifs we have to sense their affective value. We realize the power of rhythms by feeling them in our body. Chords and chord progressions are perceived as subtle qualities of tension and release. Only by feeling the curve of tension and release can we appreciate how the work progresses-whether the music is moving forward or coming to closure, whether a climax is prepared or there is consolidation, whether a case of closure is partial or final. Likewise, the perception of contrasting musical episodes-like soft versus rough, supple versus stubborn, warm versus frigid-involves the participation of feeling. In short, the function of feeling contributes a major part to the constitution of the musical... (shrink)

In this paper, we argue that the so-called Knobe-Effect constitutes an error. There is now a wealth of data confirming that people are highly prone to what has also come to be known as the ‘side-effect effect’. That is, when attributing psychological states—such as intentionality, foreknowledge, and desiring—as well as other agential features—such as causal control—people typically do so to a greater extent when the action under consideration is evaluated negatively. There are a plethora of models attempting to account for (...) this effect. We hold that the central question of interest is whether the effect represents a competence or an error in judgment. We offer a systematic argument for the claim that the burden of proof regarding this question is on the competence theorist. We sketch an account, based on the notion of the reactive attitudes, that can accommodate both the idea that these sorts of judgments are fundamentally normative and that they often constitute errors. (shrink)