Anselmian theism holds that there necessarily exists a being, God, who is essentially unsurpassable in power, knowledge, goodness, and wisdom. This being is also understood to be the creator and sustainer of all that is. In contemporary analytic philosophy of religion, this role is generally understood as follows: God surveys the array of possible worlds, and in his wisdom selects exactly one for actualization, based on its axiological properties. In this paper, I discuss an under-appreciated challenge for this account of (...) the Anselmian God’s selection of a world. In particular, I urge that there are failures of comparability between various possible worlds, and I argue that, given certain assumptions, these failures threaten the rationality of God’s choice of a world. To the extent that rationality is deemed necessary for unsurpassability, this result also challenges the core Anselmian notion that God is an unsurpassable being. (shrink)

The concept of the best of all possible worlds is widely considered to be incoherent on the grounds that, for any world that might be termed the best, there is always another that is better. I note that underlying this argument is a conviction that the goodness of a world is determined by a single kind of good, the most plausible candidates for which are not maximizable. Against this I suggest that several goods may have to combine to determine the (...) goodness of a world, and because of logical conflicts between them, the goods can be optimized to give a genuine best of all possible worlds. (shrink)

Anselmian theism holds that there necessarily exists a being, God, who is essentially unsurpassable in power, knowledge, goodness, and wisdom. This being is also understood to be the creator and sustainer of all that is. In contemporary analytic philosophy of religion, this role is generally understood as follows: God surveys the array of possible worlds, and in his wisdom selects exactly one for actualization, based on its axiological properties. In this paper, I discuss an under-appreciated challenge for this account of (...) the Anselmian God's selection of a world. In particular, I urge that there are failures of comparability between various possible worlds, and I argue that, given certain assumptions, these failures threaten the rationality of God's choice of a world. To the extent that rationality is deemed necessary for unsurpassability, this result also challenges the core Anselmian notion that God is an unsurpassable being. (shrink)

This essay discusses the role of being and ontology in the work of Gilles Deleuze. Starting from an examination of Alain Badiou's ontology and theory of the event, I discuss the possible opposition of being and the event in Deleuze's work. Though famous for his discussions of the univocity of being, Deleuze does discuss the event as that which is not being. Deleuze's theory of the event is similar to that of Badiou in that he considers the event to be (...) extra‐ontological. The essay closes by considering the differences between Deleuze and Badiou on the subject of the event. (shrink)

My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant (...) to a better understanding of the human being. This understanding was achieved through a broad inquiry into the histories of Virtual Reality, philosophy, and the visual arts and has lead to the formulation of an aesthetic theory of immersive consciousness indicative of immersive culture. The primary subject of this discourse is immersion then: an experience which will be identified within the dissertation as the indispensable characteristic of Virtual Reality. The understanding of immersion arrived at here will be used to fashion a synchronous theory of art particularly informed by encounters and concepts of immersion into virtuality. To sufficiently address this subject in a scholarly fashion, I have researched, found and accumulated aesthetic and philosophic examples of immersive tendencies, as found within the histories of art and philosophy, which subsequently contributed towards the articulation of what I have come to call immersive consciousness. As a result of formulating such an immersive consciousness, a good deal of the basis for the questioning of the Western ontological tradition has been found in the Western tradition itself when we look with new eyes and ask new uncertain questions. Moreover, this immersive consciousness will be used to propose some abstract questions encircling today's electronic-based culture. Through the structuring of the argument within the thesis - and overtly within the conclusion - I have articulated a non-teleological creative strategy which provides the basis for an unconstraining integration of noologies (ways of semblancing the thinking process). This strategy provides a means of exemplifying - and for honoring - various methods of thinking. This structuring strategy is consistent with the 'hacker ethic' as defined by Steven Levy, as a demand that access to computers - and anything which might teach us something about the way the world works - should be unlimited and total. To follow this strategy, this dissertation has set out to understand how topical conceptions of virtual immersion connect to pre-existing systems of thought as revealed in art as they have extended out of antecedent ontological self-understandings, historical human self-understandings which have evidenced themselves in the elaboration of technological objectives. To do this I have forged a certain rhizomatic paternity/maternity for Virtual Reality within this dissertation by joining choice immersive examples of simulacra technology into mental connections with the relevant examples culled from the histories of art, architecture, information-technology, sex, myth, space, consciousness and philosophy. (shrink)