The multiverse hypothesis is one of the leading proposed explanations of cosmic fine-tuning for life. One common objection to the multiverse hypothesis is that, even if it were true, it would not explain why this universe, our universe, is fine-tuned for life. To think it would so explain is allegedly to commit “the inverse gambler's fallacy.” This paper presents what the inverse gambler's fallacy is supposed to be, then surveys the discussion of it in the philosophical literature of the (...) last 35 years. (shrink)

In much of the literature concerning African theories of meaning, there are certain clues regarding what constitutes meaningfulness from an African traditional perspective. These are theories of meaning in life such as the African God’s purpose theory, which locates meaning in the obedience of divine law and/or the pursuit of one’s destiny; the vital force theory, which locates meaning in the continuous augmentation of one’s vital force through the expression and receipt of goodwill, rituals and the worship of God; and (...) what I will call the transcendent communal normative theories, where meaning is located in the positive contributions one makes to his/her society, whether as a human being or as an ancestor. I contend that all these theories have one thing in common that unifies them – and that is the legitimization of God’s existence through the continued sustenance of the universe. This, I will show, constitutes the meaning of life (in cosmic terms) from an African traditional religious perspective. To argue for this thesis, I will first tease out the basic tenets of the previously described theories of meaning. I will then analyse the metaphysical underpinning of the African relational ontology and how it reflects on the subject of being. Finally, I will end by showing the role of the universe in legitimizing the existence of God as a thing in the world, and how that constitutes the meaning of life. (shrink)

The universe that surrounds us is vast, and we are so very small. When we reflect on the vastness of the universe, our humdrum cosmic location, and the inevitable future demise of humanity, our lives can seem utterly insignificant. Many philosophers assume that such worries about our significance reflect a banal metaethical confusion. They dismiss the very idea of cosmic significance. This, I argue, is a mistake. Worries about cosmic insignificance do not express metaethical worries about objectivity (...) or nihilism, and we can make good sense of the idea of cosmic significance and its absence. It is also possible to explain why the vastness of the universe can make us feel insignificant. This impression does turn out to be mistaken, but not for the reasons typically assumed. In fact, we might be of immense cosmic significance—though we cannot, at this point, tell whether this is the case. (shrink)

A woman and a man desire to come together stirred by the primal fire of Kama and the man deposits his egg in the womb of the woman. This egg develops into a human undergoing nine or ten months of evolution. This process is the microscopic replication of the method evolved by God to create the universe. Rigveda (10.121) mentions Hiranyagarbha, the Golden Egg as the source of the creation of the universe. It is said that God, wishing to create (...) the world, produced an egg as big as the cosmos. God meditated for a thousand years sitting inside the egg and when the egg burst, the Lord himself was born out of the egg as the Progenitor of the universe (“He made Himself by Himself.”, Taitiriya Upanishad: 2.7.1). The Rishis called the Egg Brahmanda (the Cosmic Egg), and the Progenitor Manu. Scientists have discovered that the universe has an oval shape. Like the nine months of the evolution of the human egg, the Cosmic Egg also undergoes nine stages of evolution before it gets dissolved during what we call ‘Maha Pralaya’. The Puranas mention that Brahmanda has 14 biospheres, seven nether and seven upper inhabited by different types of souls. If we count from the human world, there are ten dimensions of consciousness. Rishis called these astral biospheres Mandalas/Lokas with different wavelengths and colours. Sri Karunakara Guru referred to them as Avasthas, or spiritual stages. The Buddhists and Hindu esoteric sects such as the Theosophical Society explain these levels of the Absolute in terms of Physical plane, Astral plane, Mental plane, Buddhic plane, Atmic plane, Anupadaka plane, Adi plane and Shiv and Shakti. These Avasthas are related to the expanding consciousness reaching up to the core of the Cosmic Egg, the Paramatma. Like a spider which creates a web around it sitting in the centre, and withdraws it in the end, Paramatma creates and withdraws webbed multi-dimensional universes. Nobody can say when it started and when it will end as it is a beginningless and endless process. (shrink)

This paper explores a special kind of loop of grounding: cosmic loops. A cosmic loop is a loop that intuitively requires us to go "around" the entire universe to come back to the original ground. After describing several kinds of cosmic loop scenarios, I will discuss what we can learn from these scenarios about constraints on grounding; the conceivability of cosmic loops; the possibility of cosmic loops; and the prospects for salvaging local reflexivity, asymmetry and (...) transitivity of grounding in a world containing a cosmic loop of ground. The considerations raised in this paper also bear on what we should think about relations that are meant to support grounding relations: in particular, revisions to theories of the part-whole relation are discussed. (shrink)

The universe that surrounds us is vast, and we are so very small. When we reflect on the vastness of the universe, our humdrum cosmic location, and the inevitable future demise of humanity, our lives can seem utterly insignificant. Many philosophers assume that such worries about our significance reflect a banal metaethical confusion. They dismiss the very idea of cosmic significance. This, I argue, is a mistake. Worries about cosmic insignificance do not express metaethical worries about objectivity (...) or nihilism, and we can make good sense of the idea of cosmic significance and its absence. It is also possible to explain why the vastness of the universe can make us feel insignificant. This impression does turn out to be mistaken, but not for the reasons typically assumed. In fact, we might be of immense cosmic significance-though we cannot, at this point, tell whether this is the case. (shrink)

After briefly outlining the fine-tuning argument (FTA), I explain how it relies crucially on the claim that it is not improbable that God would design a fine-tuned universe. Against this premise stands the divine psychology objection: the contention that the probability that God would design a fine-tuned universe is inscrutable. I explore three strategies for meeting this objection: (i) denying that the FTA requires any claims about divine psychology in the first place, (ii) defining the motivation and intention to design (...) a fine-tuned universe into the theistic hypothesis, and (iii) providing arguments that the relevant probability is not terribly low. While I reject the first two, I conclude, in line with the third, that considerations about life's objective value establish that it is not absurdly improbable that God would design a fine-tuned universe, whether one regards the FTA as an inference merely to a cosmic designer, or to theism proper. Accordingly, the divine psychology objection fails. (shrink)

In this article, the authors introduce the concept of a “queer counter-mythology.” They do so by discussing a speculative song they wrote as an enactment of research-creation. Research-creation names an interdisciplinary scholarly praxis where artist-scholars create the artefacts they want to think-with, rather than analysing existing cultural productions. The song discussed in this article, “Cosmic Beavers,” proposes a queer counter-mythology that reimagines the historical, colonial archive by foregrounding the stories of giant, trans-dimensional beavers who shred Lewis and Clark and (...) use them to reinforce their Time-Dam. Drawing on this song, as well as queer theories of time and anti-colonial thinkers, the authors suggest that artistic interventions invoke speculative lures that, while not changing history, can complicate state-sanctioned archives and narratives of the past and future: they frame this intervention as a queer counter-mythology. (shrink)

The Cosmic Viewpoint examines the literary and philosophical qualities essential to Seneca's art of science in his Natural Questions. Seneca's meteorological theme raises our gaze from a terrestrial level to a higher, more intuitive plane.

This paper traces how the dualism of body and soul, cosmic and human, is bridged in philosophical and religious traditions through appeal to the notion of ‘breath’ (πνεῦμα). It pursues this project by way of a genealogy of pneumatic cosmology and anthropology, covering a wide range of sources, including the Pythagoreans of the fifth century BCE (in particular, Philolaus of Croton); the Stoics of the third and second centuries BCE (especially Posidonius); the Jews writing in Hellenistic Alexandria in the (...) first century BCE (Philo); and the Christians of the first century CE (the gospel writers and Paul). Starting from the early Pythagoreans, ‘breath’ and ‘breathing’ function to draw analogies between cosmogony and anthropogony – a notion ultimately rejected by Plato in the Timaeus and Aristotle in his cosmological works, but taken up by the Posidonius (perhaps following the early Stoa) and expanded into a rich and challenging corporeal metaphysics. Similarly, the Post-Hellenistic philosopher and biblical exegete Philo of Alexandria, who was deeply influenced by both Platonist and Stoic physics, approaches the cosmogony and anthropogony described in Genesis (1:1–3 and 1:7) through Platonist-Stoic philosophy, in his attempt to provide a philosophically rigorous explanation for why Moses employed certain terms or phrases when writing his book of creation. Finally, the chapter sees a determined shift in the direction of rejecting pneumatic cosmology for a revised pneumatic anthropogony in the writings of the New Testament: by appeal to the ‘Holy Spirit’ or ‘Holy Breath’ (πνεῦμα ἅγιον), early Christians effectively adapted the Stoic metaphysics of ‘breath’, with its notions of divine intelligence and bonding, to the prophetic and ecclesiastical project of building a Christian community conceived of as the ‘body of Christ’. Hence, the spiritual cosmogony of the Pythagoreans, Stoics, and Philo is effectively subordinated to the spiritual anthropogony that facilitates the construction of the Christian kosmopolis, only fully realised in the form of New Jerusalem, the ‘bride’ which, in tandem with the Holy Spirit, calls to the anointed. At the end of the Christian worldview, the kosmos of Greek philosophy is supplanted by the pneumatic kosmopolis. (shrink)

2010 Reprint of 1905 edition.This work is the magnum opus of Bucke's career, a project that he researched and wrote over many years. In it, Bucke described his own experience, that of contemporaries, and the experiences and outlook of historical figures including Buddha, Jesus, Paul, Plotinus, Muhammad, Dante, Francis Bacon, and William Blake. Bucke developed a theory involving three stages in the development of consciousness: the simple consciousness of animals; the self-consciousness of the mass of humanity ; and cosmic (...) consciousness - an emerging faculty and the next stage of human development. Among the effects of this progression, he believed he detected a lengthy historical trend in which religious conceptions and theologies had become less and less fearful. A classic work. (shrink)

[186 pages] Just as the six branches of a snow crystal converge in regular proportions toward their common center, the six contributions to this book point toward a future philosophy of cosmic life. In this sense, this edited volume represents a multidisciplinary and transcultural polylogue of distinguished authors from three continents, which aims to establish highly innovative perspectives and open new frontiers of developing philosophical reflections and scientific foundations for the emergence of a common cosmic consciousness, for an (...) integral ecology, and for a cooperative planetary civilization of humanity. John B. Cobb, Jr. uses a process-philosophical foundation to describe life as living events expressing novelty and the cosmos as a process of self-enriching and self-evolving “Life Itself.” Chandra Wickramasinghe unfolds his scientific and philosophical perspective on cosmic life in twelve successive steps, offering a wide range of arguments and insights that support an up-to-date theory of panspermia. Attila Grandpierre presents the "Cosmic Life Principle" and the comprehensive science based upon it that is inextricably linked to the healthy and cooperative civilization, to the biological laws of nature, to the laws of logic, to the uplifting of the well-being of people and ecological communities. Chunyou Yan introduces the approach of his holographic philosophy, according to which the universe must be understood as a vast living entity, every aspect of which represents life. Bei Peng shows that the proportions of energy meridians in traditional Chinese medicine correspond to musical intervals, and on this basis she demonstrates the analogy of the human body to macrocosmic phenomena. David Bartosch offers an examination of three important systematic foundations for a poly-contextural, transcultural philosophy of cosmic life with roots in Greek, Chinese, South and West Asian, and European traditions of thought. (shrink)

In this book, the authors present current research in the study of Cosmic Passion for the Aesthetic. It engages arts from different tradition, showing their cultural contexts and discloses dimensions of awareness that transgress the characteristics of art works. This book delves into the deeper meaning of art, and shows how various cultures attempt to suppress other cultures and their arts, and how the suppressed reappear and reassert themselves in new contexts. It travels through different conceptions, speculations, definitions and (...) portrays how the aesthetic, the expressive, that is not identical with the characteristics of an art work, is what all art works attempt to capture. The aesthetic encompasses the passionate dimension which is not limited or reducible to anything -- it is cosmic. The latter is disclosed by the aesthetic passion that is most apparent in comparative studies of arts, above all through examining the art of India, the text visually captures the aesthetic, cosmic passion. In addition, it questions what is aesthetic value, judgements on art, the authors draw on how the depictions of the cosmic in art can assume a way of understanding specific interpretation of space, time and movement prior to any theological, mythical, theoretical or even scientific explanations and portray a flow of sensuous envelopment which resonates with cosmic passion. This book would interest not only artists, but students of cultures and comparative civilisations, and indeed for those who are interested in the ways that cosmic awareness has been and is being explicated in civilisations. (shrink)

New developments in cosmology make it unlikely that life on Earth is unique. The Cosmic Perspective Argument states that given these developments we should not be concerned with the Earth’s environmental degradation. In this paper, we argue that although scaling our analysis upwards into the cosmos provides the Cosmic Perspective with its strength, when we apply the Cosmic Perspective downwards, the view appears to be terribly flawed. After examining the Cosmic Perspective at an individual level the (...) problems that arise intensify and seemingly not only break the argument at an individual level but also on a much larger scale as well. These problems show the need for a framework that takes into full account the complex and interconnected nature of the environment, thus one that only deep ecology may provide. (shrink)

Where was your soul before you were born? If your soul is immortal, did it have a "life" prior to birth? Did you choose your life and parents? Is reincarnation real? Elizabeth and Neil Carman, the authors of Cosmic Cradle, address these questions through interviews with adults and children who report pre-birth experiences (PBEs) not based on regression, hypnosis, or drugs. Instead, interviewees recall their pre-birth existence completely sober and awake. In contrast to near-death experiences (NDEs), which have been (...) well documented to show us what the soul experiences after death, PBEs throw light upon our lives before birth. People with NDEs sense that they "return home" when their spirits cross to the other side. What is the nature of this place we "return" to? PBEs suggest that we come from the same place we return to: we come from the Light and return to the Light. The same eternal "you" progresses through life before life, human life, and life after death. This new edition of Cosmic Cradle explores your soul's journey into your mother's womb--where your soul comes from, the origin and purpose of your life, and the process by which you entered an earthly body. In pre-birth communications, parents meet a soul seeking to cross over from the heavenly realm to human birth. Persons with pre-birth memories recall existence in a luminous world before birth, in which they preview the upcoming life with a Divine Planner, and recall how they journeyed to their mothers' wombs. Contents Foreword by Bernie Siegel, MD Introduction: Amnesia of Our Spiritual Origins Part One: Pre-Birth Memory 1. Children as Messengers 2. Memories of the Cosmic Cradle 3. “I Was in Your Tummy Twice” 4. Scanning Soul Plans: Contemporary Pre-Birth Memories 5. Welcome to Planet Earth 6. Shirley Temple and the Blue Bird 7. Our Soul as a Tiny Spaceship 8. I Saw All My Costumes Part Two: Pre-Birth Communications 9. Souls Waiting in the Wings for Birth 10. Soul as a Sphere of Light 11. Cosmic Conception 12. Miscarriages and Stillbirths in the Light of Pre-Birth Plans 13. Conversations with Unborn Children Part Three: Pre-Birth Wisdom down through History 14. Spirit-Children Down Under 15. Lodge of the Great Manitou 16. The Cosmic Designer 17. Travelers from the Light 18. Journey from Forgetting to Remembering. (shrink)

I examine Bernard Williams’s forceful challenge that evolutionary science has done away with the sort of teleological worldview that is needed in order to make sense of an Aristotelian virtue ethic perspective. I also consider Rosalind Hursthouse’s response to Williams and argue that it is not sufficient. My main task is to show what is needed in order to meet Williams’s challenge. First, I argue that we need a deeper exploration of the first-personal evaluative standpoint from within our human form (...) of life than we find in Hursthouse’s ethical naturalist perspective. In particular, we need to recognize the important role of “strong evaluation” for identifying what is noblest and best about us as human beings, for this will enable us to address the “mixed bag” problem of human nature. Second, I argue—contra John McDowell’s quietism—that in order to make sense of such a normative account of human nature we must overcome Williams’s tragic cosmic outlook according to which human life is seen as ultimately without meaning and purpose. (shrink)

The Cosmic Viewpoint examines the literary and philosophical qualities essential to Seneca's art of science in his Natural Questions. Seneca's meteorological theme raises our gaze from a terrestrial level to a higher, more intuitive plane.

Directly after his first article for Philosophia Reformata (Dooyeweerd 1936a), Dooyeweerd published a long article in two installments about cosmic time. The first was entitled “Het tijdsprobleem en zijn antinomieën op het immanentiestandpunt i” (Dooyeweerd 1936b); its translation, entitled “The Problem of Time and Its Antinomies on the Immanence Standpoint,” was later published in Dooyeweerd (2017). This first installment lays out the basis of Dooyeweerd’s idea of transcendental time and can be regarded as a complete article in itself. According (...) to Dooyeweerd (1953–1958, 1:28), the idea of cosmic time constitutes the basis of his theory of reality. In this article, we will take a close look at the significance of cosmic time in Dooyeweerd’s conception. (shrink)

The phrase “cosmic consciousness” has a surprising and fascinating history. I will show how it first enters into circulation in the writings of the remarkable Englishman Edward Carpenter, a socialist, philosopher, and prescient activist for gay rights and prison reform. Carpenter made a trip to India and Sri Lanka in 1890, where he spent two months sitting at the feet of Ramaswami, an Indian sage and disciple of Tilleinathan Swami. Carpenter invents the phrase in order to paraphrase Ramaswami’s teaching, (...) which was itself a commonplace among the Advaita-inspired sages of the period, that there is in human beings the possibility of an all-encompassing consciousness. Later still, in the writings of William James and others, the phrase acquires a new and different meaning in the idea that the cosmos itself exhibits a form of consciousness. James, indeed, uses just this phrase in his early formulation of cosmopsychism. (shrink)

Hitherto reconstructions of Empedocles' cosmic cycle have usually been offered as part of a larger work, a complete history of Presocratic thought, or a complete study of Empedocles. Consequently there has perhaps been a lack of thoroughness in collecting and sifting evidence that relates exclusively to the main features of the cosmic cycle.

The present article attempts at combining Big History potential with the potential of Evolutionary Studies in order to achieve the following goals: 1) to apply the historical narrative principle to the description of the star-galaxy era of the cosmic phase of Big History; 2) to analyze both the cosmic history and similarities and differences between evolutionary laws, principles, and mechanisms at various levels and phases of Big History. As far as I know, nobody has approached this task in (...) a systemic way yet. It appears especially important to demonstrate that many evolutionary principles, patterns, regularities, and rules, which we tend to find relevant only for higher levels and main lines of evolution, can be also applied to cosmic evolution. Moreover, almost everything that we know about evolution may be detected in the cosmic history, whereas many of the evolutionary characteristics are already manifested here in a rather clear and salient way. Of course, many of the characteristics are manifested in initial or nonsystematic forms but some features, on the contrary, appear to be more distinct just in the cosmic phase. And at the same time when many characteristics and features which are typical of biological and social evolution unexpectedly reveal their roots or protoforms at earlier phases, one becomes aware that the universal character of evolution is real and it can be detected in a number of manifestations. One should also bear in mind that the origin of galaxies, stars, and other celestial objects is the lengthiest evolutionary process among all evolutionary processes in the Universe. Such an approach opens new perspectives for our understanding of evolution and Big History, of their driving forces, vectors, and trends, it also creates a consolidated field for the multidisciplinary re-search. (shrink)

A conscious moment occurs when an individual is in a state of awareness of one’s self and the external environment. The human brain has been extensively studied to understand the phenomena of human thought and behavior in the context of consciousness. Consciousness has always been linked to the nervous system but there are several studies that have recorded conscious behaviours in organisms without nerve cells. This paper hypothesizes that quantum energy generated consciousness emerges in each and every living cell and (...) traverses by means of electromagnetic radiation; an oldest form of energy that exist in the cosmos and which utilizes the cellular structures to flow by means of a coherent, invisible, powerful, recyclable process; a connection with the cosmic energy bridge. (shrink)

The works of the sixteenth-century Venetian painter Jacopo Tintoretto present us with a radicalised idea of the cosmos that challenges both the humanist centring of the world on man and the hierarchy of divine authority that dominate the artistic traditions to which he is heir. In their place, Tintoretto confronts us with a ‘machinic’ staging of forces in which man, nature, religious figure and artificial element are integrated within an extended material plane. With this pictorial immanence, Tintoretto presents a ‘ (...) class='Hi'>cosmic materialism’ unprecedented in Venetian painting. In this, his work gives provocative expression to Deleuze and Guattari's ontology of the artwork as ‘cosmic’ construction, and to their conception of the artist as ‘cosmic artisan’. Via readings of the art historical reception of Tintoretto's work by the art historian Arnold Hauser, and the artistic reception of Tintoretto's work by Paul Cézanne, I explore this expression, and attend to questions of modernity, temporality and art history as they are inflected in Deleuze and Guattari's thought. (shrink)

Modern political thought arrived on the heels of two revolutionary realizations: We are not at the center of the universe (Copernicus), which was not created for us (Darwin). How might political theory respond to a third revolutionary realization, that we are not alone, that other creatures, sentient and highly intelligent, share our vast universe? We explore answers through a dialogue between two political theorists, a human and an alien. Rather than superimposing astropolitics upon anthropolitics, we use the encounter to ask (...) new questions, e.g., should PT foster bridges between humans and aliens, or harden the boundaries? Pitting Dark Forest Theory against the Campfire Theory, we outline the coming existential and existentialist turns in political theory, complementing Earth politics with exopolitics. (shrink)

What exists at the fundamental level of reality? On the standard picture, the fundamental reality contains (among other things) fundamental matter, such as particles, fields, or even the quantum state. Non-fundamental facts are explained by facts about fundamental matter, at least in part. In this paper, I introduce a non-standard picture called the "cosmic void” in which the universe is devoid of any fundamental material ontology. Facts about tables and chairs are recovered from a special kind of laws that (...) satisfy strong determinism. All non-fundamental facts are completely explained by nomic facts. I discuss a concrete example of this picture in a strongly deterministic version of the many-worlds theory of quantum mechanics. I discuss some philosophical and scientific challenges to this view, as well as some connections to ontological nihilism. (shrink)

Cosmic Justice Hypotheses. -/- This applied-logic lecture builds on [1] arguing that character traits fostered by logic serve clarity and understanding in ethics, confirming hopeful views of Alfred Tarski [2, Preface, and personal communication]. Hypotheses in one strict usage are propositions not known to be true and not known to be false or—more loosely—propositions so considered for discussion purposes [1, p. 38]. Logic studies hypotheses by determining their implications (propositions they imply) and their implicants (propositions that imply them). Logic (...) also studies hypotheses by seeing how variations affect implications and implicants. People versed in logical methods are more inclined to enjoy working with hypotheses and less inclined to dismiss them or to accept them without sufficient evidence. Cosmic Justice Hypotheses (CJHs), such as “in the fullness of time every act will be rewarded or punished in exact proportion to its goodness or badness”, have been entertained by intelligent thinkers. Absolute CJHs, ACHJs, imply that it is pointless to make sacrifices, make pilgrimages, or ask divine forgiveness: once acts are done, doers must ready themselves for the inevitable payback, since the cosmos works inexorably toward justice. Ceteris Paribus CJHs, CPCJHs, on the other hand, such as “in the fullness of time every act will be rewarded or punished in exact proportion to its goodness or badness—other things being equal”, leave room for exceptions. For example, some people subscribing to Ceteris Paribus CJHs think that certain bad acts can be performed with impunity as long as certain procedures are carried out previous to, or simultaneous with, or even after the acts. Belief Ceteris Paribus CJHs has been exploited by unscrupulous “spiritual leaders” who claim to have power to grant exceptions. In opposition to belief in CPCJHs are CJHs that hold belief in CPCJHs to be inherently wrong and subject to punishment. Other variants of CJHs are Cumulative Cosmic Justice Hypotheses, such as “in the fullness of time every person will be rewarded or punished in exact proportion to the net goodness or badness of their acts”. Still other variants include the Hereditary Cumulative Cosmic Justice Hypotheses, such as “in the fullness of time every person will be rewarded or punished in exact proportion to the net goodness or badness of their ancestors’ acts”. [1] JOHN CORCORAN, Inseparability of Logic and Ethics, Free Inquiry, S. 1989, pp. 37–40. [2] ALFRED TARSKI, Introduction to Logic, Dover, 1995. (shrink)

This chapter contains section titled: The Cosmic Community Social and Individual Autonomy The World Out of Balance Multiple Communities, Multiple Identities Renewing the Cosmic Community.

Machine generated contents note: Part I: Sources for Mesopotamian Cosmic Geography -- 1. The Levels of the Universe: KAR 307 30-38 and AO 8196 iv 20-223 -- 2. "The Babylonian Map of the World"20 -- 3. The Flights of Etana and the Eagle into the Heavens43 -- 4. The Sargon Geography67 -- 5. Gilgamesh and the Distant Reaches of the Earth's Surface 96 -- 6. Cosmic Geography in Accounts of Creation 107 -- 7. The Geography of the Sky: (...) The "Astrolabes', Mul-Apin, and Related Texts150 -- 8. BagM. Beih. 2 no. 98 and the Compass Points193 -- 9. "Seven Heavens and Seven Earths"208 -- Part II: The Regions of the Universe -- Names for Heaven223 -- 11. The Geography of the Heavens243 -- 12. Names for Earth268 -- 13. The Geography of Earth318 -- Appendixes363 -- Indexes369 -- Subject Index369 -- Ancient Texts and Modern Editions382 -- Sumerian and Akkadian Terms391 -- Stars3 9 7 -- Plates399. (shrink)

This piece explores the origins of science fiction in philosophical speculation about the size of the universe, the existence of other solar systems and other galaxies, and the possibility of alien life. Science fiction helps us to grapple with the dizzying possibilities that a vast universe affords, by allowing our imagination to fill in the details.

The wave function of quantum mechanics can be understood in terms of the dispositional role it plays in the dynamics of a distribution of matter in three-dimensional space (or four-dimensional spacetime). There is more than one way, however, of specifying its dispositional role. This paper considers Suárez’s theory of ‘Bohmian dispositionalism’, in which the particles are endowed with their own ‘Bohmian dispositions’, and Simpson’s theory of ‘Cosmic Hylomorphism’, in which the particle configuration comprises a hylomorphic substance which has an (...) intrinsic power. I argue that Bohmian dispositionalism fails to capture intuitively correct counterfactuals about what would happen in Small Worlds which have only a small number of particles, but that this problem is avoided by Cosmic Hylomorphism, in which the cosmic power manifests a teleological process. (shrink)

This book examines the literary and philosophical qualities essential to Seneca's art of science in his Natural Questions. Seneca's meteorological theme raises our gaze from a terrestrial level to a higher, more intuitive plane - a conceptual climb by which Seneca promotes a change of perspective in his readership towards the cosmic viewpoint.

continent. 2.2 (2012): 66–75 ~*~ We’re Doomed. Pessimism is the night-side of thought, a melodrama of the futility of the brain, a poetry written in the graveyard of philosophy. Pessimism is a lyrical failure of philosophical thinking, each attempt at clear and coherent thought, sullen and submerged in the hidden joy of its own futility. The closest pessimism comes to philosophical argument is the droll and laconic “We’ll never make it,” or simply: “We’re doomed.” Every effort doomed to failure, every (...) project doomed to incompletion, every life doomed to be unlived, every thought doomed to be unthought. Pessimism is the lowest form of philosophy, frequently disparaged and dismissed, merely the symptom of a bad attitude. No one ever needs pessimism, in the way that one needs optimism to inspire one to great heights and to pick oneself up, in the way one needs constructive criticism, advice and feedback, inspirational books or a pat on the back. No one needs pessimism, though I like to imagine the idea of a pessimist activism. No one needs pessimism, and yet everyone—without exception—has, at some point in their lives, had to confront pessimism, if not as a philosophy then as a grievance—against one’s self or others, against one’s surroundings or one’s life, against the state of things or the world in general. There is little redemption for pessimism, and no consolation prize. Ultimately, pessimism is weary of everything and of itself. Pessimism is the philosophical form of disenchantment—disenchantment as chanting, a chant, a mantra, a solitary, monophonic voice rendered insignificant by the intimate immensity surrounding it. In pessimism, the first axiom is a long, low, funereal sigh. ~*~ We’re Still Doomed. No one has time for pessimism. After all, there are only so many hours in a day. Whatever our temperament, happy or sad, engaged or disengaged, we know pessimism when we hear it. The pessimist is usually understood as the complainer, forever pointing out what is wrong with the world without ever once offering a solution. But more often than not pessimists are the quietest of philosophers, submerging their own sighs within the lethargy of discontent. What little sound it makes is of interest to no one—“I’ve heard it all before,” “tell me something I don’t know,” sound and fury, signifying nothing. In raising problems without solutions, in posing questions without answers, in retreating to the hermetic, cavernous abode of complaint, pessimism is guilty of that most inexcusable of Occidental crimes—the crime of not pretending it’s for real. Pessimism fails to live up to the most basic tenet of philosophy—the “as if.” Think as if it will be helpful, act as if it will make a difference, speak as if there is something to say, live as if you are not, in fact, being lived by some murmuring non-entity both shadowy and muddied. Had it more self-assurance and better social skills, pessimism would turn its disenchantment into a religion, possibly calling itself The Great Refusal. But there is a negation in pessimism that refuses even such a Refusal, an awareness that, from the start, it has already failed, and that the culmination of all that is, is that all is for naught. Pessimism tries very hard to present itself in the low, sustained tones of a Requiem Mass, or the tectonic rumbling of Tibetan chant. But it frequently lets loose dissonant notes at once plaintive and pathetic. Often, its voice cracks, its weighty words abruptly reduced to mere shards of guttural sound. ~*~ Maybe It’s Not So Bad, After All. If we know pessimism when we hear it, this is because we’ve heard it all before—and we didn’t need to hear it in the first place. Life is hard enough. What you need is a change of attitude, a new outlook, a shift in perspective... a cup of coffee. If we have no ears for pessimism, this is because it is always reducible to something as reliably mutable as a voice. If pessimism is so frequently disparaged, it is because it brings everyone down, determined as it is to view each day as a bad day, if only by virtue of the fact that it is not yet a bad day. For pessimism the world is brimming with negative possibility, the collision of a bad mood with an impassive world. In fact, pessimism is the result of a confusion between the world and a statement about the world, a confusion that also prevents it from fully entering the hallowed halls of philosophy. If pessimism is so often dismissed, this is because it is often impossible to separate a “bad mood” from a philosophical proposition (and do not all philosophies stem from a bad mood?) The very term “pessimism” suggests a school of thought, a movement, even a community. But pessimism always has a membership of one—maybe two. Ideally, of course, it would have a membership of none, with only a scribbled, illegible note left behind by someone long forgotten. But this seems unrealistic, though one can always hope. ~*~ Anatomy of Pessimism. Though it may locate itself at the margins of philosophy, pessimism is as much subject to philosophical analysis as any other form of thought. Pessimism’s lyricism of failure gives it the structure of music. What time is to the music of sorrow, reason is to a philosophy of the worst. Pessimism’s two major keys are moral and metaphysical pessimism, its subjective and objective poles, an attitude towards the world and a claim about the world. For moral pessimism, it is better not to have been born at all; for metaphysical pessimism, this is the worst of all possible worlds. For moral pessimism the problem is the solipsism of human beings, the world made in our own image, a world-for-us. For metaphysical pessimism, the problem is the solipsism of the world, objected and projected as a world-in-itself. Both moral and metaphysical pessimism are compromised philosophically; moral pessimism by its failure to locate the human within a larger context, and metaphysical pessimism by its failure to recognize the complicity in the very claim of realism. This is how pessimism makes its music of the worst, a generalized misanthropy without the anthropos . Pessimism crystallizes around this futility—it is its amor fati , rendered as musical form. ~*~ Melancholy of Anatomy. There is a logic of pessimism that is fundamental to its suspicion of philosophical system. Pessimism involves a statement about a condition . In pessimism each statement boils down to an affirmation or a negation, just as any condition boils down to the best or the worst. With Schopenhauer, that arch-pessimist, the thinker for whom the philosopher and the curmudgeon perfectly overlap, we see a no-saying to the worst, a no-saying that secretly covets a yes-saying (through asceticism, mysticism, quietism), even if this hidden yes-saying is a horizon at the limits of comprehension. With Nietzsche comes the pronouncement of a Dionysian pessimism, a pessimism of strength or joy, a yes-saying to the worst, a yes-saying to this world as it is. And with Cioran yet another variation, futile yet lyrical, a no-saying to the worst, and a further no-saying to the possibility of any other world, in here or out there. With Cioran one approaches, but never reaches, an absolute no-saying, a studied abandonment of pessimism itself. The logic of pessimism moves through three refusals: a no-saying to the worst (refusal of the world-for-us, or Schopenhauer’s tears); a yes-saying to the worst (refusal of the world-in-itself, or Nietzsche’s laughter); and a no-saying to the for-us and the in-itself (a double refusal, or Cioran’s sleep). Crying, laughing, sleeping—what other responses are adequate to a life that is so indifferent? ~*~ Cosmic Pessimism. Both moral and metaphysical pessimism point to another kind, a pessimism that is neither subjective nor objective, neither for-us nor in-itself, and instead a pessimism of the world-without-us. We could call this a cosmic pessimism ... but this sounds too majestic, too full of wonder, too much the bitter aftertaste of the Great Beyond. Words falter. And so do ideas. And so we have a cosmic pessimism, a pessimism that is first and last a pessimism about cosmos , about the necessity and possibility of order. The contours of cosmic pessimism are a drastic scaling-up or scaling-down of the human point of view, the unhuman orientation of deep space and deep time, and all of this shadowed by an impasse, a primordial insignificance, the impossibility of ever adequately accounting for one’s relationship to thought—all that remains of pessimism is the desiderata of affects—agonistic, impassive, defiant, reclusive, filled with sorrow and flailing at that architectonic chess match called philosophy, a flailing that pessimism tries to raise to the level of an art form (though what usually results is slapstick). ~*~ Song of Futility. An ethics of futility pervades pessimism. Futility, however, is different from fatality, and different again from simple failure (though failure is never simple). Failure is a breakage within the heart of relations, a fissure between cause and effect, a fissure hastily covered over by trying and trying again. With failure, there is always plenty of blame to go around; it’s not my fault, it’s a technical difficulty, it’s a miscommunication. For the pessimist, failure is a question of “when,” not “if”—failure as a metaphysical principle. Everything withers and passes into an obscurity blacker than night, everything from the melodramatic decline of a person’s life to the banal flickering moments that constitute each day. Everything that is done undone, everything said or known destined for a kind of stellar oblivion. When scaled up in this way, failure becomes fatality. Fatality is the hermeticism of cause and effect. In fatality, everything you do, whatever you do, always leads to a certain end, and ultimately to the end—though that end, or the means to that end, remain shrouded in obscurity. Nothing you do makes a difference because everything you do makes a difference. Hence the effects of your actions are hidden from you, even as you deceive yourself into thinking that, at last, this time you will outwit the order of things. By having a goal, planning ahead, and thinking things through carefully, we attempt, in a daily Prometheanism, to turn fatality to our advantage, to gain a glimpse of an order that seems buried deeper and deeper in the fabric of the universe. But even fatality has its comforts. The chain of cause and effect may be hidden from us, but that’s just because disorder is the order we don’t yet see; it’s just complex, distributed, and requires advanced mathematics. Fatality still clings to the sufficiency of everything that exists... When fatality relinquishes even this idea, it becomes futility. Futility arises out of the grim suspicion that, behind the shroud of causality we drape over the world, there is only the indifference of what exists or doesn’t exist; whatever you do ultimately leads to no end, an irrevocable chasm between thought and world. Futility transforms the act of thinking into a zero-sum game. ~*~ Song of the Worst. At the center of pessimism lies the term pessimus , “the worst,” a term as relative as it is absolute. The worst is about as bad as it gets, “the worst” as “the best” in disguise, shrouded by the passage of time or the twists and turns of fortune. For the pessimist, “the worst” is the propensity for suffering that gradually occludes each living moment, until it eclipses it entirely, overlapping perfectly in death... which, for the pessimist, is no longer “the worst.” Pessimism is marked by an unwillingness to move beyond “the worst,” something only partially attributable to a lack in motivation. In pessimism “the worst” is the ground that gives way beneath every existent—things could be worse, and , things could be better. “The worst” invariably implies a value judgment, one made based on scant evidence and little experience; in this way, pessimism’s greatest nemesis is its moral orientation. Pessimism’s propositions have all the gravitas of a bad joke. Perhaps this is why the true optimists are the most severe pessimists—they are optimists that have run out of options. They are almost ecstatically inundated by the worst. Such an optimism is the only possible outcome of a prolonged period of suffering, physical or metaphysical, intellectual or spiritual. But does this not also describe all the trials and tribulations of each day—in short, of “life?” It seems that sooner or later we are all doomed to become optimists of this sort (the most depressing of thoughts...) ~*~ Song of Doom. Rather than serving as a cause for despair, gloom and doom are the forms of consolation for any pessimist philosophy. Neither quite affects nor quite concepts, gloom and doom transform pessimism into a mortification of philosophy. Doom is not just the sense that all things will turn out badly, but that all things inevitably come to an end, irrespective of whether or not they really do come to an end. What emerges from doom is a sense of the unhuman as an attractor, a horizon towards which the human is fatally drawn. Doom is humanity given over to unhumanity in an act of crystalline self-abnegation. Gloom is not simply the anxiety that precedes doom. Gloom is literally atmospheric, climate as much as impression, and if people are also gloomy, this is simply the by-product of an anodyne atmosphere that only incidentally involves human beings. Gloom is more climatological than psychological, the stuff of dim, hazy, overcast skies, of ruins and overgrown tombs, of a misty, lethargic fog that moves with the same languorousness as our own crouched and sullen listening to a disinterested world. In a sense, gloom is the counterpoint to doom—what futility is to the former, fatality is to the latter. Doom is marked by temporality—all things precariously drawn to their end—whereas gloom is the austerity of stillness, all things sad, static, and suspended, a meandering smoke hovering over cold lichen stones and damp fir trees. If doom is the terror of temporality and death, then gloom is the horror of a hovering stasis that is life. At times I like to imagine that this realization alone is the thread that connects the charnel ground Aghori and the graveyard poets. ~*~ Song of Spite. There is an intolerance in pessimism that knows no bounds. In pessimism spite begins by fixing on a particular object of spite—someone one hardly knows, or someone one knows too well; a spite for this person or a spite for all of humanity; a spectacular or a banal spite; a spite for a noisy neighbor, a yapping dog, a battalion of strollers, the meandering idiot walking in front of you on their smart phone, large loud celebrations, traumatic injustices anywhere in the world regurgitated as media blitz, spite for the self-absorbed and overly performative people talking way too loud at the table next to you, technical difficulties and troubleshooting, the reduction of everything to branding, spite of the refusal to admit one’s own errors, of self-help books, of people who know absolutely everything and make sure to tell you, of all people, all living beings, all things, the world, the spiteful planet, the inanity of existence... Spite is the motor of pessimism because it is so egalitarian, so expansive, it runs amok, stumbling across intuitions that can only half-heartedly be called philosophical. Spite lacks the confidence and the clarity of hatred, but it also lacks the almost cordial judgment of dislike. For the pessimist, the smallest detail can be an indication of a metaphysical futility so vast and funereal that it eclipses pessimism itself—a spite that pessimism carefully places beyond the horizon of intelligibility, like the experience of dusk, or like the phrase, “it is raining jewels and daggers.” ~*~ Song of Sleep. A paraphrase of Schopenhauer: what death is for the organism, sleep is for the individual. Pessimists sleep not because they are depressed, but because for them sleep is a form of ascetic practice. Sleep is the askesis of pessimism. If, while sleeping, we have a bad dream, we abruptly wake up, and suddenly the horrors of the night vanish. There is no reason to think that the same does not happen with the bad dream we call “life.” ~*~ Song of Sorrow. Nietzsche, commenting on pessimism, once castigated Schopenhauer for taking things too lightly. He writes: ...Schopenhauer, though a pessimist, really —played the flute. Every day, after dinner: one should read his biography on that. And incidentally: a pessimist, one who denies God and the world but comes to a stop before morality—who affirms morality and plays the flute... what? Is that really—a pessimist? We know that Schopenhauer did possess a collection of instruments, and we also know that Nietzsche himself composed music. There is no reason to think that either of them would ever banish music from the Republic of philosophy. But Nietzsche’s jibes at Schopenhauer are as much about music as they are about pessimism. For the pessimist who says no to everything and yet finds comfort in music, the no-saying of pessimism can only be a weak way of saying yes—the weightiest statement undercut by the flightiest of replies. The least that Schopenhauer could’ve done is to play the bass. I’m not a big fan of the flute, or, for that matter, wind instruments generally. But what Nietzsche forgets is the role that the flute has historically played in Greek tragedy. In tragedy, the flute ( aulos ) is not an instrument of levity and joy, but of solitude and sorrow. The Greek aulos not only expresses the grief of tragic loss, but it does so in a way that renders weeping and singing inseparable from each other. The classicist Nicole Loraux calls this the mourning voice . Set apart from the more official civic rituals of funerary mourning, the mourning voice of Greek tragedy constantly threatens to dissolve song into wailing, music into moaning, and the voice into a primordial, disarticulate anti-music. The mourning voice delineates all the forms of suffering—tears, weeping, sobbing, wailing, moaning, and the convulsions of thought reduced to an elemental unintelligibility. In the collapsed space between the voice that speaks and the voice that sings, pessimism discovers its mourning voice. Pessimism: the failure of sound and sense, the disarticulation of phone and logos . Have we rescued Schopenhauer from Nietzsche? Probably not. Perhaps Schopenhauer played the flute to remind himself of the real function of the mourning voice—sorrow, sighs, and moaning rendered indistinguishable from music, the crumbling of the human into the unhuman. Failure par excellence of pessimism. ~*~ Song of Nothing. In Buddhist thought, the First Noble Truth of existence is encapsulated in the Pali term dukkha , conventionally translated as “suffering,” “sorrow,” or “misery.” The Buddhist teachings are clear, however, that this is an objective claim, and not simply one point of view among others. Existence is suffering and sorrow—and yet this is not, the teachings tell us, a pessimistic attitude. It is likely that Schopenhauer, reading the Buddhist texts available to him, recognized some filiation with the concept of dukkha . But dukkha is a multi-faceted term. There is, certainly, dukkha in the usual sense of the suffering, strife, and loss associated with living a life. But this is, in turn, dependent on the finitude and temporality of dukkha , existence as determined by impermanence and imperfection. And this ultimately points to the way in which both suffering and finitude are grounded by the paradoxical groundlessness of dukkha as a metaphysical principle—the insubstantiality and the emptiness of all that is. Beyond what is worse to me, beyond a world ordered for the worst, there is the emptiness of dukkha as an impersonal suffering... the tears of the cosmos. In this context, it is easy to see how Schopenhauer’s pessimism attempts to compress all the aspects of dukkha into a nothingness at the core of existence, a Willlessness coursing through the Will. Though one thing for certain is that with Schopenhauer we do not find the “ever-smiling” countenance of Buddhism—or do we? The texts of the Pali Canon also contain lists of the different types of happiness—including the happiness of renunciation and the strange happiness of detachment. But Buddhism considers even the different types of happiness as part of dukkha , in this final sense of nothingness or emptiness. Perhaps Schopenhauer understood Buddhism better than he is usually given credit for. Thus the experiment of Schopenhauer’s philosophy—the point at which a Western pessimus and an Eastern dukkha overlap or exchange glances. Empty sorrow, a lyricism of indifference. The result is a strange, and ultimately untenable, nocturnal form of Buddhism. ~*~ Cioran once called music a “physics of tears.” If this is true, then perhaps metaphysics is its commentary. Or its apology. ~*~ Pessimism would be more mystical were it not for its defeatism. Mysticism is much too proactive for the pessimist, and pessimism too impassive even for the mystic. At the same time, there is something enviable about mysticism—despite its sufferings. There is a sense in which pessimists are really failed mystics. ~*~ You, the Night, and the Music. In a suggestive passage, Schopenhauer once noted that, “music is the melody to which the world is the text." Given Schopenhauer’s view on life—that life is suffering, that human life is absurd, that the nothingness before my birth is equal to the nothingness after my death—given all this, one wonders what kind of music Schopenhauer had in mind when he described music as the melody to which the world is text—was it opera, a Requiem Mass, a madrigal, or perhaps a drinking song? Or something like Eine kleine Nachtmusik , a little night music for the twilight of thought, a sullen nocturne for the night-side of logic, an era of sad wings sung by a solitary banshee. Perhaps the music Schopenhauer had in mind is music eliminated to non-music. A whisper would suffice. Perhaps a sigh of fatigue or resignation, perhaps a moan of despair or sorrow. Perhaps a sound just articulate enough that it could be heard to dissipate. ~*~ Teach me to laugh through tears. ~*~ Pessimism always falls short of being philosophical. My back aches, my knees hurt, I couldn’t sleep last night, I’m stressed-out, and I think I’m finally coming down with something. Pessimism abjures all pretenses towards system—towards the purity of analysis and the dignity of critique. We didn’t really think we could figure it out, did we? It was just passing time, taking a piss, something to do, a bold gesture put forth in all its fragility, according to rules that we have agreed to forget that we made up in the first place. Every thought marked by a shadowy incomprehension that precedes it, and a futility that undermines it. That pessimism speaks, in whatever voice, is the singing testimony to this futility and this incomprehension—take a chance and step outside, lose some sleep and say you tried... ~*~ Is there a music of pessimism? And would such a music be audible? ~*~ The impact of music on a person compels them to put their experience into words. When this fails, the result is a faltering of thought and language that is itself a kind of music. Cioran writes: “Music is everything. God himself is nothing more than an acoustic hallucination.” ~*~ If a thinker like Schopenhauer has any redeeming qualities, it is that he identified the great lie of Western culture—the preference for existence over non-existence. As he notes: “If we knocked on the graves and asked the dead whether they would like to rise again, they would shake their heads.” In Western cultures it is commonly accepted that one celebrates birth and mourns death. But there must be a mistake here. Wouldn’t it make more sense to mourn birth and celebrate death? Strange though, because the mourning of birth would, presumably, last the entirety of that person’s life, so that mourning and living would the be same thing. ~*~ To the musical idea of the harmony of the universe corresponds the philosophical principle of sufficient reason. Like the music of mourning, pessimism gives voice to the inevitable breakdown of word and song. In this way, music is the overtone of thought. ~*~ The Patron Saints of Pessimism. The patron saints of pessimism watch over suffering. Laconic and sullen, the patron saints of pessimism never seem to do a good job at protecting, interceding, or advocating for those who suffer. Perhaps they need us more than we need them. Lest we forget, there do exist patron saints of philosophy, but their stories are not happy ones. There is, for instance, the fourth century Saint Catherine of Alexandria, or Catherine of the Wheel, named after the torture device used on her. A precocious fourteen year old scholar, Catherine was subject to continual persecution. After all forms of torture failed—including the “breaking wheel”—the emperor finally settled for her decapitation, a violent yet appropriate reminder of the protector of philosophers. There are also patron saints of music and musicians, but theirs too are sad stories. In the second century, Saint Cecilia was also subject to persecution and torture. As she knelt to receive the blade that would separate her head from her body, she ardently sang a song to God. It took three attempts before she was fully decapitated, all the while she continued, perhaps miraculously, to sing. Does pessimism not deserve its own patron saints, even if they are unworthy of martyrdom? But in our search, even the most ardent nay-sayers frequently lapse into brief moments of enthusiasm—Pascal’s love of solitude, Leopardi’s love of poetry, Schopenhauer’s love of music, Nietzsche’s love of Schopenhauer, and so on. Should one then focus on individual works of pessimism? We could include Kierkegaard’s trilogy of horror— Sickness Unto Death , The Concept of Dread , and Fear and Trembling —but all these are undermined by their fabricated and unreliable authors. Besides, how can one separate the pessimist from the optimist in works like Unamuno’s The Tragic Sense of Life , Shestov’s Postetas Clavium , or Edgar Saltus’ under-read The Philosophy of Disenchantment ? Even in cases where the entire corpus of an author is pessimistic, the project always seems incomplete—witness Cioran’s trajectory, from his first book, On the Heights of Despair , to the last unpublished notebooks of acrid and taut aphorisms. And this is to say nothing of literary pessimism, from Goethe’s sorrowful Werther, to Dostoevsky’s underground man, to Pessoa’s disquiet scribbler; Baudelaire’s spleen and ennui, the mystical Satanism of Huysmans and Strindberg, the hauntologies of Mário de Sá-Carniero, Izumi Kyoka, H.P. Lovecraft, grumpy old Beckett... even the great pessimist comedians. All that remains are singular, perhaps anomalous statements of pessimism, a litany of quotes and citations crammed into fortune cookies. Patron saints are traditionally named after a locale, either a place of birth or of a mystical experience. Perhaps the better approach is to focus on the places where pessimists were forced to live out their pessimism—Schopenhauer facing an empty Berlin lecture hall, Nietzsche mute and convalescent at the home of his sister, Wittgenstein the relinquished professor and solitary gardener, Cioran grappling with Alzheimer’s in his tiny writing alcove in the Latin Quarter. ~*~ There’s a ghost that grows inside of me, damaged in the making, and there’s a hunt sprung from necessity, elliptical and drowned. Where the moving quiet of our insomnia offers up each thought, there’s a luminous field of grey inertia, and obsidian dreams burnt all the way down. ~*~ If pessimism has any pedagogical value, it is that the failure of pessimism as a philosophy is inextricably tied to the failure of pessimism as voice. I read the following, from Shestov’s The Apotheosis of Groundlessness : When a person is young he writes because it seems to him he has discovered a new almighty truth which he must make haste to impart to forlorn humankind. Later, becoming more modest, he begins to doubt his truths: and then he tries to convince himself. A few more years go by, and he knows he was mistaken all round, so there is no need to convince himself. Nevertheless he continues to write, because he is not fit for any other work, and to be accounted a superfluous person is so horrible. (shrink)

Many of us have encountered a version of what Zachary Horton calls the "cosmic zoom"--a visual journey through the many scales of the universe, from the microscopic to the cosmic. Most of our daily perception operates at a level of scale somewhere between that of quarks and galaxies, and it is this comfort with the immediately visible everyday world that the cosmic zoom unsettles. In Mediating Scale, Horton uses the history of the cosmic zoom to explore (...) how that scale itself has been constructed over the past seventy years. How has cosmic zoom media influenced scientific and popular understanding of the unseen world and how it may be known, accessed, and exploited? Horton insists that scale is the key to understanding and addressing major contemporary issues including climate change and big data, but people working on issues of scale in various disciplines often talk past each other. Horton starts by sketching four common ways of thinking about scale derived from cartography, physics, engineering/biology, and mathematics. He then shows how these concepts operate in various disciplines, explains why they don't fit together, and puts forth a new, transdisciplinary theory and vocabulary of scale, one that links the natural sciences, humanities, and social sciences. In this ambitious work, scale becomes a foundation for rethinking the relationships between knowledge, mediation, and environment. (shrink)

The possibility of seeding other planets with life poses a tricky dilemma. On the one hand, directed panspermia might be extremely good, while, on the other, it might be extremely bad depending on what factors are taken into consideration. Therefore, we need to understand better what is ethically at stake with planetary seeding. I map out possible conditions under which humanity should spread life to other solar systems. I identify two key variables that affect the desirability of propagating life throughout (...) the galaxy. The first is axiological and depends on which value theory in environmental ethics is correct. The second is empirical and depends on whether life is common or not in our region of the universe. I also consider two ethical objections to an interplanetary life-seeding mission: the risk of interfering with indigenous life and the risk of increasing suffering in our galaxy. (shrink)

Bayesian probabilistic explication of inductive inference conflates neutrality of supporting evidence for some hypothesis H ("not supporting H") with disfavoring evidence ("supporting not-H"). This expressive inadequacy leads to spurious results that are artifacts of a poor choice of inductive logic. I illustrate how such artifacts have arisen in simple inductive inferences in cosmology. In the inductive disjunctive fallacy, neutral support for many possibilities is spuriously converted into strong support for their disjunction. The Bayesian "doomsday argument" is shown to rely entirely (...) on a similar artifact. Copyright 2010 by the Philosophy of Science Association. All rights reserved. (shrink)

Plato’s references to Empedocles in the myth of the Statesman perform a crucial role in the overarching political argument of the dialogue. Empedocles conceives of the cosmos as structured like a democracy, where the constituent powers ‘rule in turn’, sharing the offices of rulership equally via a cyclical exchange of power. In a complex act of philosophical appropriation, Plato takes up Empedocles’ cosmic cycles of rule in order to ‘correct’ them: instead of a democracy in which rule is shared (...) cyclically amongst equal constituents, Plato’s cosmos undergoes cycles of the presence and absence of a single cosmic monarch who possesses ‘kingly epistēmē’. By means of a revision of Empedocles’ democratic cosmology, Plato’s richly woven myth is designed precisely to reject the appropriateness of democracy as a form of human political association and legitimate monarchy in its stead. (shrink)

The cosmic cycle described in the surviving fragments of Empedocles' poem is the alternation, in endless succession, of Love and Strife. Dr O'Brien's book is primarily an analysis of this elaborate system. It seeks to determine the positions which Love and Strife occupy in the world at different times.

How holographic patterns of information underlie our physical reality.

The cosmic censorship hypothesis states that the general theory of relativity has built in mechanisms to prevent the formation of "naked singularities," pathologies in the spacetime structure that lead to a breakdown in predictability and determinism. This paper discusses some attempts to turn the vague hypothesis into a precise conjecture. Evidence in favor of and against the conjecture is briefly reviewed. Finally the possibility of forming naked singularities via black hole evaporation due to Hawking radiation is discussed.

The descriptions in the literature of mystical experience and psychedelic experience, such as that induced by LSD, are usually written by persons who have actually experienced only one or perhaps neither of the two states. Because many of the most important effects can be understood by direct experience but only partially described in ordinary language, such lack of direct experience is a major drawback. Since there is disagreement over the question of whether mystical experience and LSD experience can be ‘the (...) same’, it would be helpful if an individual who has experienced aspects of both states would compare them. One of the authors describes his experience with both states. A particular form of mystical experience, cosmic consciousness , occurred spontaneously; no mind altering drugs were used. ALS later took LSD on 12-15 occasions. Both states of consciousness involved alterations in time sense, subject/object boundary, cognition, mood and perception. However, the changes with CC were qualitatively and quantitatively different from those of LSD. The authors conclude that CC and LSD can be quite different states of consciousness, although we cannot completely rule out the possibility that psychedelics might sometimes induce the same kinds of mystical experiences that occur for non-drug reasons. (shrink)

We construct all cosmic field tensors which are symmetric rank-two tensor concomitants of a metric and a background metric and which have zero divergence when the background metric satisfies the generalized De Donder condition. The resulting background cosmic field represents an Einstein space-time.

David Benatar argues that one important consideration in favour of anti-natalism is based on the fact that all humans lack cosmic meaning; we will never transcend space and time such that we will have an impact on the entire universe, forever. Instead of denying Benatar’s claim that we lack cosmic meaning, Thaddeus Metz recently argues that our lack of cosmic meaning is not that significant because we ought not to regret lacking a good that we could not (...) have in the first place. He explains the principle behind this idea in modal terms: “the closer the world in which one could access a benefit, the more reasonable are attitudes such as sadness, disappointment, regret when does not acquire it.” I argue that this principle faces a serious counterexample in the form of death. The possible worlds in which one doesn’t die are incredibly distant. Yet, it is appropriate to express deep sadness, disappointment, and regret at the fact that one must inevitably face death. Metz is wrong that we shouldn’t regret lacking a good unavailable to us in the first place. His criticism of Benatar therefore fails. While it might be objected that immortality is not good, my basic point still stands when considering the fact that our lives are not significantly longer. Benatar’s claims about the significance of our lack of cosmic meaning might not be true, but not for the reasons suggested by Metz. (shrink)

The aim of this paper is to explore how the cosmic soul works and how it accomplishes its providential and demiurgic tasks in Chrysippus’ system. Drawing on (i) the analogy Chrysippus establishes between the individuum and the cosmos and (ii) biological and medical theories of respiration, digestion, and pulse, I will show that the movements of Chrysippus’ cosmic soul reproduce the processes of digestion, pulse, and respiration at a cosmic level. My claim is that Chrysippus, in addition (...) to adopting Praxagoras’ notion that inhaled air nourishes pneuma—well established in the scholarship—appropriated Aristotle’s complex mechanism of respiration and digestion based on the teleological role of cold air, crucial for preserving vital heat. So understood, Chrysippus’ application of biological notions to cosmology allows him to endow the active principle with effective causation throughout the cosmos. (shrink)

After an introduction in which I rehearse some of the main elements of Stoic physics and psychology, I set out the evidence for the Stoic doctrine that the individual soul is both analogous to the cosmic soul and a part of it, as was held by the early exponents of the school (Section I). I argue that the doctrine threatened to land the Stoics in trouble, unless they were ready to qualify it by applying to it certain distinctions (Section (...) II). Then I consider the doctrine’s historical origins, discussing several possible antecedents of it, with a focus on a Socratic report in Xenophon and on Plato’s dialogues, and showing that the Stoics went beyond all their predecessors (Section III). After this historical excursus I turn to examine some of the arguments advanced by the early Stoics to prove that the cosmos has a soul, including one which compares the relation between the cosmos and the individual human beings to that between a father and his offspring (Section IV). This leads me to analyse in more detail this comparison, which occurs also in other contexts and is sometimes problematically connected with the notion that the individual soul is a part of the cosmic soul (Section V). One of the texts which are relevant to this issue, a report in Sextus Empiricus, is the object of a separate discussion in the final Appendix. (shrink)

Bayesian probabilistic explication of inductive inference conflates neutrality of supporting evidence for some hypothesis H (“not supporting H”) with disfavoring evidence (“supporting not-H”). This expressive inadequacy leads to spurious results that are artifacts of a poor choice of inductive logic. I illustrate how such artifacts have arisen in simple inductive inferences in cosmology. In the inductive disjunctive fallacy, neutral support for many possibilities is spuriously converted into strong support for their disjunction. The Bayesian “doomsday argument” is shown to rely entirely (...) on a similar artifact, for the result disappears in a reanalysis that employs fragments of inductive logic able to represent evidential neutrality. Finally, the mere supposition of a multiverse is not yet enough to warrant the introduction of probabilities without some factual analog of a randomizer over the multiverses. (shrink)