The traditional divide between nature and culture restricts to the latter the use of information. Biosemiotics claims instead that the divide between nature and culture is a mere subdivision within the living world but that semiosis is the specific feature which distinguishes the living from the inanimate. The present paper is intended to reformulate this basic tenet in information-theoretic terms, to support it using information-theoretic arguments, and to show that its consequences match reality. It first (...) proposes a ‘receiver-oriented’ interpretation of semiosis. This interpretation implies that the means for recording, storing and processing information exclusively reside in the living world (extended so as to include the artefacts it produces). Then it may be argued that the main difference between the inanimate world and the living one lies in the fact that the very existence of the latter relies on information, which on the contrary is not relevant to the former. Thus, besides matter and energy, information is an entity irreducible to them which must be taken into account in any attempt for describing and understanding life. Information can interact with the real world only provided it is borne by some physical support: it must be ‘physically inscribed’. Contrary to matter and energy, information can be shared, not necessarily exchanged, so a same information can be borne by a number of distinct supports. Any living thing possesses means for recording, storing and processing information which are necessary for keeping it alive and securing its progeny. In particular, its genome contains hereditary information, can be replicated, and instructs the construction and maintenance of a phenotype. The simultaneous existence of a phenotype and of a genome, where the latter bears the symbolic description of the former, is mandatory for enabling the self-reproduction of an organism. Bearing and using information then endows a living thing with the ability to decrease the physical entropy, hence to act as Maxwell’s demon. Not only its own life is maintained against physical entropy, but its self-reproduction multiplies clones of the demon. Taking information as the entity which differentiates the living from the inanimate also supports Rovelli’s ‘relational’ interpretation of quantum physics. Experimental apparatuses then appear as information-theoretic channels from the inanimate world to a living observer. Besides having its own perspective (as stated by Rovelli), each of these channels has its own horizon because its capacity is necessarily finite. As another consequence, we may assert that the physicists’ quest of a ‘theory of everything’ is doomed to failure since, for lack of considering information as a relevant entity, physicists deny the living world, hence themselves. (shrink)

This paper puts Jane Bennett’s vital materialism into dialogue with Luce Irigaray’s ontology of sexuate difference. Together these thinkers challenge the image of dead or intrinsically inanimate matter that is bound up with both the instrumentalization of the earth and the disavowal of sexual difference and the maternal. In its place they seek to affirm a vital, generative materiality: an ‘active matter’ whose differential becomings no longer oppose activity to passivity, subject to object, or one body, self or entity (...) to its ‘other’. For both thinkers, displacing the hylomorphic conceptual structures that have tended to dominate western metaphysical thought is inseparable from critiquing the model of the individual subject as bounded, autonomous and self-identical. Such individualism is countered by the relational ontologies figured in Bennett’s ‘distributed agencies’ and Irigaray’s ‘placental economy’, and by a shared attentiveness to the capacities of the human body to bear others within. Nonetheless, this paper argues that each thinker renders this ‘other within’ in very different ways. On the one hand, Bennett’s approach complements and expands Irigaray’s notion of the elemental by affording a greater attentiveness to inorganic and non-sexuate matters. On the other, Irigaray’s conception of generative relationality and the ontological priority of the in-between allows us to think such material entanglements in ways that more fully displace the twinned logics of individualism and instrumentalization. Her project thereby affirms the relational and irreducible differences on which the ‘vitality’ of a vital materiality depends. If there is no more “earth” to press down/repress, to work, to represent, but also and always to desire, no opaque matter which in theory does not know herself, then what pedestal remains for the ex-sistence of the “subject”? If the earth turned and more especially turned upon herself, the erection of the subject might thereby be disconcerted and risk losing its elevation and penetration. For what would there be to rise up from and exercise his power over? And in? Irigaray, Speculum of the Other Woman Jane Bennett has recently argued that “the image of dead or thoroughly instrumentalized matter feeds human hubris and our earth-destroying fantasies of conquest and consumption”, continuing that: “The figure of an intrinsically inanimate matter may be one of the impediments to the emergence of more ecological and more materially sustainable modes of production and consumption”.11J. Bennett, Vibrant Matter: A Political Ecology of Things, Durham and London: Duke University Press, 2010, ix. Henceforth VM. View all notes This insight is prefigured and re-affirmed by the work of Irigaray. Her sustained analysis of western thought and culture shows how its constitutive disavowal of sexual difference and the maternal is inextricably bound up with an equally deep-rooted disavowal of matter and corporeality. As the above passage from Speculum suggests,22L. Irigaray, Speculum of the Other Woman, trans. G. Gill, Ithaca: Cornell University Press, 1985, 133. Henceforth S. View all notes Irigaray seeks to expose woman's reduction to an object for a subject and a maternal-material resource for man's speculations; but in disentangling woman from her symbolic identification with the earth, she also seeks to release the earth from its identification with a passive and manipulable matter. Her work thus bears directly on the revaluation required to transform human beings' relations to materiality: both their own, and that of the earth they inhabit. At the centre of this revaluation is Irigaray's work to displace the image of dead or intrinsically inanimate matter that Bennett also critiques, and to affirm instead a sexuate materiality that is both living and generative. Her consistent troubling of hylomorphism is as unsettling for the subject as her question: “But what if the ‘object’ started to speak?” This question is echoed in Bennett's concern with “the moment when the object becomes the Other, when the sardine can looks back, when the mute idol speaks”.33 VM, 2, citing W.J.T. Mitchell, What Do Pictures Want?, Chicago, Chicago University Press, 2005, 157. View all notes As this passage indicates, Bennett's own project is more concerned with the agency of non-human materialities – including their role in the constitution of the human – than with specifically sexed bodies or a materiality inflected by sexual difference. It is these crucial differences in emphasis, I will suggest, that allow the work of these two thinkers to be brought together in productive dialogue. On the one hand, Bennett's approach affords a greater attentiveness to inorganic and non-sexuate matter; on the other, Irigaray's twinned ontology of sexual difference and maternal relation is better able to affirm the relational differences on which the “vitality” of a vital materiality depends. The paper begins by outlining several key elements of Irigaray's philosophy of sexual difference to show how it leads necessarily to a rethinking of matter. This rethinking is especially helpful for shifting away from the hylomorphism that has been a dominant strand in western thought, informing an understanding of the earth as a fundamentally inert and ever-ready resource. As I will show, the figures through which Irigaray re-articulates female specificity also allow her to refigure the earth as active matter that “turns upon herself ” in generative flux. In the second section, I will situate Irigaray's re-thinking of matter in relation to Bennett's “vital materiality”.44Bennett can be aligned with a number of thinkers who have come to be grouped under the heading “new materialisms”. See S. Alaimo and S. Hekman, eds., Material Feminisms, Bloomington & Indianapolis: Indiana University Press, 2008; D. Coole and S. Frost, eds., New Materialisms: Ontology, Agency, and Politics, Durham and London: Duke University Press, 2010. View all notes An advantage of this concept is that it refuses the separation between humans and matter still implicit in concepts such as “the environment”. By attending to “our own constitution as vital materiality”, as well as the ways our “own” bodies are never “fully or exclusively human”, Bennett adjusts the status of human actants while re-evaluating non-human bodies “as actants rather than as objects”. As I will show, her approach provides a constructive critical perspective on Irigaray's work by drawing attention to the specifically non-sexuate nature of the elemental. Equally, however, Irigaray's insistence on sexuate difference problematises any appeal to a generic notion of “the human”. This is especially helpful, I will suggest, in relation to contemporary descriptions of climate change as “anthropogenic”. By homogenising human beings, such descriptions make it more difficult to address the ways in which current ecological problems are inseparable from global patterns of social, political and economic inequity. For both thinkers, challenging hylomorphism needs to be matched with a critique of the dominant modern model of the subject as bounded, autonomous and self-identical. And for both, this model is displaced and undone by the capacity of the human body to bear others within, in ways that engender and sustain human life. Yet as I will discuss in the final two sections, each thinker renders this “other within” in very different ways, with significant implications for the ethics and politics of a “vital materiality”. In the end it is Irigaray's rendering of a distinctively female capacity to bear an other within, explored via the generative relationality of a placental economy, that more fully escapes the individualism of the One and the Same. Together, Irigaray and Bennett show that to take seriously the ecological crises that currently confront us means overcoming the disavowal of both human beings' own fundamental materiality and our dependency on the sustaining materialities of the earth. In contrast, a dominant strand in contemporary responses to these crises is an environmental politics of “enlightened self-interest”55I borrow this phrase from H. Kopnina's critical discussion in “Forsaking Nature? Contesting ‘Biodiversity’ Through Competing Discourses of Sustainability”, Journal of Education for Sustainable Development 7, no. 1 : 51–63. that precludes any serious re-evaluation of human beings' relations to matter and the earth. If human beings can be persuaded that current levels of environmental degradation are damaging to them, threatening perhaps their very survival, they are more likely to take decisive steps to alter their behaviour. Insofar as such approaches demand action only for the sake of human interests and ends, they are both anthropocentric and spring from the same instrumentalising rationality that has engendered the ecological crises we currently face. They may well be successful in prompting action. But by foregrounding the survival of “the human species” per se, such approaches foreclose discussion of whose interests are served if survival is all that is allowed to be at stake, and whose lives are thereby consigned to ongoing exploitation. Moreover, as I will argue below, the instrumental rationality that serves survival is at odds with an affirmation of life, as a becoming that depends on difference. With this in mind, I will problematise Bennett's proposed politics of “expanded self-interest”, while seeking to retain many of the insights her approach brings. To more fully displace the “rational” self-interest that has encouraged human exploitation of the earth, we might take up Bennett's “vital materiality” in ways informed by Irigaray's conception of generative difference and the relational space-time of the in-between. (shrink)

Chapter 1 First Person Access to Mental States. Mind Science and Subjective Qualities -/- Abstract. The philosophy of mind as we know it today starts with Ryle. What defines and at the same time differentiates it from the previous tradition of study on mind is the persuasion that any rigorous approach to mental phenomena must conform to the criteria of scientificity applied by the natural sciences, i.e. its investigations and results must be intersubjectively and publicly controllable. In Ryle’s view, philosophy (...) of mind needs to adopt an antimentalist stance to achieve this aim. Antimentalism not only definitively rejects the idea that mind is a substance separated from the body, it also denies that mental phenomena radically differ from physical phenomena by virtue of several unique features. Most problematically, mental phenomena have a conscious character (mental states are related to specific qualitative feelings) and are accessible only to the first-person (only the subject knows directly what s/he is experiencing inside his/her mind). Ryle takes a strong stance on antimentalism going so far as to maintain that an approach to mind which aims to meet the criteria of scientificity set by the natural sciences must avoid any reference to internal, unobservable mental states. In his view (which is considered a specifically philosophical version of psychological behaviorism and also addresses questions put forward in psychological research), mental states can be redescribed in terms of behavioral dispositions. In this chapter, we address the historical roots of the antimentalist view and analyze its relation to the later tradition of research on mind. We show that, compared to the antimentalist stance, functionalism and cognitivism take a step back when they maintain that direct reference to mental states is necessary since mental states cause and therefore explain human behavior. This step backwards is often interpreted as a return to mentalism. However, this is only partially true. Indeed, we suggest that these later traditions retain one important element of Ryle’s antimentalism, i.e. the idea that mental states must be uniquely identified using external and publicly observable criteria, while excluding any reference to introspection and those qualitative dimensions of a mental state, which are accessible only to the first-person. According to the perspective we put forward, this epistemological stance has continued to influence contemporary research on mind and current philosophical and psychological theories which both tend to exclude the subjective qualities of human experience from their accounts of how the mind works. The issue we raise here is whether this is legitimate or whether subjective qualities do play a role with respect to the way our mind works. The conclusion of this chapter anticipates the argument the book makes in in favor of this latter position, starting from a particular angle, i.e. the problem of how we categorize concepts related to our internal states. -/- Chapter 2 The Misleading Aspects of the Mind/Computer Analogy. The Grounding Problem and the Thorny Issue of Propriosensitive Information -/- Abstract. After the crisis of behaviorism, cognitivism and functionalism became the predominant models in the field of psychology and of philosophy, respectively. Their success is mainly due to the new key they use for interpreting mental processes: the mind/computer analogy. On the basis of this analogy, mental operations are seen as cognitive processes based on computations, i.e. on manipulations of abstract symbols which are in turn understood as informational unities (representations). This chapter identifies two main problems with this model. The first is how these symbols can relate to and communicate with perception and thus allow us to identify and classify what we perceive through the senses. Here we limit ourselves to presenting this issue in relation to the classical symbol grounding problem originally put forward by Harnad on the basis of Searle’s Chinese room argument. An attempt to address the problem raised here will be made in chap. 3. The second point we discuss in relation to the mind/computer analogy concerns the idea of information it fosters. Indeed, following this analogy, information is something available in the external world which can be captured by the senses and transmitted to the central system without being influenced or modified by the procedures of transmission. This perspective does not take into account that – unlike computers – in living beings information is acquired by means of the body. As Ulric Neisser has already pointed out, the body is itself an informational source that provides us with additional sensory experience that influences (modifies or complements) the information extracted from the external world by the senses. To develop this line of analysis and to determine exactly what information is provided by the body and how this might influence cognition, we examine Sherrington’s and Gibson’s positions. Moving on from their views, we qualify bodily information in terms of ‘proprioception’. We use ‘proprioception’ in a broad sense to describe any kind of experience we have of our internal states (including postural information as well as sensations related to the general state of the body and its parts). Following Damasio’s and Craig’s studies, we further elaborate this position, arguing that living beings are equipped with an internal propriosensitive monitoring system which maps all the changes that constantly occur in our body and that give us perceptual (‘proprioceptive’ or propriosensitive) information about what happens inside us. Moreover, relying on Goldie’s and Ratcliffe’s view, we show that emotional information can also be considered as a form of ‘proprioception’ which contributes to determining everything we perceive. This analysis leads us to the second main thesis of this book: ‘proprioception’ is a form of internal perception and it is an essential component of the sensory information we can access and use for all cognitive purposes. -/- Chapter 3 Semantic Competence from the Inside: Conceptual Architecture and Composition -/- Abstract. Concepts are essential constituents of thought: they are the instruments we use to categorize our experience, i.e. to classify things and group them together in homogeneous sets. Here we define concepts as the internal mental information (representations) that allows us, among other things, to master words in natural language. By analyzing the way in which individuals master word meanings we explore a number of hypotheses regarding the nature of concepts. Following Diego Marconi’s research, we differentiate between two kind of abilities that underpin lexical competence – so-called ‘referential’ and ‘inferential competence’ – and we suggest that, in order to support these abilities, concepts must also include two corresponding kinds of information, i.e. inferential and referential information. We point out that the most widely used and acknowledged theories of concepts do not make this distinction, instead broadly characterizing the information used for categorization in terms of propositionally described feature lists. However, we show that while feature lists can explain inferential competence, they do not account for referential competence. To address the issue of referential competence we examine Ray Jackendoff’s hypothesis that to account for the possibility of linking perceptual and conceptual information we need to assume the existence of a (visual) representation that encodes the geometric and topological properties of objects and bridges the gap between the percept and the concept. Furthermore, we analyze the extension of this work by Jesse Prinz who introduced the notion of a proxytype, a perceptual representation of a class of objects that incorporates structural and parametric information related to their appearance. However, as we point out, proxytypes can only explain the relationship between perception and concepts with respect to instances that can be perceived through the senses and that belong to the same class by virtue of their physical similarity. We suggest that this notion be extended to include larger conceptual classes. To accomplish this, we further develop Mark Johnson, George Lakoff and Jean Mandler’s idea of a schematic image and argue that conceptual representations include a perceptual schema. Perceptual schemata are non-linguistic, structured experiential gestalts (patterns or maps) that make use of information taken from all sensory modalities, including body perception. They accomplish a quasi-conceptual function: they allow us to recognize and to classify different instances. In this work, we hypothesize that perceptual schemata are an essential component of concepts, but not identical to them. Instead, we suggest that concepts include both perceptual and propositional information with perceptual schemata providing the ‘perceptual core concept’ that grounds related propositional information. -/- Chapter 4 In the Beginning There Were Categories. The Bodily Origin of Prelinguistic Categorical Organization: The Example of Folkbiological Taxonomies -/- Abstract. Studies of categorization in psychology and the cognitive sciences have made use of the notions of ‘category’ and ‘concept’ without precisely defining what is meant by either; in fact, often these terms have been used as synonyms, making it difficult to address specific issues related to conceptual development. This chapter begins by discussing the definitions of, as well as the distinctions between, ‘categories’ and ‘concepts’ in the classical philosophical tradition (Aristotle, Kant and Husserl). We introduce our view of categories with reference to Husserl. Categorization is defined as the way in which our experience is originally (pre-linguistically) organized in a passive and fully unconscious manner on the basis of universal structuring principles. Conceptualization is explained as a later process in which the earlier categorical macro-classes are further subdivided into more specific and detailed sets; this later process also relies on linguistic learning and exposure to culture. On the basis of Ray Jackendoff, Jean Mandler, George Lakoff and Mark Johnson’s work, we hypothesize that categorization is a two-step process that begins with the formation of homogeneous sets of entities partitioned into regions that describe the ontological boundaries of the objects that humans perceive (categories) and continues at a later stage with the development of more specific classifications (concepts). In this chapter, we mainly address three related issues: Why should we assume that there is categorical organization which precedes the development of a conceptual system? How do categories and concepts relate to each other? Shall we hypothesize that categories are innate or that they are formed before concepts on the basis of information and organizational structure available at a very early developmental stage? We show that categorical partitions are necessary for categorization and, following Mandler, that the general categories we form at an early age do not match our adult superordinate concepts. As for the third issue, we argue that there might be no need to assume that categories are innately present in the human mind, since their formation can be explained – at least in certain cases – by basic mechanisms that work on body (propriosensitive) information. This hypothesis will not be discussed in general, but in relation to a particularly relevant example of categorical partition, i.e. the folk-biological dichotomy between ANIMATE/INANIMATE. This is compared with other dichotomies that derive from it, but are not directly categorical such as LIVING/NON-LIVING and BIOLOGICAL/NON-BIOLOGICAL. -/- Chapter 5 Internal States: From Headache to Anger. Conceptualization and Semantic Mastery -/- Abstract. Here we ask if we can also apply the distinction between referential and inferential competence we introduced in Chapter 3 to words that do not refer to things that are perceived using the external senses, especially to words/concepts that denote bodily experiences (such as pain, thirst, hunger, etc.) or emotions. We introduce and discuss the hypothesis that – even though such words/concepts do not refer to intersubjectively identifiable entities in the external world – they do have a kind of referent that can be accessed via direct perception, more specifically ‘proprioception’, as we have defined it in terms of all propriosensitive information we can consciously access. In the first part of the chapter, we specifically consider terms denoting bodily experiences such as ‘pain’ or ‘hunger’ and argue that their referents are identified and classified from a first-personal point of view on the basis of four main characteristics: their specific intensity, their localization in the body, their co-occurrence with other signals and above all their specific qualitative sensations. Emotions are addressed in the second part of the chapter. We suggest that there is a continuity between bodily experiences and emotions. In particular, we argue for a perceptual theory of emotions in line with that proposed by James and Lange at the end of the 19th century and developed more recently by authors such as Damasio (see also chap. 2§5, §6). The hypothesis we put forward is that the referential information that supports the categorization of emotions and therefore also our mastery of terms referring to emotions consists in the perception (i.e. the ‘proprioception’) of those bodily states and changes in bodily states which constitute our emotional experience. In the context of this discussion we examine some objections to this line of reasoning that arise from a cognitivist perspective and following authors such as Oatley, Johnson-Laird and Frijda, we distinguish between basic emotions that can be identified and classified solely on the basis on how they feel and complex emotions whose identification and classification additionally depends on cognitive factors. To describe how emotions are identified and classified on the basis of how they feel, we rely on Marcel and Lambie’s distinction between an ‘emotion state’ and an ‘emotion experience’. Both notions indicate kinds of feelings that we consciously experience. However, they describe first-order and second order emotion awareness respectively. The emotion state is the feeling we have of the bodily states and changes that occur when we are experiencing an emotion, while the emotion experience is the fully developed and integrated emotion we both experience and are, with reflection, aware of experiencing. On the basis of this differentiation, we also show that the same characteristics that aid in the identification and classification of bodily experiences (specific qualitative sensations; somatic localization; specific intensity; presence/absence of specific concomitant sensations) can also be used for the identification and classification of emotions – at least basic emotions. In the last two sections of the chapter we present some clinical evidence on the semantic competence of people who suffer from Alexithymia and Autism Spectrum Disorder which supports the conclusions of our preceding analyses. -/- Chapter 6 The ‘Proprioceptive’ Component of Abstract Concepts -/- Abstract. In this chapter, we address the issue of whether the mastery of abstract words requires only inferential knowledge and thus, if the concepts that support the mastery of abstract words include only linguistic information. We start by differentiating the notions of ‘abstract’ and ‘general’ which are often erroneously confused. We then identify a strict definition of abstract, as contrasted with ‘concrete’, that applies to words or concepts whose referent cannot be experienced by the senses. We argue that abstract words/concepts would be better described as theoretical, because they are usually conceived as structured sets of inferential knowledge expressed linguistically; that is, as small theories. Pointing out parallels with Carnap’s analysis of this issue in philosophy of science, we hypothesize that words/concepts denoting non-observable entities are not all ‘equally theoretical’, because their link to sensory experience can be stronger or weaker. We revive the distinction, inspired by Quine, between theoretical and intertheoretical concepts/words. This distinction relies on the fact that the former – unlike the latter – retains a strong, although indirect, connection with perception. In Quine’s discussion, perception is understood uniquely in terms of observability, i.e. of external sensory experience. Here we argue, however, that bodily, ‘proprioceptive’ (i.e. propriosensitive) experience can also serve to referentially ground theoretical (i.e. abstract) concepts/words. We frame this issue using the example of the theoretical concept ‘freedom’ and Lakoff’s hypothesis that this concept is developed on the basis of bodily information. We contrast this with the example of ‘democracy’ which more closely resembles an intertheoretical concept/word. Furthermore, we show that one of the classical views put forward in psycholinguistic research to explain how abstract concepts are mentally represented – i.e. Paivio’s Dual Coding Theory – points in the same direction as our analysis. The same is true of Barsalou’s work suggesting that we use internal information to understand at least some abstract words. To sustain this position, we put forward two lines of evidence: the first comes from psycholinguistic studies while the second examines deficits of semantic competence exhibited by people with Autism Spectrum Disorder. On the basis of our analysis, we put forward a classification that distinguishes between different kinds of concreteness and different degrees of abstraction: concepts/words referring to body experiences and basic emotions are described as analogous to concrete concepts/words because they are grounded in perceptual (i.e. propriosensitive) experience, while abstract concepts/words are considered more or less abstract depending on whether they are intratheoretical (and rely entirely on inferential information) or theoretical (and are partially grounded in perceptual – or more often in propriosensitive perceptual – information). In the last section of the chapter we consider two scales that have been used in psycholinguistic research to measure the degree of concreteness vs. abstractness of words and we show that – used conjointly – they can provide a measure of the internal vs. external grounding of specific words. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Approaching God: Between Phenomenology and Theology by Patrick MastersonJeremiah HackettApproaching God: Between Phenomenology and Theology. By Patrick Masterson. New York: Bloomsbury Academic, 2013. Pp. 204. $27.00 (paper). ISBN: 978-1-62356-308-0.The title of this book contains, as its author notes, an ambiguity: “Does it envisage us approaching God or God approaching us?” (1). The introduction and indeed the whole book examine three discourses in which language about God (...) could arise. First, there is lived experience and reflection on lived experience: “Phenomenology of religion is one very influential contemporary form of such philosophical reflection” (ibid.). It “concentrates its attention exclusively on phenomena, which have a bearing upon religious experience, as they give themselves to human experience” (ibid.). Second, “the affirmation (or denial) of God occurs also in the context of detached metaphysical reflection about the nature of ultimate reality or being” (ibid.). Third, “there is the reflective discourse about God which arises as a theological elaboration of what God himself has allegedly revealed about himself and his relationship to things other than himself and to human existence in particular” (2). Each approach seeks to be a systematic understanding of the totality of being.As the author presents the matter, “The first three chapters examine individually each of these three approaches in their distinctive bearing on the affirmation of God. The discussion of phenomenology is principally concerned with the innovative thought of the French Phenomenologist Jean-Luc Marion. The chapter on realist metaphysics is a personal representation of Thomas Aquinas” (3). The author notes the importance of this last chapter. It is to serve as an antidote to the “frequent dismissal (of metaphysics) by [End Page 156] phenomenologists as a discredited philosophical endeavour” (ibid.). Chapter 3 examines the implications of knowledge of God within revealed theology, and its connections to metaphysics. The excursus on Karl Barth is related to a discussion of Jean-Luc Marion, and acts as a foil to Aquinas’s position.Chapters 4-6 “discuss various comparisons and relationships which can be held to obtain between these three approaches to God” (4). Chapter 4 offers a sympathetic review of the significance of Hegel’s attempt at a synthesis of phenomenology, metaphysics, and revealed theology. Chapter 5 examines the relation of phenomenology to metaphysics with special emphasis on the thought of Jean-Luc Marion. Chapter 6 takes up a discussion of the important philosophical implications of the biblical concepts of creation and divine love for human life. It raises the issue of how metaphysics impacts our interpretation of these biblical concepts. The conclusion, chapter 7, argues for a combination of phenomenological and metaphysical approaches.The author himself places the book in context. He notes that “the book has emerged from a long process of reflection on issues in the philosophy of religion” (ibid.). Indeed, this process began with a work titled Atheism and Alienation: A Study of the Philosophical Sources of Contemporary Atheism (South Bend, Ind.: University of Notre Dame Press, 1971). The author returned to the philosophy of religion with his 2008 monograph, The Sense of Creation: Transcendence and the God Beyond (Ashgate). The present volume follows naturally upon this last book.The first chapter is most important in that it sets out clearly how the author understands the fundamentals of phenomenology. It acknowledges the fundamental phenomenological principle of allowing the things themselves to show themselves from themselves without the distortion of presupposition and unrelated theorizing. But one notices that for the author this broad phenomenological principle is reduced to a form of Cartesian immanence. At least, he understands Edmund Husserl to have argued for a position of pure immanence.The phenomenology of religion is presented as a method that provides a description of lived religious experience that is not given, and cannot be given, adequate expression in a detached metaphysics. The crux of the matter, however, has to do with a “phenomenological reduction,” that is, with the bracketing of the natural attitude in regard to knowledge and reality claims. This issue is central to Masterson’s argument that, as valuable as phenomenology is in a descriptive account of the lived experience of religion, it is necessary in the... (shrink)

We address three fundamental questions: What does it mean for an entity to be living? What is the role of inter-organismic collaboration in evolution? What is a biological individual? Our central argument is that life arises when lineage-forming entities collaborate in metabolism. By conceiving of metabolism as a collaborative process performed by functional wholes, which are associations of a variety of lineage-forming entities, we avoid the standard tension between reproduction and metabolism in discussions of life – a tension (...) particularly evident in discussions of whether viruses are alive. Our perspective assumes no sharp distinction between life and non-life, and does not equate life exclusively with cellular or organismal status. We reach this conclusion through an analysis of the capabilities of a spectrum of biological entities, in which we include the pivotal case of viruses as well as prions, plasmids, organelles, intracellular and extracellular symbionts, unicellular and multicellular life-forms. The usual criterion for classifying many of the entities of our continuum as non-living is autonomy. This emphasis on autonomy is problematic, however, because even paradigmatic biological individuals, such as large animals, are dependent on symbiotic associations with many other organisms. These composite individuals constitute the metabolic wholes on which selection acts. Finally, our account treats cooperation and competition not as polar opposites but as points on a continuum of collaboration. We suggest that competitive relations are a transitional state, with multi-lineage metabolic wholes eventually outcompeting selfish competitors, and that this process sometimes leads to the emergence of new types or levels of wholes. Our view of life as a continuum of variably structured collaborative systems leaves open the possibility that a variety of forms of organized matter – from chemical systems to ecosystems – might be usefully understood as living entities. (shrink)

This paper questions the widespread supposition that artifact kinds are kinds of artifacts. I will argue that this supposition rests on a one-sided diet of examples taken from inanimate physical things and the neglect of social and biological artifacts. I will argue that belonging to an artifact kind and being an artifact are independent Features: The first divides off artifacts from non-artifacts, the second rests on the distinction between instances of artifacts kinds and instances of natural (...) kinds. I claim that these two distinctions are orthogonal to each other, and besides the two canonical combinations of artificial instances of artifact kinds and non-artificial instances of natural kinds there are also non-artificial instances of artifact kinds and artificial instances of natural kinds. Moreover, as some artificial living beings are self-reproducing, some instances of an artifact kind are not themselves artifacts. Hence artifact kinds are not of necessity kinds of artifacts. (shrink)

Hierarchical organization is an essential characteristic of living things. Although most biologists affirm the concept of living things as hierarchically organized structures, there are widespread differences of interpretation in the meaning of hierarchy and of how the concept of hierarchy applies to living things. One such basic difference involves the distinction between the concept of control hierarchy and classification hierarchy. It is suggested that control hierarchies are distinguished from classification hierarchies in that (...) while the former involve authority relationships between levels, the latter do not. This is illustrated in an analysis of proposed hierarchies of replicators and interactors.The analysis of levels of hierarchies and their relationships also brings up the part-whole problem. An authority relationship between levels implies that the whole has a determining influence on the parts that make up the whole, and that parts have no independent, meaningful existence apart from the whole. The concept of an authority relationship in a part-whole relationship introduces the question of the independence or sovereignty of the components of the subordinate levels in a hierarchically organized living thing. This problem is discussed along with an analysis of the rather novel theory of enkapsis proposed by H. Dooyeweerd, in which he distinguishes part-whole relationships from enkaptic relationships. (shrink)

Die griechische Weltauffassung unterscheidet sich van der modernen durch den Gedanken der Begrenztheit des Weltalls, das sich dem spekulativen Blick seinem Wesen nach erschliesst. Die inPlaton's Timaios gipfelnde Kosmologie bestimmt das Weltall nach den Wesensgesichtspunkten der Endlichkeit, der Einzigkeit, der Lebendigkeit und der Vollkommenheit.Platon's Holismus bezieht die leblose und die lebende Natur unter die Idee des Lebens des Kosmos, dessen „Teile” die in der Erfahrung gegebenen Lebenserscheinungen sind. Sein von innen her und intuitiv aufgebautes Weltbild, das die Erscheinungen von oben (...) herab hierarchisch ordnet, tritt dem AtomismusDemokrits gegenüber, der in umgekehrtem Verfahren die höheren Strukturen auf den einen Baustoff aller Dinge reduziert. Der Gegensatz zum Holismus offenbart sich in allen Bestimmungen: fürDemokrit sind der Kosmoi unbegrenzt viele, es gibt nur Ansammlungen von Atomen, es fehlen Einzigkeit und Vollkommenheit, sowie ein Begriff des Lebens als des zentralen Geschehens.Die neuzeitliche Forschung verzichtet auf die spekulativen Bestimmungen des Ganzen, aber der bei den Griechen dogmatische Gegensatz holistischer und atomistischer Betrachtungsweise lebt fort als Gegensatz geistiger Einstellung. Der neuzeitliche Holismus ist ein empirischer, beschränkter, aber bei ihm liegt dieselbe Intuition des sich organisch gestaltenden Gesamtlebens zu Grunde wei beiPlaton. Nur wäre es, unrichtig, diesen Holismus als synthetisch zu bezeichnen. Synthetisches Denken erhebt sich immer auf analytischem Boden. Jede Synthese hat eine offene Grenze. Die Art aber, wie der Holismus die vereinzelten Lebenserscheinungen auf umfassendere Ganzheiten bezieht, ist eine intuitive. Das Band der Erscheinungen wird nicht durch äusseres Beziehen gestiftet, sondern geschaut nach Analogie einer inneren Erfahrung.Im Gegensatz zum Atomismus, der als real nur die Atome und deren Verhältnisse gelten lässt, erkennt der Holismus stufenartig aufgebaute Einheitsarten an, in denen die höheren die niedrigeren beherrschen, ohne sie zu Elementen herabzudrücken. Die Metaphysik, auf der Suche nach dem Zusammenhang zwischen dem Menschenleben und der Natur ist an der empirischen Aufweisung das Einzelne übersteigender Lebensverbände wie sie der Holismus zu Tage fordert aufs Höchste interessiert.The conception of the world with Greek thinkers generally differs from contemporary thought in the idea of the limitation of the world whose essence manifests itself to speculative thinking. The cosmology which culminates inPlato's Timaios attributes to the whole of being the properties of finiteness, uniqueness, life and perfection.Plato's holism subsumes inanimate and living nature under the idea of cosmic life, the “parts” of which are constituted by life-phenomena given in experience. His world-conception, constructed from within and intuitively, which ranges phenomena in descending order, is opposed to the atomism ofDemocritos which reduces the higher structures to the one equal material of all things. This opposition manifests itself in all essential points: toDemocritos there are worlds in infinite number, only accumulations of atoms are real, uniqueness and perfection are lacking as well as the idea of Life as a central reality.Modern research foregoes the attempt to determine the whole speculatively, but holistic and atomistic ways of thinking, after having been dogmatically applied by the Greeks, continue to exist as opposed types of mental attitude. Contemporary holism may be empirical and limited in application, but it is directed by the same intuition of life articulating itself organically as wasPlato's. It would be incorrect, however, to characterize holism as synthetical, since all synthetics is based upon analysis. The bounds of synthesis are never fixed ones, nor does it ever determine essence. Holism's way of subsuming single life-phenomena under more comprehensive wholes is an intuitional one, the connections which it creates between phenomena are not external ones, but apprehended intuitively in analogy to inner experience.—In distinction to atomism, which only admits as real atoms and their mutual relations, holism poses groups of unities, classified in grades, the higher of which dominate the lower, without debasing them to elements. As metaphysics is concerned to discover a connection between Nature and human life, it must be highly interested in the empirical demonstration, such as holism offers, of connections of life, surpassing individual being. (shrink)

The question which is never entirely resolved is: what is life? Biology, claims to stand for the study of life and living things, yet we would say that it cannot make a thoroughly clear distinction between living and non living, except in some very obvious cases. There are textbook definitions, of course, based on certain notable properties such as the ability to metabolize or reproduce, but these are arbitrary. If we are familiar with the (...) characteristics of a particular animal or plant, we know enough to be able to pronounce that it is dead when certain internal and external behaviours are no longer evident. Even this has difficulties - such as revealed in the arguments about whether to switch off a human life support system or not. When you find a squishy object on the seashore, can you be sure if it is alive or dead - or never living? The same dilemma confronts medical scientists and microbiologists trying to decide, for example, whether viruses are living, or quasi living, or intermittently living, or what. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Animals in the World: Five Essays on Aristotle’s Biology by Pierre PellegrinChristopher LutzPELLEGRIN, Pierre. Animals in the World: Five Essays on Aristotle’s Biology. Translated by Anthony Preus. Albany: State University of New York Press, 2023. vi + 324 pp. Cloth, $95.00; paper, $35.95This book explores two broad questions that have for decades been driving Pierre Pellegrin’s contributions to the so-called biological turn in Aristotle studies: whether and in (...) what sense Aristotle actually has a biology; the degree to which Aristotle’s teleological commitments lead him to characterize living things and the world that they inhabit as perfect. By analyzing various interplays that the zoological treatises posit between, on the one hand, the form and end of each species and, on the other hand, its material and efficient causes, Pellegrin reveals the astounding depth of Aristotle’s affinity with modern biology.In consideration of the millennia-spanning distance between Aristotle and the emergence of modern biology in the nineteenth century, Pellegrin first of all seeks to establish that he may call Aristotle a biologist without committing anachronism. Chapter 1 identifies two teleological notions that connect Parts of Animals and Generation of Animals to nineteenth-century conceptions of biology: Using organic function as the primary organizational principle in comparative anatomy relates Aristotle to Cuvier, and the concept of adaptation relates Aristotle to Darwin. Citing the profound influence of History of Animals on Cuvier (and thus on nineteenth-century biology), Pellegrin argues that its chief biological [End Page 357] innovation lies in the suggestion that observation is epistemically useful even when we are unable to explain that which we have observed.Chapter 2 emphasizes the role that mechanistic (that is, material and efficient) causality plays within the teleological explanations in Aristotle’s studies of animals. After a lengthy discussion of hypothetical necessity, Pellegrin uses PA 1.1’s distinction between formal nature and material nature to suggest that Aristotle recognizes an “ontological autonomy” of material nature, by which he seems to mean that matter has certain properties independent of any form. Linking Aristotle to Darwin, he argues that for Aristotle the perfection of each species consists in its fitness for (everlasting) survival. The end-directed formal nature of the species must negotiate with its autonomous material nature in order to secure for it an advantageous condition that guarantees its permanence but inevitably comes at the expense of certain disadvantages. For example, birds have no ears because they need extra matter for feathers (see PA 2.12).Shifting the focus to a crucial difference between Aristotle and modern biology, chapter 3 investigates the unity of Aristotelian natural science and biology’s place within it. Pellegrin finds analogies between Aristotle’s explanations of sexual reproduction, spontaneous generation, and Meteorology ’s account of the formation of inanimate homoiomerous matter (for example, metals, minerals). Sexual reproduction (clearly involving a material, formal, efficient, and final cause) is more causally complex than spontaneous generation (which according to Pellegrin has no preexisting final cause and only a quasi-formal cause), yet we understand spontaneous generation only by analogy with sexual reproduction, which is for Aristotle explanatorily prior. Spontaneous generation, in turn, is marginally more complex than the formation of homoiomerous matter (which also has only a quasi-formal cause and, further, no final cause at all), yet we understand the latter only by analogy with spontaneous generation and sexual reproduction. Pellegrin concludes that all natural science is united insofar as “material-efficient causality concerns all natural realities,” living and nonliving alike; however, because Aristotle in each case explains the less complex by analogy with the more complex, the teleological study of fully developed living things is explanatorily primary within his natural science. In this way, Aristotle stands in stark contrast to modern natural science, in which biology is explanatorily posterior to chemistry and physics.Chapter 4 qualifies the explanatory priority of complex organisms by challenging any notion of an Aristotelian scala naturae. Pellegrin works to show that the recognition of irreducible diversity is present in Aristotle’s very definition of an animal, arguing that in animals the nutritive faculty is neither ontologically nor developmentally prior to the sensitive and motive... (shrink)

This dissertation addresses the ontological significance of poetry in the thought of Martin Heidegger. It gives an account of both his earlier and later thinking. The central argument of the dissertation is that poetry, as conceptualised by Heidegger, is beneficial and necessary for the living of an authentic life. The poetry of T. S Eliot features as a sustaining voice throughout the dissertation to validate Heidegger's ideas and also to demonstrate some interesting similarities in their ideas. Chapter one demonstrates (...) how effectively certain concepts from Heidegger's 'Being and Time' can be applied in an analysis of T.S. Eliots celebrated poem 'The Love Song of J. Alfred Prufrock'. The reading involves concepts such as angst, authenticity, inauthenticity, the they and idle talk as they appear in 'Being and Time' and then relates these to aspects of T.S Eliot's poem. Chapter two is an exegesis of Heideggers essay 'The Origin of the Work of Art' in order to understand the meaning of poetry as he describes it. The essay centres on the interpretation of a painting by Vincent van Gogh, and what the experience of the painting reveals to someone authentically engaging with the artwork. Heidegger attempts to establish what the essence of a thing is (the artwork as thing), for the 'origin' of the artwork resides in its 'thingliness'. He creates an important distinction between equipment and the artwork, as well as earth and the world in order to justify the unique, originary position that the artwork occupies. This leads Heidegger to create a new understanding of poetry (which is expanded to encompass all art forms) and to emphasise the importance of the human agent in both the creation and preservation of the artwork. Chapter three is an exploration of language in both the Heidegger of 'Being and Time' and the later Heidegger's thought. The aim is to explore the ontological effect that Heidegger's conception of language has for our existence. He places language within a primordial role arguing that it is not us who speak language, but language that speaks us. This conception has important consequences for our relationship with Being, and the way in which we understand our existence. The final chapter unifies the various themes of the dissertation into a cohesive argument. The chapter begins with a discussion on the meaning of our existence following the later Heidegger. This is nothing less than the guardianship of Being which can only be understood in its relation to our dwelling within the fourfold. In conclusion it is through the measure of the language of poetry that we can realise the possibility of authentic dwelling. (shrink)

While both intuitive knowledge and reason are adequate ways of knowing for Spinoza, they are not equal. Intuitive knowledge, which Spinoza describes as the ‘greatest virtue of mind’, is superior to reason. The nature of this superiority has been the subject of some controversy due to Spinoza's notoriously parsimonious treatment of the distinction between reason and intuitive knowledge in the Ethics. In this paper, I argue that intuitive knowledge differs from reason not only in terms of its method (...) of cognition—but also in terms of its content. More specifically, I maintain that there is something that is known by intuition, namely the unique essences of things, that is not known by reason. My argument is supported by an examination of Spinoza's account of essences in the Ethics, which reveals that he is committed to both unique and shared essences. Based on this dual commitment, I argue that whereas for Spinoza both reason and intuition can be said to reach adequate knowledge of the shared essence of a thing, the unique essence of a singular thing, which is nothing but its actual essence, can only be known through intuitive knowledge. (shrink)

Yung Sik Kim's new book is a welcome addition to the large number of studies of the thought of Chu Hsi, arguably the most important literati thinker in China since the Southern Song dynasty . Chu's ideas became orthodox empire‐wide during the early Ming dynasty , and during the Ming and Qing dynasties millions of candidates for the imperial civil service examinations mastered the “Learning of the Way” associated with Chu and his followers. With the exception of the pioneering study (...) by Yamada Keiji in 1978, nearly all previous accounts of Chu's ideas written by students of Chinese philosophy have emphasized the metaphysical, moral, and epistemological concerns in Chu's writings. Those more concerned with imperial dogma and state power in China since 1400 have tended to paint Chu Hsi's “Learning of the Way” as a monolithic, authoritarian ideology that legitimated the Ming and Qing dynasty rulers politically, socially, and culturally among gentry elites.Kim acknowledges that the core of Chu Hsi's grand intellectual synthesis was focused on moral and social philosophy, but in this book Kim provides compelling information that Chu was also concerned with natural knowledge about the three levels of reality: heaven and earth, the myriad things in the world, and the human realm. Humans thus formed a triad with heaven and earth as the most numinous living thing because they were endowed with the psycho‐physical stuff of ch'i that was most clear and complete. Recognizing no boundary between the physical and the spiritual, Chu Hsi equated human nature with the universe. The basic concepts that informed Chu's natural world were yin‐yang, the five evolutive phases, and the dualism of li and ch'i .Chu Hsi advocated a scholarly agenda that would explain why things and events were as they were. Through the “investigation of things,” the heavenly principle that inscribed the ch'i of each object and event could be discovered. Normally historians of Chinese philosophy stress the place of universal heavenly li in Chu's thought, but Kim makes a concerted effort not to overlook the important place of ch'i as the aggregated collection of stuff in the universe, some dense and falling like the earth, some airy and rising like heaven. Indeed, as important as li was for Chu Hsi's moral philosophy, ch'i was the most important concept he employed to explain natural phenomena, material changes, and earthly events. With no discontinuity between matter and life, or between materiality and mind, Chu's philosophy made no allowance for the Western distinctions between the material and spiritual spheres or between the physical and mental realms.It was precisely such views that troubled the Jesuits such as Matteo Ricci who came to China in the late sixteenth century. Ricci and his European cohort would be condemned in the early eighteenth century by French Jansenists and Spanish Franciscans for their overly accommodational compromises with traditional Chinese religious practices such as ancestor worship, which Ricci interpreted as a civil rite. Nonetheless, when Ricci studied Chu Hsi's moral philosophy and natural thought, he was appalled at its materialism and atheism, which he considered the fault of Buddhism and its impact on Song literati such as Chu Hsi.The “noninertness” of ch'i carried over from the dynamic materiality of all things, including the human mind, to the formless and unfathomable spirits and ghosts that existed in a border area outside the natural realm between heaven and human beings. The dispersion of ch'i upon death could take many forms but, according to Chu Hsi, in the end all such ch'i disaggregated, leaving no ongoing or abiding spiritual form for humans, plants, or animals. The ch'i of the ancestors could be prayed to because the materiality of their descendants was the same ch'i, but even this continuity could not survive more than a few generations. Again, the Jesuits were shocked at this atheistic view of the human soul and its eventual demise materially with no possible eternal life after death.Accordingly, Kim's careful study of what Chu Hsi thought about the natural world makes it evident that most modern studies have elided an essential aspect of traditional Chinese thought, particularly the centrality of ch'i in the dynamic processes of collection and dispersion that produce all things, whether living or inanimate. Students of Chinese philosophy have tended to prioritize those aspects of Chu Hsi's views on universal li and its instantiated forms that are more amenable to a Western, Judeo‐Christian‐Islamic reading drawn ultimately from the debate between Plato and Aristotle over the universal forms of particular things.Modern presentations, in other words, have failed to grasp why a generation of Jesuit scholars who spent their adulthood in China during the seventeenth century found Chu Hsi's views alien and dangerous. Kim deserves credit for going against the tide of twentieth‐century scholarly interpretation and restoring to Chu Hsi those aspects of his natural philosophy that have been conveniently repressed to make his views more palatable. Rather than just the builder of the orthodox brick wall of traditional Chinese moralism, we can see that Chu Hsi's natural philosphy challenged any view of the world that assumed theological differences between life and death, mind and body, or the spiritual and physical. (shrink)

Certain researchers in the field of moral psychology, following Turiel, argue that children and adults in different cultures make a distinction between moral and conventional transgressions. One interpretation of the theory holds that moral transgressions elicit a signature moral response pattern while conventional transgressions elicit a signature conventional response pattern. Four dimensions distinguish the moral response pattern from the conventional response pattern. 1. HARM/JUSTICE/RIGHTS – Subjects justify the wrongness of moral transgressions by stating that they involve a victim (...) that is harmed, whose rights have been violated or who has been subject to an injustice. Conventional transgressions do not involve a victim that is harmed, whose rights have been violated or who has been subject to an injustice. 2. AUTHORITY – Subjects judge moral transgressions as wrong independent of structures of authority while the wrongness of conventional transgressions can be changed by an authority. 3. GENERALIZABILITY – Subjects judge moral transgressions as generalizably wrong, i.e., independent of time and place, while conventional transgressions’ wrongness depends on time and place. 4. SERIOUSNESS – Subjects judge moral transgressions as more seriously wrong than conventional transgressions. Others have criticized this view for a diversity of reasons. Relevant for our purposes is that, first, there appear to be cultural differences in what constitutes a moral transgression and second, it is unclear what the exact hypotheses are, surrounding this supposed moral/conventional distinction. I will present planned and ongoing experimental research that investigates two specific problems we encountered in the moral-conventional literature. First of all, we cannot draw reliable conclusions from previous work about the generalizability of the wrongness of different kinds of transgressions. In previous experiments, differences in time and place are often but not always confounded with a variety of other differences. For example, Huebner et al. ask participants if the depicted act would be OK for someone who lived elsewhere where everyone else did this. Moreover, when varying time and/or place, participants are likely to assume that other things differ as well. In our study, we vary time and/or place in a variety of scenarios in order to investigate what assumptions participants make when confronted with the generalizability question. Second, it is an open question as to what extent any transgression will universally elicit one of the two signature response patterns. In our study, we make use of existing differences in participants’ value hierarchy to test this. For one and the same scenario, we compare the response of participants for whom authority is an important value with the results of participants for whom authority is not an important value, in order to see if there are differences in the two groups’ response patterns. References: Haidt J., Koller S. & Dias M. 1993. Affect, culture and morality, or is it wrong to eat your dog? Journal of Personality and Social Psychology 65:613-628. Huebner B., Lee, J.L. & Hauser, M.D. 2010. The Moral-Conventional Distinction in Mature Moral Competence. Journal of Cognition and Culture 10: 1-26. Kelly D., Stich S., Haley K.J., Eng S.J. & Fessler D.M.T. 2007. Harm, Affect, and the Moral/Conventional Distinction. Mind & Language 22:117-131. Nichols S. 2004. Sentimental Rules: on the Natural Foundations of Moral Judgment. Oxford University Press. Stich S., Fessler, D.M.T. & Kelly D. 2009. On the Morality of Harm: A response to Sousa, Holbrook and Piazza. Cognition 113:93-97. Turiel E. 1983. The Development of Social Knowledge. Morality & Convention. Cambridge University Press. (shrink)

….it [is] wholly irrational to regard as doubtful matters that are perceived clearly and distinctly by the understanding in its purity, on account of mere prejudices of the senses and hypotheses in which there is an element of the unknown.Descartes, Geometrical Exposition of the MeditationsSubstance dualism, once a main preoccupation of Western metaphysics, has fallen strangely out of view; today’s mental/physical dualisms are dualisms of fact, property, or event. So if someone claims to find a difference between minds and (...) bodies per se, it is not initially clear what he is maintaining. Maybe this is because one no longer recognizes ‘minds’ as entities in their own right, or ‘substances.’ However, selves - the things we refer to by use of ‘I’ - are surely substances, and it does little violence to the intention behind mind/body dualism to interpret it as a dualism of bodies and selves. If the substance dualist’s meaning remains obscure, that is because it can mean several different things to say that selves are not bodies. (shrink)

Philosophers have long suspected that thought and discourse about what we ought to do differ in some fundamental way from statements about what is. But the difference has proved elusive, in part because the two kinds of statement look alike. Focusing on judgments that express decisions--judgments about what is to be done, all things considered--Allan Gibbard offers a compelling argument for reconsidering, and reconfiguring, the distinctions between normative and descriptive discourse--between questions of "ought" and "is." Gibbard considers (...) how our actions, and our realities, emerge from the thousands of questions and decisions we form for ourselves. The result is a book that investigates the very nature of the questions we ask ourselves when we ask how we should live, and that clarifies the concept of "ought" by understanding the patterns of normative concepts involved in beliefs and decisions. An original and elegant work of metaethics, this book brings a new clarity and rigor to the discussion of these tangled issues, and will significantly alter the long-standing debate over "objectivity" and "factuality" in ethics. Table of Contents: I. Preliminaries 1. Introduction: A Possibility Proof 2. Intuitionism as Template: Emending Moore II. The Thing to Do 3. Planning and Ruling Out: The "Frege-Geach" Problem 4. Judgment, Disagreement, Negation 5. Supervenience and Constitution 6. Character and Import III. Normative Concepts 7. Ordinary Oughts: Meaning and Motivation 8. Normative Kinds: Patterns of Engagement 9. What to Say about the Thing to Do: The Expressivistic Turn and What it Gains Us IV. Knowing What to Do 10. Explaining with Plans 11. Knowing What to Do 12. Ideal Response Concepts 13. Deep Vindication and Practical Confidence 14. Impasse and Dissent References Index This is a remarkable book. It takes up a central and much-discussed problem - the difference between normative thought and "descriptive" thought. It develops a compelling response to that problem with ramifications for much else in philosophy. But perhaps most importantly, it brings new clarity and rigor to the discussion of these tangled issues. It will take some time to come to terms with the details of Gibbard's discussion. It is absolutely clear, however, that the book will reconfigure the debate over objectivity and "factuality" in ethics. --Gideon Rosen, Professor of Philosophy, Princeton University Gibbard,/author> writes elegantly, and the theory he develops is innovative, philosophically sophisticated, and challenging. Gibbard defends his theory vigorously and with admirable intellectual honesty. --David Copp, Professor of Philosophy, Bowling Green State University. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.1 (2001) 77-99 [Access article in PDF] Malebranche's Distinction Between General and Particular Volitions Andrew Pessin "God needs no instruments to act," Malebranche writes in Search; "it suffices that He wills in order that a thing be, because it is a contradiction that He should will and that what He wills should not happen. Therefore, His power is His will." 1 (...) God acts by willing; so much is clear. But Malebranche goes further, especially in his Treatise, by asserting that (i) only in miracles and the initial creation does God act by "particular volitions," while (ii) God ordinarily acts in nature via laws or "general volitions." This distinction between general and particular volitions is central to Malebranche's theories of divine activity, theodicy, and occasionalism. Nevertheless, I will argue, it has been almost universally misunderstood.The two standard interpretations of Malebranche's expressions "general volition" and "particular volition" are these: (GC) A "general volition" for Malebranche is one whose content is general; a "particular volition" is one whose content is particular. [End Page 77](PC) All divine volitions have particular contents; but a "general volition" is one which is in accord with general laws, while a "particular volition" is one not in accord with general laws. 2Andrew Black offers the following two schemata for volition contents, where (B) also provides the general form of laws of nature: A: Let c be F at t. B: For all created substances x and y and for every time t1, if x is G at t1and x bears relation R to y then there is a time t2 such that t2 bears relation T to t1 and y is F at t2. 3(A) is "particular" insofar as it represents a particular state of affairs, involving a particular substance in a mode at a time; (B) is general in making no such reference. According to (GC), then, when Malebranche's God acts by "general volitions," He has volitions whose content is of the form of (B) (specifically, a law of nature); when He acts by particular volitions His volitions are of the form of (A). According to (PC), both general and particular volitions are of the form of (A), while the former are in accord with laws of nature and the latter aren't.To simplify matters, I will focus on God's activity in the material world; the laws of nature in question will usually be the laws of motion. Further, to avoid terminological confusion, I will refer to volitions of the form of (A) as "particular content volitions," and those of (B) as "general content volitions." The issue before us then is: When Malebranche's God acts by "general volitions," are these general content volitions or particular content volitions? Proponents of (GC) support the former; those of (PC) the latter.Unhappily, almost everything Malebranche says directly on the subject can be interpreted either way. 4 (I'll speculate why at the end.) And admittedly, what Malebranche says more broadly about natural laws and divine volitions is often suggestive of (GC)—so it is no surprise that almost all recent commentators adopt (GC), usually simply assuming it without argument. Still, I shall argue that if one of the interpretations is correct, it is (PC). [End Page 78]My plan in this paper: (1) Offer some prima facie support for (PC); (2) Provide four arguments that (PC) either fits better with, or is alone consistent with, various Malebranchean doctrines; (3) Reply to some recent objections against (PC); (4) Argue that Malebranche's direct reply to Arnauld supports (PC); (5) Offer a conclusion and final thought. 1. Some Prima Facie Support For (PC) Let me first note that Steven Nadler offers various passages which do at least suggest (PC). 5 But that evidence, while strong, is not alone conclusive. For one thing, those passages can perhaps be accommodated by (GC); 6 for another, there are many passages which suggest (GC). So we must go further.Consider, then, Malebranche's primary concern in the Treatise, the... (shrink)

….it [is] wholly irrational to regard as doubtful matters that are perceived clearly and distinctly by the understanding in its purity, on account of mere prejudices of the senses and hypotheses in which there is an element of the unknown.Descartes, Geometrical Exposition of the MeditationsSubstance dualism, once a main preoccupation of Western metaphysics, has fallen strangely out of view; today’s mental/physical dualisms are dualisms of fact, property, or event. So if someone claims to find a difference between minds and (...) bodies per se, it is not initially clear what he is maintaining. Maybe this is because one no longer recognizes ‘minds’ as entities in their own right, or ‘substances.’ However, selves - the things we refer to by use of ‘I’ - are surely substances, and it does little violence to the intention behind mind/body dualism to interpret it as a dualism of bodies and selves. If the substance dualist’s meaning remains obscure, that is because it can mean several different things to say that selves are not bodies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 10.1 (2003) 53-55 [Access article in PDF] A Pragmatic Consideration of the Relation between Depression and Melancholia David H. Brendel THE MELANCHOLIA OF THE PAST and the major depression of the present are extraordinarily complex notions that represent different things to different people. With her compelling article "Is This Dame Melancholy? Equating Today's Depression and Past Melancholia," Jennifer Radden makes an important contribution (...) to the debate on whether these concepts are identical, overlapping, or distinct. Exploring both conditions from descriptive and causal points of view, Radden appropriately concludes that fully equating the two of them would constitute a "troubling oversimplification." Her line of reasoning runs as follows. Because past descriptions of melancholia and current descriptions of major depression are marked by dissimilarities (such as the genius and creativity associated with the former and the self-loathing and emphasis on loss associated with the latter), only an underlying causal base common to both conditions would justify our equating them. But the cause (or causes) of melancholia and depression remain mysterious. Thus, although Radden acknowledges that a causal explanation might yield substantial benefits ("research possibilities, further hypotheses, and even hope of prevention, or cure"), she suggests that we remain in a descriptive mode when comparing the two conditions and conclude that they are not one and the same.Radden's argument that past melancholia and contemporary depression are descriptively distinct is convincing and, I think, indisputable. But I would like to challenge and expand upon some of her ideas about considerations of causality and about the role of pragmatic reasoning in working out the relation between melancholia and depression. First of all, although Radden is correct that the cause of many (or perhaps most) depressive states is unknown, she underrates the extent of the empirical knowledge that we have acquired about the causation of depression and, in so doing, undervalues the relevance of causal reasoning to making the melancholia/depression distinction. Recent empirical research has revealed that major depressive episodes can result from brain lesions such as left-sided strokes or metabolic disorders such as hypothyroidism (Yudofsky and Hales 2002). Psychosocial research, moreover, has suggested that stressful life events also can be understood as causes of depression (Kendler, [End Page 53] Karkowski, and Prescott 1999). These findings provide some hope that the identification of causes of various clinical states is a real possibility. Identification of such causes, I believe, could empower us to make some plausible claims about the similarities or differences between past melancholia and current depression. A melancholic individual like van Gogh, for example, had a different illness than a contemporary stroke patient with major depression in a present-day hospital, not only on the basis of descriptive distinctions between their conditions, but also on the basis of the causes of their respective states. Although of course we cannot know the cause of van Gogh's melancholia, we can reasonably assume that it was not the result of a left-sided stroke due to the absence in his case of other clinical deficits that usually result from such a stroke (such as language and motor deficits). Plausible assertions about the causes of melancholic and depressive states would add to the robustness of any claims regarding the distinctness of the conditions.Conversely, careful consideration of the etiology of various clinical presentations might prompt us to hypothesize a shared pathophysiology and thereby lead us to believe that they are essentially identical conditions. It is difficult or impossible to discover a cause of melancholia in individuals who lived in past eras. But we might achieve our goal by comparing well-defined major depression to various forms of what Radden calls "masked depression," such as those seen in cross-cultural settings, where the subjective symptoms of sad mood are absent but numerous somatic signs of depression are observed. If it turned out that major depression and masked depression had the same cause, then differences in their clinical phenomenology would become merely surface differences that belie a shared etiological process. How might one discover the existence of such a process... (shrink)

This paper explains why Clark’s Extended Mind thesis is not capable of sufficiently grasping how and in what sense external objects and technical artifacts can become part of our human cognition. According to the author, this is because a pivotal distinction between inside and outside is preserved in the Extended Mind theorist’s account of the relation between the human organism and the world of external objects and artifacts, a distinction which they proclaim to have overcome. Inspired (...) by Charles S. Peirce’s philosophy of mind, in particular, the author tries to find a way out of this ‘inside–outside’ fallacy. External objects, artifacts or processes should, according to him, not be conceived as inanimate and unintelligent matter utilised by a separately living, inner mental sphere that has set certain pre-established goals for itself. Mind has rather an artifactual character. It is not extended by an inner biological cognitive core but rather unfolds itself through objects and artifacts. Mind as such is, especially in our modern technological culture, shaped by virtue of and through technical artifacts. Recognizing this artifactual dimension of mind will, the author concludes, enable a more critical analysis of contemporary claims that ascribe certain original and irreducible features to thinking. (shrink)

This paper makes an effort to interpret the relationship between the concepts "Zuhandenheit" (readiness-to-hand) and "Vorhandenheit" (presence-at-hand), as they are analysed in §§ 15-16 of Heidegger's "Being and Time". These concepts are two modes of existence of the beings met in our surrounding world. So, they don't concern different things. Heidegger doesn't give the title "things" to the beings ready-to-hand; he names them "equipments" (Zeug). It's a concept relative to the Aristotelian "organon", which Aristotle exemplifies with the (...) human hand as a primary equipment. But Zuhandenheit isn't a quality of the things; the term has to do with the secret character of the equipments as the maining way of their disclosure. It's the Being-in-itself of the equipments, as long as they are useful. This Being-in-itself has nothing common with the Kantian Ding an sich, which is based on the presupposition of a cognitive relationship between subject and object. I posit also the question, whether Zuhandenheit can rendet the secretness and familiarity of our immediate approach to the environment, and my answer to this question is negative. (shrink)

At the heart of semantics in the 20th century is Frege’s distinction between sense and force. This is the idea that the content of a self-standing utterance of a sentence S can be divided into two components. One part, the sense, is the proposition that S’s linguistic meaning and context associates with it as its semantic interpretation. The second component is S’s illocutionary force. Illocutionary forces correspond to the three basic kinds of sentential speech acts: assertions, orders, and (...) questions. Forces are then kinds of acts in which propositions are deployed with certain purposes. I sketch a speech-act theoretic semantics in which that distinction does not hold. Instead of propositions and forces, the theory proposes proto-illocutionary acts and illocutionary acts. The orthodox notion of a proposition plays no role in the framework, which is a good thing, since that notion is deeply problematic. The framework also shows how expressionists, who embrace a sophisticated speech-act framework, face no Frege-Geach embedding problem, since the latter assumes the Sense/Force distinction. (shrink)

There are three main views of the development of Plato’s distinction between being and becoming which have been defended in recent times. Most scholars have thought that Plato always held the same version of the distinction despite appearances to the contrary. But some who have taken this position have thought that Plato took the realm of being to consist of things which never change in any way, and the realm of becoming to consist of things (...) which are never stable in any way. Others have thought that Plato’s account of things in the realm of becoming was not so extreme. They have maintained that the realm of being is made up of things which never change in any way, but that the realm of becoming consists of things which constantly change while they exist in many ways. The third view belongs to those who have held that Plato did in his middle dialogues take the extreme view of becoming and the extreme version of the distinction which that entails. But later, they claim, he discovered that the distinction was incoherent. He therefore abandoned it, and the metaphysical doctrine of degrees of reality which he had based on it, altogether. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Europe and EmbodimentA Levinasian PerspectiveJames Mensch (bio)The question of Europe has been raised continually. Behind it is the division of the continent into different peoples, languages, and cultures, all in close proximity to one another. Their plurality and proximity give rise to the opposing imperatives of trade and war. Since ancient times, the need to promote trade and the desire to prevent war have driven the search for a (...) basis for European unity. Various candidates, from that of Roman law in ancient times to the current economic and regulatory union of today, have been tried. Such bureaucratic solutions, however, have not proved sufficient. They regulate external relations but do not touch what is within. This, however, is the difficulty: how do we understand nations and their relations from within? On an individual level, it is customary to speak of the inner as “subjectivity.” Such a term generally means the “subject” of experience, the unique and individual self that has experience. If we are to avoid the Cartesian conceptions of this self, we have to speak of such a subject as an embodied whole: an organic unity that is both conscious of its environment and distinguishes itself from the latter. Such an organic unity cannot be thought in terms of Descartes’s distinction between mind and body, the mind being nonextended and the body being extended. The body grasped simply as extended is inanimate. To use [End Page 41] the German term, it is a Körper, a material body among bodies. The corresponding term for the animate, living body is Leib. A living body is characterized both by its organic needs and its ability to satisfy these through its “I can” (i.e., its capability to act to fulfill such needs). Subjectivity, as embodied, has to be thought in terms of the latter.Such thoughts, however, only increase the difficulty of speaking of the subjectivity of nations. Nations are political concepts. To speak of them as organic unities seems to return us to a discredited analogy, where we say just as the body has a common boundary separating its inside from the outside, so a nation has its frontiers. Similarly, we assert that just as an organic unity embraces the mutually dependent functioning of its parts — e.g., its various organs and limbs — so the state consists of the interdependent functioning of its classes and professions. Paul employs this analogy in speaking of the body of Christ.1 It also appears in Plato’s division of the classes of the state. One can also see it at work in the division of castes in Hindu society. As such examples indicate, its focus on natural classes makes it an inappropriate analogy for the modern state, where citizenship rather than class is the dominant conception. What, then, would be an appropriate way to speak of the subjectivity of nations? In what follows, I am going to use Levinas’s conception of corporalité (Leiblichkeit in German) to answer these questions. My claim will be that it permits the extension of subjectivity to the national level. Such an extension, I will argue, is crucial for understanding the group of nations that we call Europe. It is what allows us to catch sight of Europe’s particular identity.Two Views of European IdentityThere is a certain paradox in attempting to speak of the identity of Europe. Given the spread of the scientific rationality that originated in Europe, it is often claimed that what distinguishes Europe is the universality of the rationality that defines it. Husserl, in the twentieth century, made this claim. Such universality, he writes, is “contained from the start in the idea of philosophy” that appeared in Greece.2 [End Page 42] Philosophy, for the Greeks, was a general term that included “all the special sciences” — mathematics, astronomy, and so on — that developed as part of it. All these make universal claims. What they assert is claimed to hold everywhere, without exception. As Husserl admits, “philosophy, together with all the special sciences, makes up only a partial manifestation of European culture.” But for Husserl, “this part is the functioning brain” of “European spiritual life.”3... (shrink)

The explanation of change or movement has always been a central concern of philosophers. Some, like Aristotle, have taken the movement of living things as their paradigm, and tried to explain all movement or change in that way. Others, after the fashion of Descartes, concentrate on the movement of inanimate things and generalise explanations of this to encompass all movement or change. For Aristotle, things have a principle of growth, organisation and movement in their own (...) right. The movement or change of a natural thing is explained by its tendency to move in that way. The line he draws is not, as the line which we would perhaps like to draw is, between organic and inorganic things, but between these grouped together as subject to the same kind of explanation and, on the other hand, artificial things. A problem that results from this division is that while it might seem plausible to explain changes which occur in a baby when it grows into a man by saying that babies naturally tend to grow into men, and if they do not then something has interfered with their natural development, it seems odd to treat inorganic things in this way. Restricted to the contrast between the natural and the artificial, the explanation of stones falling when unsupported is clearly going to provide some difficulty. Although it is true that Aristotle does not think that because in the case of man the form with which matter is formed to make that substance is called a soul, that therefore any kind of form joined with matter to make a substance is called a soul, nevertheless the explanation of things which are a combination, a natural combination, of form and matter is the same for both man and other substances. Confronted with the explanation of falling bodies in this way, it first of all seems implausible and then suggests that things should happen which in fact do not. If it is assumed that the principle of movement is in the stone, ought it not to be assumed that the principle of stopping is in it too? Babies grow into men because it is in their nature to do so perhaps, but that stones fall downwards because it is in their nature to do so has, as Molière noticed in the case of a similar explanation of why opium puts you to sleep, a hollow ring. (shrink)

People often judge it unacceptable to directly harm a person, even when this is necessary to produce an overall positive outcome, such as saving five other lives. We demonstrate that similar judgments arise when people consider damage to owned objects. In two experiments, participants considered dilemmas where saving five inanimate objects required destroying one. Participants judged this unacceptable when it required violating another’s ownership rights, but not otherwise. They also judged that sacrificing another’s object was less acceptable as a (...) means than as a side-effect; judgments did not depend on whether property damage involved personal force. These findings inform theories of moral decision-making. They show that utilitarian judgment can be decreased without physical harm to persons, and without personal force. The findings also show that the distinction between means and side-effects influences the acceptability of damaging objects, and that ownership impacts utilitarian moral judgment. (shrink)

Selon Thomas d'Aquin, il y a distinction réelle dans les choses causées, entre la forme de la chose et l'acte d'être. Le but de l'article est de montrer que la démonstration d'une telle distinction dépend de la nature de la hiérarchie causale. L'acte d'être de la chose causée est, dans cette chose elle-même, une participation à la nature propre à la cause efficiente en tant que telle. Et cette participation ne peut pas être identique à la nature de (...) l'effet en tant que tel. Le meilleur texte de s. Thomas sur le sujet se trouve dans le Quodlibet 12, dernier produit de son activité parisienne. (shrink)

Husserl's theory of perception is remarkable in several respects. For one thing, Husserl rigorously distinguishes the parts and properties of the act of consciousness - its content -from the parts and properties of the object perceived. Second, Husserl's repeated insistence that perceptual consciousness places its subject in touch with the perceived object itself, rather than some representation that does duty for it, vindicates the commonsensical and phenomenologically grounded belief that when a thing appears to us, it is precisely that thing, (...) rather than some other thing (its 'appearance'), that we perceive. Third, his distinction between empty and intuitive acts, and his descriptions of their complex interplay in perceptual consciousness, provides a way of making sense of the fact that an object can be perceived even when some of its parts and properties are not. Finally, his theory of perceptual acts as constituents of higher-order acts of fulfilment provides one of the few detailed accounts in the philosophical literature of how a perceptual experience can transform a mere thought into knowledge, despite the fact that the relation between perception and belief is not a logical or inferential one. Because Husserl's theory of perception is a serious candidate for truth, it is also a serious candidate for philosophical criticism. As such, in what follows I will treat it as a live force to be reckoned with rather than a historical curiosity. (shrink)

The explanation of change or movement has always been a central concern of philosophers. Some, like Aristotle, have taken the movement of living things as their paradigm, and tried to explain all movement or change in that way. Others, after the fashion of Descartes, concentrate on the movement of inanimate things and generalise explanations of this to encompass all movement or change. For Aristotle, things have a principle of growth, organisation and movement in their own (...) right. The movement or change of a natural thing is explained by its tendency to move in that way. The line he draws is not, as the line which we would perhaps like to draw is, between organic and inorganic things, but between these grouped together as subject to the same kind of explanation and, on the other hand, artificial things. A problem that results from this division is that while it might seem plausible to explain changes which occur in a baby when it grows into a man by saying that babies naturally tend to grow into men, and if they do not then something has interfered with their natural development, it seems odd to treat inorganic things in this way. Restricted to the contrast between the natural and the artificial, the explanation of stones falling when unsupported is clearly going to provide some difficulty. Although it is true that Aristotle does not think that because in the case of man the form with which matter is formed to make that substance is called a soul, that therefore any kind of form joined with matter to make a substance is called a soul, nevertheless the explanation of things which are a combination, a natural combination, of form and matter is the same for both man and other substances. Confronted with the explanation of falling bodies in this way, it first of all seems implausible and then suggests that things should happen which in fact do not. If it is assumed that the principle of movement is in the stone, ought it not to be assumed that the principle of stopping is in it too? Babies grow into men because it is in their nature to do so perhaps, but that stones fall downwards because it is in their nature to do so has, as Molière noticed in the case of a similar explanation of why opium puts you to sleep, a hollow ring. (shrink)

In “Sense-Certainty” Hegel establishes “the now that is many nows” as the form of experience. This has implications for the interpretation of later figures within the Phenomenology of Spirit: specifically, the thing (from chapter 2), the living body (from chapter 4), and the ethical community (from chapter 6) are each significantly different forms of such a “now” in which the way that past and future are held within the present differs. Comparing these changing “temporalities” allows us to defend Hegel’s (...) distinction between nature and spirit, and his claim that only spirit has a history. This comparison also allows us to see how it is that phenomenological philosophy, and the “end of history” that it announces, is a stance of openness to the future. (shrink)

The second International Knowledge and Discourse Conference, held at the University of Hong Kong in June 2002, was the forum for the long-awaited debate between Bruno Latour and Steve Fuller. Bruno Latour counts beyond two. He places the blame for the emphasis in academia on the subject-object distinction on Kant. Latour wants academics to acknowledge that things act, and suggests we look at other traditions, e.g. the Chinese, for alternatives to the subject-object dichotomy. Steve Fuller concentrated on (...) the moral project of science, which is to draw a distinction between the human and the non-human and, to highlight the fact that, as the culmination of the sciences, social science has a particular responsibility to make this distinction. He accused Bruno Latour of evading the moral issue. The debate can be read as a reiteration of the postions of Bruno Latour and Steve Fuller on the question of heterogeneity at the theoretical level, but it did not address the topic at the practical or research level. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:THE STATUS AND FUNCTION OF DIVINE SIMPLENESS IN SUMMA THEOLOGIAE Ia, qq. 2-13 PETER BURNS, S.J. l esuit School of Theology Berkeley, California Introduction I N THE FIRST PART of what follows I hope to do four things: a) to give a brief summary of Aquinas's remarks contained in the third question of the first part of the Summa Theologiae, entitled de Dei simplicitate; b) to outline two (...) diferent ways of interpreting what Aquinas is about when making those remarks; c) to assess which interpretation is better from an exegetical standpoint; d) to assess which interpretation is better from a philosophical standpoint. In the second part my aim will be threefold : a) to trace the way Aquinas derives and uses the concept of divine simpleness in questions 2 through 11 ; b) to examine briefly the relationship between this concept and possible cosmological arguments for the existence of God; and c) to evaluate critically some modern treatments of arguments of the cosmological type in the light of this relationship. I shall not be concerned to show that Aquinas's conclusions in question 2 (the Five Ways) are justified by the arguments he adduces; rather, my concern will be to show that an adequate evaluation of his arguments cannot ignore the function of divine simpleness as a key element therein. I. The Status Of Divinle Simpleness (1) A Summary of S.T. la, 3 At the beginning of question 3 Aquinas lists eight points of inquiry. The first is whether God is a body, that is, composed 1 2 PETER BURNS, S.J. of extended parts. He offers three reasons why he thinks the reply must be negative. Firstly, an unchanging first cause of change, which God is (by la, 2, 3) would appear not to be bodily, since experience offers no examples of bodies causing change without themselves changing. Secondly, to be extended in space implies the potentiality of being divisible, but a primary reality is utterly actual, since absolutely speaking, actuality precedes po~ tentiality, and God is the primary reality. Thirdly, since the soul is nobler than inanimate things, and God is the most excellent of beings, God cannot be any less noble than the soul. But the soul in itself is not bodily but that in virtue of which bodies are what they are. In the next article Aquinas denies that God is composed of matter and form because matter is potential and only exists by participating in some form. In addition, since agents act in virtue of their form, God, as the prime source of activity and being in no way potential, must be considered as being essentially form without composition with matter, Aquinas then asks whether God can be identified with his own essence or nature. Given that matter is the individuating factor in beings composed of matter and form, and that such composition is ruled out in case of God, Aquinas claims that the distinctness of his being must be due to form. Hence God is his own form or nature or essence. In a crucial move in the next article Aquinas identifies God, who is his essence, with his existence, for as an uncaused necessary reality this essence must be self-subsistent. Thus God's nature or essence is necessarily self-instantiating, nor does God participate in existence, but essentially is identical with (the act of) 'existing', Therefore the distinction between essence and existence, between what something is and that it is, does not hold for God. Having daimed that God is his own existence, Aquinas argues that this existence is prior to genus in general and to the genus of substance specifically. So there is no possibility of distinguishing in God genus and difference, nor can God receive predicates as a substance, since this would imply potentiality. Therefore God is DIVINE SIMPLENESS IN SUMMA THEOLOGIAE 3 not composed of substance and accidents. In article 7, Aquinas claims that God is altogether simple. After summing up the previous remarks he makes two general points. Everything composite is subsequent to and dependent on its components, whereas God is the first, uncaused necessary being. Secondly, everything composite is caused, for essentially diverse elements must... (shrink)

This chapter discusses Descartes' answers to two questions still being asked today: Can machines fully imitate the functioning and behavior of living things? Can machines think? Descartes answers the first affirmatively and the second negatively. Descartes' two categorical answers are each rooted in the principle of the substantial distinction between body and soul—that is to say, in a metaphysical argument. In the Discourse on Method he asserts that there are two very certain means of distinguishing true (...) men from anthropoid machines intentionally designed to throw us off the track: the first is that they could never use words, or put together other signs, as we do in order to declare our thoughts to others. The second is that these machines would inevitably fail in other [things], which would reveal that they were acting not through understanding but only through the composition of their organs. Given this fact, the nature of the machinery a man of his time might have in mind is irrelevant in the chapter's discussion, and the modest development of 17th-century mechanization ought not to invalidate the perhaps exaggerated boldness of the positive answer to the first question, any more than it explains or, a fortiori, justifies the negative answer to the second. (shrink)

Ancient sceptics, unlike their modern counterparts, claim to live their scepticism. Nowadays scepticism, whether epistemological, moral, or of any other variety, is seen as a purely theoretical position, with no direct bearing on the actual living of one’s life; this is because philosophical theories and everyday attitudes are taken to be in some way “insulated” from one another. Serious questions may be raised about the character of this alleged “insulation,” but these are not my present concern; the fact is (...) that no such split between “the philosophical” and “the ordinary” was entertained in the ancient world. It follows that the viability of scepticism as a way of life is a crucial issue for ancient sceptics. It is no accident that one of the most enduring objections to ancient scepticism is to the effect that the sceptical attitude—that is, the posture of universal suspension of judgement—is incompatible with any kind of normal human action; this was known in antiquity as the charge of apraxia, “inaction.” The sceptics for their part, were just as persistent in arguing that suspension of judgement had no such damaging consequences. In as much as the assessment of actual or imaginable types of human life is the province of ethics, I take this debate between ancient sceptics and their detractors to be, in a broad sense, an ethical debate. (shrink)

The Reveries sur la nature primitive de l'homme are one of the important books of the dawn of the nineteenth century. In this text, Senancour limns an image of the world in accordance with the scientific thought of his time. It is a disenchanted image, dominated by mechanical necessity, and in it the distinction between good and evil no longer holds. God is absent; the world is not his creation. And Senancour expresses no regret:Everything in nature is indifferent, (...) for everything is necessary: all is beautiful, for all is determined. The individual is nothing, as a being apart: his cause and his end lie beyond him. Only the whole exists absolutely, invincibly, with no other cause, with no other end beyond itself, with no laws but those of its nature, with no other product than its permanence…. The beautiful, the true, the just, evil, and disorder exist only for the weakness of mortals…. The same earth contains happy orchards and ruinous volcanoes. The villain triumphs, the hero dies; the orchard withers, the volcano is snuffed out; one and the same destruction devours both the animate and the inanimate, shrouded in the same oblivion; and in a world reborn, there remains not a trace of what was abhorred or deified in a bygone world. (shrink)

Brentano’s account of intentionality has often been traced back to its scholastic sources. This is justified by his claim that objects of thought have a specific mode of being—namely, “intentional inexistence” —and that mental acts have an “intentional relation” to these objects. These technical terms in Brentano do indeed recall the medieval notions of esse intentionale, which is a mode of being, and of intentio, which is a “tending towards” of mental acts. However, within the lexical family of intentio there (...) is another distinction that plays an important role in medieval philosophy—namely, the distinction between first and second intentions, which are, roughly speaking, concepts of things and concepts of concepts respectively. What is less well-known is that Brentano explicitly borrowed this distinction as well, and used it in his account of intentionality. This paper explores this little-known chapter in the scholastic-Austrian history of intentionality by evaluating both the historical accuracy and the philosophical significance of Brentano’s borrowing of the scholastic distinction between first and second intentions. (shrink)

This paper shows that Hegel’s ontology of living beings provides us with indispensable conceptual resources for making sense of his account of the ontology of human action. For Hegel, living bodies are ontologically distinct in that their objective presence is thoroughly permeated by the self-reflexivity characteristic of subjectivity, and as such they cannot be adequately conceived in terms of categories that are appropriate to inanimate, “subject-less” objects. It is argued that actions are similar in this regard, and (...) like organic bodies they need to be conceived as self-realizing, self-articulating, dynamic wholes whose various material parts cannot be thought independently of their internal relations and their place in the whole. It is argued, further, that the categories Hegel appeals to in conceiving how organisms develop through stages are useful for making sense of how the objective shape of an action unfolds over time. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Europe and EmbodimentA Levinasian PerspectiveJames Mensch (bio)The question of Europe has been raised continually. Behind it is the division of the continent into different peoples, languages, and cultures, all in close proximity to one another. Their plurality and proximity give rise to the opposing imperatives of trade and war. Since ancient times, the need to promote trade and the desire to prevent war have driven the search for a (...) basis for European unity. Various candidates, from that of Roman law in ancient times to the current economic and regulatory union of today, have been tried. Such bureaucratic solutions, however, have not proved sufficient. They regulate external relations but do not touch what is within. This, however, is the difficulty: how do we understand nations and their relations from within? On an individual level, it is customary to speak of the inner as “subjectivity.” Such a term generally means the “subject” of experience, the unique and individual self that has experience. If we are to avoid the Cartesian conceptions of this self, we have to speak of such a subject as an embodied whole: an organic unity that is both conscious of its environment and distinguishes itself from the latter. Such an organic unity cannot be thought in terms of Descartes’s distinction between mind and body, the mind being nonextended and the body being extended. The body grasped simply as extended is inanimate. To use [End Page 41] the German term, it is a Körper, a material body among bodies. The corresponding term for the animate, living body is Leib. A living body is characterized both by its organic needs and its ability to satisfy these through its “I can” (i.e., its capability to act to fulfill such needs). Subjectivity, as embodied, has to be thought in terms of the latter.Such thoughts, however, only increase the difficulty of speaking of the subjectivity of nations. Nations are political concepts. To speak of them as organic unities seems to return us to a discredited analogy, where we say just as the body has a common boundary separating its inside from the outside, so a nation has its frontiers. Similarly, we assert that just as an organic unity embraces the mutually dependent functioning of its parts — e.g., its various organs and limbs — so the state consists of the interdependent functioning of its classes and professions. Paul employs this analogy in speaking of the body of Christ.1 It also appears in Plato’s division of the classes of the state. One can also see it at work in the division of castes in Hindu society. As such examples indicate, its focus on natural classes makes it an inappropriate analogy for the modern state, where citizenship rather than class is the dominant conception. What, then, would be an appropriate way to speak of the subjectivity of nations? In what follows, I am going to use Levinas’s conception of corporalité (Leiblichkeit in German) to answer these questions. My claim will be that it permits the extension of subjectivity to the national level. Such an extension, I will argue, is crucial for understanding the group of nations that we call Europe. It is what allows us to catch sight of Europe’s particular identity.Two Views of European IdentityThere is a certain paradox in attempting to speak of the identity of Europe. Given the spread of the scientific rationality that originated in Europe, it is often claimed that what distinguishes Europe is the universality of the rationality that defines it. Husserl, in the twentieth century, made this claim. Such universality, he writes, is “contained from the start in the idea of philosophy” that appeared in Greece.2 [End Page 42] Philosophy, for the Greeks, was a general term that included “all the special sciences” — mathematics, astronomy, and so on — that developed as part of it. All these make universal claims. What they assert is claimed to hold everywhere, without exception. As Husserl admits, “philosophy, together with all the special sciences, makes up only a partial manifestation of European culture.” But for Husserl, “this part is the functioning brain” of “European spiritual life.”3... (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

Philosophers and Cognitive Scientists have become accustomed to distinguishing the first person perspective from the third person perspective on reality or experience. This is sometimes meant to mark the distinction between the “objective” or “intersubjective” attitude towards things and the “subjective” or “personal” attitude. Sometimes, it is meant to mark the distinction between knowledge and mere opinion. Sometimes it is meant to mark the distinction between an essentially private and privileged access to an (...) inner world and a merely inferential or speculative access to that world. No doubt there are other uses as well. But I don't care about this dichotomy here, or indeed any of these putative distinctions it is alleged to mark. Instead, I want to call attention to the central role of the less often acknowledged grammatical and phenomenological category, that of the second person. This category is essential not only for understanding the development of self-understanding, but also for the development of the moral sense that allows us to participate in the societies that constitute us as persons. The task of moral education is the cultivation of care for second persons. But we do so by extending not self-regard (for that is inextensible—others are not oneself), but by extending the spontaneous caring response we have for those with whom we immediately interact—second persons. Our moral lives, I will argue, like our cognitive lives, cannot be understood without understanding the special nature of second person relationships. In short, I will argue that the second person perspective is in fact essential to the constitution of human subjectivity, and that it permeates all forms of interpersonal consciousness and even self-consciousness. (shrink)

In “Sense-Certainty” Hegel establishes “the now that is many nows” as the form of experience. This has implications for the interpretation of later figures within the Phenomenology of Spirit: specifically, the thing (from chapter 2), the living body (from chapter 4), and the ethical community (from chapter 6) are each significantly different forms of such a “now” in which the way that past and future are held within the present differs. Comparing these changing “temporalities” allows us to defend Hegel’s (...) distinction between nature and spirit, and his claim that only spirit has a history. This comparison also allows us to see how it is that phenomenological philosophy, and the “end of history” that it announces, is a stance of openness to the future. (shrink)

Feminist technoscience and feminist phenomenology have seldom been brought into dialogue with each other, despite them sharing concerns with subjectivity and normativity, and despite both of them moving away from sharp subject-object distinctions. This is unfortunate. This article argues that, while differences between these strands need to be acknowledged, such differences should be put to productive use. The article discusses a case of school bullying, and suggests that bringing these analytic perspectives together enables and sharpens examinations of the role (...) of subjectification and subject positions for subjectivity in the phenomenological sense; affectivity within material-discursive entanglements and constellations of humans and things, and as connecting the body, things and the world in specific ways; and normativity as enacted, lived and embedded in perception. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Schizophrenic Delusions, Embodiment, and the BackgroundGiovanni Stanghellini (bio)Keywordsschizophrenia, delusion, embodiment, common sense, phenomenologyIn their article Delusions, Certainty, and the Background, Rhodes and Gipps (2008) argue for a Background theory of delusions. Their central argument may be summed up as follows:• The formation and maintenance of delusions becomes intelligible once they are seen to reflect a basic disturbance. When studying delusions, the focus should be on providing an adequate framework (...) for understanding, rather than providing empirical hypotheses to be tested.• The basic disturbance in delusions, and insanity in general, is not a deficiency in reasoning or a defect in the content of experience, but rather something more fundamental.• Delusions––this is their central claim––are caused by a failure of the Bedrock of beliefs (Wittgenstein) or the Background (Searle) to adequately inform or constrain the process of belief formation.• Our Bedrock certainties are defined––following Wittgenstein––as ultimately constituted by our ability to act in the world and demonstrate our primary engagement with the world. They are born out of our everyday experience of the world, conveying our direct, pre-reflective, and practical grasp of the world, rather than expressing judgments we make about it.• Similarly, the Background is defined as those abilities and dispositions that are neither representations nor rules, that function before we can make sense of our experiences.• Wittgenstein’s Bedrock and Searle’s Background in great part overlap with Blankenburg’s pre-reflective natural self-evidence and Stanghellini’s common sense, namely, our own unreflecting know-how, a set of nonpropositional skills, capacities, and dispositions that attune us with the world.• Without a fully functioning Background, the distinctions between imaginary and real (mind and world), self and non-self, and cause and coincidence fail to be adequately drawn within experience. Also, grasping the meaning of others’ behaviors and a weakening of contextual influences are entailed by an erosion of Background sensibilities.I feel extremely sympathetic to this account and, as Rhodes and Gipps report, there are remarkable points of overlap between their and my own ideas about the formation of schizophrenic delusions. I would like to add some comments on the main theories on the basic disorders entailed in the pathogenesis of delusions and conclude with some suggestions to integrate the Background theory of delusions. [End Page 311]Syntagmatic Versus Paradigmatic Models of DelusionsLet me raise first an epistemological point: paradigmatic models of delusions––defining what a delusion is in itself and what are its borders with similar phenomena––proved to be unsatisfactory in psychopathology. As Schneider and Huber (1975) put it more that 40 years ago, “[w]hat counts in delusions is not the delusion itself... but snagging the course of the lived experience, rather than its product” (p. 2042). What we do need, to understand what delusions really are, are syntagmatic models how––delusions (in this case, delusions in persons with schizophrenia) are connected to other phenomena within a structure or a process. What we should look for, then, are the phenomena that contribute as motivationally (or causally) necessary vulnerability, that is, the basic disturbance for the development of delusions. This logically implies that we need studying delusions in fieri, or the pathways that lead to delusions themselves. I subscribe to the principle that studying delusion by merely concentrating exclusively on its crystallized forms would be like studying stroke victims to know more about hypertension (Parnas and Sass 2001). This methodological move from crystallized delusions to delusions in-the-making is quintessential to define the subtle, basic, phenomenal invariant core that characterizes a given psychopathological phenomenon and that emerges across the manifold facets of the phenomenon itself and shapes them and keeps them meaningfully interconnected.A syntagmatic model should account for (at least) the following features of schizophrenic delusions:• abnormalities in symbolization (loss of commonsense meaning of a given thing or fact),• formal aspects (e.g., revelation character, experience of centrality), and• specificity of content (e.g., metaphysical tinge).It should also be compatible with those phenomena like self-disorders (loss of sense of ownership and of agency) that are entailed in most schizophrenic symptoms (e.g., verbal–acoustic hallucinations and experiences of alien control). Finally, it should keep meaningfully... (shrink)

Abtract: This article argues that the debate between reductive and nonreductive physicalists is best characterized as a disagreement about which properties are natural. Among other things, natural properties are those that characterize the world completely. All physicalists accept the “completeness of physics,” but this claim contains a subtle ambiguity, which results in two conceptions of natural properties. Reductive physicalists should assert, while nonreductive physicalists should deny, that a single set of low-level physical properties is natural in both of (...) these senses. This way of drawing the distinction succeeds where previous approaches have failed and illuminates why the debate about reductionism is important. (shrink)

The many problems we face in today's world -- among them war, environmental destruction, religious and racial intolerance, and inappropriate technologies -- demand that we carefully re-evaluate such issues as our relation to the environment, the nature of progress, ultimate purposes, and human values. These are all issues, Robert Carter explains, that are intimately linked to our perception of life's meaning. While many books discuss life's meaning either analytically or prescriptively, Carter addresses values and ways of meaningful living from (...) a broader perspective, using Japanese philosophy to augment his investigation. He examines Martin Heidegger's distinction between "dwelling" and existing in the world, Lawrence Kohlberg's "stage seven" of human moral development, and the works of Viktor Frankl, Carol Gilligan, and Nel Noddings. He applies hermeneutic and deconstructionist theory to the question of meaning, and explores the feminist contribution to ethics and its relation to the interconnectedness of things celebrated in Zen and Shinto thought. Bridging various dichotomies such as East/West, reason/emotion, male/female, and caring/justice, Carter shows that ethics, environmental concern, caring, and joy in living are dependent on the growth and transformation of the self. Only by becoming aware of the interrelatedness of things, Carter reveals, can we become as supple and as strong as the bamboo tree, long the symbol of longevity and constancy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:DISTINGUISHING CHARITY AS GOODNESS AND PRUDENCE AS RIGHTNESS: A KEY TO THOMAS'S SECUNDA PARS JAMES F. KEENAN, S.J. Weston School of Theology Cambridge, Massachusetts HE RESPECTIVE functions of charity and prudence Thomas Aquinas's moral theology provide a key to his nderstanding of the virtues. Charity and prudence serve distinct functions. In Thomas's position, a person can have the acquired virtues without having charity; such a person has a virtuous (...) life, but it is unified by prudence, not by charity. But why is such a person without charity? Is this absence of charity due simply to the absence of faith? Is this person with the four acquired virtues but without charity simply an unbeliever? Or is this person simply a rightly-ordered person whose lack of charity is due to the absence of personal moral goodness? Is such a person simply one who, in common parlance, is a well-integrated person but not necessarily a morally good one? In a word, is moral goodness a necessary condition for the acquired moral virtues? To answer this question we will begin with the contemporary distinction between goodness and rightness and then discuss the two virtues and their functions. In the final section we will relate our findings to present-day problems in the ethics of virtue. I. Goodness an_d Rightness Since Democritus we have realized that living rightly is not necessarily an indication of being good. Democritus noted that being good required not only that we act rightly but that we want 407 408 JAMES F. KEENAN, S.J. to act rightly.1 Over the centuries philosophers and theologians have consistently made reference to the fact that living rightly, or as they called it " doing the good," was not a sufficient condition for describing a person as good. From Ambrose and Augustine to the present, authors have insisted that a moral description of persons is more than a mere deduction from external activity.2 Some writers, however, did not simply make reference to this distinction, but rather spent considerable time in commenting on the insight involved. Kant, for instance, in his Foundations of the Metaphysics of Morals distinguished from the beginning between action!> done out of duty (Handeln aus Pfiicht) and dutiful actions (pfiichtmiissiges H andeln). In attempting to describe the only thing which we can call " good," that is, the will, Kant argued that a dutiful act was only good if the act was done out of duty. For example, a state executioner who executes on account of his duty to execute is good and the action is good. But if the executioner performs the dutiful act on some other account, then the action is not good, though it is dutiful. Interestingly Kant did not consider whether an act not dutiful could be called good: Is an executioner who acts out of duty but botches the job still to be called good? George Moore in his Ethics made a similar point but for different reasons. Unlike Kant's interest in goodness, Moore wanted to describe a right action free of any consideration of an agent's motives and his solution was utilitarianism. In the process of separating the agent's action, Moore realized that the right act of a person with bad motivations involves a paradox: " A man may actually deserve the strongest moral condemnation for choosing an action which is morally right." 3 However, like 1 See his Fragmenta M oralia, no. 109, as cited in Stephen Toulmin, An Examination of the Place of Reason in Ethics (Cambridge: Cambridge University Press, 1958), 170. 2 Bruno Schuller of Miinster provides ample historical evidence in his Die Begrundung sittlicher Urteile (Diisseldorf: Patmos, 1980), 140. 3 George Moore, Ethics (London: Thornton Butterworth, 1912), 193-5. Cf. H. J. Paton, "The Alleged Independence of Goodness," in The Philosophy of G. E. Moore, ed. P. Schilpp (New York: Tudor, 1952), 113-134; Richard Hare, The Language of Morals (Oxford: Oxford University Press, 1964). GOODNESS AND PRUDENCE AS RIGHTNESS 409 Kant, Moore did not discuss a person who sought to act rightly but who failed actually to perform a right action. Contemporary moral theology has carried the distinction further. Moral theologians like Bruno... (shrink)

1 Domains of application 2 Formulating the conceptual/nonconceptual distinction 3 Is there such a thing as nonconceptual content? 4 Developing the account of nonconceptual content .